Ry Cooder - Ebbets Field, Denver, CO, 5-20-1974 | Albums That Should Exist

Ry Cooder - Ebbets Field, Denver, CO, 5-20-1974

Paul says: The flood of near daily Ebbets Field radio broadcast continues. This time, the performer is Ry Cooder.

I've already posted albums from Cooder, so I won't say much about him. But I'll note this concert took place a couple of weeks before the release of his album "Paradise and Lunch.”* It was one of the most acclaimed albums of his music career. However, he only performed one song from that album, the medley of "Fool for a Cigarette - Feelin' Good."

As usual with these Ebbets Field concerts, the music is unreleased and the sound quality is excellent. 

This album is 56 minutes long. 

01 talk by emcee
02 talk 
03 Too Tight Blues 
04 You've Been Doing Something Wrong [I Can Tell by the Way You Smell] 
05 talk 
06 Blind Man Messed Up by Tear Gas 
07 talk
08 Great Dream from Heaven [Instrumental]
09 talk 
10 How Can a Poor Man Stand Such Times and Live 
11 Ax Sweet Mama 
12 talk
13 Floating Bridge
14 talk
15 Fool for a Cigarette - Feelin' Good 
16 Crazy 'bout an Automobile [Every Woman I Know] 
17 talk
18 Feelin' like a Submarine [Kentucky Blues]
19 Don't Take Everybody to Be a Friend 

(all songs Ry Cooder) 

MAESTRO PLAY ON:

Ry Cooder  - Folding Bridge (Floating Bridge) cover of Sleep John Estes song and intro

*RY COODER : Paradise & Lunch Session 1974

Tracks: 

00:00  Police Dog Blues

02:27  If Walls Could Talk

05:53  How Can A Poor Man Stand Such Times & Live?

11:24  Tattler

15:26  Alimony

19:14  Teardrops Will Fall

Jim Keltner (dr) Milt Holland (per) Russ Titelman (b)

Gene Mumford, Bobby King, Cliff Givens (vo)

at the Record Plant, Sausalito, Carifornia 1974

Covered: George Harrison, Volume 3: 1990-2003

Covered: George Harrison, Volume 3: 1990-2003

Paul notes: This is the third out of six "Covered" volumes for George Harrison.

I had a lot to say about the development of Harrison's songwriting in Volumes 1 and 2. But after a flurry of activity in the late 1980s with his very successful "Cloud Nine" album and two albums with the Traveling Wilburys, his music career slowed waaaay down for the rest of his life. In fact, after a short tour of Japan with Eric Clapton in 1992, he pretty much retired from the music business for the rest of his life. He made slow progress on another studio album, "Brainwashed," but it wasn't released until 2002, a year after his death. 

Yet even though he spent many years away from music (with 15 years between his last two solo albums!), he did enough to get inducted into the Rock and Roll Hall of Fame in 2004 for his solo career, in addition to already being inducted in 1987 for being a member of the Beatles.

That brings us to his unfortunate death. He died on November 29, 2001, at the age of 58. On December 30, 1999, Harrison was attacked in his home by an insane man. He was stabbed over 40 times, and barely survived. He died in 2001 of lung cancer, probably a result of a life of smoking. But friends and family say he was physically strong until the knife attack on him in 1999, and quite weak after that. So they blamed the attack for putting him in a condition where he was unable to fight off the cancer.

At any rate, Harrison's songs weren't covered much in most of the time frame here. Only the first four songs in this volume were recorded prior to his death in 2001. But after he died, there was a flood of tribute concerts and cover versions to celebrate his great musical career.

One thing I want to address here is his role in the Traveling Wilburys, the short-lived supergroup consisting of Harrison, Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison. I've tried to include covers of all the good songs Harrison wrote or co-wrote from his Beatles career and his solo career, at least when there are worthy cover versions of them. But with the Traveling Wilburys, I wanted to be more selective. Technically, all the songs on both of that band's albums were co-written by all the members. But in reality, most of them were primarily, or sometimes entirely, written by one member. So it doesn't make sense for me to include a cover of a song like "Tweeter and the Monkey Man" here, when that one clearly sounds like a Bob Dylan song. 

Thus, I did a little digging to figure out which Traveling Wilburys songs could be considered written or co-written by Harrison. Luckily, the band members gave some interviews where they talked about the songwriting process and who did what. I may well have missed some information though, so if anyone thinks I missed some songs by this band that are worthy of inclusion, please let me know.

Another problem I ran into with the Traveling Wilburys is that a few of their songs have been covered a lot, but many of them have very few covers. I had particular trouble with the song "Wilbury Twist." I found a Tom Petty interview where he explained that he co-wrote that one with Harrison, so that meant it merited inclusion. But I didn't find any cover versions I liked. So in the end, I just included the Traveling Wilburys version. I have a rule not to include songs by the songwriter highlighted by the "Covered" series unless there's some special reason. But in this case, a majority of the lead vocals are sung by other members in the band, so it's not exactly a cover of Harrison being the main singer anyway. 

