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Tuesday, April 23, 2024
Paddy Summerfield from his publisher Dewi Lewis
EMILY says . . . . . . . . .
Really excited to invite you all to my Bandcamp 'Fragile as Humans' listening party on May 1st (two days before the album is out!)
It's a livestream event and we can communicate via the chat - ask me questions about the album, the songs, anything you like.
Happy almost 40th #bandcampfriday
The Last of Syd (Barrett) 'Jugband Blues' - PINK FLOYD | Manchester Arts Lab 1967
Syd's last song with the Floyd
Syd Barrett /Pink Floyd - "Jugband Blues”
LAST SONG with Floyd December 1967 - London Line promo video
Syd Barrett /Pink Floyd - Jugband Blues” is featured on their second album, A Saucerful of Secrets, released in 1968.
Written by Syd, it was his sole compositional contribution to the album, as well as his last published for the band.The video features Barrett (shown with an acoustic guitar for the first time) and the group miming to the song in a more conventional stage setting, with psychedelic projections in the background. The original audio to the promo is lost, and most versions use the BBC recording from late 1967, consequently causing sync issues most evident as Barrett sings the opening verse.The original film was considered to be lost, until it was re-discovered in the Manchester Arts Lab in 1999. Barrett and Waters first watched the promo video during the second week of December 1967.
Top Hat Crew "Live Music Archivists"
SHINE ON YOU CRAZY DIAMONDS
HEAVY BOOTZ | Dickey Betts Band (feat. Duane Betts) Live in NYC 2018 | This one’s for Jobe
Dickey Betts - 2018-07-21 - NYC, NY
Dickey BettsSt. George Theatre, NYC, NY2018-07-21sbdmp3 @ 320 [162 mb]sq: EX01 Hot'Lanta02 Blue Sky03 Midnight Rider *04 In Memory Of Elizabeth Reed05 Whipping Post06 Ramblin' Man07 Jessicatt: 1:10:44Dickey Betts - Guitar, Vocals [R.I.P.]Duane Betts - GuitarPedro Arevalo - BassSteve Camillleri - DrumsFrankie Lombardi - Drums, PercussionMike Kach - Keyboards, VocalsDamon Fowler - Slide Guitar, Guitar* w/ Devon Allman - Vocals, Guitar
Dickey Betts Live NYC 2018 - Heavy Bootz
For Jobe and all my American fans!
After the ABB criticism I owe you boys! 😉😎
JOHNNY WINTER on Open Tuning and playing Slide | GUITAR
Photo: Gai Terrell—the legendary Redferns Picture resource for music
Jas Obrecht: For a beginner, could you explain the advantages of playing in an open tuning versus standard tuning?
Johnny Winter: Well, when you’re playing with a slide, the advantages are that you’ve got that chord there. You can just barre the strings and you’ve got a chord to work with. That’s the advantage – that you’ve got an open chord to work with, and you can have that chord ring down in the bass notes while you play the top strings with your fingers – I do some of that. You know, I keep the bass going with my thumb and play lead with my fingers, especially if I’m playing by myself. That’s a big help. The notes are easier to go to. It’s easier to go to blues notes in those two tunings than it is if you’re just tuning to standard tuning. Duane Allman was about the best slide man at playing with a regular tuning. You just don’t get too many chords, especially if you don’t use your little finger [for the slide]. That’s pretty important.
I started out using my ring finger because it really feels weird playing with a slide on your little finger, but a guy from the Denver Folklore Society – I think his name was Dave Debetzer – he was a blues freak, and he got me my first National guitar for about a hundred-and-fifty bucks, and he really helped me a whole lot, man. He forced me to use that little finger. He said, “Man, you’re gonna be unhappy later on down the line if you don’t change.” It’s so hard to do at first.
So you were initially wearing the slide on your ring finger, like Duane did.
Yeah. That’s what feels natural at first, but when you do that, you really can’t play chords. You can fret with those free fingers if you put the slide on your little finger. You can do a lot of fretwork with those three fingers. If you put the slide on the middle, it pretty much screws you up. You can’t do much chord work that way. So I have the slide halfway up my little finger, not all the way on it, but halfway up to where I can still bend that little finger.
What were your favorite slide cuts? What would be essential for a young player to check out?
It’s good to start with someone like Son House, because Son played real simple. Robert Johnson, without a doubt, though, is the best of those Delta guys. He’s so far above everybody else that it was scary. Robert Johnson, without a doubt. Either one of those Columbia Robert Johnson albums – the first one and King of the Delta Blues. That stuff is just great. That’s really where I learned most of my first stuff. Well, actually the first slide I heard was Muddy Waters. It was off this album The Best of Muddy Waters, on Chess. And I didn’t know what it was. I remember hearing it for the first time, and at first I thought it was a steel guitar. And then I could tell for sure there was one cut on there that was just one guy playing, and he would fret the guitar sometimes and sometimes he would use the slide. I didn’t know what it was for a long time.
