I Can See You - by Paddy Summerfield c. 1986

Monday, September 01, 2025

THE DOORS: Toronto Rock and Roll Revival, Varsity Stadium, Toronto, Canada, 9-13-1969, Part 8

 Toronto Rock and Roll Revival, Varsity Stadium, Toronto, Canada, 9-13-1969, Part 8: The Doors

Paul says: This is the eighth and final album from the 1969 Toronto Rock and Roll Revival. This one stars the Doors.

I've already discussed some thing about the Doors and their role in this festival in my write-ups for previous albums. For instance, I've mentioned how the festival's main promoter John Brower got desperate when he saw that the 1950s stars he'd booked for the festival weren't selling many tickets. In desperation, he decided to spend $25,000 to hire the Doors to be the headlining act. In order to do this, he resorted to borrowing the $25,000 from a man named Edjo, who was the leader of a biker gang. If the festival was a failure, he would be in fear of injury or even death.

Unfortunately, Brower made a big mistake in hiring the Doors, in terms of filling seats for the festival. In March 1969, the Doors' lead singer Jim Morrison was arrested in Miami, Florida for public indecency. Supposedly, he exposed his privates on stage. The other band members denied that, and it seems he only teased doing that. But there was a big backlash just the same. Many of their concerts were cancelled, and some of those that took place were poorly attended. 

Luckily for Brower, the last minute surprise of John Lennon performing at the festival saved his hide. He had at least $110,000 in expenses, mainly paying the other acts (with the Doors costing the most), but he made about $150,000 in ticket sales. So he was able to pay Edjo back. In fact, Edjo and his biker gang, the Vagabonds, were delighted by what happened. About 100 bikers rode their motorcycles with the Doors from the airport to the stadium where the festival took place. Then, when Lennon arrived a few hours later, they did a motorcade for him as well. 

As I mentioned in my write-up for Lennon's set, the emcee Kim Fowley had the brilliant idea of having everyone in the audience of 20,000 to hold up candles or lighters at the start of the set. This was apparently the first time this happened at a rock concert.

Brower later explained, "The only problem was that the bikers figured, 'Well that shit is okay for John Lennon, but we need to welcome the Doors with something real.' The next thing we knew, they had broken open a broom closet, took out all the sweeping brooms, took the fuel out of their Zippo lighters, torched them, and came out in front of the stage. You have to realize, Jim Morrison had a very powerful male personality and presence, so the bikers related to the Doors. They certainly weren't Beatles fans. It was absolutely nuts." 

As I also mentioned in a previous write-up, the Doors got to the festival several hours before they were due to perform, so they spent most of that time watching the other musical acts from the side of the stage. Many of these acts were the 1950s rock stars that the members of the Doors idolized when they were kids, and they were very impressed by what they saw and heard.  

As a result of all that, Morrison made a unique speech for him during the early part of "The End." He very rarely bantered between songs, but he wanted to say something about the festival. Here are his comments: "I can remember when rock and roll first came on the scene, and for me, it was a very liberating experience because it burst open whole new strange catacombs of wisdom that I couldn't remember and I didn't know about, and I couldn't see any equivalent for in my surroundings. And that's why, for me, this evening has been really a great honor to perform on the same stage with so many illustrious musical geniuses." 

D.A. Pennebaker was making a documentary about the festival, which was later released as the movie "Sweet Toronto." But Morrison refused to allow Pennebaker's film crew to record the Doors' set. In all likelihood, he was very cautious about recordings in the wake of the Miami incident earlier in the year. Already, he was looking to spend six months in prison. (He died in 1971 before the legal dispute could be resolved.) If some disaster happened on stage and it got recorded, he could have been in even more trouble. 

Unfortunately, it seems most of the excellent audio recordings of the concert were due to the recording work of Pennebaker's film crew. Since they didn't film the Doors, there's no soundboard-level audio recording of it either. Instead, all we have is an audience bootleg. But luckily, it's a pretty decent one, as audience bootlegs go. Furthermore, I used some of my usual tricks to improve the sound. I used the MVSEP program to get rid of all the crowd noise during the songs, while keeping the cheering at the ends of songs. I also used the UVR5 audio editing program to boost the vocals relative to the instruments, since that needed help. I think it sounds a lot better now.

