RORY GALLAGHER & ALBERT COLLINS - Jam at Nyon Switzerland 1983 :: FLOPPY BOOT STOMP

 Mo' BETTER BLUES

Well we have had a blues month and no mistake with loads of Rory Gallagher but here's a special treat, a live Swiss jam session with Albert Collins! 

From the Boss over at Floppy Boot Stomp and let me tell ya he knows what he's talking about . . . . . . . 

Albert and Rory 

Rory Gallagher and Albert Collins - Live in Nyon 1983 - FLOPPY BOOT STOMP

Albert Collins & Rory Gallagher

Paleo Folk Festival
Nyon, Switzerland

July 22nd, 1983

Tracklist
01 Jam One [09:13]
02 Jam Two [25:43]

Albert Collins - Rory Gallagher Johnny Cayden :Bass Casey Jones : Drums Rod Noll :Guitar

Dr John & The Nighthawks, The TLA, Philadelphia, PA, 1981 - Soundaboard

 IS THERE A DOCTOR IN THE HOUSE?

What we need when it's quite WARM! Is a Dr on hand . . . . . . . . . . . . . . . . 

Dr John and The Nighthawks 1981 - Soundaboard

The TLA, 

Philadelphia, PA,  1981

 SET LIST:

Dr. John With The Nighthawks  01 - Touro Infirmary  Swanee River Boogie.mp3

Dr. John With The Nighthawks  02 - Nighthawks Intro  Tipitna.mp3

Dr. John With The Nighthawks  03 - Iko Iko.mp3

Dr. John With The Nighthawks  04 - Right Place, Wrong Time.mp3

Dr. John With The Nighthawks  05 - Junko Partner.mp3

Dr. John With The Nighthawks  06 - Such A Night.mp3

Dr. John With The Nighthawks  07 - Come On (Let The Good Times Roll).mp3

Dr. John With The Nighthawks  08 - Wang Dang Doodle.mp3

Dr. John With The Nighthawks  09 - Unknown.mp3

Dr. John With The Nighthawks  10 - Cow Cow Blues  Mess Around.mp3

LITITZ MENTO BAND - Dance Music and Working Songs from Jamaica - ZEROSOUNDS [+ Stanley Beckford]

 Rare as hen's teeth compilations exist but whole albums dedicated to one band of Mento masters are pretty few and far between. I think I posted some Stanley Beckford (earworms and then some people) a while ago but this is fun too . . . . . . 

here at Zerosounds

For anyone unfamiliar with Mento the notes over at Zero G are worth a read . . .:

Though often erroneously regarded as simply a variation of Calypso, Jamaican Mento is a distinct musical style that developed independently from its similarly styled Trinidadian cousin. The genre remained Jamaica’s most popular form of indigenous music from the post war years up until the development of Shuffle Blues and its immediate successor, Ska, in the early sixties.

As late as the 1960s the cheerfully elated rhythms of mento would be found at every village festival. In the age of modern and Afro-American pop music, however, the most important and oldest folk tradition of Jamaica - which developed from the displaced Africans’ contact with European music - has fallen increasingly into the shadows. With violin, banjo, guitar, and rumba box this famous Jamaican group presents a piquant potpourri of mentos, folk tunes, religious songs, and American hits. The songs are not infrequently lewd, and they treat daily life with humor and satire.

The album was recorded on July 16th 1992 at the studios of Sender Freies Berlin with Gerald Myers(banjo), Clement Smalling and Sonny Borriel (guitar), Theodore Miller (violin), Cleveland Salmon (rumba box) and Jerome Williams on vocals.

Tracklist: 

1 Quadrille (Instrumental) 17:00 

2 Born Jamaican 4:46 

3 Rivers Of Babylon / Lion Of Judah 6:02 

4 Man Of Montego Bay 4:01 

5 Island In The Sun 2:20 

6 Day Oh! 3:52 

7 Fan Me Soldier Man 2:12 

8 Linstead Market 3:24 

9 Shaving Cream (Instrumental) 2:23 

10 Little Girl In Kingston Town 3:06 

11 Grader Man 2:57 

12 Revival Man 2:32 

13 Tennessee Waltz 4:08 

14 Weel An' Tune (Instrumental) 3:41

and mostly for my daughter's partner, Rob! . . . . . . 

The legendary Stanley Beckford sings Big Bamboo! live on Euro TV

what can he be singing about . . . . . . .!??

Stanley Beckford - New Jamaica!