This album is one hour long.

01 Wilbury Twist (Traveling Wilburys)
02 That Kind of Woman (Gary Moore)
03 Cheer Down (Rainer, Joey Burns & John Convertino)
04 I Me Mine (Elliott Smith)
05 Horse to the Water (Jools Holland, Sam Brown & Jim Capaldi)
06 For You Blue (Paul McCartney)
07 Isn't It a Pity (Eric Clapton & Billy Preston)
08 You (Lisa Mychols)
09 When We Was Fab (Wendy Ip)
10 Love You To (Marshall Crenshaw)
11 Wah-Wah (Jeff Lynne & Eric Clapton)
12 Savoy Truffle (They Might Be Giants)
13 Old Brown Shoe (Leslie West)
14 Devil's Radio (Masters of Reality)
15 Give Me Love [Give Me Peace on Earth] (Dave Davies)
16 Long, Long, Long (Elliott Smith)

The Traveling Wilburys - The Wilbury Twist (2007 edit)

The Incredible String Band - Cosmic Boy [Liquid Acrobat as Regards The Air] | jt1674

  . . . . . Tripping Mantras post a number of songs today that folks might expect me to post (Felt, Spirit, Early Dead not least after the good Dr covering a John Martyn song he features the supposedly legendary live recording of Big Muff from his Live at Leeds album but frankly it is the worst of Martyn to these ears and hasn’t aged well post coke addiction and alcohol combined into this preposterous monotonous posing and somebody take this mans echoplex off him!. . . my least favourite Martyn era . . . . . go check it out . . .so as for bands who truly pushed the envelope this is the Incredibles and features our Liquorice and none the worst for the long missing maiden

https://www.tumblr.com/jt1674/817971136558252032/the-incredible-string-band-cosmic-boy

The Band - The Weight [The Last Waltz] | jt1674

  . . . hey take a load off

https://www.tumblr.com/jt1674/817962124633636864/the-band-the-weight

Dr John - I Don’t Wanna Know (Anutha Zone) | jt1674

  . . . perhaps the last Dr John bought when it came out . .great cover

https://www.tumblr.com/jt1674/818040580294705152/dr-john-i-dont-wanna-know

Dub it Up! The Skatalites, King Tubby, Carlton Patterson [Michael Scotland]

 not my favourite Reggae variation, Dub but this will do! Wash Wash!

Wash Wash

carlton patterson - wash wash

[aka michael scotland]

Dub Of Love

The Skatalites - Dub of love

King Tubby | Dub of a Woman 

HERBERG DE KELDER

ALBERT LEE (& TOMMY EMMANUEL) “One Way Rider”

Someone asked t’other day if I knew where the legendary Tommy Emmanuel came from and the answer is of course Australia and here he is with our very own Albert Lee [Manchester UK!]

This was where I found to and thanks to them  I post this Telecaster group text from Fred Bordeneuve’s page who I don’t happen to agree with but hey, each to their own!  JUST TURN IT UP!

ALBERT LEE & TOMMY EMMANUEL “One Way Rider”

Australian TV (1990)

Fred says: Alright, granted : Albert Lee was already deep into his Music Man by then. But don’t touch that dial: there are still two Telecasters on that stage, and around here, that counts for something.

1990... not that long ago, you might say. Except when this footage was shot, the internet was still science fiction and VHS tapes were considered high technology. Welcome to the vault.

Right off the bat: Albert Lee, same face, same grin, same stance. Not a gray hair in sight, sure, but everything else ? That’s exactly him. Already that unmistakable style, that crystal-clear picking that hits you like a statement of fact. Nothing changed because nothing needed to change.

Tommy Emmanuel is a whole different story. The hair, the look, the young-gun energy, you’d do a double-take before you place him. And then there’s an Telecaster in his hands, which, let’s be honest, is rare enough to be worth calling out. We know the man can play anything, but seeing him in this setting adds a whole different color to the picture. Alongside Dan Johnson, the two legends tear through “One Way Rider,” the Ricky Skaggs classic.

“One Way Rider”? More like two riders not quite at the top of their game yet, and already nobody near the ditch. Thirty-six years later, they’re both still standing. That’s usually how real class gets measured ...

Bobby a noodlin’ and a dancin’! In Manchester 1998,To Ramona, Bob Dylan | Woolhall on Youtube

 Bobby a noodlin’ a pickin’  and a’dancin’! He’s a Song and Dance Man you know!

Bob has always enjoyed picking, noodling and getting his moves down :) .. A Woolhall Original from Manchester 1998

Woolhall On YouTube

Oh you wanted the whole thing!?