The music here is unreleased. As I said above, the sound is pretty good, but not great. 

As far as the quality of the band's performance, here's what band member John Densmore later had to say about that. "I mean, you know, John Lennon and the Plastic Ono Band walked out on stage and it was the biggest roar of the century and we're supposed to follow this group? Kim Fowley introduced us and we played the best we could. In my opinion, we were fine. We weren't great. We weren't lousy. We were fine. But everyone was so in awe of the Mop Top [Lennon]. It was great."

The band mostly played their concert staples. However there was one surprise in the fact that while they were in the middle of playing "Back Door Man," Morrison sang some of the lyrics to the song "Roadhouse Blues." He even sang a little bit of another song, "Maggie M'Gill." Both those songs would be released on the band's next album, "Morrison Hotel," released in 1970. In a couple other 1969 concerts they played little snippets of those songs, but they wouldn't be played in full until early 1970. 

As far as the festival as a whole, promoter John Brewer's original idea was to highlight 1950s rock stars like Chuck Berry, Little Richard, Bo Diddley, Jerry Lee Lewis, and so on, who had largely been forgotten. He believes the festival was a success in that respect, saying, "Word went out about how great their performances were, which helped them enormously." Indeed, this was the start of a wave of nostalgia for 1950s rock and roll that would peak in the 1970s with retro bands like Sha Na Na and retro movies like "American Graffiti."

This album is 56 minutes long.

01 When the Music's Over (Doors)
02 Break On Through [To the Other Side] (Doors)
03 Back Door Man - Roadhouse Blues - Back Door Man (Doors)
04 The Crystal Ship (Doors)
05 Wake Up (Doors)
06 Light My Fire (Doors)
07 The End (Doors) 


The Cover art:

Paul adds:

As mentioned above, this performance by the Doors wasn't filmed. But surprisingly, it seems there are next to no photos from it either. I only found one, and that was blurry and generally bad. However, there is some photo and video of the band members back stage. I found a photo of Morrison watching the festival stage from the side and decided to use that as the closest decent thing I could find. Unfortunately, the photo was taken while the sun was still out and the band played when it was dark. So I used Photoshop to darken the image, and especially darken the sky in the background. So at least this gives you a good idea of what Morrison was looking like (he'd recently shaved his beard off) and a bit of what he was wearing.

Beatles pics : Jane and Paul in Wales!

Beatle Paul McCartney & Jane Asher photographed during their visit to the 10-day conference on Transcendental Meditation with the Maharishi Mahesh Yogi in Bangor, Wales in August 1967.


 Is it me or do they look less than impressed . . . . . ?

Dear Prudence . . . . . .won’t you come out to play?

John Lennon and the Plastic Ono Band: Toronto Rock and Roll Revival, Varsity Stadium, Toronto, Canada, 9-13-1969, Part 7| Albums That Should Exist

Mostly because it is just such a good read . . . . . . this from Paul ATSE 

Toronto Rock and Roll Revival, Varsity Stadium, Toronto, Canada, 9-13-1969, Part 7: John Lennon and the Plastic Ono Band

Paul said: Okay, it's time for a big one, the pinnacle of the 1969 Toronto Rock and Roll Revival Festival, even though it wasn't the final musical act. The star was John Lennon, supported by his wife Yoko Ono and a great band that included famous lead guitarist Eric Clapton.

This is probably going to be one of the longest write-ups I ever did, if not the longest. But I find the story behind Lennon's involvement in this concert to be very fascinating, and I hope you will too. Seriously, someone could make an entertaining movie out of this, especially if you add in the drama of how Lennon got invited to the festival in the first place, which I discussed previously. 

I think, after several decades, it's hard for anyone to imagine just what a big deal it was for Lennon to perform at this concert. He was still a member of the Beatles, though he wouldn't stay one for long (and this concert would have a major impact on that, as we shall see). The Beatles stopped touring in 1966. Since then, Lennon had only performed a couple of times. He played one song in 1968 as part of the Rolling Stones' Rock and Roll Circus show. He performed as part of the Beatles on the rooftop of their recording studio in London earlier in 1969. And that was it for the last three years. None of the other Beatles had performed in public since 1966, and nobody expected Lennon would.

