Bob Dylan - 1999-07-26 - New York, NY (SBD)
Bob Dylan - 1999-07-27 - New York, NY (SBD)
Bob Dylan1999-07-27Madison Square GardenNew York, NYSoundboard Recording30 kbpsArtwork Included01. Cocaine Blues02. Mr. Tambourine Man03. A Hard Rain's A-Gonna Fall04. Love Minus Zero / No Limit05. Tangled Up In Blue06. Highlands07. All Along The Watchtower08. Just Like A Woman09. Silvio10. Like A Rolling Stone11. Blowin' In The Wind12. The Sound Of Silence*13. I Walk The Line*14. Blue Moon Of Kentucky*15. Knockin' On Heaven's Door** with Paul SimonBonus Track1999-07-25Chula Vista, CA16. Highlands
"When Tina Turner left her first husband - who was also her boss, captor, and brutal tormentor - she snuck out of their Dallas hotel room with a single thought in her mind: "The way out is through the door." From there she fled across the midnight freeway, semi-trucks careening past her, with 36 cents and a Mobil gas card in her pocket. As soon as she decided to walk out that door, she owned nothing else.
When she filed for divorce, she made an unusual request. She didn't want anything: not the song rights, not the cars, not the houses, not the money. All she wanted was the stage name he gave her - Tina - and her married name - Turner. This was the name by which the world had come to know her, and keeping it was her only chance to salvage her career.
Things could have gone a lot of ways from there. She could have labored in obscurity for decades, maybe making records on small labels to be prized by vinyl connoisseurs in Portland. She could have stayed in Vegas, where she first went to get her chops back up, and worked as a nostalgia act. And, of course, given what she had been through, she might have ... not made it.
What happened instead is that Tina Turner became the biggest global rock star of the 80s. I'm old enough to barely remember this, but if you aren't, it was like this: The Rolling Stones would headline a stadium one day, and the next day it would be Tina Turner. A middle-aged Black woman - she became a rock star at 42! - sitting atop the 1980s like it was her throne.
She managed this because of whatever rare stuff she was made of (this is a woman whose label gave her two weeks to record her solo debut, Private Dancer, which went five times platinum); because she decided to speak publicly about her abusive marriage and forge her own identity, and in doing so give hope and courage to countless women; and also because - in a perhaps unlikely twist for a girl from Nutbush, Tennessee - she had her practice of Soka Gakkai Nichiren Buddhism, to which she credited her survival. She remained devout until the end.
Tina's second marriage - to her, her only marriage - was to Edwin Bach, a Swiss music executive 16 years her junior. Of him, she said, "Erwin, who is a force of nature in his own right, has never been the least bit intimidated by my career, my talents, or my fame."
In 2016, after a barrage of health problems, Tina's kidneys began to fail. A Swiss citizen by then, she had started preparing for assisted suicide when her husband stepped in. According to Tina, he said, "He didn't want another woman, or another life."
He gave her one of his kidneys, buying her the remainder of her time on this earth and perhaps closing a cycle which took her from a man who inflicted injury upon her to a man willing to inflict injury upon himself to save her from harm.
Born into a share-cropping family as Anna Mae Bullock in 1939, she died Tina Turner in a palatial Swiss estate: the queen of rock 'n roll; a storm of a performer with a wildcat-fierce voice; a dancer of visceral, spine-tingling potency and ability; a beauty for the ages; a survivor of terrible abuse and an advocate for others in similar situations; an author and actress; a devout Buddhist; a wife and mother; a human being of rare talent and perseverance who, through her transcendent brilliance, became a legend."
DIRTY LITTLE RENEGADE
Couple of nice sets from Heavybootz on Jimi over the past couple of days . . . . .an early one with the Curtis Knight & the Squires at St George's Club, Hackensack, New Jersey where he was known as aka Jimmie James) *
and the studio outtakes from Axis sessions and an additional bonus of the acetates with Arthur Lee and Love (sic!)
The Jimi Hendrix ExperienceOlympic Studios, London, England1967studio sbdmp3 @ 320 [191 mb]sq: EXThe Other Side Of Axis - Axis Bold As Love Outtakes (The Godfatherecords G.R. 520)artwork included01 Jazz Jimi Jazz02 Electric Ladyland (blues)03 She’s So Fine04 Castles Made Of Sand05 Spanish Castle Magic (instrumental)06 South Saturn Delta07 Electric Ladyland (drums)08 Wait Until Tomorrow09 Ain’t No Telling10 Little One (take 1)11 Little One (take 2)12 Golden Rose13 Bold As Love14 EXP15 Up From The Skies16 The Everlasting First (take 16) *17 Easy Rider (take 1) *18 Easy Rider (take 2) *19 Loontt: 1:16:16Recorded At – Olympic StudiosAxis Bold As Love sessions, London, Olympic Studios 1967.Source: Sotheby's auction tapes (Auctioned at Sotheby on December 22, 1981)
"Deep Elem Blues" with Levon Helm & His Dirt Farmer Quartet at 2011 Americana Awards Nominee Event
The Band - Don’t Do It (the closing song to The Last Waltz )
The Chills - Rolling Moon (1982)
"The Chills debut single, perhaps my favorite Chills song. "
We dance until we start to cry
R.I.P. Martin Phillipps
Martin Phillipps, frontman of the Chills, one of the outstanding acts signed to the Flying Nun Records roster, died on the weekend at the age of 61. The singer, songwriter and guitarist passed at his home in Dunedin, on New Zealand's south island, confirms a statement issued by Flying Nun Record
Kiwi Chills’ Martin Phillips Dead at 16 | The Independent
Just then Tom Paine, himself
Came running from across the field
Shouting at this lovely girl
And commanding her to yield
And as she was letting go her grip
Up Tom Paine did run,
“I’m sorry, sir,” he said to me
“I’m sorry for what she’s done”
I dreamed I saw St. Augustine
Alive with fiery breath
And I dreamed I was amongst the ones
That put him out to death
Oh, I awoke in anger
So alone and terrified
I put my fingers against the glass
And bowed my head and cried
I guess like many folks John Wesley Harding blew me away as soon as I heard it. My brother brought it round and said (much like he had when introducing me to Bob for the very first time via The Times They Are A’Changin’ album) but this was different! The cover was well, downright WEIRD! Was that Dylan? Who was he with? Who WERE those guys! Check the back cover. Was it the band he had picked up? Who WERE they?
There were stories about hidden images (this was the time of back masking nonsense and Beatle reference mania still) What did it all mean? The voice alone was well, different! Mellow, rounded full fruity and gentle. Full throated somehow and crooner like. Love songs like Down Along The Cover’, 'I’ll Be Your Baby Tonight’ what 'n the heck frecken was going on! Re-emerging after his ‘motorbike accident’? Had it affected his voice so it was plummy and round and warmer somehow. Was it really him?! Who was John Wesley Harding? Who was Tom Paine? Heck who was St Augustine?
Never mind that but the band was sparse too, who was Kenny Buttrey, Pete Drake?, hadn’t we heard of Charles McCoy? But that was it . . . was there a hidden image if you turned it upside down of the Beatles in the trees?
WE LOVED IT!
STILL DO!
In either March 1974 (around the time of the Nilsson Pussy Cats sessions) or late 1973 (around the time Phil Spector ended the Rock ‘n’ Roll sessions - no one seems to have it documented), John produced a solo Mick Jagger track: a cover of the 1969 single by 100 Proof (Aged in Soul), "Too Many Cooks (Spoil the Soup)." (Many sources refer to it as being a “Willie Dixon song,” but in fact this was actually penned by Dunbar-Wayne-Bond, who had also wrote 100 Proof’s more successful follow-up single, “Somebody’s Been Sleeping In My Bed.”)
Jagger was backed by the "Jim Keltner Orchestra," which on this occasion included Keltner, Jack Bruce, Jesse Ed Davis, and Bobby Keys, among others. The track went unreleased for decades, though it was rumored to have been planned as a one-off Apple single for a time (until record company realities asserted themselves).
It finally saw release in 2007 on the Mick Jagger 'Best of' compilation. A source tape proved difficult to locate, until May Pang produced one stored beneath her bed.!!!
ZZ Top was in Helsinki to play a concert, Billy Gibbons decided to have some fun “busking” playing on the street! No one seems to notice who's jammingOne commentator notes that the Finns are notoriously quiet and polite and wouldn’t dare to speak to him, it’s his business and would consider interrupting him rude!
I LOVE IT!
The Rolling Stones "Midnight Rambler" Marquee Club 1971
always a favourite track of my old friend and music aficionado Stephen Blackman !
Shortly after winning his Best Supporting Actor Oscar for his role in "Iris" (2001), Jim Broadbent was interviewed by Joan Rivers, who apparently didn't even know what nationality he was. On live TV, Rivers said, "Here we have Jim Broadbent, all the way from Australia. You're Australian, aren't you?" But there were to be no tantrums from the star - the mild-mannered actor replied, "No, I'm British."
How British is he? So British that...
