The Gun Club with Jeffrey Lee Pierce in Airport Terminal Nancy in March 1992 with bassist Romi Mori and guitarist Kid Congo Powers. (Photo Maury Golini)
The Gun Club- Mother of Earth
and still more Guns!
Tuesday, January 07, 2025
More Pomplamoose! The ONLY way singing in French can sound SOOO cool! |TWILIGHTZONE
Douce France // Charles Trenet // POMPLAMOOSE ft. John Tegmeyer
thanks again to Twlightzone!
Monday, January 06, 2025
Speaking of Neil Young, here’s one from Zero G Sounds from 1970
Neil Young & Crazy Horse - Danny By The River
(Bootleg, Cincinnati, February, 25, 1970) 2 cds
Zero hat gesagt… :"Danny By The River" presents an almost complete soundboard from the first show on one of Neil Young’s early tours with Crazy Horse.Recordings from this show have been released before on the two LP vinyl release "Winterlong". The acoustic set has been released on "Acoustic Tokens" and "The Loner" (along with tracks from the January 21st, 1971 Boulder, Colorado tape). The electric set has been issued as "Electric Prayers". This recording is listenable and considered one of the better tapes from this tour, but it is incomplete with only a fragment of “Don’t Let It Bring You Down” and “The Old Laughing Lady” missing from the first half.
This soundboard tape has been issued before on the two cdr set "Winterlong" on The Swingin’ Pig (TSP-CD-042-2) but the master reel-to-reel surfaced recently with much better sound. Seymour was the first to press it on to silver disc with "Danny By The River". There are faint traces of hiss during the acoustic set and the emphasis is upon the middle frequencies with an overall dull and quality. The mix of the instruments is very good in the electric set with only a cut eighteen minutes into “Down By The River” eliminating some words of the final verse of the song. The sound quality is very good to almost excellent and, compared to the audience recordings circulating, offers the best sounding document.
Young played six shows with Crazy Horse in February 1969 at The Bitter End in New York, but Cincinnati is the first show on the first proper tour with his band as he explains before “Broken Arrow”, “This is the first of a series of concerts with Crazy Horse, mostly in the east. Only one west coast gig. Even though we live there we play here.” They played ten shows over a month and this is one of the longest with sixteen different songs performed over an acoustic solo set at the beginning and a full band electric set in the second half. “On The Way Home” opens the show and is followed by the Buffalo Springfield tune “Broken Arrow”, which Neil sings in a very shaky and out-of-tune voice. Before “Dance Dance Dance” he becomes very chatty and asks, “should I play one of those up temp ones for you? I don’t have many up-tempo ones. I live up tempo but play down tempo. This is a new song. It’s going to be on the next Crazy Horse album… It could have been a big hit by Tommy Roe” which ends abruptly after two verses with Neil saying “this is where the chicks start singing and I can’t do anymore”. Only a minute and a half of the new song “Don’t Let It Bring You Down”, making its stage debut, is played before segueing into “The Old Laughing Lady”. Whenever Young plays a solo acoustic set he brings warmth that add a lot. The electric set comprises is the bulk of the show. What warmth is lost is balanced by the intensity of the band playing together. “It Might Have Been” makes its live debut and is introduced as a song Young learned at a church dance and “kinda hokey”.
“Down By The River”, which reached thirty minutes in the Philadelphia show following this one, reaches a mere twenty in Cincinnati and is the only epic performed. It isn’t noted on the liner notes, but the post show talking is tracked separately. It is three and a half minutes of the audience calling for an encore and an announcer saying that the band are finished playing since they’ve gone past their contract.
Thanks to Collector’s Music Reviews for informations.
Louise Brooks
Louise Brooks c. 1927 photographed by Eugene Robert Richee
Amongst the many artists actors and musicians I developed obsession with an early on was the star of 'Pandora’s Box' Louise Brooks
At the age of fifteen, Louise Brooks began her career as a dancer and toured with the Denishawn School of Dancing and Related Arts. After being fired, she found employment as a chorus girl in "George White's Scandals" and as a semi-nude dancer in the Ziegfeld Follies in New York City. While dancing in the Follies, Brooks came to the attention of Walter Wanger, a producer at Paramount Pictures, and was signed to a five-year contract with the studio.