In the first album I posted from this festival, the Chicago set, I explained how the festival came to be, and how the recruitment of Lennon at the last minute saved the festival from cancellation due to poor ticket sales. Let me pick up that narrative, of what happened to Lennon after he agreed to perform in the festival, over the phone, and on the other side of the Atlantic Ocean, just one day before the festival was due to happen.  

The first thing Lennon had to figure out when he got off the phone was who would be in his band, especially on such short notice. His first idea was to include another Beatle, George Harrison. But Harrison turned him down, saying it would seem too much like a Beatles concert with both of them in it, and the popular demand would be that they just play Beatles songs, when he knew Lennon wanted to do something different. 

Lennon didn't push back too much on that. He knew Harrison had brought up valid points. Besides, he had someone else in mind he also was very interested in: Eric Clapton. As mentioned above, Lennon performed one song ("Yer Blues," from the Beatles' "White Album") in the 1968 Rolling Stones' Rock and Roll Circus show, and Clapton had been the lead guitarist for Lennon then. Lennon had a very good rapport with Clapton in general at the time. In fact, during the Beatles' contentious "Get Back" sessions in early 1969, when Harrison quit the Beatles for a few days, Lennon suggested they might replace him with Clapton.

Unfortunately, the call asking Lennon to take part in the festival came at the last minute, almost literally. It was already the evening before the festival when Lennon got the phone call! Immediately, Lennon had people at the Apple Records office he was at try to call Clapton to see if he wanted to take part. The assumption was that Clapton would be willing if he could be reached, but nobody could reach him. People not only repeatedly tried calling Clapton's house in the middle of the night, but they tried calling his friends, as well as night clubs and any other likely places he could be late at night. But nobody knew where he was.

Meanwhile, Lennon had to figure out who the other members of the band would be. The choice for bass player was easy: Klaus Voormann. Voormann, a German, had met the Beatles when they were struggling and playing small clubs in Hamburg, Germany, in the early 1960s. He'd stayed friends with them ever since then, even designing the cover of their 1966 album "Revolver." He'd also become a very talented bass player, joining the band Manfred Mann from 1966 until 1969 and working a lot as a session musician. Lennon would use him a lot as bassist in future years.

The choice of drummer, though, was a very surprising one: Alan White. At the time, White was a teenager and essentially a complete known. He was drumming in the obscure band Griffin. But, by chance, Lennon and Ono attended a Griffin concert at a small club the night before. Lennon had been very impressed by White's drumming. (Indeed, White was a talented drummer who was destined for bigger things. In 1972, he would join the prog rock band Yes and stay with them for about 50 years.) 

Somehow, Lennon was able to find out the name of the Griffin drummer, then get his telephone number, and called him. But White later recalled, "I hung up on him. I thought someone was playing a prank. John Lennon's not going to call me." However, Lennon kept calling him back and managed to convince him that he really was John Lennon and he really did want him in his new band, to perform on a different continent the next day! White agreed, even though that meant cancelling a Griffin concert scheduled at the same time. "What was I going to say? No, to a Beatle? I don't think so."

Meanwhile, Lennon was desperate to get in contact with Clapton. He stayed up until five in the morning with an assistant, calling everyone they could think of, to no avail. The airplane to take Lennon and his new band to Toronto was due to fly out of London at 10 in the morning. However, around 9:30, Lennon called festival promoter John Brower from the airport and said he would have to cancel his role in the festival. Clapton couldn't be found in time, and Lennon wasn't willing to perform without him.

Brower was incredulous, and horrified. He'd borrowed $25,000 from a man named Edjo, who was the head of a biker gang, to pay the fee for the Doors to headline the festival. If the festival ticket sales bombed or the festival was canceled altogether, that biker had promised to severely beat Brower, for starters. Brower considered fleeing Canada just to save his life!

But luckily, with Lennon and others waiting at the airport, he was given the word that Clapton had been found after all. It turned out that Clapton had gone to bed early and slept during the entire search, far from his phone. A telegram had been sent to his house as part of the desperate search to find him. In the morning, Clapton's gardener saw the telegram, opened it, saw the urgency of it, and woke him up. Clapton was very willing to perform with Lennon at the festival. Still, there was no way Clapton could make it to the airport in time to catch the flight overseas. It seemed all was lost. Lennon said he would send Brower a bouquet of flowers as an apology.

