This will make up for the last posting . . . . . .as near to perfection as it is possible to get . . . . . . .

Why did TALKING HEADS stop being a band . . . . . . . . . . .



probably time to call it day . . . . . . . . let David go  and get it out of his system . . . . .  . . 



I do recall being shocked at this clumsiest of word plays when it came out on the 'Sand in The Vaseline' compilation and best of (sic) an album I assumed was a new one as we didn't hear they had split up formally until 1991. A discarded track from the last album 'Naked' which of course I bought when it came out but somehow doesn't feature quite so much anymore on the 'still played' playlist . . . . . . I figured they all needed to go off and do satellite projects but saw no good reason to split up. One never knows. I like to think Jerry would be too cool to clamour and the rhythm section of the Mr & Mrs Frantz, Chris and Tina, would be ready to try 'Wordy Rapping Hood' with Tom Tom Club but proved largely to be a one hit wonder. David the star and main stay of the creativity went on to, if not bigger and better things, then things of similar calibre but everyone is still waiting . . . . . .  . .  .  . . . still waiting . . . . 

Brian Eno - Windows 95 Startup Sound

From the wonderful Austin Kleon
and Mental Floss

Creating the Windows 95 Startup Sound | Mental Floss)

The idea came up at the time when I was completely bereft of ideas. I’d been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, “Here’s a specific problem — solve it.“ 

The thing from the agency said, "We want a piece of music that is inspiring, universal, blah-blah, da-da-da, optimistic, futuristic, sentimental, emotional,” this whole list of adjectives, and then at the bottom it said “and it must be 3.25 seconds long." 

 I thought this was so funny and an amazing thought to actually try to make a little piece of music. It’s like making a tiny little jewel. 

 In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I’d finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time. 

In case you wonder (like I did!) this is the music of Brian's start sound for Window 95 slowed down 23 times.
The video is a commercial for Windows 95 played at .23x speed.

So what's the next step? Treat it as any other piece of music obviously! Genius move from pianist Marcin Dobrowski

Oops nearly forgot dear George's anniversary of his passing away still this'll make do . . . . .  
a classic of the ukulele, of which he was fan! 
This will cheer us all up!

Remembering singer, songwriter, musician and humanitarian George Harrison

(born in Liverpool, Lancashire, UK) - February 25, 1943 - November 29, 2001

• Sometimes She Will
• Lightnin' Hopkins
• Mojo Hand

because . . .

For his birthday . . . . . . . 

Roll up . . . . . 

On this day in music history: November 27, 1967 - “Magical Mystery Tour” by The Beatles is released in the US (UK release date is on December 8, 1967). Produced by George Martin, it is recorded at Abbey Road Studios and Olympic Studios in London from April 25 - November 7, 1967. The album serves as the soundtrack to an hour long film shown on the BBC on December 26, 1967. After receiving overwhelmingly negative reviews following its UK airing, plans for broadcast in the US are immediately canceled. While the record is issued in the UK as a six track double EP, it is released in the US as an eleven track LP duplicating the picture book included with the EP, except blown up to 12 x 12 size. The US LP also includes the A and B sides of all of the band’s singles released during 1967. It is the last Beatles album to be issued with separate mono and stereo mixes in the US, with the mono LP being pressed in small quantities, it becomes a rare and sought after collector’s item in later years. Three of the albums’ five songs “Penny Lane”, “Baby You’re A Rich Man”, and “All You Need Is Love” are originally presented on the original US pressing in “duophonic” re-channelled stereo since none of these had been mixed into true stereo at the time. Between 1969 and 1971, stereo mixes for these tracks are made and first surface on the German EMI release of the album in 1971. The US version of the LP is finally released in the UK in 1976 after years of strong import sales. The rare US mono version of the album makes its CD debut in September of 2009 on the “Beatles In Mono” box set, replicating the original vinyl LP artwork (in a mini LP gatefold jacket), with the vinyl being reissued in September of 2014. “Magical Mystery Tour” spends eight weeks at number one on the Billboard Top 200, and is certified 6x Platinum in the US by the RIAA.

This film meant a great deal to me and still does! It was actually broadcast twice over the Christmas break in the UK after it was inadvertently broadcast in Black & white it was then re-shown the following day in full colour. I loved it and would have enjoyed anything I guess put out by the 'boys' but I still rate it and found it hilarious not least for who it included (a live long fan of Ivor Cutler! for example) for me it was a generational thing and if you didn't 'get it' clearly you were square!

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

Jimi catching a cab from outside his flat on 34 Montagu Square in London, December 1966

Born on this day: November 27, 1942 - Rock guitar icon Jimi Hendrix (born Johnny Allen Hendrix, legally changed to James Marshall Hendrix). 

Happy Birthday to this legendary musician on what would have been his 75th Birthday.