Dissatisfied with her mediocre roles in Hollywood films, Brooks went to Germany in 1929 and starred in three feature films which launched her to international stardom: "Pandora's Box" (1929), "Diary of a Lost Girl" (1929), and "Miss Europe" (1930); the first two were directed by G. W. Pabst.
Brooks recalled that "when we made 'Pandora's Box', Mr. Pabst was a man of 43 who astonished me with his knowledge on practically any subject. I, who astonished him because I knew practically nothing on every subject, celebrated my twenty-second birthday with a beer party on a London street."
Brooks claimed her experience shooting "Pandora's Box" in Germany was a pleasant one: "In Hollywood, I was a pretty flibbertigibbet whose charm for the executive department decreased with every increase in my fan mail. In Berlin I stepped to the station platform to meet Mr. Pabst and became an actress. And his attitude was the pattern for all. Nobody offered me humorous or instructive comments on my acting. Everywhere I was treated with a kind of decency and respect unknown to me in Hollywood. It was just as if Mr. Pabst had sat in on my whole life and career and knew exactly where I needed assurance and protection."
When audiences and critics first viewed Brooks' German films, they were bewildered by her naturalistic acting style. Viewers purportedly exited the theater vocally complaining, "She doesn't act! She does nothing!" In the late 1920s, cinemagoers were habituated to theatre-style stage acting with exaggerated body language and facial expressions. Yet Brooks' acting style was deliberately subtle as she knew the close-up images of the actors' bodies and faces made such exaggerations unnecessary. When explaining her acting method, Brooks posited that acting "does not consist of descriptive movement of face and body but in the movements of thought and soul transmitted in a kind of intense isolation." This innovative style continues to be used today by film actors but, at the time, it was surprising to viewers who assumed she wasn't acting at all.
Film critic Roger Ebert later noted that, by employing this acting method, "Brooks became one of the most modern and effective of actors, projecting a presence that could be startling."
The result of her appearances in the two films by Pabst was that Brooks' became an international star. According to the film critic and historian Molly Haskell, the films "expos[ed] her animal sensuality and turn[ed] her into one of the most erotic figures on the screen—the bold, black-helmeted young girl who, with only a shy grin to acknowledge her 'fall,' became a prostitute in 'Diary of a Lost Girl' and who, with no more sense of sin than a baby, drives men out of their minds in 'Pandora's Box'."
Louise Brooks by Richard Rosson, 1927
Brooks is regarded today as a Jazz Age icon and as a flapper sex symbol due to her bob hairstyle that she helped popularize during the prime of her career. (Wikipedia)
In regard to her sexuality and long thought to be a lesbian something she made no effort to deny she was certainly open minded by avowedly heterosexual
I had a lot of fun writing “Marion Davies' Niece” [an article about Pepi Lederer], leaving the lesbian theme in question marks. All my life it has been fun for me. ... When I am dead, I believe that film writers will fasten on the story that I am a lesbian ... I have done lots to make it believable ... All my women friends have been lesbians. But that is one point upon which I agree positively with Christopher Isherwood: There is no such thing as bisexuality. Ordinary people, although they may accommodate themselves, for reasons of whoring or marriage, are one-sexed. Out of curiosity, I had two affairs with girls — they did nothing for me
After retiring from acting, she fell upon financial hardship and became a paid escort. For the next two decades, she struggled with alcoholism and suicidal tendencies.
"I found that the only well-paying career open to me, as an unsuccessful actress of thirty-six, was that of a call girl ... and (I) began to flirt with the fancies related to little bottles filled with yellow sleeping pills "
Following the rediscovery of her films by cinephiles in the 1950s, a reclusive Brooks began writing articles about her film career; her insightful essays drew considerable acclaim. She published her memoir, Lulu in Hollywood, in 1982.
Three years later, she died of a heart attack at age 78.
Louise Brooks - November 14, 1906 – August 8, 1985
Pomplamoose ft. John Schroeder | An old French tune (by Georges Brassens) | Twilightzone
We have had these guys before (check out Dark Eyes) and we will have them again but this time from Twilightzone (of course!)
Get our French EP on vinyl or CD! - http://bit.ly/pomplamoosemerch
ACE - How Long (Paul Carrack)
Ear worm and/or Classic? You decide!
