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

Friday, April 30, 2021

FRED NEIL - 38 MacDougal - Aquarium Drunkard

Nice advert for a Bandcamp release of Fred Neil's rare '38 MacDougal' album (1965)

Fred Neil :: 38 MacDougal

The only problem with Fred Neil’s music is that there’s not nearly enough of it. That’s why even a brief, informal session like 38 MacDougal feels like a treasure trove. Taped in 1965 at Neil’s apartment by Peter Childs, who accompanies Neil on guitar throughout, the recently released collection is the equivalent of a private recital by one of the great American singer-songwriters.

Emily Barker - FLIGHT PATH RHYMES - Released today!

Emily Barker
Emily Barker

Emily says: "Hello

I'm happy to say that today is the day Flight Path Rhymes is set free into the world."
Flight Path Rhymes by Emily Barker
Available exclusively from my Bandcamp page, it is a reimagining of the songs from my album A Dark Murmuration of Words.

Flight Path Rhymes was recorded with my husband, Lukas Drinkwater, at our studio in Stroud. Alongside the new versions of the songs, it features a reading of a poem called 'Murmuration Songs,' which I wrote as a means of tying together all the themes.

I hope you enjoy this new album as much as Lukas and I enjoyed creating it.

You can listen to the whole album now on Bandcamp, where you can also purchase it as a download or on CD if you like!


Listen (and buy!) Emily's wonderful 'new' album Flight Path Rhymes' out today!
Its a beauty and the thought occurs to me I am not sure of anyone doing a project quite like this but after the release and work on her previous album which I may have, mentioned as being perhaps her best and most mature piece of work to date, and with lock down being what it was/is had caused her to revisit the songs thereon and start writing some poetry [as opposed to lyrics] and using this as a jump off point reconfiguring /re figuring the works piece by piece into quite different pieces of music. Do we know any artist who has done something similar? I cannot think of any . . . . . . . . 

Both are beautiful heartfelt and the second 'piece' a joint work with her now  husband the wonderful fellow musician, Lukas Drinkwater.

Thursday, April 29, 2021

The Polyphonic Spree - AFFLATUS - 'The Visitors' by ABBA!

 then I heard this track from The Polyhonic Spree who I like and are up there with Yo La Tengo for covers bands I like, this from their new album 'Afflatus' a cover of ABBA's The Visitors (Cracking up) which is quite possibly the most mysterious and fascinating of the ABBA songs. Never really a fan of the pop meisters this is truly extraordinary by this wonderful if somewhat weird (sic) looking band . . . . please someone tell me they're not in a cult!

The Polyphonic Spree

If you only listen to one song today make it this . . . . . . 

Lou Reed - Live Cleveland, OH. 1980 - Voodoo Wagon



Lou Reed - Agora Theatre
May 27, 1980
Cleveland, OH.
Soundboard @320

Disc 1

D101  Sweet Jane
D102  I'm Waiting For The Man 
D103  Coney Island Baby
D104  Vicious
D105  Perfect Day 
D106  Heroin
D107  How Do You Speak To An Angel? 
D108  Berlin
D109  The Kids 4.53

Disc 2

D201  How Do You Speak To An Angel?
D202  Heroin
D203  The Power Of Positive Drinking
D204  My Old Man
D205  Applause and Crowd Banter
D206  The Bells
D207  Pale Blue Eyes/Band Intro/Pale Blue Eyes (cut)

Lou Reed: guitar, vocals
Chuck Hammer: guitar synthesiser
Stuart Heinrich:guitar
Michael Fonfara: keyboards
Ellard "Moose" Bowles: bass
Michael Suchorsky: drums

Silent Way also posted a video from the period too which frankly is hilarious! What IS Uncle Lou ON?!

Jefferson Airplane - Long Beach CA 1975 - Big O

 Yesterday I found that Big O featured a concert from Jefferson Airplane from the vaults of Mike 'The Mic' Millard the legendary taper and as audience recordings go his are amongst the best. It is highly listenable at the least

Big O says:

+ + + + +

Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77.

Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.

That all changed with the discovery of many of Mike Millard’s original master tapes.

Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992.

The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?

The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.

+ + + + +

Jefferson Starship - Long Beach Arena, Long Beach, CA; May 25, 1975

For Volume 75 of the Lost and Found series it only seemed right that we reach back to the year 1975 where we found this compelling document of Jefferson Starship at the Long Beach Arena.

This show was actually intended to take place in LA’s Griffith Park, paralleling the band’s gig at NYC’s Central Park 12 days prior. But it seems then Los Angeles Police Chief Ed Davis had other ideas and pulled the permit. This is the same Ed Davis who was accused of encouraging over-policing and harassment that led to 500+ arrests when Pink Floyd played the Sports Arena one month later.

Davis’ action forced Starship to relocate the show on short notice to the Long Beach Arena where Jim R and Mike procured third-row seats on the aisle, which Jim reminds “made it easy to get rid of the wheelchair once we were in.”

>From their sweet spot, Mike captured another recording that justifiably rates as “Millard” quality. It is up close, with clear instrument separation and an uncanny lack of audience noise.

While I am not particularly fluent in Jefferson Airplane or Starship other than the basic facts, I was pleasantly surprised by this performance which is a spirited mix of the latter’s current material and the former’s still meaningful songs. Grace Slick is in fine voice (especially on “Better Lying Down” and “Somebody To Love”), Papa John Creach is good fun and the playing is very strong indeed.

Like many mid-’70s rock shows, the long bass and drum solos feel out of date now, but the counter-culture spirit doesn’t. This one just might surprise you.

+ + + + +

Bob Dylan - Concert For Bangladesh Outtake - Love Minus Zero (No Limit)

 and whilst I was there I found this from Bob (with George Harrison and band with Leon Russell on bass!) playing the Madison Square Gardens as guest on George's Concert For Bangladesh!

What a beautiful performance and presumably from the earlier rehearsal . . . . . . . . . . . . 

Leonard Cohen - IF IT BE YOUR WILL - by Anohni


Then I found this . . . . . . . . . . . . .so I listened to that!

From the wonderful film of the tribute to Cohen and here sung by the ethereal and uniquely talented Anthony Hegarty now going by just Antony aka Anohni who identifies as female [with the pronoun she] as a part of Hal Willner's Came So Far For Beauty concerts at the Sydney Opera House in 2005 Anohni sang 


The Grateful Dead - Las Vegas Silver Bowl 1991 Vols I & II - So Many Roads

Yesterday I are bin mostly listening to The Grateful Dead . . . . . . . . . . . . . . . . . . . . . . . .

Two great sets from  So Many Roads superb soundboard quality and great set lists from Las Vegas back in 1991 at the Sam Boyd Silver Bowl April 27th and 28th

and then yesterday this one from the following day

Really good addition to anyone's Dead collection highpoints all round too many to list or mention and it was just nice to sit on back and choogle (it's a word!) along with the Dead in the prime again here

So Many Roads says:

As long time readers of this blog know, I've spent numerous posts discussing the Dead's renaissance between 1989 and 1991. The number of official releases from that period is a testament to the caliber of the band's performances in that era, as they include:
  • a show from Philadelphia from July 7, 1989
  • the Giant Stadium Shows from July 9 and 10, 1989
  • The 2 night stand at RFK Stadium from July 12 and 13, 1989
  • the famed Warlock shows in Hampton Virginia on October 8 and 9, 1989 
  • the Meadowlands NJ concert on October 16, 1989
  • the Landover, Maryland show on March 15, 1990 
  • the Knickerbocker arena run from March 24 to 26, 1990; 
  • 2 (yes 2) box sets from Spring 1990, featuring every show from that tour - the only other tour to be released in its entirety besides Europe 1972
  • a show from from Mountain View CA from June 16, 1990
  • a show from from Pittsburgh from July 8, 1990
  • the Madison Square Garden concerts from September 14 to 20, 1990. 
  • a show from Paris from October 27, 1990 
  • a show from Washington DC from June, 14, 1991
  • the Giants Stadium shows from June 16 and 17, 1991
  • a show from Pine Knob from June 20, 1991 
  • a show from Madison Square Garden from September 10, 1991, featuring Bradford Marsalis 
  • a show from Boston Garden on September 25, 1991 
Without a doubt, these 3 years marked the last great run of the Dead's incredible career. So with that as backdrop, we'll bring you 2 shows from the Dead's Spring 1991 run, from Las Vegas,  starting with this soundboard recording from April 27, 1991, 2 decades ago today. 

