Guitar Tunings - J Mitchell

 

Fag Ash Lil - one of her amateur self portrait illustrations

Joni Mitchell began playing the guitar like countless young musicians of the '60s, but she quickly turned onto a less-traveled path. "When I was learning to play guitar, I got Pete Seeger's How to Play Folk-Style Guitar," she recalled. "I went straight to the Cotten picking. Your thumb went from [imitates alternating bass sound] the sixth string, fifth string, sixth string, fifth string. . . I couldn't do that, so I ended up playing mostly the sixth string but banging it into the fifth string. So Elizabeth Cotten definitely is an influence; it's me not being able to play like her. If I could have I would have, but good thing I couldn't, because it came out original."

At the same time that she departed from standard folk fingerpicking, Mitchell departed from standard tuning as well (only two of her songs "Tin Angel" and "Urge for Going" are in standard tuning). "In the beginning, I built the repertoire of the open major tunings that the old black blues guys came up with," she said. "It was only three or four. The simplest one is D modal [D A D G B D]; Neil Young uses that a lot. And then open G [D G D G B D], with the fifth string removed, which is all Keith Richards plays in. And open D [D A D F#A D]. Then going between them I started to get more 'modern' chords, for lack of a better word." As she began to write songs in the mid-'60s, these tunings became inextricably tied to her composing. 

On Mitchell's first three albums, Joni Mitchell (1968), Clouds (1969), and Ladies of the Canyon (1970), conventional open tunings coexist with other tunings that stake out some new territory. "Both Sides, Now" (capo II) and "Big Yellow Taxi," for instance, are in open E (E B E G# B E - the same as open D but a whole step higher); and "The Circle Game" (capo IV) and "Marcie" are in open G. But it was more adventurous tunings like C G D F C E ("Sisotowbell Lane'], with its complex chords created by simple fingerings, that enthralled her and became the foundation of her music from the early '70s on.

"Pure majors are like major colors; they evoke pure well-being," she said. "Anybody's life at this time has pure majors in it, given, but there's an element of tragedy. No matter what your disposition is, we are air breathers, and the rain forests coming down at the rate they are . . . there's just so much insanity afoot. We live in a dissonant world. Hawaiian [music], in the pure major - in paradise, that makes sense. But it doesn't make sense to make music in such a dissonant world that does not contain some dissonances." 

Well it’s not rocket salad but interesting none the less, hey?

Article by Jeffrey Pepper Rodgers

Acoustic Guitar (Magazine) 

Mitchell a life long nicotine addict is not so much a serious singer one might be fogiven for thinking as her voice has been seriously damaged by smoke inhalation so much that she has lost octaves over the years

These are amongst the simplest and most basic of open tunings and nothing wrong with that but Mitchell is really not in the league of people like expert guitarists like Richard Thompson or folks purists like Martin Carthy who even plays in his OWN tuning for many songs and numbers these days! Open tunings are legion and my Line 6 Variax guitar models 11 tunings amongst 24 guitar modulations!

Controversy emerges!

FAG ASH LIL dons Black Face !

This album cover is being discussed of late and I for one was appalled and never bought it. Mitchell can claim her being told she had a ‘black man’s teeth’ as much as she likes but that is no reason to exploit your own whiter than white attributes. It was a clearly a totally ill-advised mistake and a racist misstep of gargantuan arrogance and then some. Did she do it in a moment of ill advised ego? 

Well then you wouldn’t do it again at parties would you!?

drugs and wealth can addle a person’s judgment but please get help, get advice and guidance. Heck get therapy! Morgellons’? Yup psychosomatic lunacy!

Black face?

Get rid!

THE BAND - Play WEMBLEY! 1974 | So Many Roads | A Speedy Special

The Band - 1974-09-14 - London, UK (TV SBD)

Again another gig I went to and worth revisiting in that it is an upgrade as So Many Roads’ SPEEDY mentions about the last version we checked out last year!

As I told Speedy "Still stands as one of the most memorable concerts I ever went to. The Band simply blew everyone else away as I have said elsewhere. We went to see CSNY and Joni of course but thus began a lifelong love of The Band. They simply rocked the stadium down to the ground! didn’t know it had been recorded by a TV crew wonder who broadcast it?” 

