portrait of this blog's author - by Stephen Blackman 2008

Saturday, January 30, 2021

David Byrne from Voodoo Wagon


Fashion Center, 

San Francisco, CA Dec. 13, 1992 KITS-FM

Live 105 2nd Annual Green Christmas

This is what we need especially here where the rain is interspersed with snow the size of dinner plates (I may be exaggerating here slightly . . . . . .well ok coffee cups?) some live David Byrne from Voodoo Wagon (thanks draftervoi)

David Byrne - Fashion Centre - SF DEC 1992 - Voodoo Wagon

 drafter says:

Hey!  There's a VERY NICE silver CD bootleg from the 1990s that has this material...but it is NOT AS GOOD as this...they probably sourced it from a low-bias tape.  It's not bad...it's just not as good as this. 

01. KITS Intro
02. The Cowboy Mambo (Hey Lookit Me Now)
03. Nothing But Flowers
04. Buck Naked
05. The Future
06. Gypsy Woman (She's Homeless)
07. Girls On My Mind
08. Wall Of Death
09. Road To Nowhere
10. Rockin' In The Free World
11. Psycho Killer
12. KITS Outro
13. Interview

I could find no covers and precious little coverage of this set on live Radio broadcast but it is supreme quality (FLAC format) 

From 1992 there's this from New Jersey . . . . . . .  

Thursday, January 28, 2021


so as you well know that England is owned by the Aboriginal peoples of the Australian continent. . . . . . . . . .what? You didn't know? It had been owned by them since the late eighties and somehow I am ashamed to say amidst all the hullabaloo over this damned virus I had quite forgotten to acknowledge its 30th anniversary since we were absorbed by the indigenous peoples of that esteemed country. How so? Well under much the same method of conquest that the white Britisher Arthur Phillip claimed ownership of the Australian country . . . . . . here is the truth and the proof . . . . fake news? . . . . . . naaaah, it's true and here it is . . . . .the real deal

January 26 1988 - Burnum Burnum plants the Aboriginal flag at the cliffs of Dover, claiming England for the Aboriginal peoples of Australia, exactly 200 years after Arthur Phillip claimed Australia for the British. [video]

The full Burnum Burnum Declaration:

I, Burnum Burnum, being a nobleman of ancient Australia, do hereby take possession of England on behalf of the Aboriginal people. In claiming this colonial outpost, we wish no harm to you natives, but assure you that we are here to bring you good manners, refinement and an opportunity to make a Koompartoo - ‘a fresh start’. Henceforth, an Aboriginal face shall appear on your coins and stamps to signify our sovereignty over this domain. For the more advanced, we bring the complex language of the Pitjantjajara; we will teach you how to have a spiritual relationship with the Earth and show you how to get bush tucker.

We do not intend to souvenir, pickle and preserve the heads of 2000 of your people, nor to publicly display the skeletal remains of your Royal Highness, as was done to our Queen Truganinni for 80 years. Neither do we intend to poison your water holes, lace your flour with strychnine or introduce you to highly toxic drugs. Based on our 50,000 year heritage, we acknowledge the need to preserve the Caucasian race as of interest to antiquity, although we may be inclined to conduct experiments by measuring the size of your skulls for levels of intelligence. We pledge not to sterilize your women, nor to separate your children from their families. We give an absolute undertaking that you shall not be placed onto the mentality of government handouts for the next five generations but you will enjoy the full benefits of Aboriginal equality. At the end of two hundred years, we will make a treaty to validate occupation by peaceful means and not by conquest.

Finally, we solemnly promise not to make a quarry of England and export your valuable minerals back to the old country Australia, and we vow never to destroy three-quarters of your trees, but to encourage Earth Repair Action to unite people, communities, religions and nations in a common, productive, peaceful purpose.

Burnum Burnum

The declaration

Burnum Burnum - Portrait Gallery

 so my latest book purchase came . . . . .rapidly becoming one of my very favourite publishing houses



By John Bauldie

‘I read The Chameleon Poet in 1981, and spent most of the rest of the decade trying to persuade John to publish it. Well, it only took forty years, but now you can read it, too.’ – Clinton Heylin

On his untimely death at 47 years old in October 1996, not only did John Bauldie sit at the what could be called the high table of Dylan Studies, but from the early nineties, when he was invited by Dylan’s management to write the liner notes that accompanied the Bootleg Series Volume 1-3, many would attest that he was chairman of the board.

