Stevie Ray Vaughan, B B King, Albert King, Paul Butterfield - The Sky Is Crying - American Blues Scene Magazine

 American Blues Scene Magazine

Stevie Ray Vaughan, B B King, Albert King, Paul Butterfield - The Sky Is Crying

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Sittin’ in with Albert King! | Stevie Ray Vaughan plays with Albert King | Don’s Tunes

 

Jimmie Vaughan: We could argue about who’s the greatest, but Albert King is in that conversation. He was absolutely amazing. And he came to Antone’s with his great band and all his hit records. We’re all there. It’s a packed weekend night and Clifford says, “I’m gonna ask Albert to let Stevie sit in.” 

Well, nobody asked Albert King to sit in. That really was the rule, but Clifford tells him, “There’s this kid we call Little Stevie and you gotta hear him.” 

Albert tells him to do you-know-what to himself. 

Angela Strehli: Albert was a gruff person and wouldn’t take any nonsense, so for Clifford to even ask him to do this was quite incredible.  

Jimmie Vaughan: Clifford didn’t give up easily, so he does it again the next night: “That kid’s here…” Albert can’t believe he’s being asked again, so he says, “Now I’m curious. This better be good.” It was so far out: nobody would ask Albert King to sit in unless you were dumb or something. I don’t even know if Jimi Hendrix would do it. 

Gus Thornton, (Albert King bassist): I played with Albert for years and only remember a few people sitting in. It’s not something he usually did.  

Joe Sublett: I was sitting right next to Stevie when Clifford came over and said, “Albert said you can come up.” 

None of us could believe it but if Clifford wanted you to do something, you were going to do it - apparently even Albert King! 

Angela Strehl: Of course Stevie just burned, like he always did. There was Little Stevie up there with big Albert killing it and it really tickled Albert--and all of us! He started playing Albert King licks and doing it really good, and Albert looks down and shakes his head. 

Jimmie Vaughan: It was bad ass. We all stood there with our mouths open as Stevie played really good Albert King licks. 

Interview Source: Alan Paul

Photo: Gwinn/Mediapunch 

Don's Tunes

Albert King and Stevie Ray Vaughan - Born Under A Bad Sign (HD)

FULL SET HERE:

Albert King & Stevie Ray Vaughan — In Session 2010 1983

Matthews Southern Comfort - Later That Same Year (1970 UK 2008 remaster) | Plain & Fancy

Matthews Southern Comfort - Later That Same Year (1970 uk, marvelous folk country rock, 2008 remaster)

Matthews Southern Comfort - For Melanie

Ian Matthews left Fairport Convention in 1969, and while the U.K.'s greatest folk-rock band was beginning to reinvent itself in a more traditional and very British direction, Matthews began digging deeper into the American influences that had marked his old band's first era. Later That Same Year, the second album from Ian's new group Matthews Southern Comfort (it was released in late 1970, a mere six months after their debut, hence the title), is a beautiful set of songs that splits the difference between West Coast folk-rock and early country-rock, with Gordon Huntley's pedal steel and Roger Coulam's lending an air of sunny sadness that dovetails beautifully with Matthews' silky tenor. 

Matthews wrote three of the songs on Later That Same Year, and they rank with the album's finest moments, especially the ethereal harmonies of "And Me" and the graceful simplicity of "My Lady," but Matthews also borrows some excellent material from American writers, including a cover of Neil Young's "Tell Me Why" that remains faithful while creating a languid mood of its own, a fine, poignant take on Jesse Winchester's "Brand New Tennessee Waltz," and two by Al Anderson, which date from the latter days of the Wildweeds before he joined up with NRBQ (and "Mare Take Me Home" and "And When She Smiles" show Big Al was already a songwriter of no small talent and Matthews handles both tunes beautifully). 

While country influences run all through the album, Matthews had the smarts not to try to emulate a Nashville production or arrangement style, and instead the album suggests the shadows of Tim Buckley or early Crosby, Stills & Nash while adding an English pastoral subtext all their own. After Later That Same Year, Matthews parted ways with Southern Comfort to record solo and later form Plainsong, but you'd never guess that this album was recorded by a band on its last legs -- this is subtle but confident music that comes from a handful of artists working at the height of their skills. [Before the release of Later That Same Year, Matthews Southern Comfort released a cover of Joni Mitchell's "Woodstock" as a single, and it became a sizable hit in both America and Europe; it was added to the American edition of the album when it was released in the States in 1971.

by Mark Deming

Tracks
1. To Love (Gerry Goffin, Carole King) - 4:42
2. And Me (Ian Matthews) - 4:37
3. Tell Me Why (Neil Young) - 2:03
4. Jonah (Carl Barnwell) - 4:13
5. My Lady (Ian Matthews) - 1:37
6. And When She Smiles (She Makes The Sun Shine) (Alan Anderson) - 2:16
7. Mare, Take Me Home (Alan Anderson) - 3:44
8. Sylvie (Carl Barnwell) - 5:40
9. The Brand New Tennessee Waltz (Jesse Winchester) - 2:59
10.For Melanie (Carl Barnwell) - 6:45
11.Road To Ronderlin (Ian Matthews) - 2:21
12.Woodstock (Joni Mitchell) - 4:30
13.The Struggle (Ian Matthews) - 3:50
14.Parting (Ian Matthews) - 2:54
15.Scion (Howard Blaikley, Ian Matthews) - 3:28
Bonus Tracks 12-15

The Matthews Southern Comfort

*Ian Matthews - Guitar, Vocals

*Carl Barnwell - Guitar

*Gordon Huntley - Steel Guitar

*Keith Nelson - Banjo

*Mark Griffiths - Bass

*Andy Leigh - Bass

*Roger Coulam - Piano

*Ray Duffy - Drums

*Tristan Fry - Vibraphone

EARLIEST ELLIOTT? | Elliott Smith - Umbra Penumbra, Portland, OR, 17-9-1994 | Albums That Should Exist

 

Elliott Smith - Umbra Penumbra, Portland, OR, 9-17-1994

Paul says: Here's something a bit unusual from singer-songwriter Elliott Smith. This is the earliest known acoustic concert by him, all the way back in 1994. 

From 1990 until 1996, Smith was a member of the rock band Heatmiser. While still in that band, he began a solo career in 1994. He released his first solo album, "Roman Candle," in July 1994. The album was a fluke. He had recorded it in a friend's basement, and sent the songs to a record company in hopes of getting a record deal to release a solo single. But the company liked his demos enough to want to release all of them as an album. Smith later said, "I thought my head would be chopped off immediately when it came out because at the time it was so opposite to the grunge thing that was popular ... The thing is that album was really well received, which was a total shock, and it immediately eclipsed [Heatmiser], unfortunately." 

Smith performed over a dozen solo concerts on the West Coast promoting the album. This one is the best sounding recording from that tour, by far. I had this as a bootleg for ages. But in 2020, it was released as a bonus disc for a deluxe edition of his 1995 album "Elliott Smith." Normally I don't released officially released stuff, but I'm making an exception here because I think this concert doesn't get enough attention. One can practically put it with his studio albums due to the sound quality, as well as the song selection. He performed ten songs, but only three of them were from the "Roman Candle" album (tracks 6, 9, and 10). Most of the others were unreleased at the time. One of those, "Alphabet Town," would be released on Smith's 1995 self-titled album.

The last song, "Half Right," was one that would be released on the last Heatmiser album, "Mic City Sons," released in 1996. The other main singer-songwriter in that band was Neil Gust. He joined Smith to sing the song here. The song though was written by Smith. Smith's solo version of it eventually was released on the archival album "New Moon."

This album is 34 minutes long. 