Yes - FRAGILE

On this day in music history: November 26, 1971 - “Fragile”, the fourth album by Yes is released in the UK (US release is on January 4, 1972). Produced by Yes and Eddy Offord, it is recorded at Advision Studios in London in September 1971. Making their recording debut in 1969 with their self titled debut album, Yes record “Time And A Word” and “The Yes Album” over the next two years, while building a solid following throughout Europe and in the US. Yes gain valuable exposure opening for other bands including Iron Butterfly and Jethro Tull. With the latter album gaining the band their first hit in the UK and a sizable toehold in the US, they begin writing material for their fourth album in mid 1971. Staying in a rented farmhouse in Devon, Yes continue writing and rehearsing the new songs they’ve written. It is the first album to feature new keyboardist Rick Wakeman who replaces Tony Kaye midway through pre-production. Guitarist Steve Howe and Wakeman become essential elements in the evolution of Yes’ sound, bringing their interest in classical music and training into the musical landscape. Originally intending to record a double album consisting of both live recordings and studio material, Yes end up dropping the idea when they realize the amount of time it will take to create such a project. They also initially intend to come to US to work with Atlantic Records’ staff producer and engineer Tom Dowd at Criteria Studios in Miami, but does not pan out. Instead, the band work with Eddy Offord who has engineered their previous two albums, having been promoted to co-producer status on “The Yes Album”. Anchored by the track “Roundabout” (#13 US Pop), it is the bands’ breakthrough on a worldwide basis and is regarded as a landmark progressive rock album. The LP’s cover artwork is illustrated by artist Roger Dean, who goes on to design several album covers for the band including their famous logo (first used on the follow up “Close To The Edge”). The album is remastered and reissued a number of times over the years, most recently being reissued in 2015 in the UK as a CD/high resolution Blu-Ray Audio set. The redbook CD contains the original stereo mix of the album, with the Blu-Ray disc featuring new stereo and 5.1 surround sound mixes by Steven Wilson, along side the original stereo mixes also presented in high resolution. “Fragile” peaks at number seven on the UK album chart, number four on the Billboard Top 200, and is certified 2x Platinum in the US by the RIAA.

Think this is where I left 'Yes' pretty much but did enjoy this not least for it bringing in Rick Wakeman. I always enjoyed Jon Anderson's vocals and yet listen to Chris Squire on this track . . . . . staggering

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

Well I have said before many times but this album is right up there at the top and more often than not makes my top album of all time (it DOES rotate with a couple of others, Captain Beefheart 'Clear Spot', Professor Longhair 'Crawfish Fiesta' et al)
What can I possibly add to what has already been said but this album means so much to me and mostly reminds me of my dear friend from school days Leo Lewis

On this day in music history: November 25, 1968 - “Astral Weeks”, the second album by Van Morrison is released. Produced by Lewis Merenstein, it is recorded at Century Sound Studios in New York City from September 25, 1968, and October 1-15, 1968. Following his split from Them at the end of 1966, lead singer Van Morrison launches his career as a solo artist. Signing with Bert Berns’ label Bang Records, Van realizes quickly that he has signed a very bad deal, inadvertently relinquishing his creative control and song publishing rights. The producer takes the eight songs recorded for singles, releasing them as the album “Blowin’ Your Mind!”, after “Brown Eyed Girl” (#10 Pop) becomes a major hit. Morrison is unaware of this until a friend tells him that he has just purchased a copy of it in a record store. Before Van tries to leave the label, Bert Berns dies of a heart attack. Berns widow Ilene moves to not only prevent Morrison from leaving the label and performing live. Leaving New York City for Boston, playing wherever he can while laying low and writing new material. The songs are inspired by his upbringing and poetic musings. Morrison is approached by Warner Bros Records, based on the success of “Brown Eyed Girl” in early 1968. When producer Lewis Merenstein and Inherit Productions manager Bob Schwaid hear the musician perform, they work out a deal to get him out of his former contract. Singing and accompanying himself on acoustic guitar, he is backed by jazz musicians that include former Eric Dolphy bassist Richard Davis, guitarist Jay Berliner (Harry Belafonte), percussionist Warren Smith, Jr. (Max Roach) and Modern Jazz Quartet drummer Connie Kay. The album is thematically split into two halves, with side one being listed as “In The Beginning” and side two as “Afterwards”. Receiving virtually no promotional support, “Astral Weeks” sells poorly. Though it slowly it’s discovered by rock critics and fans. In spite of its lack of commercial success, it spins off some of Morrison’s best loved and widely covered songs including “Sweet Thing”, “Beside You”, “Madame George”, “Cypress Avenue” and the title track. The album’s now iconic cover photo, is taken by photographer Joel Brodsky (The Doors). In time, “Astral Weeks” is regarded as one of Van Morrison’s most important works and marks the true birth of his career as a solo artist. In 2008, he performs and records all of the songs at the Hollywood Bowl, which are released as the live album “Astral Weeks Live at the Hollywood Bowl” in February of 2009, followed by a DVD release in May of 2009. Warner Bros remasters and reissues the original album on CD in 2015 with four additional bonus tracks, also issuing it as a 180 vinyl LP in 2009, with a limited edition clear vinyl pressing released in July of 2017. “Astral Weeks” does not chart on the Billboard Top 200, is certified Gold in the US by the RIAA, and is inducted into the Grammy Hall Of Fame in 1999.

