Dave Mason - Belmont Park Elmont, NY. July 8, 1978 WNEW FM Source/soundboard @flac
A fine FLAC recording from the Boss at Floppy Boot Stomp via Pixeldrain so let him know how it works - (came down the pike here in under 60secs!)
Silent Way posts a great video clip of Dave doing Let it Go Let It Flow on The Midnight Special over at the Wagon well worth the xtra attention go visit so go download this and give it listen too!
this from the same year up North in Canadia!
This one’s for SILENT WAY
Dave Mason - Only You Know And I Know - Canada Jam 1978
On Saturday, August 26, 1978 a crowd 110,000 strong packed Mosport Park outside Toronto for the largest concert ever seen in Canada up to that time.
Dave Mason Band:
Dave Mason - Guitar/Vocals
Johnne Sambataro - Guitar/Vocals
Gerald Johnson - Bass
Rick Jaeger - Drums
Carl Graves - Percussion
Tony Dean - Guitar
Mark Stein - Keyboards
check out Gerald here on bass! Talk about FUNK it up!
. . . . .Alex Chiton fascinates me . . .as song writers go and from The Letter onwards like so many of us bought when it came out and if we stuck with Big Star we were on a journey and no mistake . . . (Chilton on the right in this picture)
Obsessed as I am with all thing Bighorn Wyoming, General Custer, Sitting Bull and the Battle of the Little Bighorn there came this that caught my eye from Will at Dangerous Minds
Credit: Dangerous Minds / American Heritage Center
The 1000-year-old mystery of the Bighorn Medicine Wheel
For most of the year, the Medicine Wheel at Bighorn Range in Wyoming is hidden away from the world. Perhaps that’s one of the reasons that it has lasted for nearly a century of human history in such perfect condition, but on a deeply selfish level, there’s something sad about that.
Medicine Wheel is the name given to a gigantic circular rock formation 80 feet in diameter, studded with 28 spokes around the rim. It gets hidden because it’s at the very summit of Medicine Mountain, some 10,000 feet in the air. Thus, for most of the year, it is covered by several feet of snow. However, during the summer months, when the snow melts, we get a look into Native American customs from centuries past, showing the colonialism at the heart of all those jokes about America having no history.
Because, sure, the country is a quarter of a century old. There are public toilets in Europe that are the same age, we get it. However, that’s not American history. This is. The land colonised by the pilgrims is impossibly old, and people have been there the entire time, making things of such beauty and complexity that we didn’t fully understand them until centuries down the line. Things like the Medicine Wheel. Something people had no idea what the relevance of it was until Jack Eddy, an archaeoastronomer, made an incredible discovery in the 1970s.
Up until Eddy’s work, archaeologists had worked with the Native American Tribes of the area to have a basic understanding of the significance of the Medicine Wheel. After all, it was one of hundreds across America, so there had been several minds at work researching them.
What they did understand was its spiritual significance. This was a ceremonial site, one that tribes had used for vision quests and prayer hundreds of years ago. Any deeper understanding wasn’t made until Eddy studied the Wheel at night.
He found that the cairns that studded the Wheel’s rim matched exactly where the sun would rise and set during the summer solstice. It also showed the location of bright stars like Rigel and Sirius, the kind that can give an early tribe of humans a pretty exact date. The Medicine Wheel, among many other uses, was an early calendar.
However, a key mystery still remains. It’s a site of deep significance to surrounding Native American tribes, yet none of them, from Apsáalooke to Cheyenne to Lakota and anyone in between, claims the site as their own doing.
Each tribe that has ever set foot there and recorded their experiences has stated that the Medicine Wheel was there when they arrived. This may sound like a bittersweet note to end on, as if we may never know who was responsible for one of the great works of real American history.
However, the truth is something a little brighter. While the tribes can’t say they know which tribe is responsible, they’ve instead chosen to view the Medicine Wheel not as a singular tribe’s achievement, but a part of their own unified history and culture. One that spans millennia and will never be truly erased.