Oooh oooh I know I know! It’s BOTH!
Still in demand as a session player and part of many live bands the wonderful voice and keyboard skills of this man! PAUL CARRACK. Memberof Ace, Mike and The Mechanics, Squeeze and played with loads from Clapton Ringo Star All Starrs etc etc. . . . .
THIS IS POP! Ian Stewart Murdoch
Emily Browning! - "God Help The Girl" - Videoclip!
school of Belle and Sebastian? Anyone?
God Help the Girl" video clip of the title track of the film.Directed by Stuart Murdoch and performed by Emily Browning.God Help the Girl premiered in Spanish cinemas on September 19, 2014
Mo’ Macca | She’s Given Up Talking [Driving Rain 2001] | Le Ramasseur De Mégots
Heavy Macca’s!
She’s Given Up Talkingby Paul McCartney
2001 Driving Rain . . . . as the weekend’s snow was quickly replaced by rain there is this
Le Ramasseur De Mégots
Caravan - Where But For Caravan Would I? | jt1674
A lesser known track from the prog rock masters from the Land of Grey & Pink (we all bought that when it came out didn’t we?) . . . . . . .where but for Caravan?
HEART OF GLASS - Blondie / Philip Glass Jonas Crabtreet Re-Mix | @jt1674
Oh you wanted some more Philip Glass ? Here as it was Chris Stein’s birthday at the weekend have THIS!
Sunday, January 05, 2025
ALBUMS THAT SHOULD EXIST | Ronnie Lane - BBC Sessions, Volume 3: In Concert Golders Green Hippodrome London UK 1974
Ronnie Lane - BBC Sessions, Volume 3: In Concert, Golders Green Hippodrome, London, Britain, 12-13-1974
Like the previous volume in this series, this is a BBC concert. Both of them are close in time, set about six months apart. But in between, Lane released his album "Anymore for Anymore." So naturally there are a good number of songs performed from that album.
The concert has been officially released in full as part of the album "You Never Can Tell." However, for some reason, it was badly mixed, with the lead vocals too quiet. So I fixed that for all songs using the UVR5 audio editing program.
The concert is a bit strange in that all the talking between songs is done by a BBC DJ, as if Lane could only sing, not talk. But that was the occasional style for BBC concerts in the early 1970s.
This album is 49 minutes long.
01 talk
02 Last Orders
03 talk
04 Anniversary
05 talk
06 Roll On Babe
07 talk
08 From the Late to the Early - How Come
09 talk
10 You're So Rude
11 talk
12 What Went Down [That Night with You]
13 talk
14 Chicken Wired
15 talk
16 Sweet Virginia
17 talk
18 Ooh La La
19 talk
20 You Never Can Tell
Now we’re talking. . . mo’ Ronnie . . . .always love some more Ronnie ‘Plonk’ Lane!
Where Does Bobby ‘practice’!? | Flagging Down The Double E’s Newsletter Ray Padgett
Where Bob Dylan Rehearses Before Tours
Bardavon Director Chris Silva talks hosting private Dylan rehearsals—including before 'Modern Times'
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When people were interviewing me about my book, one question I got a lot was: “What did you learn that surprised you?” One answer I remember giving a few times: How hard Dylan rehearses before tours. Despite his reputation as flying by the seat of his pants onstage, he drills his bands before each leg—even if the songs they rehearse may not be the songs they play at the actual shows.
One of Dylan’s favorite places to rehearse in recent years is in the Hudson Valley. He has rehearsed six times at two sister venues, the Bardavon 1869 Opera House in Poughkeepsie and the Ulster Performing Arts Center (UPAC) in Kingston, three at each. Most have been before tours that begin on the East Coast or in Europe, but one was preparing to record an album: Modern Times, which he subsequently recorded at Clinton Studios in nearby New York City.
I spoke with Bardavon/UPAC Executive Director Chris Silva to learn more about Dylan’s rehearsals at his venues. After 30 years, Silva just stepped down from running the place, though he will continue to help with programming. He told me about Dylan’s half-dozen secret visits to the two theaters, as well as some other artists who rehearse there.