01 talk 
02 Some Song
03 Alphabet Town 
04 Whatever [Folk Song in C] 
05 talk 
06 No Name No. 4 
07 Big Decision
08 talk
09 Condor Ave 
10 No Name No. 1
11 talk 
12 No Confidence Man
13 talk
14 Crazy Fucker 
15 talk
16 Half Right (Elliott Smith with Neil Gust)

 (all songs Elliott Smith except where indicated) 

Elliott Randall - Randall's Island (1970 USA 2011 remaster) | ROCKASTERIA

 Another in the series of albums bought when they came out!

Elliott Randall - Randall's Island (1970 us, fantastic rock vibes blended with experimental jazzy blues funky beats, 2011 remaster)

Elliott Randall - Bustin’  My Brains 

Elliott Randall’s illustrious career has encompassed a wide and varied cross-section of World Musical forms. These include: record production, composition, electronic research and development, lectures and teaching, and of course, a legendary contribution to popular guitar performance and recording.His guitar solos on Steely Dan’s “Reelin’ In The Years” and “Fame” (the motion picture) have entered Rock history annals.

What a strange and interesting crew this was in this debut Randall's Island album! Paul Fleisher and I played together beginning in the early-mid 60′s in NYC niteclubs including Trude Heller’s, The Peppermint Lounge, and The Metropole. He and I co-authored the entire record. I’d known Allen Herman & Bob Piazza for quite a while too – before they joined The Island, they were members of Genya Ravan’s R&B supergroup Ten Wheel Drive. Phillip Namanworth had been playing with Dave Van Ronk & The Hudson Dusters, and brought with him a boogie-thing that was just too contagious! Terry Adams of NRBQ guested on Hammond B-3. 

George Andrews handled the string arrangements; he used to lead a big-band in NYC, which was well… quite an education. Through the ranks of this band came Steve Gadd, The Brecker Brothers, David Sanborn, Lou Soloff, Chuck Rainey, and most of the Island crew. (Like I said – an education.) Andy Muson also guested on 2 tracks; killer jazzer, also played with Albert King for a spell before moving on to a hugely successful studio career in LA. Finally, the legendary Eddie Kramer, engineer/producer extraordinaire – for most of the Jimi Hendrix records, as well as Led Zeppelin, Traffic, and a host of others. 

Elliott Randall

Tracks

1. Sour Flower (Elliott Randall) - 6:29

2. Life in Botanical Gardens (Oh Yes) - 4:06

3. Take Out the Dog and Bark the Cat - 3:47

4. Mumblin' to Myself - 3:29

5. Brother People (Elliott Randall, Bob Piazza, Allen Herman) - 3:00

6. Jolly Green Giant and the Statue of Liberty - 2:50

7. Bustin' My Brains - 4:14

8. All I Am - 7:35 

All compositions by Elliott Randall, Paul Fleisher, except where indicated

Musicians

*Elliott Randall - Guitars , Vocals

*Paul Fleisher - Sax, Flute

*Phillip Namanworth - Piano, Organ

*Terry Adams - Organ, Moog, Piano

*Allen Herman - Drums

*Bob Piazza - Bass, Vocals

*Andy Muson - Bass

*George Andrews - Piano

*Richard Boch - Cello

Still playing live and it is fun to re-listen to this classic album we thought it was SO hip to listen to and way ahead of it’s time . . .sounds so dated now but he is still doing the rounds 

Elliott Randall & Cornell Dupree :: "Later Last Night” (2011)

Elliott says:

Another brief excerpt from my old instructional video, also featuring:

Chris Bishop, bass;

Jamie Oldaker, drums;

Paul Shaffer, B3;

"Midtown Horns":

Al Chez

Marty Kersich

Kevin Osborne

 

On The Couch: God Bless The Child w/ John Tropea & Blue Lou Marini

Again Elliott said "After a 2 year hiatus, I've decided that it's time to revisit my "On The Couch Vids" concept, which I began in the summer of 2006, and try something different.

And what better way to get it moving than to invite 2 life-long buddies, who happened to be "passing through town" with The Original Blues Brothers Band to join me? Blue Lou Marini and John Tropea bring the old New York spirit to my London couch. Yeah. Here we are playing "God Bless the Child”.”

Elliott is 78 currently and still going strong, was ranked as the 40th best guitar solo of all time by the readers of Guitar World magazine and the eighth best guitar solo by Q4 Music

Al Green - Take Me To The River, One of Those Good Old Days, Look What You Done For Me (for DiamondDave)

We were talking with Diamond Dave about versions of 'Take Me To The River' after I posted the new(ish) version by Kaleida which was a straight lift from Talking Heads but Dave said he placed the Al Green original above any other (even the Heads?) and look Herberg De Kelder must have been listening in that he posted two Green numbers which I share too, here! 

    Take Me To The River 

     One Of Those Good Old Days

 

Al Green-"One Of These Good Old Days"

Look What You Done For Me

Al Green - “Look What You’ve Done For Me”

Take Me To The River! | Talking Heads, Steve Winwood (ARMS Concert), Booker T . . . . . AL GREEN [Live!]

 

Talking Heads - Take Me To The River (Live) Stop Making Sense

Take Me To The River" Steve Winwood,Eric Clapton,etc. @ The ARMS Concert,London 1983

Booker T Jones - Take Me to the River (Al Green cover) Live at Ronnie Scott’s

Now I reckon you have to have some huge cajones to take on an Al Green song but we will forgive The Talking Heads, Steve Winwood and the ARMS concert crew and Booker T too!

I love this song and send it out to regular visitor and neighbour Diamond Dave (he’s a Diamond you know!?)

Take Me to the River - Al Green(LIVE!)

Peter Green on roots of the blues from Martin Celmis’ book 'Peter Green: Founder of Fleetwood Mac' | Don’s Tunes

Photo: Pictorial Press Ltd

 

 Chicken Shack’s Stan Webb emphasises Peter Green’s unique taste: ‘Peter always acknowledged where he came from, but what happened in the end is that Peter’s style came from himself. He’s the only white player I’ve ever heard that has come from himself. He first did everything and everyone, like we all did with Robert Johnson, Mississippi Fred McDowell, Big Mama Thornton, Buddy Guy, BB King and Freddie King; but then Peter developed into the only white player that ended up totally original. 

That’s not praise; it’s a fact. Eric Clapton’s another matter: back in the early days, Eric was far more selfish and self-centred. A few years ago, me and Eric bumped into each other at some cricket do and started talking about the old days. He said to me, “Do you know, I’m really selfish?” I said, “Yeah, Eric, I know. You never acknowledged Matt Murphy [Memphis Slim’s regular guitarist], did you?” And there was nothing Eric could say because he knew I was right. I’ve got old 1950s records in my collection of Matt Murphy which has stuff that is note for note what Eric played on John Mayall’s Bluesbreakers’ “Beano” album.’

This point illustrates well the hand-me-down nature of blues. One of Peter’s early inspirations for ‘Albatross’ was ‘a group of notes from an Eric Clapton solo played slower’. So who knows? perhaps Matt Murphy should get some remote credit for the hit instrumental.

Source: Peter Green: Founder of Fleetwood Mac by Martin Celmis

Don's Tunes

Original Albatross with Danny (Kirwan of course)

Still carried on (with Splinter)

Now I found this last shot quite sad until I remembered it was always a two hander for the guitar solo

R.I.P Greenie!

Neil Young performs "Helpless" at Farm Aid 6 in Ames, Iowa on April 24, 1993

 HELPLESS

I know another clip that pissed me off someone keeps posting the Helpless from 2000 and it features 3.13 minutes and then cuts as Steven takes the guitar break!!! F**K OFF!

Here’s a complete version . . . . . don’t post snippets people it’s what they (Flickennabok, TikenToken want you to do to reduce the little short span of attention! TURN IT UP and FIND THE FULL VERSIONS!

Neil Young performs "Helpless" at the Farm Aid 1993

Little Junior's Blue Flames - Feelin’ Good | courtesy Gary Lucas!

 

Little Junior's Blue Flames - Feelin' Good