Jeff Beck+Carlos Santana+Steve Lukather Prince Hotel, Karuizawa, Japan 1986-06-01 (complete show)
sbd mp3 @ 320 [216 mb] sq: A+
Lotus Gem (BUC 037) artwork included
CD1 __Santana__ 01 Intro - Primera Invasion 02 Black Magic Woman __Santana & Steve Lukather__ 03 Open Invitation __Jeff Beck__ 04 Star Cycle 05 'Cause We Ended As Lovers 06 Wild Thing __Jeff Beck+Steve Lukather__ 07 Freeway Jam 08 Going Down 09 Escape
CD2 __Jeff Beck+Steve Lukather+Santana__ 10 Super Boogie 11 Lotus Blues 12 People get ready 13 Johnny B Goode 14 Love Will 15 Ambitious 16 Goodbye Pork-Pie-Hat 17 Stop, Look And Listen 18 Blue Wind
tt: 1:33:54
Jeff Beck - Guitars Jan Hammer - Keyboards Simon Phillips - Drums Jimmy Hall Vocals & Sax Doug Wimbish - Bass
Carlos Santana - Guitars George Miles - Vocals Chester Thompson - Keyboards Armando Peraza - Congas Orestes Vilato - Timbales Tom Coster - Keyboards Graham Lear - Drums Paul Rekow - Percussion
Eric Clapton The Centrum, Worcester, MA 1985-06-26
fm sbd mp3 @ 320 [242 mb] sq: A+
Hunger Burning
CD1 01 Opening 02 Tulsa Time 03 Motherless Children 04 I Shot The Sheriff 05 Same Old Blues 06 Tangled In Love 07 White Room 08 Steppin' Out 09 Wonderful Tonight
CD2 10 She's Waiting 11 She Loves You 12 Badge 13 Let It Rain 14 Double Trouble 15 Cocaine 16 Layla 17 Forever Man 18 Band intro 19 Further On Up The Road
"In my opinion there are three great titans of the comic strip: Snoopy’s Charles M Schulz, Garfield’s Jim Davis and Calvin & Hobbes’ Bill Watterson.
What distinguishes Watterson from the other two is that he never monetized his creation, except for being paid by his publisher to deliver the work.
“I went into cartooning to draw cartoons,” Watterson says, “not to run a corporate empire.”
Watterson treated cartooning not as a content pipeline but as a craft, almost a vocation. He wrote every word, drew every line, colored the Sunday strips, and painted the book illustrations himself. He believed comics could be art in the old, serious, capital-letter sense, and he saw the shrinking newspaper comic format as a slow cultural tragedy conducted in little boxes.
His publishers, Universal Press Syndicate, wanted the obvious things: Calvin shirts, Spaceman Spiff bumper stickers, cartoons, films, and worst of all in Watterson’s eyes, a Hobbes doll. The article is very good on why that mattered. Hobbes works because he is never nailed down. To Calvin, he is alive. To adults, he is a stuffed tiger. Both realities coexist. A real plush Hobbes would collapse that magic into a product, and Watterson saw that as an act of imaginative vandalism.
This refusal cost him staggering amounts of money. The article contrasts him with Jim Davis and the Garfield empire, where merchandising became a commercial supernova. Watterson looked at that path and essentially said: no thanks, I came here to draw cartoons, not to supervise lunchboxes. For six years he fought the syndicate over licensing, even though the contract originally gave them those rights. In the end, astonishingly, Watterson won. The syndicate backed down and rewrote the contract in his favor.
The article wisely resists turning Watterson into a saint with a drawing board. He could be severe, stubborn, and inclined to treat commerce as a dragon guarding a cash register. His claim of helplessness before the syndicate may also be a little dramatic, since Calvin and Hobbes without Watterson would have been about as valuable as a snowman in July.
His next victory was over the Sunday page itself. He pushed for a larger, freer format, one where the story shaped the panels rather than the panels squeezing the story flat. Editors grumbled, as editors must, but very few papers dropped the strip. Once again, Watterson had nudged a commercial machine toward art.
The cost was that freedom made everything harder. Bigger Sunday pages meant more invention, more labor, more pressure, and more private life fed into the furnace of quality. In the end, he won the room he needed to make better art, and that room helped exhaust him.
The final strip turns all this into a kind of snowy benediction. Calvin and Hobbes stand before a blank white world, spacious and unwritten. Then Watterson more or less disappears, leaving behind the rarest thing in American pop culture: a beloved creation that was never flattened into toys, sequels, lunchboxes, or battery-powered tigers.
Watterson’s integrity cost him millions, strained his career, annoyed editors, exhausted his life, and finally led him away from the thing that made him famous. But it also preserved Calvin and Hobbes as something unusually pure: a private imaginative kingdom somehow shared by millions, never officially turned into a breakfast cereal, a theme park, or a talking plush tiger with replaceable batteries.
Amazingly, Watterson only worked on the comic for 10 years. The final strip was published on December 31, 1995.
The last panel of the final Calvin and Hobbes strip shows Calvin and Hobbes riding their sled down a snowy hill into a wide white landscape, with Calvin saying:
“It’s a magical world, Hobbes, ol’ buddy… let’s go exploring!”
It is a beautifully perfect ending: not a farewell speech, but a launch into mystery."
For those wondering what happened to the creator in the years that followed there’s more to be discovered on Wikipedia:
