more classics . . . . . ? Of course and this one to see you all to bed!
In 2003, John Clarke in The Times wrote that “Dark Was the Night, Cold Was the Ground” was “the most intense and startling blues record ever made”. Francis Davis, author of The History of the Blues concurs, writing “In terms of its intensity alone—its spiritual ache—there is nothing else from the period to compare to Johnson’s ‘Dark Was the Night, Cold Was the Ground’, on which his guitar takes the part of a preacher and his wordless voice the part of a rapt congregation.”
Interestingly Alice over at reads 1981 (O MY Soul) pulls an interesting one here and turns Blues historian with this Blind Willie Johnson track . . . . . . . worth paying attention to but not content with making her own really interesting music and sharing ‘new' sounds and singers here she shows us the breadth of her interest in this blues classic!
The Jam - Mama We're All Different Now
A Dave Sez Contribution...
Demos & Outtakes
NOW BACK FROM THE DEAD ORIGINALLY POSTED 1-11-14
The Jam - Mama We're All Different NowDemos & Outtakes @ 320
Vinyl rip @ 320 from red vinyl bootleg, "limited edition of 1000", Energia Records ER003, Spain
16 studio tracks of rare demo versions and outtakes between 1976 and 1982.
See http://www.discogs.com/Jam-Mama-Were-All-Different-Now/release/1678899.
Labels: two arrows on one side, target on the other. B&W insert of Jam discography.
Also released on green vinyl
Track List:
Progressive rock band Yes in a live performance at Wembley Arena in London on 10/28/1978. Recorded and broadcast by BBC Radio for their BBC Friday Rock Show series. Yes was on the European portion of their tour to support the release of their 9th studio album Tourmato (Tormato in the US), released the previous month. See the cover of the concert program(me), posted as a .png file.Yes: Jon Anderson – lead vocals · Steve Howe – guitar, backing vocals; Rick Wakeman – keyboards; Chris Squire – bass, backing vocals; Alan White – drums.
Now the guys over at HQ . . . . FBS and VW from the Boss Silent Way to Jobe and his brethren (they live like monks you know?!) appreciated a fine turned ankle. If you visit them there you will have recognised this so here is the first of a series of lassies from music!!!
Sexist?
Prolly!
We like a musical lassie don’t we?
So sue me!
We like her . . . . . !
In 1970, three years before the Everly Brothers split, Don Everly released his debut solo effort, simply titled Don Everly. One of three albums released by Don during the 70’s, his self-titled album is a bit of an under appreciated gem.
Musically, it’s a reflective and confessional singer-songwriter album with cosmic americana/country rock overtones. There’s a gentleness and intangibility to the album, a sense of mystery like an ominous cloud hanging overhead. In some ways (and after a few listens), that sense of foreboding that envelops the album gives tremendous personal insight on the impending break up and ten year silence between the brothers.
“Eyes of Asia” is one of those longing, reminiscent songs with an obvious sense of heartbreak and love lost, but a bittersweetness and fondness that permeates through Don’s voice:“Yes it was loving you that drove me from mind, yes it was touching you that made the heartache mine, this time for certain, I’m certain this time, the eyes of Asia are the eyes of an old-fashioned girl.”
These fine upstanding (for the moment) handsome young men were on Sunday Brunch last weekend (it was a Sunday as I recall!?) and I enjoyed their marvellous mellifluous voices and their delicate heart wrenching poetry!
The Mary Wallopers!
Someone’s been kissing The Blarney Stone!
It rings in my blood (Irish on my mother’s side, Scottish on my dad’s! It’s a recipe for disaster I tells ya,) TURN IT UP!
Now I am not much of a fan of Howard Stern (long story and we don’t get him in Europe or the UK) but this? Sheesh painful read from an early hero. Come one Yoko what WERE you thinking!?
"Many Beatles fans might not know about this story, but both Julian and Cynthia Lennon considered legendary radio personality Howard Stern as the instrumental figure in helping Julian to finally receive his long overdue inheritance from Yoko Ono.
When John Lennon was tragically killed he left a will leaving everything to Yoko Ono’s discretion which meant she could dictate the terms of what to leave Julian, Sean, and even her daughter Kyoko with no interference from anyone else. Up until 1993 Julian was now 30 years old and the only things that Yoko had given John Lennon’s firstborn son was two guitars that really didn’t mean anything to John (Julian had requested another one that he knew was one of his father’s favorites, but was told no and given these two instead while Sean would get to use all of John’s musical equipment,) and a weekly allowance for a short time of $100 a week.