In 1980 Beckford won the prestigious Jamaica festival song contest with Dreaming of a New Jamaica (A Land of Peace and Love), which he wrote during a bloody election year in which more than 900 citizens lost their lives to politically motivated violence.

Song For a Sunday - Bob Dylan::Restless Farewell (for Frank Sinatra)

Restless Farewell - Bob Dylan

Performed at Frank Sinatra’s 80th Birthday Concert, requested by “the Voice” himself. He hadn’t played it since 1964, and would only play it once more, the day after Sinatra’s funeral.

Thanks for the post Reds 1981

Song for a Saturday :: The Replacements - I Will Dare

ladytron

Now, I don’t care, meet me tonight
If you will dare, I will dare . . . . 

I don't play or share enough Replacements so we will try n do better . . . . . . yeah!

Meanwhile this just in from Ladytron

The Jazz Butcher - The Gift of Music :: Zero G Sounds

 Nice Jazz Butcher posting today from Twilight Zone and this long out of print compilation of the first two EPs and extra tracks expanded into an album is well worth having if you're a fan ( you should be!) 

The Jazz Butcher - The Gift of Music 1988 - Zerosounds

We visited Jazz Butcher when we lost Pat Fish last October at the untimely age of 64 so this is a welcome memorial to him above the others as I said at the time. From Northampton though the band formed in my home town here in Oxford they dug a particular niche for themselves.  The Jazz Butcher's figure alongside a lot of other British Eighties bands like many of the quirky witty knowing bands like The Lilac Time or Theaudience, Scritti Politti,Young Marble Giants or Ballboy and singers like Robyn Hitchcock, Stephen Duffy or Roddy Frame and that early Britpop surge.

Anyhoo enjoy, I think you will

PAT FISH - R.I.P.

Song of the Day for LOU REED :: Stephanie Says [- on Watching Lou Reed - AUTOPSY: The Final Hours ]

“Stephanie Says” by The Velvet Underground

"Stephanie says that she wants to know why she’s given half her life to people she hates now."

I watched the episode of the UK TV series Autopsy: Last Hours of. . . . . on Lou Reed last night and it left me indescribably sad. Fascinating and a no holds barred punch about drug addiction (and alcohol!) but the doctor who does the programme is just excellent. A terrible toll to bear but a lifetime of drugs will do that. Put in context of the times when mental health was treated with barbarity (still is to a degree) and the drugs he started to be given way back in his formative years played a terrifying part in Lou's 'treatment' and psyche over the years. Thorazine he came across when treated in mental hospital but to favour that over Benzos to come down from his love of 'Speed' is a tad brutal but he was exceptionally strong to have lasted until he was 71! The programme was followed by the episode on Andy Warhol but I couldn't take anymore and had seen that one before . . . . . . .😢

Sad but I can think of worse ways to go than to have spent the night before cuddling my partner on the living room floor as she rubbed my back and upon waking in the Long Island garden sunshine to be held in the arms of Laurie gently doing Tai Chi as he slipped away. The pain is over now Lou

😢

AUTOPSY: The Last Hours of . . . Season 9 (February 11, 2018 – October 6, 2018) Channel 5 UKTV

Reed had suffered hepatitis and diabetes for several years. He was treated with interferon but developed liver cancer. In May 2013, he underwent a liver transplant at the Cleveland Clinic. Afterwards, on his website, he wrote of feeling "bigger and stronger" than ever, but on October 27, 2013, he died from liver disease at his home in East Hampton, New York, at the age of 71

NEW BRIAN ENO ALBUM : : FOREVERANDEVERNOMORE pre-order here

THE BRAND NEW STUDIO ALBUM ARRIVING OCTOBER 14TH

Pre-order now “Like everybody else—except, apparently, most of the governments of the world—I’ve been thinking about our narrowing, precarious future, and this music grew out of those thoughts. Perhaps it’s more accurate to say I’ve been feeling about it…and the music grew out of the feelings. Those of us who share those feelings are aware that the world is changing at a super-rapid rate, and that large parts of it are disappearing forever…hence the album title.” Brian Eno, July 2022

This release will mark Brian’s 22nd studio album and will be available on vinyl, CD and digital formats including ATMOS. The 10 track record was made at his West London studio, with Brian leading on vocals for the first time since 2005’s Another Day On Earth. Pre-order now The new Brian Eno solo album FOREVERANDEVERNOMORE is arriving October 14th, available for pre-order now: https://brianeno.lnk.to/pre-order

Watch the new official video for ‘There Were Bells’ featuring performance footage from Brian & Roger Eno’s first-ever concert together at the Athens Acropolis in August 2021.