In his lifetime, John Bauldie was a giant amongst Bob Dylan fans and collectors. As the editor of The Telegraph, he was a voracious advocate for Dylan to be afforded the respect of a major artist and an early lobbyist for him to be awarded the Nobel Prize for Literature. Yet, despite creating the Wanted Man Study Series to encourage analysis of Dylan’s work, Bauldie never published his own full critical study, though regular subscribers to The Telegraph knew he had completed one. A few teasing extracts and a handful of mysterious mentions revealed the existence of this fabled manuscript, The Chameleon Poet, which has remained unpublished until now.

Covering the formative span of Dylan’s career from his emergence in the early sixties to his conversion to Christianity in the late seventies, The Chameleon Poet traces each step in the development of the artist and man from youth to maturity. With scholarly precision and vivid clarity, Bauldie’s analysis of Dylan’s work reveals a continuous journey.

Forty years on, as a Nobel Laureate, Bob Dylan’s position as one of the great artists of the age is secure, fulfilling Bauldie’s vision. Now it is time to read the only full-length critical study by the foremost champion of Dylan’s art. The Chameleon Poet is a book of its time, but such is its focus on the inner journey of everyman, it’s as relevant today as it was yesterday, and will be tomorrow.

Bill Allison’s introduction sketches a portrait of Bauldie’s life and his ascendancy in the world of Dylan Studies.


ADVANCE COPIES: We are now shipping advance copies of the First Edition Hardback of The Chameleon Poet. (The book won’t go on general release until May 2021). To be amongst the first to read it, order your copy by clicking ‘Buy Now’ above. 

(All major debit/credit cards accepted. To pay by card please follow ‘Proceed to PayPal’ and then click ‘Pay By Credit or Debit Card’ at the PayPal log-in screen. PayPal users can log in and pay with PayPal.)

Wednesday, January 27, 2021



Holocaust Memorial Day is a national commemoration day in the United Kingdom dedicated to the remembrance of the Jews and other minority groups who suffered persecution in the Holocaust, under Nazi genocidal policies. It was first held in January 2001 and has been on the same date every year since.

Tuesday, January 26, 2021



This just in from the simply wonderful Floppy Boot Stomp. You can't fault some early Patti!

Patti Smith Group

California Theater
San Diego CA
Soundboard @320

01. Patti Smith Intro  
02. Jim Carroll Intro---John The Baptist’s Head---I Don’t Come From My Sister 
03. Babelogue---Rock n Roll Nigger 
04. Patti yells at Security---Privilege (Set Me Free)  
05. Banter---Till Victory 
06. Banter---Kimberly  
07. Clear The Aisles---Redondo Beach 
08. The Kids Are Alright 
09. It’s So Hard  
10. Space Monkey 
11. Patti's Rap 
12. 25th Floor  
13. Ghost Dance 
14. Be My Baby 
15. Ain’t It Strange 
16. Time Is On My Side 
17. You Really Got Me 
18. Pumping (My Heart) 
19. Because The Night 
20. Easter---Radio Ethiopia---In Excelsis Deo---Gloria 
21. Encore Break---My Generation 

Patti Smith - Guitar, Vocals
Lenny Kaye - Guitar
Ivan Král - Bass
Bruce Brody - Keyboards
Jay Dee Daugherty -Drums


Jim Carroll - Vocals (Track 2)
Bruce Brody - Piano (Track 2)

Bootleg addiction had this some while back as did Big O in FLAC format but for those of us who missed it try this! its MP3tastic!