Tuesday, April 27, 2021

Emily Barker - 'Flight Path Rhymes' - 'Goodbyes'

Emily Barker
Emily Barker


I hope you're keeping well.

With just a week to go before Flight Path Rhymes is released, I thought I should share another song with you...

This reimagined version of 'Any More Goodbyes' features some subtly strong double bass playing by Lukas Drinkwater and some banjo (inspired by Neil Young's For The Turnstiles) by me.

Take a listen:


Al 'Blind Owl' Wilson - Canned Heat - Plain & Fancy




Canned Heat meant a great deal to me ever since waking up to them at three in the morning ( I think) at one of the UK festivals in the late sixties
I bought their albums and several singles and tried my best to copy the blues sound they helped keep alive. The thing that fascinated me was Al and Bob who formed the band - Al's high and lonesome blues vocal and Bob The Bear's growling hard rockin' blues. 'Going Up the Country' versus 'Lets Work Together' both of which I bought when they came out . . . I loved them  . . . . . they were US and there was a touch of amateurish blues fans like we all were. but this is a tribute to Al who shone and shot across the night sky like a little starry rocket, gone to soon. This from Plain & Fancy who have shared a beauty of a biog from the website (see below) and two discs of sheer unadulterated Blues! If John Lee thought you were keeping the torch alive then that's good enough for me

Can you dig it? I think you can!

Al 'Blind Owl' Wilson Biography

Cofounder with Bob 'The Bear' Hite of Canned Heat

Alan Wilson is widely remembered as a pioneer of blues-rock during its crucial development period of the 1960s. Wilson’s devoted fans considered him one of the most brilliant, innovative, and sadly under-recognized artists of his era. His recording career spanned only three years, cut short in 1970 by his untimely death. Despite this, he left behind a rich legacy of inspiration to fellow artists, music scholars, and listeners alike.

Born July 4, 1943, Wilson was the second child of Jack Wilson and Shirley Brigham Wilson. His parents divorced when he was four years old and he and his sister, Darrel, remained in their Arlington Massachusetts house with their father and their maternal grandmother, Julia Brigham. Jack married his second wife, Barbara. Barbara and Jack raised Alan and Darrell along with the three children they had together. Shirley also remarried and raised three daughters with her husband, Joe Konecny. In 1954 Shirley moved to New York State, and remained in contact with Alan, Darrell and the Wilson family, visiting back and forth over the years.

Alan’s exceptional intelligence was obvious at a young age. His musical inclinations became apparent when Barbara bought him a jazz record, and he immediately began analyzing what he heard. He learned to play the trombone and taught friends how to play the other instrumental parts of the arrangements.

As a teen, he played trombone in a jazz band he formed called Crescent City. It was the beginning of a lifetime of music scholarship and instrumental prowess. He shared his interest in jazz during summer visits with Joe and Shirley, bringing his favorite LPs to enjoy. Shirley and Joe both played piano and Joe taught vocal and instrumental music in the local school district.

Though his musical explorations began with the trombone and focused largely on instrumental jazz music, Wilson soon discovered the related genre of blues. The first blues record to move him deeply was a Muddy Waters LP, which he appreciated for the power and authenticity of the vocals as well as the slide guitar and harmonica. He began to teach himself both these instruments. Over the years he developed an interest in other genres, including Asian forms, African-American gospel, classical, rock, and pop music among others, but his own primary form of musical expression was the blues. Eventually he would give up trombone, and focus on the guitar and harmonica.

