MESSY NESSY Vladimir Tretchikoff - The Green Lady article - Swappers blog
Richard and Linda Thompson - Once Brave Henry 1972/3 - Floppy Boot Stomp
and also this from Floppy Boot Stomp and Brother Jobe again this evening . . . . . a classic early live evening from the man and wife team at the early peak from the time of Henry The Human Fly and I Want To See The Bright Lights comes this . . . . a must from fans of either and both!
From the earliest days of Henry The Human Fly this collection is pretty rarified and perhaps an acquired taste but really worth having for avid Thompson collectors so a most welcome addition chez Swappers mansions! In the recent interview with Joe Boyd, Thompson was teased about his debut and its hokey place in the star's repertoire which didn't seem to go down very well but this contains classics like Dragging The River, psychedelic folk reels like Nobody's Wedding and 'Tunes' but also classics from Thompsons back catalogue like The Great Valerio, The Poor Ditching Boy, Bright Lights, Little Beggar Girl and more.
A kitsch classic the legendary unfinished portrait of Monika Pon Tretchikov's Green Lady beloved of cafe walls and those desirous of pretensions towards class with no apparent taste is due up for auction later next month
It has always fascinated me and is worthy of a second look. Pon is still alive and states she received no money and no fame from being the subject of a great faux classic and frankly why would she?! thee article below is of interest
The reason I posted about the 'masterpiece' was an article in Messy Messy blog and the fact it had come up for sale at auction and the fact that it had hit the common taste and indeed as Warhol had said ‘It has to be good. If it were bad, so many people wouldn’t like it.’
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https://www.messynessychic.com/2021/06/23/the-master-and-his-muse-who-outdid-the-mona-lisa/
https://www.theguardian.com/artanddesign/2013/feb/09/green-lady-monika-pon
From Guess I'm Dumb
The Velvet Underground - Oh! Sweet Nuthin’ (Early Version)
This early version of Oh! Sweet Nuthin’ is very different, prominently featuring a harmonium, with Lou Reed taking the vocals instead of Doug Yule.
Again really good soundboard quality recording . . . . lovely long set with the band and Natalie at their peak.
As So Many Roads say:
10,000 Maniacs 1993-06-27 - #2: As promised, here's part 2 of our Same Tour, Different set featuring the last tour 10,000 maniacs did with Natalie Merchant. This one is a soundboard recording from Richmond from June 27, 1993, 28 years ago today.10,000 Maniacs
10,000 MANIACS - LIVE IN LA 1993 - SO MANY ROADS previous link here
JULY 26, 2021
Family Statement:
Our beloved Jon M. Hassell - iconic trumpet player, author, and composer - has passed away at the age of 84 years on June 26th 2021. After a little more than a year of fighting through health complications, Jon died peacefully in the early morning hours of natural causes. His final days were surrounded by family and loved ones who celebrated with him the lifetime of contributions he gave to this world– personally and professionally. He cherished life and leaving this world was a struggle as there was much more he wished to share in music, philosophy, and writing.
It was his great joy to be able to compose and produce music until the end. We thank all those who contributed to ensuring that he was able to continue expressing his ideas through his final days and maintain a quality end of life.
Jon Hassell was able to leave behind many gifts. We are excited and committed to sharing those ongoing with his fans across time and support his enduring legacy. All donations to Jon Hassell’s GoFundMe will allow the tremendous personal archive of his music, much unreleased, to be preserved and shared with the world for years to come. We also hope to provide philanthropic gifts of scholarship and contributions to issues close to Jon’s heart, like supporting the working rights of musicians.
As Jon is now free of a constricting body, he is liberated to be in his musical soul and will continue to play in the Fourth World. We hope you find solace in his words and dreams for this earthly place he now leaves behind. We hold him, and you, in this loss and grief.
FOURTH WORLD IS
A KIND OF PHILOSOPHICAL GUIDELINE, A CREATIVE POSTURE, DIRECTED TOWARDS THE CONDITIONS CREATED BY THE INTERSECTION OF TECHNOLOGY WITH INDIGINOUS MUSIC AND CULTURE.
THE UNDERLYING GOAL IS TO PROVIDE A KIND OF CREATIVE MIDWIFERY TO THE INEVITABLE MERGING OF CULTURES WHILE PROVIDING AN ANTIDOTE TO A GLOBAL "MONOCULTURE" CREATED BY MEDIA COLONIZATION.
THE UNDERLYING PREMISE IS THAT EACH INDIGENOUS PEOPLES' MUSIC AND CULTURE - THE RESULT OF THEIR UNIQUE RESPONSE TO THEIR UNIQUE NATURAL ENVIRONMENT - FUNCTIONS IN THE SAME WAY AS, AS AN "ELEMENT" IN THE PERIODIC TABLE OF CHEMISTRY: AS PURE BUILDING BLOCKS FROM WHICH ALL OTHER "CULTURAL COMPOUNDS" WILL ARISE.
IN OTHER WORDS, THESE CULTURES ARE OUR "VOCABULARY" IN TRYING TO THINK ABOUT WAYS TO RESPOND TO OUR PLACE IN THE NEW GEOGRAPHY CREATED BY OUR MEDIA WORLD, AND MUST BE RESPECTED RELATIVE TO THEIR IMPORTANCE TO OUR SURVIVAL.