Jeff Buckley and Gary Lucas

After checking out the Interview with Gary Lucas that Aquarium Drunkard featured recently it showcased this video and it is really worth a visit not least to see a v young Jeff Buckley but its a fine number and Gary's guitar work is exceptional here from 1992 in the Knitting Factory NYC

the notes say 

Jeff Buckley performing with Gary Lucas' Band, Gods and Monsters at the Knitting Factory in New York City on 22 March 1992. Notes: With Gods & Monsters, Live from The Knitting Factory. This show was broadcast on WFMU radio and hosted by Nick Hill from inside the venue - you can see him during the video with his headphones and broadcast mic. It was also videotaped from a tripod inside the Knitting Factory. Gary Lucas and Jeff play the first two songs as a duo, and then there is a break for a performance by another artist. When they take the stage again, it is as a full band. Until the encores, that is. Jeff stays on alone to sing 'Satisfied Mind' in a very public break from his collaboration with Gary Lucas. Video contains all the additional unbroadcast content. "About a year after the Tim Buckley tribute, on March 13, 1992, Gods & Monsters had a big showcase concert at St. Ann's during which the sound was bad and each fine musician onstage seemed to be listening only to himself. After that performance Jeff told Lucas he was quitting; he would play the rest of the gigs they had booked that week and that was it. Jeff Buckley's final show with Gods & Monsters, to a small audience at the Knitting Factory the following weekend, was filled with tension and barely contained recriminations. One song into the set Buckley told the soundman, "Let's hear Jeff's guitar," and proceeded to hijack Lucas' band for the remainder of the night. As Jeff led the group, Lucas filled in piercing guitar leads and counterpoint. Jeff let loose howling, primal vocals that were, ironically, like the young Robert Plant while Lucas--relieved of leading the group-- played with disciplined abandon, raising the stakes at every hand. It was an amazing set, everything that the St. Ann's showcase had failed to be. It took the grim relief of failure and the anger of a breakup to show what the musical prototype for Lucas to Buckley should have been--not Page to Plant, but James Honeyman-Scott to Chrissie Hynde. One scene-maker leaned over duing the set and said, "If all the A&R people who'd been at St. Ann's were here tonight, these guys would be going home with a record deal." When the last Gods & Monsters song ended, Maimone, Fier and Lucas walked offstage but Buckley hesitated. He then surprised everyone--including himself--by staying onstage and continuing to sing alone. It was a bravura, egotistical move, a violation of all band etiquette, and exactly the right thing to do to establish that he had the guts and the ambition to build his own vision, and that he was not going to be tied to anyone else on his way. When he finished singing, Jeff walked off the stage and across the room to his girlfriend Rebecca. They locked into an embrace in the middle of the club, his head buried in her shoulder, not speaking and oblivious to the people who came up to tell him what a great finale it had been. "It was after that night," Jeff says of quitting Gods & Monsters, "that I knew I needed to invoke the real essence of my voice. I didn't know what it tasted like at all. I knew I had to get down to work and that anything else would be a distraction. In that band there were conflicts. It was really crazy, a desperate situation. I just didn't need things to be desperate. I needed them to be natural." " -- (from the article 'The Arrival of Jeff Buckley: A Talented Young Musician Learns to Navigate the Record Business While Protecting His Music', Bill Flanagan, Musician, February 1994, p97-101).

Full show: https://youtu.be/w4IsHo9Tsdk Gods And Monsters - Cruel | St. Ann's Church, Brooklyn, NY, 3/13/92: https://www.youtube.com/watch?v=aoKwC... #JeffBuckley #GaryLucas #KnittingFactory

and mostly just because I think this live TV performance is quite extraordinary but there's this from the BBC 2 Late Show and it came up after playing the above video of Gods & Monsters  . . . . . . . 

Monday, January 25, 2021



[Newsletter highlights]

Renaldo & Clara (42 Years Later)
Last week, the Criterion Collection released its edition of 2019's Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsesea semi-fictionalized mythic daydream which draws heavily from footage shot for Bob Dylan's Renaldo & Clara, which premiered January 25th, 1978—42 years ago—in its original three hour and 52 minute incarnationLargely improvised, it didn't exactly set audiences or critics raving—Pauline Kael labeled Dylan's on-the-fly approach "a lazy, profligate way to make a movie; the technicians are forced to try to compensate for the fact that nobody has done the thinking." Maybe Bob agreed, as he allowed a shorter version to be cut before shoving the whole thing in the archives, but the original film is out there with all its drifting curiosity, if you want to judge for yourself. 

Gary Lucas: The Aquarium Drunkard Interview
With a new career-spanning collection in tow, guitarist Gary Lucas joins us for a discussion about his work with Captain Beefheart, Jeff Buckley's Grace, and teaming up with Arthur Russell and...Vin Diesel? 

