Elliott Smith Live at Maxwell’s Hoboken NJ USA 1999 | Floppy Boot Stomp

Elliott Smith - Live Maxwell's, Hoboken, NJ 1999

A Silent Way Special

Source: Soundboard > TCD-100
Lineage: wav > CD
Taped by: Erik Brady

"Steven Paul "Elliott" Smith (August 6, 1969 – October 21, 2003) was an American singer-songwriter and musician. Smith was born in Omaha, Nebraska, raised primarily in Texas, and resided for a significant portion of his life in Portland, Oregon, the area in which he first gained popularity. Smith's primary instrument was the guitar, but he was also proficient with piano, clarinet, bass guitar, drums, and harmonica. Smith had a distinctive vocal style, characterized by his "whispery, spiderweb-thin delivery," and used multi-tracking to create vocal layers, textures, and harmonies.

After playing in the rock band Heatmiser for several years, Smith began his solo career in 1994, with releases on the independent record labels, Cavity Search and Kill Rock Stars (KRS). In 1997, he signed a contract with DreamWorks Records, the label for which he recorded two albums.[2] Smith rose to mainstream prominence when his song, "Miss Misery"—included in the soundtrack for the film Good Will Hunting—was nominated for an Oscar in the Best Original Song category in 1998.

Smith suffered from depression, alcoholism, and drug dependence, and these topics often appear in his lyrics. At age 34, he died in Los Angeles, California, from two stab wounds to the chest. The autopsy evidence was inconclusive as to whether the wounds were self-inflicted. At the time of his death, Smith was working on his sixth studio album, From a Basement on the Hill, which was posthumously released."

 

 

Elliot Smith Story @Vice 

Setlist:
1. Son of Sam
2. Happiness
3. Coming Up Roses
4. Everything Reminds Me of Her
5. LA
6. The White Lady Loves You More
7. Everything Means Nothing to Me
8. Color Bars
9. Satellite
10. Southern Belle
11. Better Be Quiet Now
12. Last Call
13. Can't Make A Sound
14. Independence Day
15. Trouble (Jon Brion Cover)
16. Jealous Guy (John Lennon Cover)
17. The Biggest Lie

 

here . . . .

Fun Boy Three - The Tunnel Of Love | HERBERG DE KELDER

 

The Tunnel of Love

HERBERG DE KELDER

formerly Le Ramasseur De Mégots

Dwight Twilley - Please Say Please (c.1977) | Guess I’m Dumb,

 Please Say Please

Dwight Twilley 

Dwight Twilley Band - Please Say Please (197?)

I was getting my hair cut recently, and there was a power pop comp playing in the background. This very Beatleseque song came on and I had to Shazam it. It was Dwight Twilley and band, and it came from collection of material that was never released between 1974-1980. In 1993* Shelter records finally opened up the vaults.

*which is when Twilley died from a long struggle against cancer

Dave Stewart & Barbara Gaskin - Roads Girdle The Globe (XTC cover) | HERBERG DE KELDER

Dave Stewart & Barbara Gaskin - Roads Girdle The Globe (XTC cover)

HERBERG DE KELDER

formerly Le Ramasseur De Mégots

Jeff Beck on Guitars + | Don’s Tunes

JEFF BECK - On Guitars : Strats vs. Les Paul's

 Jeff Beck: “I think it was when we did the [1969] Beck-Ola album that I got fed up with the sound of the Les Paul. In the studio, the Les Paul didn’t sound a lot different from the John Mayall’s Bluesbreakers. Lovely sound, but every track ends up sounding very similar. The Strat seemed to respond more to my aggressive playing than the Les Paul, which just sounds dreadful if you start hitting it.”

The Les Paul is heavier, but because of that bulk you can do bends on it more easily. Also, the Les Paul’s lack of a vibrato arm means you’re not wrestling against the spring-loaded bridge all the time.

The Strat is the ultimate because it’s like having a miniature pedal steel within it. Once you get familiar with where the bends are and where they meld down into a fourth or whatever, you can do all kinds of pedal-steel-like things, which I think are cool. Some of the things that sound the most difficult are the easiest for me.“

Photo: Robert Knight Archive/Redferns

Don's Tunes

Photo of The Day | Paul McCartney (and his dog Martha) by Linda McCartney

Martha and Macca (1969)

photo Linda McCartney

 

 How a Macy’s Stock Boy Taped Four Never Heard 1960s Dylan Shows

Within a year Ray Anderson was a leading figure in the San Francisco counterculture

RAY PADGETT OCT 19

Photo by Edmund Shea, April 3 1965, via eBay

When I was in Tulsa over the summer, I spent a couple days poking around the Dylan Archives. Just before I arrived, archivist Mark Davidson clued me into a recent acquisition: Four never-heard live tapes from the mid-’60s. 

As you can imagine, “never-heard live tapes” piqued my interest immediately. Two of the four shows have different tapes circulating (one taped by Allen Ginsberg, no less), though in worse audio quality than the new versions. But two of the four shows have never been heard before at all!

The four shows are:

1. February 22, 1964 - Berkeley Community Theatre, Berkeley, CA (w/ Joan Baez)

2. November 27, 1964 - Masonic Memorial Auditorium, San Francisco, CA (w/ Joan Baez)

3. April 3, 1965 - Berkeley Community Theatre, Berkeley, CA

4. December 11, 1965 - Masonic Memorial Auditorium, San Francisco, CA

I will go through what exactly is on each tape, and what I thought of them, in the next installments. But first, an introduction. These tapes, it turns out, come with a story. These were not tapes recorded officially by Dylan Inc. and just sitting in the vault for decades. Instead, these tapes were recorded by an unusual Dylan superfan in San Francisco. His name was Ray Anderson.

If you recognize the name, you know your history of the 1960s Bay Area counterculture. Anderson was a leading figure in the San Francisco rock scene, first managing the club The Matrix and then pioneering psychedelic lights shows at the Fillmore. Decades later he opened a record store, Grooves, that itself has a surprising Dylan connection. But in 1964, when he recorded his first live Dylan tapes, he hadn’t done any of that. He was a stock boy at Macy’s—and a huge Dylan fan.

Anderson passed away in 2016, but I spoke to his daughter Sunny Chanel. She manages his estate, which is full of rare music tapes and ephemera (some of which is available to buy here), and is responsible for getting these tapes to the Dylan Archives. She told me about her dad, and how she uncovered these tapes in the family basement.

read on here . . . .