Once Julian got his record deal Yoko stopped the $100 a week payments and had given him nothing else up to that point in the early 1990s. What was truly shocking even before that was that when John was alive both Cynthia and Julian were living pretty much a middle class lifestyle. Cynthia had made the mistake of just asking for a small settlement plus a trust fund for Julian that in the end didn’t reach the potential it should’ve because John didn’t pay the proper attention to it.
Plus the fact that once Sean was born the trust money balance was broken in half for both sons. Cynthia had trusted John to do right by Julian, and had he lived he most likely would’ve. That being said it was still irresponsible of John not to set something up for both Julian and much of his family in Liverpool including his Aunt Mimi who learned after John’s death that the house he bought her was now owned by Yoko.
Unfortunately while Yoko was out preaching about “peace and love” she was doing nothing for Julian. Not even entertaining the idea of giving him a part of his father’s legacy, estate, or any type of inheritance settlement. Julian was basically living off the money he made off his solo career, but it was nowhere near the money Yoko now had with John’s net worth then estimated at hundreds of millions of dollars. Yoko would basically have to be shamed into doing the right thing.
Listed below in the comments section is a 1993 interview Julian Lennon gave to Howard Stern. It’s a “must listen” as Howard goes nuclear on Yoko and calls out her hypocrisy, asking over and over why Julian hasn’t received his rightful inheritance as John’s son.
It shouldn’t be surprising that soon after this interview which was heard by millions of people and the beating Yoko took in the press that she finally (almost 15 years after John’s death) gave Julian some money. Julian was vocal at the time that the amount wasn’t anything fair to what John’s net worth was, but it was at least a start. Even to this day Julian has absolutely no say in his father’s estate .
The fact of the matter is that it should’ve never come to this. Howard Stern should not have had to shame Yoko into giving Julian his “rightful” inheritance, but instead for reasons only known to her she selfishly handled the matter.
Take a listen to the interview in the comments section below. No matter what you think of Howard Stern he’s a hero when it comes to how he stood up for Julian here. Giving him the biggest platform possible to tell millions of people the truth about how Yoko had shunned him from his rightful birthright inheritance .
***One more thing. Writing about “proven facts” that show Yoko Ono in a negative light is not Yoko bashing. Had she done right by Julian this story never would exist. She has no one to blame but herself. ***"
01 Harmonica Solo [Instrumental] (John Sebastian)
02 Mornin' Blues (John Sebastian)
03 Mobile Line [Gonna Carry Me Away from the Bull Frog Blues] (John Sebastian)
04 I Want My Roots (John Sebastian)
05 Daydream (John Sebastian)
06 talk (John Sebastian)
Being an ole hippy there’s this from ATSE!
You know what to do . . . . .a fine fine harp player and composer of the ubiquitous Summer hit Summer in The City and of course DayDream this is nice to see . . . . . . collectable? well maybe not but for Lovin’ Spoonful fans like me
Indispensable!
This week, June 21, back in 1966, working at Abbey Road studios in London, The Beatles recorded from start to finish, a new John Lennon song ‘She Said She Said’. The song was reportedly based on a bizarre conversation during The Beatles stay in LA during the summer of 1965 that Lennon had with Peter Fonda while John and George Harrison were tripping on LSD. While Starr agreed to try the drug, McCartney refused to partake. Credited to Lennon–McCartney, it was written by John Lennon with assistance from George Harrison. Lennon described it as "an 'acidy' song". "She Said She Said" was the last track recorded for Revolver. Due to an argument over the song's musical arrangement, Paul McCartney walked out of the studio and did not contribute to the recording.
In late August 1965, Brian Epstein had rented a house at 2850 Benedict Canyon Drive in Beverly Hills, California for the Beatles' six-day respite from their US tour. The police department detailed a tactical squad of officers to protect the band and the house. The Beatles found it impossible to leave and instead invited guests, including folk singer Joan Baez. On August 24, they hosted Jim McGuinn and David Crosby of the Byrds and actor Peter Fonda.
Fonda brought up his nearly fatal self-inflicted childhood gunshot accident, saying that he knew what it was like to be dead, since he had technically died in the operating theatre. Lennon urged him to drop the subject. Lennon explained in a 1980 interview: "We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man."
Lennon began working on "She Said She Said" in March 1966, shortly before the Beatles started recording Revolver. On the home recordings he made at this time, the song was titled "He Said" and performed on acoustic guitar. Lennon said that the episode with Fonda had stuck with him, and when writing the song, "I changed it to 'she' instead of 'he.'" Harrison recalled helping Lennon construct the song from "maybe three" separate segments that Lennon had. Harrison described the process as "a real weld". In his 2017 book Who Wrote the Beatle Songs?, author Todd Compton credits Lennon and Harrison as the song's true composers.