Brower later recalled, "I saw Edjo [the biker gang leader] putting the flowers on my grave; everything was destroyed." He decided to try to call Clapton, now that Clapton was awake, and beg for help.

He claims he told Clapton on the phone, "Listen man, you've gotta help me. If John Lennon does not show up today, I am ruined. I have to leave my city. I have to leave my country. In fact, I'm going to come over there and move in with John Lennon, with my wife and kid, okay? You need to get him back on the phone and tell him he has to come.' Clapton started yelling, 'I don't get up at this time of the morning for anybody. Fucking Lennon gets us out here and then sends fucking flowers?'"

Clapton then immediately phoned Lennon back. Brower recalled, "He was furious. He just [told Lennon], 'What the fuck are you doing? There's some guy on the other end of the phone who is ruined if we don't go over there. He said he's going to come over and move in with you!' We later found out... that Lennon was mortified that Eric Clapton was mad at him. I mean, you just don't get Eric Clapton mad at you."

So Lennon scrambled to come up with a new plan. Arrangements were made to book a flight to Toronto that left at 3:15 in the afternoon, London time. It would be a tight schedule, but that would get them in Toronto in time to perform at the end of the festival, thanks to the time zone difference. While waiting at the airport, Lennon held an impromptu press conference, announcing to the world his involvement in the festival.

Now, Lennon had his band and the ability to get to the festival in time. But the band hadn't practiced whatsoever. They tried their best to do that during the plane flight. But it wasn't easy, because they didn't have amplified instruments, and White had to "drum" using the seat back in front of him. They could barely hear themselves over the noise of the airplane. At least they agreed on the songs they would play. However, while Lennon told the other band members that Ono would be singing a couple of songs, they didn't practice those at all. Voormann later said, "So, no rehearsal with Yoko. He kept it really away from us. He just wanted us to be surprised."

I normally don't add pictures to my write-ups, but since this one is so long, here's a photo of Lennon and Clapton trying to practice while on the plane flight. 

The drama continued when Lennon and his band arrived in Toronto. To their surprise, they were met at the airport by a biker gang led by Edjo, the same gang leader who had loaned Brower $25,000. There was a limousine waiting. Edjo and about 100 of his bikers led a motorcade from the airport to the stadium where the festival was taking place. Police joined the motorcade, redirecting traffic so Lennon's motorcade could blow through all the red lights, just as if he was a president or prime minister.

Lennon arrived at the stadium while Cat Mother was performing, and word somehow spread throughout the crowd, raising the anticipation. But Lennon and his band went to a grubby back room and essentially stayed cooped up there for a couple of hours until it was time for them to go on stage. They tried to practice some more, but they still didn't have adequate instruments to practice on. They apparently spent most of the time trying to figure out the lyrics to the songs they had chosen to sing. They wrote them all out so Lennon could read them on stage. When their performance actually began though, Lennon would forget about the notes and just winged it, except for reading the lyrics to his one new song, "Cold Turkey." 

Speaking of "cold turkey," in 1969, Lennon had become a heroin addict. So had Clapton. Both of them didn't dare sneak drugs on the plane. So they were very worried about falling apart if they couldn't find some drugs in Toronto - if not heroin, then at least something similar. Soon, Lennon asked Brower, "Can you get us some coke?" Brower later recalled that he replied, "Let's get six Cokes over here right away.' I looked back at the two of them like, 'No problem. No problem,' and they just had this horrified look on their faces. They were looking at each other like 'Where are we?' And Yoko goes, 'No, coke for the nose.'"

Brower was determined to do whatever it took to make sure the festival would be a success. He remembered he had a friend who did drugs and was attending the festival. He actually arranged a stage announcement to call that friend backstage. The friend soon showed up, and was able to find some cocaine. Brower said, "I went backstage to give it to John, and I swear to God he looked at me like, 'You're Jesus and this is the Lord's water.'" Lennon made sure Clapton got some of the cocaine as well.