BOB DYLAN | BLONDE ON BLONDE COVER PHOTO STORY :: JERRY SCHATZBERG by Bob Egan

 

Bob Dylan Jacob Street, lower Manhattan, near the Brooklyn Bridge by Jerry Schatzberg

Researching a photograph.

Bob Dylan fans (and obsessives?) will go to some lengths to find out information and this article is no exception. The dread Garbologist notwithstanding this is how to find out where someone was standing during a photo shoot! Rarely do you find such methodology and research into one photoshoot and its a credit to the writer, Bob Egan, that he went to such lengths to enlighten us. 

Astounding account

Pop Spot NYC - Saturday Evening Post article

Thanks to Sounds of 71

Single's bought when it came out :: this a picture disc from the ex-jukebox bins

a favourite find and think I have everything from the singles like Seven Deadly Finns (1974) to this (2007) and all the albums (about 30?) . . . . including the collaborations ( about 20+) most of the produced albums by others too, Talking Heads, David Bowie: Low etc, Devo [but U2 not so much!]

Richard Ashcroft - Bring On The Lucie (FREDA PEEPLE) (Official Video)

 SONG OF THE DAY :: Music is Power | JOHN LENNON

Performed by Richard Ashcroft. Written by John Lennon “Music is Power”

BIG O :: Back with Macca and Noel Gallagher at GLASTONBURY 2022

 Just a note from me to mark that Big O is back after a prolonged Summer break and if anyone had given up waiting they are back with Macca (a BBC Radio broadcast quality) and Noel Gallagher (a rip from HDTV broadcast so nearly as good) from this year's Glastonbury Festival

Worth a visit . . . . . . . . 

BIG O

Song of The Day :: To Love Somebody | various artists

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• Track Name

  To Love Somebody

• Album

  The Complete Goldwax Singles

• Artist

  James Carr

James Carr - To Love Somebody (1969)

"Maybe you know Nina Simone’s fabulous version of this tune, but this is the one that absolutely tears me apart.  The Bee Gees had hoped that Otis Redding would cover it but he never go the chance.  James Carr kills it." Guess I'm Dumb

James Carr did Dark End of The Street another perennial sad love song but here I guess I do prefer Nina's version . . . . . . still interesting to hear Carr's versions, the arrangement and all 

The original Nina Simone single bought when it came out from the bargain ex-jukebox bins . . . . and still a stone classic

I liked early Bee Gees though they left me cold with later hits Saturday Night Fever and the disco stuff. I am talking Robin singing I Started a Joke, songs like Words, Springhill Mining Disaster etc, Gotta Get a Message. Massachusetts, and pre 'You should be dancing', 'Jive Talking' etc etc although I do appreciate how well they were done and written  .  . . . . just not my trick bag!

by the people who wrote it . . . . . . all the way from the Isle of Man!

with great Thanks to Guess I'm Dumb for the Carr and the suggestion

QUOTE OF THE DAY :: JOHN BERGER | On Song

John Berger by Andy Swapp (iPad) Aug 2012

 “Songs refer to aftermaths and returns, welcomes and farewells…songs are sung to an absence…in the sharing of the song the absence is also shared and so becomes less acute, less solitary, less silent. And this ‘reduction’ of the original absence during the sharing of the singing, or even during the memory of such singing, is collectively experienced as something triumphant. Sometimes a mild triumph, often a covert one. ‘I could wrap myself,’ said Johnny Cash. 'in the warm cocoon of a song and go anywhere; I was invincible.”

— John Berger, from ‘Some Notes About Song (for Yasmin Hamdan)’, Confabulations

UPDATE VOL II ::DAVE BARTHOLOMEW

TWILIGHT ZONE

Have updated the Dave Bartholomew and shared the second volume of his  Spirit Of New Orleans; The Genius Of Dave Bartholomew CD2

Bartholomew biography . . . . 

link to both volumes courtesy of TWILIGHTZONE here

Read more here at Ponderosa Stomp

From the Bob Dylan 1966 Playboy interview

Smilin’ Bob Dylan in London’s Savoy Gardens, April 1965, via rollingstone

PLAYBOY: In recent years, according to some critics, jazz has lost much of it's appeal to the younger generation. Do you agree?