"She Said, She Said" was the final track recorded during the Revolver sessions. It was also the first composition that Lennon had brought to the band in almost two months, since "I'm Only Sleeping". Because of Lennon's lack of productivity, Harrison was afforded a rare opportunity to have a third song, "I Want to Tell You", included on a Beatles album.The session took place on 21 June 1966, two days before the Beatles had to leave for West Germany to begin the first leg of their 1966 world tour. It took nine hours to rehearse and record, complete with overdubs, making it the only song on Revolver to be made in a single session. After the subsequent mixing session, the Beatles' producer, George Martin, said: "All right, boys, I'm just going for a lie-down."
Lennon later called the song a throwaway track and thought little of it.
Johnny he say:
"So…for anyone who has hung around these pages before, you’ll know that Patti Smith has been a constant soundtrack for the past 48 years or so. A spiritual and poetic guide since somewhere around 1978. In truth 1976 was the moment that something clicked…Johnny found something he could relate to, with 1978 becoming the moment when abstract thought first became realised through witness….
And here I am again, for the nth time watching Patti live..this time the Patti Smith Quartet at The Brighton Dome. The rock and roll moves are here, at the Roundhouse in 2015, but I’m thinking icon… One photo, one moment in a timeline, one truth teller…
…and once again, Johnny gets the feeling he’s being surrounded by horses…"
For JohnnyC . . . . .
Unbelievable!
Bob clip from film the vid with Lovely Molly!
Oh you want the WHOLE thing? I think you DO!
Unbelievable!
We love Eddie Bo don’t we!? Thanks to Le Ramasseur De Mégots
Getting out of neutral new track
Claire Cross - Sleep Cycle - electro-acoustic chamber music based on EEGs of sleepers
Claire Cross explores the different phases of sleep on her new record, Sleep Cycle. Inspired by the work of Jon Hassell, William Basinski, The Australian Art Orchestra and Skúli Sverrisson, Claire draws on the language of contemporary jazz, ambient music and minimalism to present a mesmerizing work that is as beautiful as it is ambitious.
“This record is a bit of a turning point for me in some respects,” explains Claire. “It’s my first attempt at flexing different composition and improvisation muscles I haven’t used before. I’ve previously been very much the kind of composer who arranges lots of parts or tries to have a lot of control over the writing, and this project has been about letting go of that and leaning into a more open approach to improvisation and composing.”
“By researching what shows up on EEGs during sleep, and the dominant frequencies/waves of each phase, I found limitations that could be applied to musical situations and create an overall composition arc - things such as different frequency ranges of brain wave activity feeding into note choices, the amplitude of brain waves suggesting certain dynamics, different tempos, and so on. By finding ways to differentiate each phase I was able to create 5 contrasting ‘pieces’ that moved fairly seamlessly from one to the other.”
“When performed live, we put a timer on and each section runs for roughly a set time that also loosely corresponds to the ratio of each phase per cycle. We also timed each section in the studio so that the album unfolds in the same way. This explains why some compositions are quite long versus others being a bit shorter. With all of this in mind, the music is quite repetitive and slowly unfolding, but with lots of interaction from the band and interesting textures being created. One thing I wanted to be mindful of was striking a balance between ‘following the science’ vs creating an interesting musical event - so sometimes I didn’t stick to all of my limitations so religiously.”
With Sleep Cycle, Claire Cross has brought to life an important new chapter in her already storied career. This is an expertly executed record, sure to appeal to lovers of minimalism, contemporary jazz and ambient music.
Artwork and Design by Tornike Margvelashvili aka Mess_Montage
This record was made on the lands of the Wurundjeri Woi Wurrung people of the Kulin Nation and we pay respects to their Elders past, present and emerging. Sovereignty was never ceded.
Claire Cross - electric bass and effects
Reuben Lewis - trumpet and effects
Merinda Dias-Jayasinha - voice and effects
Kyrie Anderson - drums and bells
Now you will know I like ambient musics and keep banging on about Brian Eno being a visiting lecturer at times in Leicester Poly Art Department (now De Montfort University) under the tutelage of historian Fred Orton and the composer Gavin Bryars, so it leads me to explore this kind of musics and the John Hassell connection brings us full circle . . . . . lovely! this is lovely and I dedicate it here to Fred and Gavin both . . . . .