That problem was solved. But still, Lennon was in a bad way. He was repeatedly throwing up due to nervousness from giving his very first concert as a solo performer. He even threw up again a few minutes before getting on stage. He also was tired from getting almost no sleep, due to spending most of the night trying to find Clapton.

Kim Fowley, a famous music producer, was the emcee for the festival, so he was the one to introduce Lennon to the stage. According to Fowley, shortly before Lennon was due to go on stage, he asked Lennon how he was doing, and Lennon replied something to the effect of: "I'm terrified. Imagine if you were in the Beatles as the only band you've only been in your life. The first time you are to step on stage with people that weren't in the Beatles. You’re about to go on stage with your wife, a friend, a friend, and a complete stranger with songs you had learned acoustically on an airplane on the way over from England with jet lag. You would be terrified. Do something so the kids don't know how scared I am."

Fowley came up with an idea to boost his spirits. He remembered a scene from a movie, "Our Lady of Fatima," where a bunch of children had held candles up together, and he asked everyone to do the same, to show their support and encouragement. You can hear Fowley doing this at the start of this album. It seemed to have really helped. Lennon later commented, "They all lit candles or lights up and it was really beautiful, you know, and the vibes were fantastic."

Remarkably, it appears this was the very first time lights were held up like this at a major concert. Due to the prominence of the festival, as well as a movie documentary about it, the practice spread, and it soon became a fairly common concert ritual. So kudos to Fowley for that.

Finally, the time came for Lennon to start playing music. He and his band ran through some classic rock songs from the 1950s, which was very much in keeping with the overall theme of the festival. They also played one Beatles song, "Yer Blues." Then they played "Cold Turkey." Lennon had just written this song about his recent heroin addiction (which, thankfully he was able to kick about a year later). This was the first time it was performed in public. Lennon would release it as a single a month later, and it would make the Top Forty in both the U.S. and Britain. Then he performed "Give Peace a Chance," which he had released as a single in July.

Overall, the band sounded ragged due to lack of practice, but they made up for it with enthusiasm. Plus, they played the kinds of simple, rocking songs where being ragged actually fit. Most people in the audience, which filled the stadium by now, probably were disappointed not to be hearing Beatles classics. ("Yer Blues" was a relative obscurity.) However, it seems they were in awe to be hearing Lennon sing anything, and they were very enthusiastic overall.

Lennon later recalled, "I can't remember when I had such a good time. Yoko was holding a piece of paper with the words to the songs in front of me. But then she suddenly disappeared into her bag in the middle of the performance and I had to make them up because it's so long since I sang them that I've forgotten most of them. It didn't seem to matter."

(Indeed, Ono spent most of the first half of the set inside a big white bag on the stage floor! That was an example of her performance art that helped attract Lennon to her. Robby Krieger of the Doors, who was watching from the side of the stage, later said, "I really thought it was cool that Yoko decided to do the whole show in a laundry bag. I really gained respect for her for that.") 

Clapton also recalled, "It was really refreshing to do these songs because they are very simple and uncomplicated. John and I really love that music. That's the kind of music that turned John on initially, and it's the same for me. In fact, I could go on playing 'Money' and 'Dizzy Miss Lizzy' for the rest of my life."

So far, everything was going great. Lennon was particularly pleased at how the audience responded to his new song "Cold Turkey." He said, "The way that we got it together was like we'd all been playing together for years. Then, 'Give Peace a Chance,' which was just unbelievable."

Then it was time for Ono to sing her two songs. Keep in mind that not even the other band members other than Lennon knew what was going to happen next. For the first song, Lennon had merely told the others that he'd start playing a riff on his guitar and they should all repeat it over and over.

Nowadays, Ono is rather notorious for her screaming style. But at the time, the audience was in for a shock when she began her screaming singing. There hadn't been any concerts or albums with her singing like that, at least not that the wider public was aware of.

Voormann, the bassist, later recalled, "This scream came [from Ono]. I said, 'She must have stepped on a nail or something.' And Eric [Clapton] looked at me, 'What's this?!'" But the band gamely rolled with the punches and kept playing.