I just kept buying albums, and I’d hear somebody else. I don’t really remember how I finally found out what it was – I think probably from some album liner notes. But as soon as I found out what was going on, I started experimenting with different things and trying to get the right tuning.
First I was trying slide without tuning my guitar different at all, and I knew that wasn’t right. And then you just got to where you could hear it by listening over and over. You could hear this must be tuned to this chord, and I would just tune my guitar where I thought was right and then I would play along with it. I started being able to copy what was on the record, so then I figured, “Well, this must be right.” That’s the way I learned it.
Later on, after the Muddy Waters stuff, I found the Son House album on Columbia, right when he had been rediscovered and he’d just put this album out. I think it was The Legendary Son House. It was definitely on Columbia. It was right when he first got rediscovered.
©2024 Jas Obrecht.
Photo: Gai Terrell—Redferns
source
Don's Tunes
Monday, April 22, 2024
Stevie Ray Vaughan - Crossfire + Travis Walk (instrumental) [1989]
David Sanborn intrudes SRV with the house band from ‘Sunday Night’ later 'Michelob Presents Night Music'
Stevie Ray Vaughan - Crossfire + Travis Walk (instrumental) [1989]
Show 201
Stevie Ray VaughanPharoah SandersVan Dyke ParksMaria McKee
DYLAN of The Day : WORKING MAN’S BLUES (2014 ) + CHARLIE CHAPLIN
Workingman's [Charlie's] Blues #2 - Bob Dylan live
[Charlie Chaplin "Modern Times" footage]
Workingman's Blues (Bob Dylan's song from 2006 Modern Times album) performed live by Bob Dylan & His Band at the Orpheum Theater in Minneapolis, MN on 5th November, 2014 [ illustrated with scenes from silent comedy film Modern Times, 1936 written and directed by April 16, 1889 born Charlie Chaplin ].
This from the brilliant
‘CHRISTINA’
Christina in the garden,1913 - by Mervyn O’Gorman (1871 - 1958)
Why are photos from 1913 taking the social media world by storm!?
Don’t get me wrong but . . . . .why now?
I understand that Social Media has gone wild for this picture and others of the same model . . . . . . this confuses me . . . not that it isn’t warranted amongst the history of photography but why now?
It is has gone viral!
Read on here . . . . . . . :
‘Christina’ by Mervyn O’Gorman 1913 - Science and Media Museum
Lou Reed on Delmore Schwartz
Poet Delmore Schwartz, New York City / Uncredited and Undated Photograph
"O Delmore how I miss you. You inspired me to write. You were the greatest man I ever met. You could capture the deepest emotions in the simplest language. Your titles were more than enough to raise the muse of fire on my neck. You were a genius. Doomed.
The mad stories. O Delmore I was so young. I believed so much. We gathered around you as you read Finnegans Wake. So hilarious but impenetrable without you. You said there were few things better in life than to devote oneself to Joyce. You’d annotated every word in the novels you kept from the library. Every word.
And you said you were writing “The Pig’s Valise.” O Delmore no such thing. They looked, after your final delusion led you to a heart attack in the Hotel Dixie. Unclaimed for three days. You—one of the greatest writers of our era. No valise.
You wore the letter from T.S. Eliot next to your heart. His praise of In Dreams. Would that you could have stopped that wedding. No good will come of this!!! You were right. You begged us—Please don’t let them bury me next to my mother. Have a party to celebrate moving from this world hopefully to a better one. And you Lou—I swear—and you know if anyone could I could—you Lou must never write for money or I will haunt you.
I’d given him a short story. He gave me a B. I was so hurt and ashamed. Why haunt talentless me? I was the walker for “The Heavy Bear Who Goes With Me.” To literary cocktails. He hated them. And I was put in charge. Some drinks later—his shirt undone—one tail front right hanging—tie skewed, fly unzipped. O Delmore. You were so beautiful. Named for a silent movie star dancer Frank Delmore. O Delmore—the scar from dueling with Nietzsche.
Reading Yeats and the bell had rung but the poem was not over you hadn’t finished reading—liquid rivulets sprang from your nose but still you would not stop reading. I was transfixed. I cried—the love of the word—the heavy bear.
You told us to break into __’s estate where your wife was being held prisoner. Your wrists broken by those who were your enemies. The pills jumbling your fine mind.
I met you in the bar where you had just ordered five drinks. You said they were so slow that by the time you had the fifth you should have ordered again. Our scotch classes. Vermouth. The jukebox you hated—the lyrics so pathetic.
You called the White House one night to protest their actions against you. A scholarship to your wife to get her away from you and into the arms of whomever in Europe.