It is of course 'To Ramona'

In Manchester 1998,To Ramona, Bob Dylan

Birthday’s this month included LEVON HELM: GOING BACK TO MEMPHIS!

 

The Band: A History 

(Seen in the video performing "Going Back To Memphis" with The Band 1983) 

"On May 26, 1940, Levon Helm was born! The heartbeat to The Band. Whether as a musician, actor or community builder, Levon brought charisma and charm to his work and that resonated with audiences worldwide."

Always remembered on your Birthday, Levon!

Bob Dylan - I Shall Be Free no.10 (destined for the scrap heap says Jack Whatley) | FAR OUT MAGAZINE

Now I awoke this morning with the refrain going through my head of 

“I set my monkey on a log and ordered him to do the dog, he waged his tail and shook his head and turned and did the cat instead . . . he ’s a weird monkey, pretty funky!” 

and of course in the moments as I emerged from sleep I struggled to place precisely which Dylan song it actually was so googled it and of course found it from Another Side of Bob Dylan as ‘I Shall Be Free No.10’ and in googling found the article from Far Out Magazine that puts forward the thesis that there are Bob Dylan songs that should never have seen the light of day and indeed should be consigned to the dustbin heap of time! 

Such a humourless po-faced piece as this belongs of course with the book burners and fascists who would ban the written word in whatever form and censor for censorship’s sake! Now I grant you I too struggled when first I bought my [vinyl] 'Under a Red Sky’ album from the bargain bins discovering Wiggle Wiggle Wiggle which I quote quite often (sic!) and yet . . . . .somehow I would rather it existed than not! I certainly think the early humorous songs of our Bobby deserve better treatment and this peculiarly humourless article is so severely lacking in depth and study it is almost laughable (sic!)

 This song is in a strong tradition from the left wing of nonsense songs and silly ditties that goes back to vaudeville and an even stronger tradition of Jewish humour dare I say it!

Wherefore Pete Seeger’s execrable 'Little Boxes' with it’s sophomoric wit? Why Woody was known to spears a humorous ditty or two and it is a a strong tradition!Wash-y Wash Wash (Warshy Little Tootsy) anyone? Riding in My Car? Presumably Bob Dylan’s 115th Dream doesn’t derive the same derision

read an academic paper on Bob’s 115th dream here https://www.exhibit.xavier.edu/cgi/viewcontent.cgi?article=1008&context=library_prize

Bob Dylan - I Shall Be Free no.10

The Bob Dylan lyrics that deserve to be deleted from history: “I set my monkey on the log”

Jack Whatley@JackWhatley89

Thu 23 April 2026 15:06, UK

"It’s hard to talk about lyrics and the very art of poetic pop musings without dangling our fingers over Bob Dylan, one of the most accomplished lyricists of his day. But he also had a stinker or two. 

Trying to find the worst lyric of your everyday artist is usually something enjoyable to do. Despite our best intentions, as humans, we enjoy revelling in the worst parts of the creative spectrum just as much as we do celebrating the finest.

In fact, there’s a good argument – one found in the collection of algorithms located within our pockets – that diving into the unpleasant waters of our favourite artists can cleanse us as neatly as bathing in their more beautiful work. However, things get a little tricky when the artist in question is Bob Dylan.

At this point, it seems a little redundant to speak on the huge impact Dylan had on lyric writing as a whole. The troubadour was a convenient spark for the counter-cultural revolution who was able to carry the burning embers of poetry into the pop world and create a collection of folk songs that would soon transcend their homestead in the smoky coffeehouses of Greenwich Village, New York, to become worldwide hits that would inspire not just contemporaries like The Beatles, Leonard Cohen or Joni Mitchell but pretty much every artist you love today, too.

Few pop singers have been awarded a Nobel Prize for literature for their magnetic songs and 

Dylan’s position as perhaps the greatest lyricist of all time is guaranteed because of this. He has delivered over 600 songs in his time as one of the icons of the music world, and his hefty back catalogue also netted him $300million when he sold it to Columbia recently. But with every expanse of work like Dylan’s, there is undoubtedly a spectrum of quality to dive into.

That’s the strange paradox of someone like Dylan. The higher the pedestal, the more noticeable the cracks become. When an artist spends so much of their career redefining what lyrics can achieve, even the smallest misstep feels magnified. It’s not just about a bad line here or there, it’s about how those lines sit alongside some of the most revered writing in popular music, creating a contrast that’s almost impossible to ignore.

At the same time, those weaker moments offer a glimpse into the sheer volume and freedom of his output. Dylan was never the kind of writer to self-censor into silence, and that willingness to follow an idea wherever it led is part of what made him so vital in the first place. Not every experiment was going to land, but without that openness, the brilliance wouldn’t have existed either, leaving behind a catalogue that feels as human as it does legendary."

read on here . . .

“I got a million friends"