WE sat at the far end of the stadium near the area reserved for stars and we sat Dave Dee, (of Dave Dee, Dozy, Beaky, Mick and Titch) and also Robert Plant and his family along with loads of other celeb retires of the time who’s names escape me now. WE saw Roberta nd his wife getting the children into the Landrover when we left and didn’t want to bother them them with small people with them but they smiled and seemed like us to have had the best day of it!

The Band

1974-09-14

Wenbley Stadium

London UK

TV SBD Recording

320 kbps

Artwork Included

01. Hard Times (The Slop)

02. Just Another Whistle Stop 

03. Stage Freight

04. The Weight 

05. The Shape I'm In

06. Loving You Is Sweeter Than Ever 

07. The Night They Drove Old Dixie Down 

08. Across The Great Divide 

09. Endless Highway 

10. Smoke Signal 

11. I Shall Be Released

12. The W.S. Walcott Medicine Show 

13. Mystery Train 

14. The Genetic Method

15. Chest Fever 

16. Up On Cripple Creek 

here . . .

"After spending the early part of 1974 on tour backing Bob Dyaln, The Band once again found themseleves in a supporting role on September 14, 1974, a haldf century ago today.  CSNY headlined that day at Wembley Stadium iin London before a crowd of over 100,000, with opening acts Jesse Colin Young, Joni Mitchell, Tom Scott & The LA Express, and The Band. For CSNY, it would be their last show together for over 25 years.  For The Band, it would be another monumental rock festival, to go along with their appearances at Woodstock and Watkins Glen. This TV soundboard recording captures The Band's entire set, with all the tracks split out, a big upgrade from the version we posted last year.” Speedy

 

I tried to run away myself, to run away and wrestle with my ego . . . a pioneer of the white lines on the freeway

 

This image always makes me howl! Such arrogance! Such an EGO! 

Van Gogh you most certainly are NOT!

So laughable it is hilarious were it not so all consumingly embarrasing.

Never a fine artist but an illustrator of some minor commonplace everyday sophomore talent to portray oneself as perhaps the worlds’s greatest expressive post-modernist painter reveals an arrogance of such proportions it beggars belief and is beyond laughable. 

It nearly makes me burst out laughing every time I see it

N.B. now the last time I was threatened by the web-sherriffs with any take down of copyright material it was the Mitchell cronies and presumably record label lackeys who objected to me posting of record album covers by fag ash Lil. Not helped perhaps by my criticism of the diva herself. Shall we take bets or maybe set a clock running as to how long it takes them to threaten for my usage again here . . . . . . . I give them hours!😉

 

 Born as Roberta Joan Anderson in Fort Macleod, Alberta on this day in 1943.

Happy Birthday Joni Mitchell 80

Joni Mitchell on the set of Anton Corbijn’s video for “My Secret Place” (1988)

JONI MITCHELL Sydney 1983 - Live at the Sydney Opera House, Australia, 1983 | Big O

 Now this is actually rather good and the quality outstanding. Mitchell in the Eighties was in her prime of the jazz era old folkie’s career! Great band and a great song selection. If you can get past the sophomoric abuse and filth of the comments section at Big O which always tends to let the side down somewhat, this is really worth checking out for Mitchell fans

Mitchell Australia 83 - Big O

+ + + + +

Disc 1
Track 101. Free Man In Paris 3:28
Track 102. Coyote 5:47
Track 103. Edith And The Kingpin 3:40
Track 104. You Turn Me On, I’m A Radio 3:32
Track 105. Song For Sharon 7:27
Track 106. God Must Be A Boogie Man 4:20
Track 107. For Free 4:52
Track 108. Big Yellow Taxi 3:06
Track 109. A Case Of You 4:50
Track 110. Amelia 8:03
49 mins

Disc 2
Track 201. Ladies’ Man 2:58
Track 202. (You’re So Square) Baby, I Don’t Care 4:21
Track 203. Chinese Cafe/Unchained Melody 5:39
Track 204. Help Me 4:25
Track 205. Both Sides Now 5:09
Track 206. Band Intro 1:40
Track 207. Underneath The Streetlight 2:14
Track 208. Woodstock 6:34
33 mins

Lineup:
Joni Mitchell - vocals, guitars, dulcimer, piano
Russell Ferrante - keyboards
Michael Landau - guitar
Larry Klein - bass
Vinnie Colaiuta - drums

Joni Mitchell, 1968, by Don Howard.

“When I heard, ‘You can’t do that, you’re a girl,’ I went ahead and did it anyway.” - Joni, Maclean’s, 2014

(The photo and quote both come from Joni’s March 2022 newsletter celebrating International Women’s Month. Read it online here.)

Amelia - Live at Wembley 1983

Various Artists: Women In ROCK Part 1 (of 7!) : URBANASPIRINES

 Nice homespun and indeed homemade, compilation of the women of contemporary music from Kostas over at Urbanaspirines this morning and whilst I have most if not all the tracks it is well worth reading and checking the liner notes and downloading anyway!

Kostas says there may be exceptions and I thought well yeah obviously but . . . . . . .this is very comprehensive and we still have Vol II - VII still to go! Do you reckon anyone’s missing? If so, who? It even included women I didn’t really know (for shame!?) Angie New and Barbara Hudson? Anyone?!

The Queen

Women in Rock Vol I - URBANASPIRINES

TRACKS

01. Joan Baez - Diamonds And Rust

02. Joni Mitchell - Woodstock

03. Jefferson Airplane - White Rabbit

04. Janis Joplin - Cry Baby

05. Pentangle - The Time has Come

06. Melanie - Lay Down

07. Carly Simon - You're So Vain

08. Bread, Love  And Dreams - The Least Said

09. Dusty Springfield - Son Of A Preacher Man

10. Linda Ronstadt - It's So Easy

11. Fleetwood Mac - Go Your Own Way

12. Marianne Faithfull - So Sad

13. Renaissance - Island

14. Nancy Sinatra - These Boots Are Made For Walkin'

15. Ultimate Spinach - (Ballad Of) The Hip Death Godess

16. Affinity - I Am And So Are You

17. Joan jett And The Blackhearts - I Love Rock 'N' Roll

18. Coven - Wicked Woman

19. Sonny And Cher - I Got You Babe

20. Steeleye Span - Lowlands Of Holland

21. The Mamas And The Papas - California Dreamin'

22. Julie Driscoll - Those What We Love

23. The Serpent Power - Forget

24. Fanny - Badge 

25. The Shangri-Las - Remember (Walkin' In The Sand)

Affinity (feat. Linda Hoyle)

Annie

Marianne

to name but a few . . . . . . . 
 

Joni Mitchell (& Brandi Carlisle) Live at Newport Folk Festival, Sunday, July 24, 2022!!

For my daughter, Amy who let me know Joni had made an appearance at Newport again!

[I love it when my children let me know about music  . . . either new bands or updates on people they know I like. (thanks Amy!)]

 Interview 

Brandi Carlisle introduces Joni Mitchell

Summertime

Circle Game

Both Sides Now

Amelia 

Joni’s Jam consists of Joni Mitchell, Brandi Carlile, Allison Russell, Shooter Jennings, Wynonna Judd, Celisse Henderson, Taylor Goldsmith (Dawes), Blake Mills, Jess Wolfe and Holly Laessig (Lucius), Marcus Mumford, Sista Strings, Josh Neumann, Matt Chamberlain, Rick Whitfield, Ben Lesser, Blake Mills, Phil and Tim Hanseroth, and Jay Carlile. If you love music and you love community, please consider attending the Newport Folk Festival in person. For further questions about the Newport Folk Festival and the Newport Folk Festival Foundation and how you might help support their mission, please contact them at info@newportfestivals.org. #newportfolkfestival

Joni Mitchell plays solo guitar 'Just Like This Train' 

Joni Mitchell performs the solo from her song “Just Like This Train” on electric guitar at Newport Folk Festival on July 24, 2022. Brandi invited her up and said she had been working on this to share, and mentioned she had not performed publicly much since suffering from a brain aneurysm in 2015. She said she had to teach herself to play again and had been watching YouTube videos to learn the chords. “Just Like This Train” is on Joni’s 1974 album “Court And Spark”. The performance was part of the closing set of the 2022 Newport Folk Festival, at the Fort Stage. Joni was a surprise guest of a set curated by Brandi.

Big Yellow Taxi

Update for visitor Pattie (Pattirules)

Watch Mitchell’s full live Newport set (in jumbled order) on this playlist), and see the setlist of originals and classic covers from her historic performance just below.

Carey

Come in From the Cold

Help Me

Case of You

Big Yellow Taxi

Just Like This Train

Why Do Fools Fall in Love

Amelia

Love Potion #9

Shine

Summertime

Both Sides Now

The Circle Game

Complete listing here on YouTube

https://www.youtube.com/playlist?list=PL0BeklUKtNetLNqVKUlkYlG4dj0iOfOcj 

Joni Mitchell 78th Birthday notes

 

“Joni Mitchell: In Her Own Words,” Malka Marom, September 2014.

"I liked playing the coffeehouses, where I could step off the stage and go sit in the audience and be comfortable, or where there wasn’t a barrier between me and my audience in the clubs. The big stage had no appeal for me; it was too great a distance between me and the audience, and I never really liked it. I didn’t have a lot of fame in the beginning, and that’s probably good because it made it more enjoyable. 

A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term: “I was never a folk singer.” I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened, and – it was beautiful. It made me forgive my beginnings. And I had this realisation…

I was a folk singer!" Joni Mitchell

The Guardian Interview

By the mid and late late seventies of course Mitchell never really a folk singer per se had played pretty much all the significant auditoriums and stadiums which makes the above quote something of a nostalgic vision for her past. By 1970  she had played the Royal Festival Hall and large scale festivals like the Mariposa so her yearnings seems somewhat disingenuous here. The Dylans and Van Ronks, the Peter Paul and Mary's and the Joan Baez's et al played all the folk clubs but only those achieving high pop/rock status began playing the huge venues so early and by 1983 I had seen her play the Wembley Stadium ( I say "see" but frankly there was little to see of stadium rock at that time. Dylan at Blackbushe airdrome was but a speck in the distance and the sound just about approaching listenable for an airfield.) From the mid seventies to early eighties Mitchell had played every significant rock stadium in existence In fact her first live album even celebrated this with it's 'Miles of Aisles' compiled as it was from LA's Universal Amphitheater in 1972

Fed to the Beast (so why agree to play it then if happier in the coffee house?) she agreed to play the Isle of Wight festival to over 600,000 Brits and made a pretty much disastrous afternoon slot somehow better but it was clearly a struggle . . . . . . . 

Joni Mitchell on singing with Neil Young

THE LAST WALTZ - 'HELPLESS' NEIL YOUNG & THE BAND

“The story has often been told that Joni sang “Helpless” during The Last Waltz from behind the curtain, so as not to detract from making a grand entrance before it was time for her set. But Joni remembers it somewhat differently. “I said, ‘I’ll do it offstage,’ because it was going to take such concentration.” Neil and Robbie wanted her to “lock up with them in three-part harmony. No way I could do that.” she recalled. “Their pitch was all over the place. And Neil calls out to me, 'Sing with me somehow,’ not realising why I can’t. He was just unaware. CSN was always out of tune. They were never aware of how out of tune they were, partially because of drugs, I guess. When Neil played on 'Furry Sings the Blues’ he had to play on four harmonicas. It was kind of adventuresome. It was very unusual harmonica.”

— Joni Mitchell, “Reckless Daughter: A Portrait of Joni Mitchell,” David Yaffe, 2017.

source: bobdylan-n-jonimitchell

In later life and being asked ( I guess) to comment on the past, Mitchell has become somewhat taciturn and unforgiving not to say snide and ungracious lately. [See her small minded accusations of Dylan's plagiarism!] Known largely as having been often outrageously off key to out of tune herself the folkie develops an interest in jazz for good reason mostly that you can slide around the note until you hit it! Some reviewers have even stated she cannot really sing! At all! There are examples where the cocaine (mountains of it allegedly) has effected the singing on some songs that nobody else knows what key she is in. Certainly the chain smoking nicotine addict has damaged her once icily cool tones to a gravel pitched growl. The once thin reedy mezzo-soprano with it's wavering highlights to a by now at best contralto,  the piercing falsetto wavering high notes are mercifully a thing of the past

This statement about Robbie and Neil Young and the additional dig at CSN is a bit rich and I would say disingenuous at best it is about making an entrance and clearly everyone will have know who it was singing behind a curtain. She did it so that she could make an entrance for her own appearance later to sing 'Coyote' on her own! Disingenuous because Neil Young's unique and extraordinary voice is not known for its technical perfection, like hers (sic), it is often an expression of pain, sadness and sorrow. The rest of the band have a fine fine time accompanying him and following the song, not stood behind a curtain howling some invented backing track that only she has heard. 