DYLAN: I don't think jazz has ever appealed to the younger generation. Anyway, I don't really know who this younger generation is. I don't think they could get into a jazz club anyway. But jazz is hard to follow; I mean you actually have to like jazz to follow it: and my motto is, never follow anything. I don't know what the motto of the younger generation is, but I would think they'd have to follow their parents. I mean, what would some parent say to his kid if the kid came home with a glass eye, a Charlie Mingus record and a pocketful of feathers? He'd say, "Who are you following?" And the poor kid would have to stand there with water in his shoes, a bow tie on his ear and soot pouring out of his belly button and say, "Jazz, Father, I've been following jazz." And his father would probably say, "Get a broom and clean up all that soot before you go to sleep." Then the kid's mother would tell her friends, "Oh yes, our little Donald, he's part of the younger generation, you know."

–From the Bob Dylan 1966 Playboy interview, Photo by Keystone-France\Gamma-Rapho (1966)

not that Bob was in the best of moods . . . as Art Kane relates 1966

Bob Interview Playboy 1966 here (Interferenza)

Leonard Cohen :: on women on stage

Leonard and Anjani

LEONARD COHEN:  

“I might say that the female presence on stage is very, very important for a number of reasons. One is that women are very highly evolved spiritual creatures, and when a lot of us got slack or vulgar or moved into a kind of locker-room mode . . . they were always there to remind us of the high calling that had gathered us there in the first place.” 

-- BBC Radio 1, 1994

 

BONNIE RAITT :: more quotes

 

A very young Bonnie Raitt in August 1971 near Schwenksville, Pennsylvania. 

(Photo by David Gahr)

Bonnie Raitt: 

My hobby was playing music. So here I was hanging out with all these blues guys, my heroes, because of the man I met at Cambridge when I was a freshman who managed Son House and Mississippi John Hurt and Buddy Guy. We started hanging out, and I took a semester off, because I knew a lot of those guys were older and they weren’t going to live forever. This was an opportunity to hang out with my heroes, and I could always go back to school. In the beginning, to have this career drop in my lap because I happened to play pretty good blues guitar for a girl — which was kind of a joke at the time, but it’s what got my foot in the door. The fact I could play like I did and it was unusual.

When I was at the Philadelphia Folk Festival, which I had gone to as a fan — it was unbelievable to me. It would continue to be unbelievable until about my third album. I kept waiting for Warner Bros. to say, “OK, that was fun, but you’re not selling, so see you later.” But I signed with them because they didn’t care about selling. They said make whatever record you want and we’ll make our money from Deep Purple and Black Sabbath.

More on guitar - KEITH RICHARDS

 

Photography Gered Mankowitz

Keith Richards: 

The beauty, the majesty of the five-string open G tuning for an electric guitar is that you've only got three notes--the other two are repetitions of each other an octave apart. It's tuned GDGBD. Certain strings run through the whole song, so you get a drone going all the time, and because it's electric they reverberate. Only three notes, but because of these different octaves, it fills the whole gap between bass and top notes with sound. It gives you this beautiful resonance and ring. I found working with open tunings that there's a million places you don't need to put your fingers. The notes are there already. You can leave certain strings wide open. It's finding the spaces in between that makes open tuning work. And if you're working the right chord, you can hear this other chord going on behind it, which actually you're not playing. It's there. It defies logic. And it's just lying there saying, "F*ck me." And it's a matter of the same old cliche in that respect. It's what you leave out that counts. Let it go so that one note harmonizes off the other. And so even though you've now changed your fingers to another position, that note is still ringing. And you can even let it hang there. It's called the drone note. Or at least that's what I call it. The sitar works on similar lines--sympathetic ringing, or what they call the sympathetic strings. Logically it shouldn't work, but when you play it, and that note keeps ringing even though you've now changed to another chord, you realize that that is the root note of the whole thing you're trying to do. It's the drone.

I just got fascinated by relearning the guitar. It really invigorated me. It was like a different instrument in a way, and literally too. I had to have the five-string guitars made for me. I've never wanted to play like anybody else, except when I was first starting, when I wanted to be Scotty Moore or Chuck Berry. After that, I wanted to find out what the guitar or the piano could teach me.

The five-string took me back to the tribesmen of West Africa. They had a very similar instrument, sort of a five-string, kind of like a banjo, but they would use the same drone, a thing to set up other voices and drums over the top. Always underneath it was this underlying one note that went through it. And you listen to some of that meticulous Mozart stuff and Vivaldi and you realise that they knew that too. They knew when to leave one note just hanging up there where it illegally belongs and let it dangle in the wind and turn a dead body into a living beauty - Life

Photography Gered Mankowitz