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

NICK DRAKE, 69 'TUCK BOX'

Well I don't often post links to the fascinating music webblog PLAIN & FANCY but this is a gem and as a life long Nick Drake fan I really highly recommend this. 

The notes alone makes this worth checking out.

If you have all the studio albums as I do then it may not interest you but the additional material alone in two CD's worth of previously unreleased material make it worth checking out if you don't already have the rarer stuff

check it out here . . .

Bought this album when it came out also and if it is embarrassing now I really don't care! This song meant a great deal to me and sums up adolescent angst at losing someone that it is possible to articulate for you when one is young. White man's blues . . . . . ?

On this day in music history: November 24, 1973 - “Photograph” by Ringo Starr hits #1 on the Billboard Hot 100 for 1 week. Written by Ringo Starr and George Harrison, it is the first solo chart topper for the former Beatle drummer. Ringo Starr’s self-titled third album, has its genesis in early 1973 after producer Richard Perry (Nilsson, Captain Beefheart) asks Starr if he’ll be a presenter at the Grammy Awards which are being telecast in Nashville, TN that year. Starr in turn suggests to Perry that they work together. Perry accepts the offer, quickly assembling musicians and booking studio time in L.A.. They record five songs in five days including all three major singles from the album.  Ringo calls on his former Beatle band mates including George Harrison, who writes two songs for the project, with he and Starr collaborating on “Photograph”. The track features various musician friends including Harrison on 12-string acoustic guitar and harmony vocals, Nicky Hopkins (keyboards), Jim Keltner (drums), Klaus Voorman (bass), Bobby Keys (saxophone) and is arranged by Jack Nitzsche. Any previous doubts about the former Beatle drummer’s post band fortunes are immediately smashed, when “Photograph” is released as the first single from “Ringo” on September 24, 1973. Entering the Hot 100 at #74 on October 6, 1973, it climbs to the top of the chart seven weeks later. The original 45 pressing of the single come with custom picture labels of Starr lying under a silver metallic sheet with the image cropped in the shape of a star. This same image is used for the single picture sleeve and for the labels of the original vinyl LP. “Photograph” is certified Gold in the US by the RIAA.

swappers

• Somewhere Down the Crazy River
• Robbie Robertson
• Robbie Robertson

can you dig it? I think you can! A favourite singer guitarist and this was bought when it came out of course. Go Jaime!

Never quite forgotten the first time I heard this  . . . from the first album and bought the single too
It is my favourite opener track of any album and you know that thing where I chose my Top Album and they alternate well this is one of those it alternates with . . . . . .(oops backing track missing . . . . . .wait a minute

aaah this is better . . . . . . . 

Turn it UP! Neighbour bothering, window rattling volume . . . . it's good for you!

She get high, she get high, she get HIGHHHHHH!

Single bought when it came out . . . . . . . . and 'My Aim Is True (obviously!)

Worth a listen if you haven't heard (or think you have heard!) the original this is really quite beautiful . . . . . . . lovely mellotron

On this day in music history: November 24, 1966 - The Beatles begin recording “Strawberry Fields Forever” at Abbey Road Studios in London. After a three month vacation, the band return to the studio to begin work on the follow up to “Revolver”. The first song recorded is a new composition of John Lennon’s titled “Strawberry Fields Forever”. Lennon writes the song in Almeria, Spain while filming “How I Won The War” with director Richard Lester in the early Fall of 1966. One take of the song is recorded that evening, though changes dramatically and grows more complex over the month that it takes to complete the track. The song marks the beginning of a new era in The Beatles creativity that changes the face of popular music yet again. Strawberry Fields is the name of a Salvation Army orphanage around the corner from Lennon’s childhood home in Liverpool, where he would attend garden parties in the Summer. Once in the studio, the song evolves from a gentle, sparsely arranged ballad to a heavily scored piece with horns and strings complimenting the basic track. The finished version of the song consists of two separate versions. Lennon likes the first half of the first remake and the second half of the other. He suggests to producer George Martin that the two be edited together, which at first seems to not be possible since they are recorded in different keys and tempos. Martin discovers that by increasing the speed of one and slowing down the other recording, that they match. Originally intended to be part of the bands’ next album (“Sgt. Pepper’s Lonely Hearts Club Band”), “Strawberry Fields Forever” is instead issued as one half of a double A-sided single in February 1967 (w/ “Penny Lane”). The band films a promotional clip for the song on January 30 - 31, 1967 in Sevenoaks, Kent, UK, directed by Swedish television director Peter Goldman. “Strawberry Fields Forever” peaks at #2 on the UK singles chart and #8 on the Billboard Hot 100.