In 2017, astronomers were baffled by Oumuamua, the first observed object from interstellar space. Harvard astronomer and Avi Loeb posited that the most rational, conservative explanation is that ‘Oumuamua was produced by an alien civilisation." New Statesman speaks with Loeb, who's written a new book, Extraterrestrial: The First Sign of Intelligent Life Beyond Earth, about why he thinks the next such object could be spotted soon—and why he thinks there's a lot more of them out there. BLIMEY!

MILES DAVIS in 1959, attacked by police

 I know this has been around for an age but this has been preying on my mind of late. There is an amusing side, at hopefully my own expense, but I recall being shocked by an Interview in Rolling Stone where Miles Davis expressed his distaste for white people and supported the principles of black power and in retrospect at the time I was offended (poor me!) . . . . I might have chosen to dig a little deeper as to why he particularly held the views he did at the time and here is the answer (one amongst many!?)


I was six years old when this took place and blissfully unaware of such things.  Safe and sheltered in my white middle class southern suburban English village had yet to witness or even be aware of such horrendous and entrenched racist violence. Davis will have doubtless faced it or similar every day of his life . . . . . . . 

Kris Kuksi - New Artwork

Kris Kuksi 

Another in an occasional series of art found on the web and here via Instagram. Check this extraordinary artwork from Kris Kuksi

Kris Kuksi, New Works.

Two new sculptures by artist Kris Kuksi, available at Joshua Liner Gallery.

In his practice, Kris Kuksi juxtaposes Baroque and Rococo design principles with the rigidity of the industrial landscape and classical architecture, to explore religion, culture, war, industry, and death. To create these intricate assemblages, Kuksi sources model kits, jewelry remnants, figurines, and kitsch statuary from all over the world, meticulously arranging them into complex, multilayered compositions. The artist often alters these mass-produced objects by fusing them together to make anachronistic figures. It is not uncommon to discover mechanized humans or Roman Generals wearing gas masks. After securing all the pieces, Kuksi unifies the hundreds of disparate components together by adding layers of paint to achieve a weathered patina. 

When encountering Kuksi’s frieze-like wall sculptures from a distance, the work resembles architectural ornamentation from the Belle Époque, characterized by decorative frills and ornamental beauty. On closer inspection, however, individual narratives emerge from each sprawling work, revealing what the artist describes as “historical narratives, biblical subjects, animal worship, architecture, symbolic views on commerce and development, as well as human psychology and behavior.” It is the combination of Kuksi’s elegant forms with macabre themes which allows his work to be at once peaceful and violent, beautiful and grotesque. 

Kuksi’s micro and macro dimensions unfold into a boundless world of infinite narratives, carrying the familiarity of history, with elements collected from discordant paths and different moments in time. The extreme density and multiplicity in the artist’s assemblages not only reward close looking; it makes the viewer just as much a part of the artwork as the characters who inhabit these fantastic and otherworldly landscapes.


Be sure to follow Supersonic Art on Instagram!

Sunday, January 24, 2021

David Gilmour 1984 Hammersmith Odeon - Hear Rock City



Nice tape from Hear Rock City this morning, solo Floyd guitarist (as if you didn't know) Gilmour and his legendary appearance at the Odeon

David Gilmour - Hammersmith 1984 - Hear Rock City

  1. David Gilmour: Guitars, vocals.
  2. Mick Ralphs: Guitars, vocals.
  3. Mickey Feat: Bass Guitar, vocals.
  4. Raff Ravenscroft: Saxophones, keyboards, percussion.
  5. Gregg Dechert: Keyboards, vocals.
  6. Chris Slade: Drums, Percussion.
  7. Jody Linscott: Percussion.
  8. Roy Harper: Vocals on "Short and Sweet" and percussion on "Comfortably Numb".
  9. Nick Mason: Drums on "Comfortably Numb".

Comfortably Numb

Perfect for a Sunday here and the ground is covered in snow . . . . . . . . its quiet and I am feeling comfortably numb . . . . . .