"I was offered an OBE a couple of years ago, but I said, 'no', and turned it down. I'm not that comfortable with actors receiving honors, partly because I think they ought to go to those who really help others. Besides, I like the idea of actors not being part of the Establishment. We're vagabonds and rogues, and we're not a part of the authorities and Establishment, really. If you mix the two together, things get blurry."
"I didn't think I deserved it, really. And also my father died when I was 22 and he was quite an anarchic spirit, and he would have been proud of me to have turned it down. You know how it is, the usual line: 'Oh, I accepted it for my parents.' Whereas I turned it down for my parents."
In "Iris," Judi Dench and Jim Broadbent portray author Iris Murdoch and her husband John Bayley during the later stages of their marriage, while Kate Winslet and Hugh Bonneville appear as the couple in their younger years. This is the second movie to have two actresses nominated for an Academy Award for playing the same role in the same movie. The first was "Titanic" (1997). In both movies, Winslet played the younger version in the dual-nominee role.
"I always think you should be totally frivolous as much as you can, and then take the work seriously when it has to be taken seriously. As long as you can keep that balance going, it's good fun. If it's only frivolous it's not fun - it would drive me potty. On 'Iris,' I'd never worked with Judi Dench before, but it was wonderful to realize that we worked in exactly the same way. Foolish for most of the time, then focusing on the work, clicking into it very quickly and naturally. There were a lot of laughs. Otherwise it could have been torture. Two months of being grueled."
now this is extraordinary but who was aware that Muhammad Ali knew Marianne Moore? And she considered them friends!?
All of the modernist poets had mottoes or credos that pointed to their philosophy of poetry.
a. Robert Frost said a “poem begins in delight and ends in wisdom,” and a poem is “a momentary stay against confusion.”
b. Ezra Pound said, “Make it new” and “Go in fear of abstractions.”
c. T.S. Eliot wanted to “shore up the fragments against the ruins.”
d. William Carlos Williams said, “No ideas but in things” (meaning exists in the world).
e. Wallace Stevens said, “Poetry is the supreme fiction” and “Not ideas about the thing, but the thing itself” (there is no meaning in the world except that which is created by the poet’s imagination).
Marianne Moore’s most famous credos were:
a. “Imaginary gardens with real toads in them.” This combines Williams’ location of meaning in the external world with Stevens’ location of meaning in the poet’s imagination.
b. “Ecstasy affords the occasion and expediency determines the form.” This shows how we get from Frost’s “delight” to “wisdom.”
There are three major principles at work in Moore’s poetry:
1. Her poetry reads exactly like prose. She felt that prose was better written than poetry, that it contained precision, verbal economy, directness, and logic unimpeded by the demands of poetical devices. She wanted to write poetry that was cold, hard, exact, clear, and literal. She called herself a “literalist of the imagination.” She wanted to remove from poetry all fuzziness, convention, romance, self-indulgence, and beauty—everything that interferes with or distorts perfect communication with the reader.
2. Her poetry even tries completely to remove the meter and rhyme that Frost held onto. She avoided metrical feet—what she disparaged as the “tick-tock of the metronome,” and even any accented words or syllables (if you try to scan her poems, you cannot). Her line division, in the absence of meter and cadence, is purely arbitrary. She governs her line breaks only by her desire to highlight or play down certain naturally occurring rhymes that go unnoticed in ordinary speech and prose. Often, her stanzas are governed only by a syllable count.
3. Not only was her poetry like prose—with a didactic moral point to it—but she believed, like her close friend Williams, that anything was a fit subject for poetry, including business documents, baseball statistics, school reports, and scientific data (these are the “real toads” in her “imaginary garden”). Stevens believed that the imagination of the poet created order out of the chaos of things. Even Williams’ “no ideas but in things” at least left the poet free to discover ideas in those things. But Moore leaves the poet only the function of shifting around the “real toads” in some sort of pattern in her “imaginary garden.” Hers is the most astringent, self-effacing poetry ever to appear in America.
"Poetry" (1919) by Marianne Moore
I too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers that there is in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because they are
useful; when they become so derivative as to become unintelligible, the
same thing may be said for all of us—that we
do not admire what
we cannot understand. The bat,
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twinkling his skin like a horse that feels a flea, the base—
ball fan, the statistician—case after case
could be cited did
one wish it; nor is it valid
to discriminate against “business documents and
school-books”; all these phenomena are important. One must make a distinction
however: when dragged into prominence by half poets, the result is not poetry,
nor till the autocrats among us can be
“literalists of
the imagination”—above
insolence and triviality and can present
for inspection, imaginary gardens with real toads in them, shall we have
it. In the meantime, if you demand on the one hand, in defiance of their opinion—
the raw material of poetry in
all its rawness, and
that which is on the other hand,
genuine, then you are interested in poetry.