'Coyote' - Joni Mitchell The Last Waltz

A conversational style at best and certainly nothing to sing about (sic!) in terms of song structure and what key is that in anyway?

Note: that wrestling with your ego nobody is expected to sing along with YOU! 

Ha ha ha ha . . . . . . 

ALL THE NEWS THAT'S FIT TO PRINT

 . . . and no-one else can bothered!

 +++++++++++++++++++++++++++++++

from Big O

LATEST

JONI MITCHELL TO RELEASE HER LIVE SHOW RECORDED BY JIMI HENDRIX!!!

Joni Mitchell is set to release the recordings of two sets at a Canadian coffee shop that were recorded by Jimi Hendrix, reported Uncut UK. The singer's performances at Ottawa's Le Hibou Coffee House were captured by Hendrix in March 1968 during a two-week residency by Mitchell ahead of the release of her debut album, Song To A Seagull. Hendrix had performed at the nearby Capitol Theatre earlier that evening, and even noted plans to record her performance in his diary. The recording, which will feature on Mitchell's upcoming collection Joni Mitchell Archives Vol 2: The Reprise Years (1968-1971) was captured while Hendrix sat on the floor at the front of the stage. The collection will be released on October 29.

Recalling the performance in the new collection's sleeve notes, Mitchell said: "They came and told me, 'Jimi Hendrix is here, and he's at the front door.' I went to meet him. He had a large box.

"He said to me, 'My name is Jimi Hendrix. I'm on the same label as you. Reprise Records.' We were both signed about the same time. He said, 'I'd like to record your show. Do you mind?' I said, 'No, not at all.' There was a large reel-to-reel tape recorder in the box.

"The stage was only about a foot off the ground. He knelt at edge of the stage, with a microphone, at my feet. All during the show, he kept twisting knobs. He was engineering it, I don't know what he was controlling, volume? He was watching the needles or something, messing with knobs. He beautifully recorded this tape. Of course I played part of the show to him. He was right below me."

Hendrix's tape was stolen a few days later and presumed to be lost, but it recently resurfaced in a private collection donated to the Library and Archives Canada (LAC), and returned to Mitchell.

THE BLACK WIDOW IS ANGRY!

Scarlett Johansson launched a legal battle against Disney following the company's decision to release Black Widow on its streaming service at the same time it landed in cinemas. The lawsuit, filed July 29 in Los Angeles Superior Court, claims that the move has heavily impacted ticket sales of the Avengers spinoff. Attorneys representing Johansson allege that the decision to simultaneously release the film on Disney+ represented a breach of contract. Disney has responded July 29 saying, "There is no merit whatsoever to this filing... Disney has fully complied with Ms Johansson's contract and, furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the US$20 million she has received to date." $20?!?!! Sheesh! Guess it's called greed!

The decision to take legal action is in part connected to Johansson's compensation for her lead appearance in the film, according to Variety, which included bonuses tied into its box office performance. The Wall Street Journal claims that an estimated total of $50 million were lost in bonuses as a result of the move.

The sum is certainly not "Monopoly money".

To date Marvel’s ‘Black Widow’ has grossed $200 Million Globally

Hope local girl Florence Pugh the 'sidekicks' is on a hefty whack too! She is looking rather good

local gal Florence Pugh!

Flo in Black Widow

THIS WEEK'S WTF MOMENT

CAN HISTORY VIOLATE 'COMMUNITY STANDARDS'?

A Twitter and Instagram site called '100YearsAgoLive' was blocked last week for its post of Hitler's election. The owner of the site, Manny Marotta, was told his posts violated "community guidelines." When he appealed the decision, they rejected him again, saying his content went against their guidelines on "violence or dangerous organizations".

Since the beginning of the "content moderation" movement, a major problem has become apparent. Human beings simply create too much content on Twitter, Facebook, YouTube, and Instagram for other human beings to review. Machines have proven able to identify clearly inappropriate content like child pornography (though even there the algorithms occasionally stumbled, as in the case of Facebook's removal of the famous "Running Girl" photo).

But asking computer programs to sort out the subtleties of different types of speech - differences between commentary and advocacy, criticism and incitement, reporting and participation - has proven a disaster. A theme running through nearly all of the "Meet the Censored" articles is this problem of algorithmic censorship systematically throwing out babies with bathwater.