Ono's first song was somewhat palatable to the audience, since there at least was a kind of rock and roll beat to it. But her second song went on for much longer, and it was all Ono's wailing and guitar feedback. (The other band members kept rolling with the punches, with Clapton even singing some backing vocals to Ono.) Lennon said, "Yoko's first number had a bit of rhythm, but the second number was completely freaky. It was sort of the thing she did at Cambridge [earlier in 1969], but it was more like Toronto 1984."

Some people seemed to "get it," and others didn't. 

Voormann later said, "The funny thing is that when I was up there, I was behind Yoko, and I felt suddenly what she was doing. She was actually telling the people, in her way, that all those people are dying [in the Vietnam War]. Those tanks and bombs falling and dead bodies lying about. What she was doing was really, really felt like a dying bird. She couldn't have stood there and talked about it and said, 'Yeah, peace. Just think of Vietnam.' No. This was far ahead of its time. The audience didn't understand a thing."

By and large, it seems the audience was baffled by Ono's performance, but were fairly tolerant just because Lennon was involved. There was some booing, but it seems accounts of this were later exaggerated. Few people left, especially because the Doors were still due to perform next.

Lennon was encouraged by the crowd's reaction, overall. He later said in an interview, "A lot of the audience walked out, but the ones that stayed, they were in a trance, man. They just all came to the front." In a different later interview, he felt even more encouraged. ""All I can say is that there were maybe 25,000 people there and maybe 15 didn't like it. I didn't hear any booing. It's always the man from the daily paper who does!" He further added, "It gave me a great feeling, a feeling I haven't had for a long time. It convinced me to do more appearances, either with or without the rest of the Beatles. Everything went down so well."

Lennon was so excited about this concert performance that he wanted to immediately release it on album. However, his record company, Capitol Records, initially resisted the idea. "They said 'This is garbage, we're not going to put it out with her screaming on one side and you doing this sort of live stuff.' And they refused to put it out. But we finally persuaded them that people might buy this. Of course, it went gold the next day." 

The album was released later that year under the title "Live Peace in Toronto 1969," and it sold over 500,000 copies (which is gold status). This recording here is essentially the same as the official release. I'm including it so one can have the full recording and story of this festival in one place.

The songs sung by Lennon were on one side of the album and the songs sung by Ono on the other. At the time, the Lennon songs were praised by music critics and the Ono songs were panned. But interestingly, over time, some famous musicians claim they were more inspired by Ono's songs. For instance, Iggy Pop said that Ono's side of the record is "the part that stands out. The rest of it's just kinda pedestrian." Perry Farrell of Jane's Addiction has made similar comments, stating that Ono's sound experiments were a cornerstone of his musical education. 

Personally, I think Ono's songs here make for an interesting listen once or twice, but it's not something I'd want to hear more often than that. Of course, you can choose to keep or delete those songs.

I have one final note to make about Lennon's performance. It seems undeniable that this was a pivotal moment in his music career and even his entire life, because it's when he fully committed to leaving the Beatles. Prior to this festival, he was drifting away from the Beatles, but he hadn't really figured out what would come next, and he lacked the confidence to leave the most famous band in the world. The success of this performance gave him that confidence.

Shortly after the concert was over,  he told his new band mates he would be leaving the Beatles. "I told Alan [White] I was leaving. I told Eric Clapton and Klaus [Voormann] that I was leaving. I announced it to myself and to the people around me. 'It's over.'" As soon as he returned to London the next day, he told his manager Allen Klein the same thing. Then he broke the news to the other Beatles on September 20th, about a week after the festival. However, they all agreed to keep that news quiet while they renegotiated their record contract. In the end, they didn't go public with the news until April 1970, but they were effectively broken up until then, with the four of them never all getting together a single time.

So this leads to a big question: would the Beatles have endured for much longer had it not been for the improbable chain of events that led to Lennon performing at the festival? My guess it maybe they would have stuck together for a few more months, but not longer than that. A break-up was in motion over many issues, mainly financial ones relating to a dispute over who would manage the band after Brian Epstein died. Plus, Lennon really wanted to go off and do his own thing with Ono, and he was just gathering the confidence to make the break. Had it not been this concert, something else would have come along soon that played the same role. And the Beatles had just finished recording the "Abbey Road" album in August, so they probably wouldn't have wanted to record a new album until well into 1970 anyway. The odds of them sticking together long to record another album without this festival happening would have been extremely low, in my opinion.