Although Alan’s unusual singing voice would be apparent in the unofficial theme song of the Woodstock Festival, “Going up Country,” some of his first singing attempts took place behind a closed bedroom door at home. When a family member overheard him, he was embarrassed. With a style that took its cue from high-pitched blues singer Skip James, Alan’s vocals would end up making Canned Heat’s hit songs instantly recognizable.

In 1961, Alan attended Boston University after graduating from high school. His academics earned him a National Merit Scholarship and a scholarship from the Town of Arlington. 

After a year and a half, anxious to play music rather than study it, he quit school. To make ends meet, he worked with his father as a bricklayer and occasionally gave guitar or harmonica lessons. It was an exciting time, for Alan was immersed in the fertile musical environment of the “folk revival” that was happening in local Cambridge, Massachusetts in the early 1960’s.

Around this time, Alan’s interest in the blues led to his participation in the revival of old blues artists and their music. When newly rediscovered bluesman Booker White played a series of Cambridge gigs, Wilson took the opportunity to interview him. From White, he learned that the seminal 1920s bluesman Son House, teacher to Robert Johnson and Muddy Waters, was still alive. As a result of this interview, efforts to locate Son House were successful.

When Son House came to Cambridge, Alan helped resurrect guitar parts and songs that the elderly man hadn’t played in decades, due to his decline into alcoholism. Thanks in large part to Alan’s assistance and inspiration, House recorded a classic album for the Columbia record company and enjoyed a successful career playing for “blues revival” audiences. Alan would later appear on two of Houses’ albums, “Father of the Delta Blues” and “Delta Blues and Spirituals,” playing harmonica and guitar.

Another figure involved in this scene was the quirky, iconoclastic guitarist John Fahey, who had been involved in the rediscoveries of Skip James and Booker White. In later years, he would become known as a founder of the “American Primitive” guitar style. In 1965, Alan had been listening to Fahey’s records, and at a gig in Cambridge the two struck up a friendship that would change Alan’s life.

Fahey was attending UCLA and writing a thesis on Charlie Patton, who is nowadays known as the “father of the Delta blues.” Recognizing Alan’s interest and scholarship, he asked Alan to accompany him back to California to help him with music theory and notation for the thesis in exchange for room and board. Alan accepted the offer and moved to Los Angles with Fahey.

On the journey, the forgetful Alan Wilson left his eyeglasses in Massachusetts. Because of his poor vision, Fahey began calling him “Blind Al”, in the style of old-time blind musicians such as Blind Lemon Jefferson, Blind Willie Johnson, Blind Blake, and so on. Eventually, because of Alan’s roundish facial features combined with his scholarly nature, the name became “Blind Owl”. In later years, it became Alan’s blues moniker with Canned Heat.

In Los Angeles, Fahey introduced Wilson to a record store manager named Bob Hite who had an encyclopedic knowledge of music, and a record collection that some have recalled as one of the world’s largest at the time. Hite sang the blues in a classic “belter” style comparable to that of Big Joe Turner. He was a natural musical complement for Alan. The two men could not have been more different, however, in terms of their personalities. Hite was loud and outgoing; Wilson was quiet and introverted. Alan was the meticulous creator of music; Bob was the over-the-top showman. Their partnership, though, provided an unlikely balance, and was the basic chemistry for Canned Heat.

Hite and Wilson decided to form a jug band along with Fahey. When someone proposed the idea of going electric, Fahey lost interest, and would be replaced by a short succession of electric guitarists culminating with Henry Vestine. With influences from Albert King, Albert Collins, B. B. King, and other masters, Vestine made his guitar speak a psychedelic blues language that fit perfectly with Wilson’s concept for the band and the music of the era.