One of my favourite singles and I still have the paper pic sleeve . . . . still recall the video on the tele and it gave me a funny feeling . . . . . . still does

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

The rigours of The Rolling Thunder Tour had begun to take their toll . . . . . . . . . . . . . . . 

Yes and I bought this when it came out too! Not too sure if this is embarrassing now . . . it strikes me as awful posey! Pretentious moi? Haven't played it for years, can't really get it out of the tin! 
Remember liking it at the time and Levine, Wobble, Lydon et al made a interesting noise

On this day in music history: November 23, 1979 - “Metal Box”, the second album by Public Image Ltd. is released. Produced by Public Image Limited, it is recorded at The Manor Studios in Shipton-on-Cherwell, Oxfordshire, UK, The Townhouse Studios, Advision Studios, Gooseberry Sound Studios, and Rollerball Rehearsal Studios in London from March - October 1979. The initial release (60,000 copies) is pressed on three 12" singles mastered at 45 RPM and packaged in a metal 16mm film can embossed with the band’s logo. However, because of the expensive packaging and the records themselves are susceptible to damage (during shipping and removal from the can). Over time, the film cans also have a tendency to oxide and rust, if they are not stored in a cool, dry place. The LP is reissued in February 1980 as “Second Edition” on two LP’s packaged in a gatefold sleeve. The album is regarded as a landmark release of the post punk era. During the 90’s, it is also reissued in a miniature replica film can for some CD releases of the album. “Metal Box” peaks at number eighteen on the UK album chart, and number one hundred seventy one on the Billboard Top 200.

Not sure being 469th on the 500th greatest albums of all time from Rolling Stone is anything to go by? Bit like being damned with faint praise!?

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

BOB DYLAN  - Trouble in Mind

Here's a interesting article. In the light of the recent and latest in the Bob Dylan official bootleg series being the somewhat odd period of 1979 - 1980/81 when Bobby found Jesus! 
Bob Dylan - Trouble No More here

£134 no thanks Sony!

This bootleg discussed here at the wonderful Midnight Cafe is really worth a listen and more, the notes are so revealing. I have been on record earlier as to what I personally think of this period in Dylan's oeuvre and I do not own any of the three (sic) saved, or so called born again albums as they are just too simplistic, hectoring and didactic for me. 

Bob Born again discussion re: Arizona 79

This time the audience is hip to what has happened in Bob's private life, his wife Sara and he having split less than a year ago and finding himself exhausted and carries a little silver cross allegedly thrown on stage at a recent gig and the audience by now isn't, it seems, prepared to tolerate such resultant sanctimonious tone and holier than thou didactic bible thumping, by now they are not afraid to ask for back catalogue songs to no avail and indeed to Dylan's apparent distaste as the request to turn the lights up so he can see the vocal complaining element in the crowd shows and sets about haranguing them back! 
Fascinating . . . . . . . . 

more info here - Phoenix Times - Dylan Comes to God in a Hotel Room

Notes:

This concert likely constitutes the low-point of the entire tour, if not of all Dylan tours. The circulating recordings of this concert all lack the monologue and introductory gospel songs by the backing singers. However, from the crowd noise leading into “Serve Somebody” and Dylan’s clear anger following “I Believe In You,” the crowds’ treatment of the backing singers must have been quite nasty. The crowd comments decipherable through Dylan’s harangue suggest that this concert was marred by a few individual hecklers rather than a broad negative response of the audience. As may be heard, the hecklers yell their comments and are quickly shouted down by a number of other members of the audience.

Dylan’s response is interesting. He begins by simply telling the crowd they’re being rude. He then launches into a story meant to illustrate the pervasiveness of what he calls the “anti-Christ,” particularly as represented by a famous guru Dylan says claims to be god, but also, by implication, the band “Kiss” and their like. Dylan persists in this story despite very aggressive heckling which finally prompts him to raise the lights in the hall, calling out, “Turn the lights on! Give them some light! Let them in the light!”