I heard the newsboy crying Europe Europe.
Give me enough hope and I’ll hang myself.
Hamlet came from an old upper class family.
Some thought him drunk but—really—he was a manic-depressive—which is like having brown hair.
You have to take your own s
hower—an existential act. You could slip in the shower and die alone.
Hamlet starting saying strange things. A woman is like a cantaloupe Horatio—once she’s open she goes rotten.
O Delmore where was the Vaudeville for a Princess. A gift to the princess from the stage star in the dressing room.
The duchess stuck her finger up the duke’s ass and the kingdom vanished.
No good will come of this. Stop this courtship!
Sir you must be quiet or I must eject you.
Delmore understood it all and could write it down impeccably.
Shenandoah Fish*. You were too good to survive. The insights got you. The fame expectations. So you taught.
And I saw you in the last round.
I loved your wit and massive knowledge.
You were and have always been the one.
You can lead a horse to water but you can’t make him think.
I wanted to write. One line as good as yours. My mountain. My inspiration.
You wrote the greatest short story ever written.
In Dreams– Lou Reed, “Oh Delmore How I Miss You” 2012
Tired and unhappy, you think of houses
Soft-carpeted and warm in the December evening,
While snow’s white pieces fall past the window,
And the orange firelight leaps.
A young girl sings
That song of Gluck where Orpheus pleads with Death;
Her elders watch, nodding their happiness
To see time fresh again in her self-conscious eyes:
The servants bring in the coffee, the children go to bed,
Elder and younger yawn and go to bed,
The coals fade and glow, rose and ashen,
It is time to shake yourself! and break this
Banal dream, and turn your head
Where the underground is charged, where the weight
Of the lean building is seen,
Where close in the subway rush, anonymous
In the audience, well-dressed or mean,
So many surround you, ringing your fate,
Caught in an anger exact as a machine!
– Delmore Schwartz, “Tired and Unhappy, You Think of Houses” 1937
Twenty-eight naked young women bathed by the shore
Or near the bank of a woodland lake
Twenty-eight girls and all of them comely
Worthy of Mack Sennett’s camera and Florenz Ziegfield’s
Foolish Follies.They splashed and swam with the wondrous unconsciousness
Of their youth and beauty
In the full spontaneity and summer of the fieshes of
awareness
Heightened, intensified and softened
By the soft and the silk of the waters
Blooded made ready by the energy set afire by the
nakedness of the body,Electrified: deified: undenied.
A young man of thirty years beholds them from a distance.
He lives in the dungeon of ten million dollars.
He is rich, handsome and empty standing behind the linen curtains
Beholding them.
Which girl does he think most desirable, most beautiful?
They are all equally beautiful and desirable from the gold distance.
For if poverty darkens discrimination and makes
perception too vivid,
The gold of wealth is also a form of blindness.
For has not a Frenchman said, Although this is America…What he has said is not entirely relevant,
That a naked woman is a proof of the existence of God.Where is he going?
Is he going to be among them to splash and to laugh with them?
They did not see him although he saw them and was there among them.
He saw them as he would not have seen them had they been conscious
Of him or conscious of men in complete depravation:
This is his enchantment and impoverishment
As he possesses them in gaze only.…He felt the wood secrecy, he knew the June softness
The warmth surrounding him crackled
Held in by the mansard roof mansion
He glimpsed the shadowy light on last year’s brittle leaves fallen,
Looked over and overlooked, glimpsed by the fall of death,
Winter’s mourning and the May’s renewal.
– Delmore Schwartz, “A Dream Of Whitman Paraphrased, Recognized And Made More Vivid By Renoir” 1962
we sometimes are guilty of forgetting what a New York radical intellect Lou actually was despite the street poetry of junk and 'Waiting for My Man' to bring the ‘Heroin’!? he also was quite the poet . . . . Sweet Jane riding that Stutz BearCat Jim! . . . . I’ll Be Your Mirror . . . . reflect what you are!
Lou Reed - Rainbow Theatre, London 1973 (Captain Acid Remaster) | SOUNDABOARD
Lou Reed - Live At THE RAINBOW Theatre London 1973 | soundaboard
Sound Quality: 9
Source: Soundboard
Track List:
Source: Soundboard
Track List:
01. Intro02. Vicious03. How Do You Think It Feels04. Caroline Says05. I'm Waiting For The Man06. Satellite Of Love07. Walk On The Wild Side08. Oh Jim09. Heroin (Cut)10. Rock And Roll
Hi Lou fanatics,
I have done phase, level, pitch correction and new EQ
Captain Acid, March 2022
and a fine job too. This is highly listenable nay danceable!
and you know what they say about Sally!
Z.Z.Top - La Grange, Sharp Dressed Man and Tush | GLASTONBURY 2016
This . . . . .
. . . . . might rock your socks to start your week!
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