The band decided to name themselves after an obscure record by 1920s-era bluesman Tommy Johnson. Thus, they were originally “The Canned Heat Blues Band”, but after discovering that local interest in blues was tepid at best, decided to shorten this to “Canned Heat.” With a lineup of Hite on vocals, Wilson on bottleneck, rhythm guitar, and harmonica, and Vestine on lead guitar, they were made complete by bassist Larry Taylor and drummer Frank Cook. In this incarnation, they played local fraternity events, private parties, and the like. Eventually they played a party where they caught the attention of Hollywood agent Skip Taylor, who became their manager.

In 1966, the band had recorded a batch of demos for R&B producer Johnny Otis. For the time being, the songs were shelved, and would eventually be released on Janus Records in 1970 as Vintage Heat. But their first official LP release came when Skip Taylor secured a recording contract with Liberty Records.

The album, Canned Heat, stayed true to the band’s blues roots, presenting material going back as far as the 1920s in a modern, electric band format. It included songs like “Big Road Blues”, “Catfish Blues”, and “Rollin’ and Tumblin’”. The only item featuring Wilson’s vocals was a version of Sonny Boy Williamson’s “Help Me”.

Canned Heat’s first nationwide tour included the historic Monterey International Pop Festival. The national tour was suspended briefly due to a drug bust in Denver. The arrests did not include Alan, who was outside collecting leaves while the other band members partied in their motel rooms with, unbeknownst to them, undercover drug agents.

This retreat into nature was not uncommon for Alan. It may have been his shyness and social awkwardness that made him feel more comfortable when surrounded by nature, or reading books on botany. He felt ill at ease with the rock and roll lifestyle, not knowing how to relate to women as his band mates so easily did.

Alan had a special love of trees, and now that he lived on the West coast, found a virtual heaven on earth in the ancient coastal redwood forests. In 1969, Bob Hite gave him a camper for his birthday, knowing how Alan would go off into the woods during his time off tour. He usually spent his nights outside in a sleeping bag, often cooking his dinner of brown rice over a portable stove. He also had an interest in yoga, and was known to practice yoga positions and breathing exercises often which he felt improved his harmonica playing.

In late 1967, drummer Frank Cook was replaced by Fito de la Parra, whose affinity to the blues would prove essential to the “classic” Canned Heat sound. This lineup recorded their third album in 1968, Boogie With Canned Heat, and released a single containing an unusual raga-like harmonica blues, “On the Road Again.” Alan not only sang the lyrics, but played a variety of instruments, layered in multiple tracks. This song expressed his deep interest in classical Indian music. Musicologically, it has certain key affinities with pentatonic blues, which Alan recognized and used to good effect here.

Surprising everyone and breaking out as a hit in Texas before spreading nationwide, “On the Road Again” peaked at number 16 on the Billboard Hot 100. In the UK, it reached number 8 on the singles charts, forecasting Canned Heat’s immense popularity there and in Europe. This was quite an achievement given the tunes unusual sound compared to other popular music of the era.

At this point, Wilson’s musical expertise was guiding the group’s musical direction. The 1969 album, Living the Blues, featured  “Going Up Country” which reached number 11 on the singles charts and would become the unofficial theme song of the Woodstock Festival movie soundtrack. For decades, it has been used in movie soundtracks, television commercials, and other media worldwide, and for many represents the “hippie” era of the 1960s. Other songs on the album showed the band’s interest in experimentation and psychedelia.

The success of the hit “Going Up Country” and the band’s previous performance at the Monterey Folk Festival no doubt secured the invitation of Canned Heat to appear at the Woodstock Festival in Bethel, New York, in August 1969. Just prior to the event, lead guitarist Henry Vestine, whose performances had begun to suffer from drug and alcohol abuse, left the band and was replaced by Harvey Mandel, a Chicago guitarist noted for his innovative approach to blues and jazz-influenced rock. The  Harvey Mandel era of the band saw the release of the Future Blues album along with successful and lucrative tours across the US, UK, and Europe. 

Despite the band’s commercial success, on a personal level, Alan Wilson was suffering. An extremely sensitive individual, he had long been prone to depression, and struggled to interact with others on mundane social levels. An inability to find a suitable romantic partner also weighed upon him, and at various times he considered leaving Canned Heat.