This album is 39 minutes long. 

01 talk 
02 Blue Suede Shoes
03 Money [That's What I Want] 
04 Dizzy Miss Lizzy 
05 Yer Blues
06 talk
07 Cold Turkey 
08 talk 
09 Give Peace a Chance
10 talk 
11 Don't Worry Kyoko [Mummy's Only Looking for Her Hand in the Snow]
12 John, John [Let's Hope for Peace] 

All tracks John Lennon & the Plastic Ono Band

Phil Manzanera - Miss Shapiro [Diamond Head] | jt1674

I have prolly gone droning on about Roxy Music when Brian Eno left and whilst I couldn’t take the Bryan Ferry 50s lothario lounge lizard schtick but enjoyed some of what Roxy carried on to do but stayed with Eno throughout and yet I always wished Brian had taken Manzanera and Andy Mackay and others with him and that he stayed close pals with Phil (and others? sic) is testament to something . . . . .and is proved here on Manzanera's first solo outing using Brian’s lyric and singing ability . . . enjoy! I did and bought Diamond Head when it came out (of course)

https://www.tumblr.com/jt1674/793420493343555584/phil-manzanera-miss-shapiro

T Rex - Diamond Meadows | jt1674

 

https://www.tumblr.com/jt1674/793427635744260096/t-rex-diamond-meadows

Advert Break| KATHRYN WILLIAMS is touring to promote her new solo album MYSTERY PARK


 

Robyn Hitchcock "Shadow Cat” 2008 | TWILIGHTZONE

 Robyn Hitchcock "Shadow Cat" 2008

Robyn Hitchcock is a wizard with an electric guitar and can create crackling, energetic rock & roll with the right band behind him, but sometimes it seems he's happiest when he's working all by his lonesome, and some of the finest albums in his catalog feature him in solo semi-acoustic mode (most notably I Often Dream of Trains and Eye)...
...Shadow Cat is an accidental sibling to these works, a collection of 14 solo Hitchcock tracks recorded between 1993 and 1999, most of which haven't surfaced before (though a version of "Statue with a Walkman" appeared on the vinyl edition of Storefront Hitchcock, the same album included another take on Jimi Hendrix's "The Wind Cries Mary," and "The Green Boy" surfaced on the outtakes compilation A Star for Bram). Some of these tracks can be politely described as experiments that don't quite work, most notably two a cappella numbers performed with the aid of a vocoder ("Because You're Over" and "Real Dot"), and a few are simply lesser compositions that don't sound especially memorable, such as "High on Yourself" and the truncated opener "For Debbie Reynolds." But for fans who like Hitchcock best when he's in a deep and atmospheric mood, Shadow Cat certainly has its rewards, and the languid "Baby Doll," the minimal but absorbing "Beautiful Shock," the stripped-down rock guitar figures of "Never Have to See You Again," and the ominous yet playful title cut are welcome examples of what Hitchcock does so well. Shadow Cat shouldn't be mistaken for a "new" Robyn Hitchcock album, but as a sampler of odds and ends from his notebooks it rescues a few worthy songs from an obscurity they don't deserve, and it's a fine reminder of why Hitchcock is still regarded as one of the most gifted and singular British songwriters around. - Review by Mark Deming

Photo of the Day| THE WHO’s Quadrophenia (1979)

Leslie Ash (Steph) and Phil Daniels (Jimmy) 🎥 Quadrophenia (1979)


Happier times!

 

speaking of Americana . . . here’s Rhiannon Giddens

 

Rhiannon Giddens explores the banjo

Rhiannon says:
"Banjo Aunti checking in - I noticed a few questions about the types of banjos that I’ve played. Let me break it down for you by playing the same song “Donna Got A Rambling Mind” on a couple different banjos so that you can hear the difference"

Holly Golightly & The Brokeoffs - Time To Go | HERBERG DE KELDER (formerly Le Ramasseur De Mégots)

HERBERG DE KELDER

Time To Go - Holly Golightly and the Brokeoffs 

2005


Herberg does it again And comes up with some dark Americana schtick mewsic!

Rattle snakes strychnine and beer

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Author’s of the so called Tortured Poet’s Department Society mark these words . . . . . ! (sic!)