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Chris Silva at the Bardavon
Remembering Sam Phillips (January 5, 1923 – July 30, 2003)
Photo: Rosco Gordon & Sam Phillips
"If you know one thing about Sam Phillips — and you probably do, if you grew up on rock ’n’ roll — it’s that he discovered Elvis Presley. But award-winning author Peter Guralnick, who talks about his new biography of Phillips, says that even though Phillips was justifiably proud of that achievement, he routinely steered conversations about Presley back to the blues artists who preceded him.
“He never failed to bring the conversation around to Howlin’ Wolf,” said Guralnick. Phillips believed that Elvis, Jerry Lee Lewis, Johnny Cash and other rock and country musicians he made famous were great musical artists
— “but never above Little Junior Parker or Howlin’ Wolf,” Guralnick said.
From the very beginning, said Guralnick, Phillips had an inclusive, “Whitmanesque” vision of a music that would break down racial barriers, giving voice not only to African Americans, but to poor whites as well — a visceral, rhythmic, straightforward music that spoke of pain and promise, joy and despair. In other words, what we came to know as rock ’n’ roll."
By Paul de Barros / Seatle Times
Now I love Sam Phillips for this and his roots were absolutely engrained in black music; the blues and R ’n’ B of Black America. The discovery of Elvis speaks to many (all? ED) but that he was listening and recording everyone from the area without any segregation, no prejudice and just hanging on the music speak volumes about the man is far more interesting to me than the promotion of one man no matter what you think of him!
Roscoe Gordon “Chicken in The Rough” 1957 Film “Rock Baby Rock It”
This is to be, in my opinion, the best documentary on SAM PHILLIPS. This is a A&E Biography Channel UK Documentary of the man who changed the world of music. Profiling Sam Phillips, founder of Sun Records in Memphis, TN., who discovered Elvis Presley and who has been called the "Father of Rock and Roll." Included: archival footage and comments from Ike Turner and Jerry Lee Lewis. Host: Billy Bob Thornton.
Part One
Part Two
Birthdays | Chris Stein - Dreaming (75)
Happy birthday to Chris Stein, born in Brooklyn, New York on this day in 1950. Dreaming is free.
A favourite activity . . . .often referred to as a dreamer who would never amount to anything I identify!
It is free and you can never stop me! Daybreamer . . . . . .
Dylan of The Day | Bob Dylan - Isis (Live Footage - Madison Square Garden - 1975) [Rolling Thunder Revue] |Top Hat Crew's "Live Music Archives”|ROUTE
Isis - Bob Dylan and The Rolling Thunder Review
Bob Dylan’s album Desire was released on this day in 1976. There’s much enthusiasm for young Bob Dylan at this moment, and rightly so, but here’s some evidence that Bob aged quite well, also. (Read all about this album in John Bauldie's book The Chameleon Poet.)
✨ *Experience a Celestial Dance with Na Le - Phaxe Remix by Omiki!*
Na Le - Phaxe Remix | Josefsen and Omiki
an old friend posted this on Facebook and it haunted me! IMMEDIATELY
remix by Kevin Josefson featuring Omiki
[thanks Mina]
Na le, neue na le Neue nu si na le Neue nu si na le Na le, neue na le Neue nu si na le Neue nu si na le Iu se wom ba Wo ma io ue Wo ma io ue ha Wo ma io we na le Wo ma io Wom ba wo ma io e Wom ba io ue ha
Philip Glass - KOYAANISQATSI a film soundtrack from Godfrey Reggio
A wonderful ex-colleague turned me onto this film and with it’s music and mind blowing visuals we loved this when it came out . . . . . . thanks Micha!
Saturday, January 04, 2025
Mazzy Star - Flowers in December (Live on 2 Meter Sessions)
Hope Sandoval
Mazzy Star perform 'Flowers in December' of their 1996 album "Among My Swan" on Dutch music show "2 Meter Sessies". Filmed on November 6, 1996
I will post this to send you up the wooden hill to Bedfordshire . . . . . . . night all, stay safe, wrap up warm and hunker down if you can . . . . the wolves are running
Birthdays | Slim Gaillard | Dust To Digital
Remembering Slim Gaillard, born on this day in 1916 in Detroit, Michigan. Here he is performing on the Steve Allen Show in 1962.