Whether it's YouTube cracking down on videographer Ford Fischer for covering events involving Holocaust deniers or white supremacists, the same platform zapping footage of the January 6 riots shot by Jon Farina of Status Coup, or Matt Orfalea being punished for violating a "criminal organizations policy" for a spoof coffee commercial involving a mass-murderer, Internet carriers have consistently shown they cannot or will not distinguish between, say, being a Nazi and criticizing one, joking about one, even warning about one.

The frightening thing about the '100YearsAgoLive' incident is that it's not hard to see this becoming a trend, where history itself is deemed to violate common decency. The whole idea of historical education is to prevent future horrors via graphic warnings from the past. Survivors of the Holocaust have always been adamant that we must "Never Forget," that places such as Auschwitz must never be buried or hidden away but instead displayed prominently, made into lasting cultural artifacts whose purpose is to be so conspicuous as to prevent the natural human impulse to whitewash our sadly expansive history of evil.

In the name of combating hate speech, violence, conspiracy theory, etc, internet platforms are removing not just advocacy, but knowledge, in a wide-ranging effort that may help the companies create a more frictionless, commercially successful product, but will impede the past from chastening the present. If the aim is preventing the spread of hateful ideas, nothing could be more counter-productive than cleaning away the record of their real-world impact. - Matt Taibbi from TK News. Read the full report here.

-----------------------------------------

READING ROOM

FOR JUSTICE IN PALESTINE, BOYCOTT NETFLIX'S 'HIT AND RUN'

The best defender of apartheid Israel is not that ferocious bully, AIPAC. It is, and it always has been, Hollywood. The entertainment industry creates soft, smooth propaganda which is easy to digest, in a compelling dramatic form.

"It's not propaganda. It's just TV. Good TV."

For those who loved "Fauda," we present Spoilers - for the next installment of Netflix Apartheid TV - "Hit and Run." Premiering August 6.

"Hit and Run" is a nine-episode action-thriller. IMDb says, "A happily married man's life is turned upside down when his wife is killed in a mysterious hit-and-run accident in Tel Aviv." Netflix promos tell us that the man is an Israeli tour guide, Segev. Segev will become "caught up in a dangerous web of secrets and intrigue stretching from New York to Tel Aviv."

"Hit and Run" is a successor to "Fauda," which was produced entirely in Israel, by Israeli television companies. "Fauda" was exotic, absorbing entertainment. Netflix bought the rights and streamed it. "Fauda" was an international commercial success. It was also easy-to-swallow, pro-occupation, propaganda. While it portrayed some Palestinians as almost human, "Fauda" reinforced the basic premises of Israeli apartheid.

Netflix was ready to take the next step - a US-Israeli co-production, shot in both countries.

I support the cultural boycott of Israel. I see the ideological underpinnings of dramas like "Fauda" and "Hit and Run" as false premises for injustice. But of equal importance is the simple fact of the collaboration between the entertainment industries of both countries. In my opinion, this mutual embedding normalizes the brutal occupation of Palestine and normalizes Israel's regime of violent apartheid.

Read the rest of Dave Clennon's essay at Counterpunch.

Dave Clennon is a long-time actor and political agitator, probably best known for portraying the advertising mogul Miles Drentell on ABC's  thirtysomething. His performance as Miles earned him an Emmy nomination. His more recent projects include Syriana, Grey's Anatomy and Weeds. He won an Emmy for his performance in an episode of HBO's Dream On. Long-time fans of John Carpenter's classic The Thing treasure his delivery of the line - after seeing a mind-blowing human-to-monster transformation - "You gotta be fuckin' kidding."

GET A JAB, SAYS SIR PAUL

Paul McCartney has encouraged his fans and followers on social media to get vaccinated against coronavirus. McCartney posted a picture August 2 of himself getting vaccinated.*

* and as frequent visitor Jobe in his Floppy Boots hopped off the Voodoo Wagon long enough too ask

"Quite why HAS Sir Paul waited until the 2nd August 2021 to get his vaccination!?!?

Has he been hanging around with Eric and Van again!? ha ha ha ha ha ha . . . . . good call Brother Jobe!  . . . . just thought at this rate Clapton will have had his jab before Macca!?!?

What's THAT all about!?

         

Is it just me or are Morrisons going down the drain?