To contribute something for the world of a nature he loved, which he saw increasingly endangered by pollution and urban sprawl, Alan decided to create a conservation fund. Music Mountain, as it was called, was an organization to raise money for the preservation of the coastal redwood, his favorite tree species. The liner notes for the album Future Blues, written by Wilson, celebrate the beauty of the redwood forest and beseech the reader to contribute to the Music Mountain cause.

By the time lead guitarist Henry Vestine returned to the band in 1970, Wilson had begun expressing suicidal thoughts. He sought help through a therapist, as well as inpatient treatment for a period in a psychiatric hospital. Though he was treated with some of the antidepressants of the time, he also continued to self-medicate a sleeping problem by using illicitly obtained barbiturates.

Fulfilling a lifelong dream for the band, Canned Heat teamed up with John Lee Hooker in May 1970 to record a double album. This also served as an effort to engage Wilson, providing him with some musical satisfaction and the accomplishment of recording with one of his artistic idols. The resulting album, Hooker N’ Heat, was critically acclaimed.

On September 2, 1970, Canned Heat was scheduled to leave for a European tour. Alan didn’t show up at the airport, which didn’t raise immediate alarm because he was often late and disorganized in the past. This time, however, he would not appear. On the morning of September 3, a group of friends found him dead in Bob Hite’s backyard. He was 27 years old.

The backyard of Bob’s home in Topanga Canyon had been one of Wilson’s regular haunts when the band was in Los Angeles, with a hillside covered in trees and bushes where he liked to sleep. It was there that he was found in his sleeping bag. In his pants pocket were a few of the barbiturates he habitually used to get to sleep. The Los Angeles coroner ruled his death “accidental acute barbiturate intoxication.” Some close to him felt that his death was no accident, recalling his recent depression and hospitalization. Others, like the coroner, thought that evidence of a suicide was insufficient, and that the circumstances point to a tragic accident.

We will never know what Alan Wilson was thinking that night, as he unrolled his sleeping bag and looked up at the stars one last time. What we do know is that he was a talented musician and musicologist who promoted the revival of early Delta blues and left his own permanent mark on the blues and the music of the late 1960s. He was an environmentalist at the beginning of the modern environmental movement. He struggled with emotional issues and social awkwardness, and his life was cut short either accidentally or recklessly as a result of drug use. We also know that he was and still is loved, remembered and missed by his living relatives, including Barbara, Shirley and Joe,  his sisters and brother, Darrell, Heidi, Lisa, Nicole, Sharon, David, Jayne, and all his nieces and nephews who never got to know him. We hope that this web site is a fitting tribute to his life.

Canned Heat - On The Road Again

Canned Heat - Going Up The Country 

Canned Heat - Lets Work Together

Canned Heat - At Woodstock - Refried Boogie 

Al Wilson and Canned Heat - My Time Ain't Long

Sunday, April 25, 2021

From The Vaults 1984 Episode IV with Guy Garvey - TALK TALK - Mark Hollis





Elbow frontman and broadcaster Guy Garvey lifts the lid on two decades of TV gold – with era-defining musical performances, long lost studio appearances and revealing interviews that have remained on the shelves for decades. 

I've been watching Guy Garvey's From The Vaults on Sky Arts television and enjoying it immensely. It does seem to contain genuine elements that have never been seen before largely from The Tube and other similar programmes Being an Elbow fan it was always going to appeal and Garvey is a fine frontman to such a programme

We got up to Episode Four yesterday and 1984 where we looked at The Style Council with a previously unseen 'Shout To The Top' and it finished with someone Guy obviously admires above many others in Talk Talk's sadly missed Mark Hollis with some deeply moving comments and clips


1984: Guy looks back at 1984 and Madonna's first British TV appearance, unseen performances from Sade and The Style Council, Culture Club's Japan tour footage and more. 