Dylan leaves the lights on for the remainder of the concert, another fourteen songs. In response to numerous shouts to turn the lights down, following “When He Returns,” Dylan says, “Why? Too bright for you?” This poisoned atmosphere doesn’t improve. Dylan performes the next few songs at a quicker pace, with flatter phrasing, in marked contrast to the confessional tone he takes at nearly every other concert of this tour. The combination of Dylan’s tone and pacing, the lights, and the clear unease of the audience with both Dylan’s anger and the lights, appear to rattle the band as well. They struggle through “Change My Way Of Thinking,” “Saved” and a thoroughly dispirited “In The Garden,” sounding downright relieved to be done by the final notes of the latter.

On the other hand, both “Covenant Woman” and “Solid Rock” stand out this evening. Both capture Dylan’s apaprent mood of the evening, Dylan delivers the former, a difficult song on the best of nights, with a lovely wearied rephrasing. Dylan and the band crank out an angry, defiant, “Solid Rock” with a wonderful guitar solo by Fred Tackett and great vocal licks from the backing singers.

Dylan’s first address to the audience, concerning the gurus and “Kiss,” focuses on false deceivers and the bright line between those who are saved and those who are lost, essentially a cautionary tale that you either have faith or you do not. Dylan’s second address takes a more plaintive tone, directly acknowledging his own role as a spokesperson for the faith. When fans call out old songs, Dylan acknowledges these calls, but treats them as accusations rather than requests. Dylan defends his earlier songs as not having intentionally misled anyone. In response to someone shouting “Everybody Must Get Stoned!” Dylan recounts the story of Jesus confronting a group about to stone an adulterer. Dylan then relates his view that current events mirror biblical prophecy and portend Armageddon within the next few years. Dylan then reminds the audience that they need to prepare for this final battle and, referring to Jesus’ use of parables, suggesting that the truth is before them, but some simply cannot grasp it.

I find Dylan’s defensiveness about his earlier songs and his persistence in trying to preach the gospel to his audience remarkable. While many may bristle at being told they are “lost” because they do not believe in Dylan’s god, Dylan’s intentions, and the urgent care he shows for his audience, are moving. Not unlike Pascal’s “Wager”, Dylan seems animated by his own fame to utilize it for the service of what he is clearly convinced is the good of his audience. This is not a man condemning the world and holding himself above it. This is someone who has clearly condemned himself for his own past, now laboring to help his followers avoid a similar fall. Dylan’s reference to parables towards the end strikes me as evidence that Dylan is beginning to grasp the obstacles which lie before him in spreading his message.

Angel Fire gospel project

SOURCES:

Three known reference tapes circulating:
The first (261179MLM) is a dual mono audience recording which lacks the seven opening songs performed by the band, but contains the eighth song, “Put Your Hand in the Hand” by the band and sung by Regina McCreary Havis following “Covenant Woman.”

This recording has noticeable hiss throughout, and a distant compressed sound. Overall, it constitutes a muddy listen. A destructive edit clips the beginning of “When You Gonna Wake Up.” There is a great deal of crowd noise throughout, with some obtrusive chatter near the taper during Dylan’s sermonettes, often simply laughter at certain comments, but occasionally muffled queries.
The second (261179JMM) is a dual mono recording which lacks the seven opening songs performed by the band, and also lacks the eighth song, “Put Your Hand in the Hand” by the band and sung by Regina McCreary Havis following “Covenant Woman.”

This recording is louder, longer, and lacks all but one of the edits found on 261179MLM. The one edit both recordings contain occurs at the beginning of of “When You Gonna Wake Up,” suggesting 261179MLM is simply a later generation, edited copy of the master whichw as used to create 261179JMM. The lack of “Put Your Hand” on the “JMM” recording, suggests this is not a fullr ecording of the master itself. One hopes a complete recording, including the introductory gospel sets still exists somewhere.
The third (261179SCM) is a dual mono recording which lacks the seven opening songs performed by the band, and also lacks the eighth song, “Put Your Hand in the Hand” by the band and sung by Regina McCreary Havis following “Covenant Woman.”

This recording, which commonly circulates via the Unofficial Dylan Free Tape Library, has been briefly summarized at: http://freelib.org/dylan/79-11-26.html. This recording also contains a destructive edit, not noted on the Free Tape Library listing, clipping a few notes at the beginning of “When You Gonna Wake Up?” The presence of this flaw on all three circulating versions of this concert suggest they are all descendants of the same master.

Angle Fire rant . . .

Concert # 20 of the First Gospel Tour.
Concert # 20 with the First Gospel Band: Bob Dylan (vocal & guitar), Fred Tackett (guitar), Spooner Oldham (keyboards), Tim Drummond (bass), Terry Young (keyboards), Jim Keltner (drums), Regina Havis , Helena Springs , Mona Lisa Young (background vocals).

4 Bob Dylan solo (vocal & guitar) with Spooner Oldham (piano).
13 Bob Dylan (harmonica).
17 Bob Dylan (piano).

Note. There was no encores this evening, probably due to the exceptionally hostile audience response.

