Red Kite is the debut single by Potenco. It was written, recorded, mixed and mastered in Kidlington, Oxfordshire. It is a song about raptors, and recovery, and family, and backwards guitars. It was written in 2015, but it took Potenco a decade to record and release it. The reasons for this are unclear, but likely include children, capitalist realism, ADHD, and a general sense of dread. It took a shoulder operation and surprise unemployment to get things moving. For fun, and because some people can only do things it’s they’re unnecessarily difficult, Red Kite was recorded and mixed on a 2007 MacBook held together with duct tape.
lyrics
RED KITE
There's a knife in your sail and a fork in your road
And the wind on your belly and sun on your backbone.
In the distance you see it's all swaddled in green
And the blue of the sea never flows where your kin go.
Soar so high, talking to yourself at night
You wish you did, but you don't know why.
And if you won't fly, then I won't fly.
You don't mind, then I won't mind.
My red kite's gonna be alright
Ain't no one gonna save me.
There's a lift in your throat and a hole in your bones
As the hunger you wrote wheeled away in the whitest light.
You were few on the rope but to hunt is to hope as the swallows and moles
Dance their waltzes in 3/4 time
Blood drips white, grinding on your teeth at night
Timothy White's Rock Stars - The One and Only Steve Winwood
Show #90-47 for broadcast the week of November 19, 1990
Steve Winwood & Jim Capaldi - Dear Mr. Fantasy
(Live 1990, Emerald Sound Studios, TN, Nov)
Recorded at:
Emerald Sound Studios
Nashville, TN
1990
Valerie - Steve Winwood and Jim Capaldi Emerald Sound Studios 1990
PLAY IT LOUD
Staggeringly good quality recording
the YouTube poster Berkin Altınok says
During the Refugees era, the Masters were hanging out a lot in Nashville, they recorded this very intimate studio unplugged session for Timothy White. The legendary track sees a Piano working by Master Winwood alongside Master Capaldi's Percussion.
A great Acoustic Version...
R.I.P Valerie Carter...
draftervoi says:
Brought to you by the Collective For Live Music.
Flac files of wavs. Includes 300 dpi scans of the cue sheets and the CD discs, plus a pdf of the ad from Radio and Records (and low resolution conversion to .jpg).
I cut this into sections so that Our Beloved Audience can reassemble it anyway they like. You want just an interview show? Just the live tracks? You can grab 'em and mix 'em up any ol' way ya wish.
This is sometimes listed as 1990-11-xx, indicating a recording in November. However, an earlier recording date is likely, as the show had to be mastered, pressed on CD, and shipped to radio stations (and a print ad created, proofed, and published in Radio & Records on Nov. 9, 1990). A recording date in August or September is likely. The syndicated broadcast window was the week of November 19, 1990.
read on and check the link at the top of the page
Steve Winwood & Jim Capaldi - No Face No Name No Number
I mean was anyone NOT blown away by David’s final swan song album, the irony, the self awareness, the sheer joy and intellectual rigour of his farewell? 🖤
was an English drummer and a co-founder of the rock band Cream. His work in the 1960s and 1970s earned him the reputation of "rock's first superstar drummer," for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music
Baker began playing drums at age 15, and later took lessons from English jazz drummer Phil Seamen.
Baker's drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional one. In his early days, he performed lengthy drum solos, most notably in the Cream song "Toad," one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008,[4] and of the Classic Drummer Hall of Fame in 2016.[5] Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many years. He was married four times and fathered three children.
Peter Edward "Ginger" Baker (19 August 1939 – 6 October 2019) was an English drummer and a co-founder of the rock band Cream.[1] His work in the 1960s and 1970s earned him the reputation of "rock's first superstar drummer," for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.
If you listen to one thing today make it this! The kernel of a great album and a burgeoning star is born - Stunning! I feel so ashamed to not have acknowledged Gary's part in Jeff’s burgeoning explosion onto the scene and how much part he had to play in that - one of the generation's greatest voices with one of its greatest guitarists!
Interesting article here and I pride myself having a number of signed poetry books but my pride and joy is a Davis large format art catalogues of here artwork from Germany. Read on below
The sixth “Now It Goes Like This”—my series tracking all the different ways Bob Dylan has performed his songs live—tackles a big one: “All Along the Watchtower.”
Let’s get it out of the way right up top: The biggest “Watchtower” arrangement change was not made by Dylan himself. It was made by, of course, Jimi Hendrix. Hendrix’s cover (which I explored the history of here) set the template for almost every version performed subsequently, including the thousands by Dylan himself. Bob Dylan generally performs “Watchtower” like he’s covering Jimi Hendrix, not the other way around. The John Wesley Harding original now sounds like an alternate-version outtake, maybe something they’d unveil decades later on a Bootleg Series. “Wow, can you believe he once tried to record ‘All Along the Watchtower’ acoustically?”
Because he was off the road when John Wesley Harding came out, he never played a pre-Hendrix version. But he quickly made up for lost time. “All Along the Watchtower” has now been performed more than any other Bob Dylan song. Over two thousand times. Given that number, you’d expect an insane number of different arrangements. Nope! In the '90s especially, it felt like he performed it a million times the exact same way. The differences from night to night were how energetically he sung it, and how shreddy were the guitar solos (on a scale that ran from “quite shreddy” to “extremely shreddy”). The basic arrangement didn’t change much.
That consistency over the decades makes the unusual arrangements that doexist really stand out. And some are quite dramatic! Including the brand-new one that inspired this entry. Let’s dive in.