I Believe in You - Mark Hollis

This is the Clip from From The Vaults

Hollis retired from music to spend more time bringing up his children in 1998 and his untimely death in 2019 was a shock to us all

I had I am ashamed to say forgotten recently just how great Talk Talk and Mark Hollis' songwriting was and he is much missed and we are unlikely to see his like again. Thanks to Guy's most welcome reminder

VOODOO WAGON covered Hollis' Death and posted a couple of things really worth checking out.

Mark Hollis

Velvet Underground rarity surfaces! (or does it?)


UPBEAT 1967?


Guess I'm Falling In Love fake live version?


What do YOU think?



The Velvet Underground - Upbeat, Cleveland, Ohio, 1967 (?) 

Just when you think you’ve heard it all … a new mystery emerges. Though it isn’t really that new — this recording has apparently been hiding in plain sight on YouTube since 2014. But it just started spreading around last week. Is this actually audio of the Velvets’ performance on the Cleveland music TV show Upbeat in the summer of 1967? Maybe! Maybe not. Some are suspicious that the teen cheers at the beginning have been tacked on after the fact. But to what end? Just to mess with me?! I’ve mused about this legendary lost performance previously, but assumed it was lost for good. 

One thing’s for certain — this is a previously unheard performance of “Guess I’m Falling In Love” … is it live? A solo Lou demo? (For the record, I think that’s Sterling Morrison taking the guitar solo, and that drums come in very faintly at some point). Having listened to a lot of live VU, Lou’s vocals sound “live” to me … But who knows. Maybe the actual video footage will turn up next! Stranger things have happened. Anyway, it’s cool to hear, whatever it is! There’s some deeper investigation on the Velvet Forum

(Reblogged from doomandgloomfromthetomb)Well it sounds pretty authentic to me . . . . . . I do believe the audience at the end is added and the mix not picking up any discernible sign of bass and drums is an issue but if it were recorded off a TV it works . . . . I have done worse myself! (didn't we all when we used to use a cassette tape player to get the latest charts and Top of The Pops why not some teen who was watching 'Upbeat' and recorded it!

Saturday, April 24, 2021

The Odd Side of Me - Haley - on Death

 DEATH . . . . or not!

One of these pictures is the human remains of a famous mountain climber and one is the remains after many years washed by the sea of a fashion shop mannequin . . . . . . . . which is which? 

I grant you I have a morbid fascination with the human figure in all its form and have drawn from the nude all my life and this includes the cadaver skeletons and skulls and life models, from college to university and to privately hired models at MOMA in Oxford under the sessions arranged by the wonderful teacher Ron Freeborn teasing me me back in the 'Life Room'  after more than a decade. I would always attend a life class . . . . . the human clay, the corporeal always held me sway. The portrait in recent years and the self portrait as life models I can no longer afford means as artists have found immemorial that the first port of call is the mirror to capture the stuff of life, the human form. 

Bodies, Lost & Found:  A volunteer for Ocean hour in Florida was recently walking along the water at Perdido Key when she came across what she thought was a dead, decapitated body. After a closer look she realised it was a mannequin covered in years of shells and vegetation. The accidental marine sculpture has uncanny qualities resembling the mummified corpse of George Mallory, a mountain climber who disappeared on Mount Everest in 1924 and was rediscovered almost intact on the slopes of the mountain in 1999.  (The Odd Side of Me)

 I found these fascinating pictures on the wonderful blog site I follow by 'Haley the Hospice Nurse' who has the most brilliant site posting images I always find intriguing.

The answer of course is that the top picture is a mannequin from a store found washed up on the beach and the shot below is of George Mallory's remains found on Everest after 75 years.

I found other pictures of Mallory's remains and the proved just as fascinating. Something about the snow and freezing temperatures seems to have kept things if somewhat bleached really rather intact somehow . . . . . . 

Sorry credit where credit is due and Haley found the pictures and notes on the weblog of Swedish artist Jonas Liveröd. www.jonasliverod.com

Most recent self portrait sketch Oct 2020