BobTalk
Dylan: “Well. What a rude bunch tonight, huh? You all know how to be real rude. You know about the spirit of the anti-Christ? Does anybody here know about that? Well, it’s clear the anti-Christ is loose right now, let me give you an example. You know, I got a place out, ah, somebody stopped by my house and gave me this, uh, tape cassette. Some of these kind of people, you know, there’s many false deceivers running around these days. There’s only one gospel. The Bible says anybody who preaches anything other than that one gospel, let him be accursed. [“Rock-n-roll!”] Anyway, you know, this fellow stopped by my house one time and wanted to, so called, “turn me on” to a . . . well I’m not gonna mention his name, he’s a certain guru. I don’t want to mention his name right now, but ah, he, he has a place out there, near LA [“Malibu!”] And ah, he stopped by and he gave me this taped cassette to show me … [“Rock-n-roll!”] … You wanna rock-n-roll you can go down and rock-n-roll. You can go see Kiss and you rock-n-roll all your way down to the pit. Anyway, let me give you an example here. I’m gonna give you a real good example, I took a look, I dropped this tape cassette off with a friend of mine. [lots of heckling and others trying to shout the hecklers down] Turn the lights on in here. I want to see these people. Turn some lights on. Give them some light. Let them in the light. [applause] So anyway, this certain guru, you wanna hear about this guru? So anyhow, [“Rock-n-roll!” “Shut up!”] All right, so this guru, he made a film of himself. He had one of these big conventions. He does have a convention I think every so often like once a month, he’ll go to a big city. [“Praise the lord with puke!” “Shut that guy up!” Applause] Now, so, I took a look at this tape, and sure enough he was having himself a big convention. He had, must have had five thousand to ten thousand people there. Eight thousand people. And what he was doing on the stage was, he was sitting on there with a lot of flowers and things. And he sure did look pretty though. He’d sit up there, you know like kind of like on a throne and you’d listen to him talk on the tape. And on the tape, he said, you know, what’s life all about is life is to have fun. He said, “I’m gonna show you now how you all can have fun.” And he had a big fire extinguisher there and he put colored water in this fire extinguisher, and he would spray it out on the people. And they all laughed and just had a good time. They took their clothes off. They were overjoyed to be sprayed by this man. [Booooo!] And a little while after that, he started talking about his philosophy. And he said that he was God — he did say that. He said that God’s inside of him and he is God. And, you know, that those people could just think of themselves as God. I want to tell you this because there’s many of these people walking around. They might not come right out and say they’re God, but they’re just waiting for the opportunity too. And there is only one God. And let me hear you say who that God is? [mixed shouts] Their God, he makes promises that he doesn’t keep. There’s only two kinds of people like the preacher says — only two kinds of people. Color don’t separate them, neither does their clothes … [Rock-n-roll!] … You still want to rock-n-roll? I’ll tell you what the two kinds of people are. Don’t matter how much money you got, there’s only two kinds of people: There are saved people and there’s lost people. [applause] Yeah. Now remember that I told you that. You may never see me again. I may not be through here again, you may not see me, sometime down the line you’ll remember you heard it here. That Jesus is Lord. And every knee shall bow to him.
(before When You Gonna Wake Up ?)

[“Lights! Lights down!”] Why — too bright for you? (before Man Gave Names To All The Animals)