Saturday, January 23, 2021

Brandi Carlisle sings 'The Times They Are A-Changing' for the UN 75th Anniervsary

      Playing for change logo

The Times They Are A-Changin’ |

 Peace Through Music

The Times They Are A-Changin' | Brandy Carlisle w/Mike McCready (Pearl Jam) | Playing For Change

Written more than 50 years ago, the Bob Dylan classic “The Times They Are A-Changin'” is as relevant today as it was then. We invite you to enjoy this touching rendition performed by Brandi Carlile along with Mike McCready (Pearl Jam) from our recent event, celebrating the 75th anniversary of the UN, Peace Through Music. 

Change is inevitable. It’s up to us to create change that uplifts, change that betters ourselves and humankind, and change that is for the good and for the love of everyone. Let’s stand strong, united in one love, and be the positive change we want to see in the world.

Clowntime is Over - Elvis Costello


 . . . . . . . . . 

and just because . . . . . . . . . . don't think I saw David Lee Roth here?

a hint about the next posts is hidden here

Friday, January 22, 2021

The Incredible String Band on The Julie Felix Show 1968



"The Half Remarkable Question" & "Painting Box''

Quite rare footage of the ISB playing 2 tracks on the Julie Felix show 1968 the first track is written and sung mainly by Robin Williamson and the second track is written and sung by Mike Heron, Julie Felix joins in on this second track.

Robin's 'The Half Remarkable Question' always reminds me of this painting by Paul Gauguin and of course being a painting it is reflected in Mike's 'Painting Box' . . . . . . . . . 

Where do we come from? What are we? Where are we going?

Paul Gauguin, Where do we come from? What are we? Where are we going?, 1897-98, oil on canvas,
(Museum of Fine Arts, Boston)

Julie who passed away last year in March aged 81 was a unique and influential voice on television and early on had surprise guests of great interest and quality and we always watched out for her shows. Among those featured on her show were the Kinks, Fleetwood Mac, Leonard Cohen and Led Zeppelin's lead guitarist, Jimmy Page, who played the "White Summer" and "Black Mountain Side" guitar solo pieces. She will be missed. Mike and  Robin are still very much playing music.
Led Zeppelin (I know?!) named Incredible String Band as a major influence, especially Robert Plant.

The Incredible String Band - Retying The Knot part 1 (1997 BBC Scotland)

The Incredible String Band - Retying the Knot part 2


I first encountered the world of therapy at a previous work place in the late 80's early nineties where the head of Human Resources - or Personnel as we used to call it ( I am NOT a resource!? Still don't care for the term and feel it belittles and adds to social control calling staff "resources" but hey I digress.) I lost my brother shortly after the death of my Dad who had died through having been on a waiting list of years to have triple by pass surgery at Harefields' Hospital thanks to Thatcher and her impositions on the NHS ( yes even then) and I struggled with a variety of issues around losing my brother so soon after losing my dad some year or more between them. 

Head of Personnel then was a wonderful person, a woman who had trained under the legendary Metanoia Institute, and she spotted something in me that made her quiz me and ended up giving me bereavement counselling therapy for and on behalf of the company for which I am eternally grateful and like so many who come across therapy this way, it was later when considering a change in professional direction, that I re-trained and qualified as a counsellor/psychotherapist myself and spent the least twenty years of my professional life with my own practice and worked in the fields of social care where those skills I learned were put to good use. From an extraordinary Rehab in The Ley Community nearby to working later with addiction and the local initiative SMART-CJS (Substance Misuse Arrest Referral Team) the socially disadvantaged hostels and homeless sectors too, desirous as I was to give something back. 

The person who gave me that therapy did not obviously charge me anything for my counselling sessions and they opened up my head in ways that only later would I fully come to understand more completely but she asked me for one thing when we finished working together. As I had done an elaborate drawing on handmade paper of some size during a therapy session which seemed to take her by surprise as she discovered my talents in the arts and she asked if I would do a drawing for her. I gave her the option of one or two and she claimed to not like those or understand them particularly and so I did a pastel 'painting' as we might once have called a drawing in that media, specifically for her of a 'genre subject', as she had a passion for gardening and loved the Monet gardens at Giverney.

This drawing which I had quite forgotten I had briefly photographed (and wish I had kept a copy of my therapy drawing too) I found a little snap of earlier on yesterday

This was for Angela Chris:

Large floral piece - pastel on handmade paper, for Angela Chris ©️Andy Swapp