Jon Hassell
http://www.brian-eno.net/ https://jonhassell.com/
The Vinyl Factory - Jon Hassell in Ten Records
RIP to composer Jon Hassell, who passed away June 26th at 84. His sound worlds were at once lush and mysterious. He called it “fourth world” music, a mix of classical Indian music, electronics, jazz, field recordings, and ambient music. In 2020, he joined Jennifer Kelly of Aquarium Drunkard for a discussion about the reissue of his 1977's Vernal Equinox and his attraction to a sort of visual sound design: "The idea of drawing curves in sound, I think, and shapes...It’s a line that’s being drawn and another. You’re holding three pencils at once while you’re drawing on the wall."
My facebook page threw up this posting from my past and once again it had me dancing around the room! How can you not!?
March 26, 2018 | Felix Contreras -- Jenny and the Mexicats is a discovery from South by Southwest a few years ago that I haven't been able to get out of my mind, and with good reason: The band's high energy shows are unforgettable, as is its sound
From the marvellous author [especially of local history here in deepest Oxfordshire] Julie Ann Godson and her fascinating Facebook page comes this factoid about Dylan Thomas. Thomas was a family favourite and I inherited a passion for his writing from my dad who would read various of his works out loud to us as children from Under Milk Wood, Quite Early One Morning and his poetry. We holidayed more than once in Laugharne, Wales where Thomas worked also and we stayed once in the house next door to his and I recall visiting the small shed where he wrote and the house's interior is vividly and indelibly imprinted on my memory as is the surrounding countryside, the estuary and the calling curlews and the thigh deep mud flats when the tide went out. "Poky cottage" seems extraordinarily ungracious and rude of Thomas' comments about the house in South Leigh. I did not know he ever lived so nearby and really should have tried to find the house. The house looks enormous to me and is considerably bigger than the true 'little cottage' in Wales so Dylan's being driven to the local pub by its inconvenient size sounds like an alcoholic's excuse to me!
In the summer of 1947, Margaret Taylor (wife of historian AJP Taylor) purchased the Manor House at South Leigh for poet Dylan Thomas and his wife Caitlin. Here, Thomas wrote most of his play "Under Milk Wood". As ever, he was dissatisfied with life: "My house here, though with such a dignified address, is a poky cottage full of old people, animals, and children. And everyone I want to meet, I have to meet outside somewhere: generally, and preferably, in a pub." In the Mason's Arms, a combined farm and pub during Dylan’s time, his favourite pint, Garne’s light ale, is long gone, as are his companions in the public bar, including farmhand Steve Claridge (who was also the barman), Lionel Drinkwater the cowman and Harry Moody the milkman, who remembers Dylan once asking him to leave bottles of beer on his doorstep, not milk.
Julie Ann Godson
A Curio . . . . . . . . HardTalk from the BBC 24 hour News Station (21 Jun 2021) is known for its hard hitting uncompromising penetrative interviews with mostly politicians so it came as a pleasant surprise to see today the one with Stephen Sackur interviewing Michael Stipe of REM fame and clearly pushing his recent new book of photographs (the third now?) as he explores his recent life under the structures of COVID-19 pandemic
Michael Stipe on BBC 'HARDTALK'
"CAMERA THREE! GO! NOW! . . . . . . . "
LIVING WELL IS THE BEST REVENGE
perhaps the greatest Beatles composition and album work they committed to vinyl . . . . . . . albeit a string of outtakes or bit parts of songs left unresolved as they worked in the Abbey Road studio all sewn together . . . . . . . . . it remains a favourite piece of music of any and all genres. It blew me away when first I heard it and though folks are putting it back in the order it is alleged it was intended (Her Majesty was designed to appear earlier and not as a coda) I still prefer it where it should be on the vinyl at the very end as if an afterthought to catch us out . . . . . . 'put me back into my bag' or rug you fuggin' superman . . . . I say!
Abbey Road is perhaps best known for the eight-song medley that dominates side two. Known during recording as ‘the Long One’, it begins with ‘You Never Give Me Your Money’ – the melody of which recurs during ‘Golden Slumbers’/‘Carry That Weight’ – and culminates with The Beatles’ parting statement ‘The End’.
Several of the songs were recorded as one, whereas others were assembled and edited together at a later date. Those recorded together were Golden Slumbers/Carry That Weight, ‘Sun King’/‘Mean Mr Mustard’, and ‘Polythene Pam’/‘She Came In Through The Bathroom Window’.
John Lennon later expressed dislike of the medley, and claimed he had wanted his songs on one side of the album and Paul McCartney’s on the other.
The concept of the medley came into being at around 6 May 1969, the day The Beatles recorded Paul McCartney’s You Never Give Me Your Money. Rather than give the song a rounded ending, right from the first take it ended sharply, just before where the lines “One two three four five six seven/All good children go to heaven” were later added. The lack of a proper ending suggested The Beatles were already thinking of the song as part of a bigger whole.