How many people here are aware that we’re living in the end of times right now? How many people are aware of that? Anybody wanna know that? Anybody interested in knowing that we’re living in the end times? How many people do know that? Just, yell out or do something. How many people don’t know that. Well, we are, we’re living in the end times. [“The times they are-a changin!”] That’s right. I told you that. I told you “The Times They Are A-Changin” twenty years ago. And I don’t believe I’ve ever lied to you. I don’t think I said anything that’s been a lie. I never told you to vote for nobody. Never told you to follow nobody. Well, I’ll tell you a story about that now. When Jesus saw this woman, they all wanted to stone her. Because, you know, she was an adulteress. So they come by and they wanted to stone her. And they said to Jesus, they said, “Master” they said, they wanted to trick him, you know, so they said, “What say you? What do you say there, should we stone this woman? Because she has been an adulterer?” And he says, “Well, let him who is without sin cast the first stone.” They all just dropped their stones and they walked away. And then he said to the woman, he said “Woman,” he said, “You’re free now. You go and sin no more.” And the woman left. Well, let me tell you, that the devil owns this world. He’s called the God of this world. Now we’re living in America. I like America just as much as everybody else does. I love America, I gotta say that. But America will be judged. You know, God comes against a country in three ways. First way he comes against them, he come against them in their economy. Did you know that? He messes with their economy the first time. You can check it all the way back to Babylon, and Persia and Egypt. Many of you here are college students aren’t you? Many of you are college students. You ask your teachers about this now. You see, I …uh .. I know they’re gonna verify what I say. Every time God comes against a nation, first of all he comes against their economy. If that doesn’t work, he comes against their ecology. It ain’t nothing new that’s happening. He did it with Egypt. He did it with Persia. He did it with Babylon. He did it with the whole Middle East. It’s desert now. It used to be flourishing gardens. All right. If that don’t work, if that don’t work, he just brings up another nation against them. So one of those three things has got to work. Now. Jesus Christ is that solid rock. He’s supposed to come two times. He came once already. See, that’s the thing, he’s been here already. Now, he’s coming back again. You gotta be prepared for this. Because, no matter what you read in the newspapers, that’s all deceit. The real truth is that he’s coming back already. And you just watch your newspapers. You’re gonna see, maybe two years, maybe three years, five years from now, you just watch and see. Russia will come down and attack in the Middle East. China’s got an army of two hundred million people. They’re gonna come down in the Middle East. There’s gonna be a war called the “Battle of Armageddon” which is like some war you never even dreamed about. And Christ will set up his kingdom. He will set up his kingdom and he’ll rule it from Jerusalem. I know, as far out as that might seem, this is what the Bible says. [“Everybody must get stoned!”] I’ll tell you about getting stoned. What do you want to know about getting stoned? [Mixed shouts] Alright, what you’re gonna need is something strong to hang on to. You got drugs to hang on to now. You might have a job to hang on to now. You might have your college education to hang on to now. But you’re gonna need something very solid to hang on to when these days come. Let me tell you one more thing. When Jesus spoke his parables, he spoke them to people, he said, he said parables to all these people. Everybody could hear the parables. Everybody heard the same parables. Some people understood them and some people didn’t. But he said the same one, he said the same thing to everybody. You understand, he didn’t try to hide them, he just said it. Those that believed it, believed it and understood it, and those that didn’t, didn’t. That’s right. We’re gonna play a song now called “Hanging On to a Solid Rock, Made Before the Foundation of the World.” Now remember now, you talk to your teachers about what I said. I’m sure you’re paying a lot of good money for your education now, so you better get one.
(before Solid Rock)

Alright, we have time for one more. So long as, … I wonder what it will be, I think it will be this one. All right. Remember now. Don’t be deceived by what’s gets inside. You know, even Jesus was deceived by one of his own men. Just like Jesse James, you know, he was deceived by someone he let, … who he invited into his house. Anyway, we’re gonna play this one and be on down the road now. Remember what I said, if you ever hear it some other time, that there is a way. There’s a truth and a life and a way. You may not get it now. It may not be the next week or so. It may not be the next year or so. But remember the next time it happens. (before In The Garden)

References
Clinton Heylin: Saved! The Gospel Speeches of Bob Dylan. Hanuman Books 1990, page 37-49.
Watt Alexander: The Gospel Project.

Mono audience recording, 90 minutes.

Session info updated 31 March 2003.

bjorner.com

HAPPY THANKSGIVING 

to our American friends across the pond

have some Doug Sahm!

Doug Sahm and Friends - Happy Thanksgiving from Aquarium Drunkard

First Set

01 High Heel Sneakers (Tommy Tucker)
02 Wild Side Of Life (Hank Thompson)
03 Swingin’ Doors (Merle Haggard)
04 Me & Bobby McGee (Kris Kristofferson)
05 Stormy Monday (T-Bone Walker)
06 That’s All Right (Mama) (Arthur Crudup)
07 Come On In My Kitchen (Robert Johnson)
08 T For Texas (Jimmie Rodgers)
09 Mr. Tambourine Man (Bob Dylan)
10 (Is Anybody Goin’ To) San Antone (Charley Pride)
11 Sugarfoot Rag (Hank Garland)
12 I’m So Lonesome I Could Cry (Hank Williams)
13 Jambalaya (Hank Williams)
14 Today I Started Loving You Again (Merle Haggard)
15 Columbus Stockade Blues (Traditional)
16 Honky Tonkin’ > Dear John (Hank Williams]

Second Set

01 Orange Blossom Special (Bill Monroe)
02 Kentucky Waltz [Bill Monroe)
03 Big Boss Man (Jimmy Reed)
04 Searchin’ (The Coasters)
05 Those Lonely Lonely Nights (Earl King) > Shake A Hand (Faye Adams)
06 Hey Bo Diddley (Bo Diddley)
07 It Takes A Lot To Laugh, It Takes A Train To Cry (Bob Dylan)
08 A Hard Rain’s Gonna Fall (Bob Dylan)
09 Wild Horses (Rolling Stones)
10 Slippin’ Into Christmas (Leon Russell)
11 Money Honey (Drifters/Elvis Presley)
12 Chug-A-Lug (Roger Miller)
13 Roll Over Beethoven (Chuck Berry) > Good Golly Miss Molly (Little Richard) > Roll Over Beethoven (Chuck Berry)

The Players: Doug Sahm, Leon Russell, Jerry Garcia, Mary Egan, Benny Thurman, Phil Lesh, Jerry Barnett

On this day in music history: November 22, 1988 - “The Delicate Sound Of Thunder”, the fourteenth album by Pink Floyd is released. Produced by Pink Floyd, it is recorded at The Nassau Coliseum in Uniondale, L.I., NY from August 19 - 23, 1988. Recorded live during a five night stand on the US leg of Pink Floyd’s tour in support of their most recent studio album “A Momentary Lapse Of Reason”, the fifteen track double live LP features in concert performances of several Floyd classics as well as newer material. The cassette and CD configurations includes the track “Us And Them”, which is cut of the vinyl release due to time constraints. There are also an additional seven songs played on the shows that are cut from the final track listing. The shows the live album is culled from are also filmed, providing a major part of the live concert footage for the home video release “Pink Floyd In Concert - Delicate Sound Of Thunder” (released on VHS and Laserdisc in June of 1989). “The Delicate Sound Of Thunder” peaks at number eleven on both the UK album chart and Billboard Top 200, and is certified Platinum in the US by the RIAA

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

I have said before when the Floyd left me behind and yet after 'Dark Side of The Moon' it was this song that struck me still. I still very much admire Dave Gilmour and this peon to Syd is right up there amongst his masterpieces. 

I dedicate this here to the memory of my brother . . 

with the beatles

On this day in music history: November 22, 1963 - “With The Beatles”, the second album by The Beatles is released in the UK. Produced by George Martin, it is recorded at Abbey Road Studios in London from July - October 1963. Issued as the follow up to their hugely successful debut album “Please Please Me”, it features eight original songs by John Lennon and Paul McCartney, along with covers of six other songs. Though no singles are released from it in the UK, it contains several tracks that become classics in the band’s catalog such as “All My Loving”, “It Won’t Be Long”, and “I Wanna Be Your Man”. It is also the band’s first album to be recorded (in part) on a four track multitrack tape machine, having been previously restricted to recording on the studios’ two-track recorder. The LP’s iconic cover photo is taken by Robert Freeman and shot in a similar style to the band’s photographer friend Astrid Kirchherr. It receives a then record breaking advance order of over 500,000 copies in the UK, becoming the second album ever to sell over a million copies in the United Kingdom (by September of 1965). The album is not issued in the US until February of 1987. Capitol Records takes nine of the UK LP’s songs, pairing them with three others (“I Want To Hold Your Hand”, “I Saw Her Standing There”, and “This Boy”) using the “half shadow” cover photo for US compilation “Meet The Beatles!” in January of 1964. “With The Beatles” is remastered and reissued on CD in 2009, issuing both the mono and stereo versions of the album. The stereo version is reissued on vinyl in 2012, with the mono LP following in 2014. “With The Beatles” spends twenty one weeks at number one on the UK album chart, unseating their debut “Please Please Me” from the top of the chart.

Not exactly bought when it came out but my elder brother did! He was fourteen and I was ten and this was one of those shocking moments I will take to my grave and I pored over this album SO closely staring at the photo on the front at the four fellow travellers with REALLY long hair! (sic) looking at the back cover as if it were some sacred text (well it was . . . ) and not until Bob Dylan's 'Time they are A'Changing' did music affect me more

thanks to the most excellent Jeff Harris' blog 'Behind The Grooves

Tangled Up . . . . . . 

I love the Dylan apocryphal tales of him showing up in odd places . . . . . some of them are true and some of them are dreams and some of them destined to become urban myth and legend but thanks to my dear friend Phil we visit this one from Urban Myths Series One Episode One on Sky Arts . . . . to paraphrase Bob . . . you better choose which one to believe before they all disappear




much of this is based on truth . . . . . . . your truth, my truth, Bob's truth . . . . . . and Dave's 
I like to think the original story about popping in some guy's house  who's Mum entertained him and made him tea whilst waiting for 'Dave' to return after Bob mislaid his way to Dave Stewart's studio/house though not entirely sure it would have happened quite this way (sic) 

it is made the sweeter by starring some of my favourite actors; Eddie Marsan, Katherine Parkinson, Paul Ritter and Jessica Gunning

Bob legendary has been spotted on a bus tour of Liverpool, in obscure museums, standing at a bus stop in a queue and wandering around someone's gardens in the rain whose house was up for sale. There are many and we have touched on some before as told by Debbie Gold but this one is my favourite . . . . . . . 

in some way they are all true . . . . . . . 

previously on this here blog . . . . . .