1958
A timeless samba classic
I absolutely LOVE this one and if proof were needed as to what a resource Herberg De Kelder (formerly the Ramasseur De Mégots) actually is, its tracks Herberg digs up like this one!
Just the letter B . . . . .
Hidden Charms
Charles Clark
Nice 1958 version of the Willie Dixon classic
Rain Dogs - the ninth studio album by Tom Waits was released on September 30, 1985 on Island Records.
Tom Waits:
"A Rain Dog is - you notice it more in lower Manhattan than anywhere else - after a rain in New York all the dogs that got caught in the rain, somehow the water washed away their whole trail and they can't get back home so about 4 in the morning you see all these stranded dogs on the street and they're looking around like - won't you help me get back home, sir, please - excuse me sir - excuse me sir - can you help me find my way back home - all makes and models, the short ones, the black ones, the tall ones, the expensive ones, the long ones, the disturbed ones, they all want to get home. So that's a Rain Dog. It's like falling asleep somewhere and you thought you knew where you were and when you woke up - it's like Mission Impossible - they changed the furniture and the walls and windows and the sky turned a different colour and you can never get back and most of the stories in this record have to do with people in New York who are experiencing a considerable amount of pain and discomfort."
The front cover, shot by Swedish photographer Anders Petersen, came from a collection of photos he took at the Café Lehmitz in Hamburg. The establishment was frequented by cab drivers, prostitutes and sailors who patronized it on shore leave. Petersen said about his photographs: “The people at the Café Lehmitz had a presence and a sincerity that I myself lacked. It was OK to be desperate, to be tender, to sit all alone or share the company of others. There was a great warmth and tolerance in this destitute setting.” Waits described the photograph as “Me and Liza Minnelli right after she got out of the Betty Ford Center.”
He set the standard for early and authentic rock ‘n’ roll rebellion, in both sound and style. He acknowledged as much, and while he was unapologetic about his fumbles and transgressions, unlike most people, he took full responsibility and regaled in his rowdy reputation. Attitude and aptitude forever intercepted, creating a combination of music and mayhem that was fully fueled from beginning to end.While Elvis and Little Richard may have shocked the senses, no one was more riveting or rebellious than Jerry Lee. Indeed, his frenetic piano playing style — a left hand frantically pounding away at the rhythm while his right swooped across the keys, often after kicking away his piano bench, and, standing fully upright, propping his leg on keyboard for added effect — left an indelible impression on a generation of keyboard players that followed, from Elton John and Billy Joel to Keith Emerson, Rick Wakeman and other members of rock’s fabled elite.Surprisingly, despite his brash, devil-may-care delivery, Lewis — born Sept. 29, 1935, in Ferriday, Louisiana and dubbed “The Killer” early on — was raised in religious surroundings, a combination of pentecostal passion and fervent belief. His cousin, televangelist Jimmy Swaggart, fully embraced that heritage with his own fiery fervor, but his other cousin, country singer Mickey Gilley, embraced more terrestrial trappings. Somehow, Lewis navigated his way between those two worlds, finding him making secretive sojourns to late night haunts frequented by Black blues singers and eventually to the budding realms of Sun Records, where he found an encouraging atmosphere and a similarly inspired coterie of fellow artists that included Presley, Perkins and Johnny Cash, all of whom dared defy the norm through sheer drive and defiance. Indeed, their fleeting union, dubbed The Million Dollar Quartet, still dazzles the imagination while establishing the supergroup subtext in the process.Of course, Jerry Lee was wholly self-sustaining, and his three early hits, “Whole Lot Of Shakin’ Going On,” “Great Balls of Fire” and “Breathless,” not only inscribed his incendiary style but also established a template for rock and roll in general and the piano in particular.
Meanwhile at the wagon . . . . .
Guitar Legends Festival, Sevilla, Spain
Tracks 1-9 October 17 1991
Tracks 10-13 October 15 1991
Guitar Legends was a concert held over five nights, from October 15 to October 19, 1991, in Seville, Spain, with the aim of positioning the city as an entertainment destination to draw support for Expo ’92 beginning the following April.
Five 90-minute shows and a one-hour documentary were broadcast. Forty-five countries showed at least one live show. Later, broadcasters in 105 countries broadcast one or more programs.
John Martyn ft. Danny Thompson - I Don't Want to Know About Evil (Transatlantic Sessions 10.05.1996)
Richard Thompson - A Rare Thing
John Mayall & The Bluesbreakers - with Mick Taylor
Balloon Meadow
7th Annual National Jazz & Blues Festival
Windsor, England
August 13, 1967
In memory of veteran bluesman John Mayall, who passed at age of 90
John Mayall died on 22 July 2024
Bluesbreakers 1967:
John Mayall - Vocals, Harmonica
Mick Taylor - Guitar
John McVie - Bass
Keef Hartley - Drums
Chris Mercer - Tenor Sax
Rip Kant - Tenor Sax
Set List:
1- Driving Sideways (Instrumental)
2- I Can't Quit You Baby
3- Sonny Boy Blow
4- Stand Back Baby
5- Oh Pretty Woman
6- It's My Own Fault
7- Ridin' On The L&N (Encore)
Pretty sure we went to this with my older brother Steve. Windsor
was the precusor to th Reading Festival which changed from a Blues
base to Rock and endured its move across cities and venues,
The National Jazz and Blues Festival started here in Windsor
I think and was still called that before changing fields into the
centre of Reading . . . . . we saw Keef Hartley a lot around then
and Jon Hiseman et al with John Mayall the father to them all.
I have said before but it was having an older brother who turned
me onto early blues at 13 Big Bill Leadbelly Josh White etc being
preciocious favourites but the discovery of Mayall and Alexis
Korner came as a revelation that there were
Blue Men Singing the Whites!
James - Getting Away With It (all messed up)
You know how the POTUS is fond of AI? well, this . . . . now I see why!? WOT?
"Crazy Little Thing Called Love" Queen . . . . . . Guitar:
Young Nat just slang another platter’n disc . . . . New Chauffeur Blues
Some good morning music from David Grisman (mandolin), Rob Wasserman (bass) and Steve Morse (guitar), performing “16/16” on Merv Griffin's show 40 years ago!
Now we have had Joe’s Limpopo but you know what? I DON’T CARE!
This is today’s mood!
Someone posted this on the Flickkenabokk and I thought it was nice to see Garth featured so prominently . . .was there any sintrument this man could NOT play!?
Morning all! Still here and alive and kicking out the jams . . . . .
Lou Reed - 1973-09-20 - Amsterdam, Netherlands (SBD)
Lou Reed1973-09-20ConcertgebouwAmsterdam, NetherlandsSoundboard Recording
01. Intro > Sweet Jane02. Caroline Says03. Waiting For The Man04. Satellite Of Love05. Walk On The Wild Side06. Heroin07. White Light/White Heat08. Vicious
This soundboard recording captures him long before those Farm Aid sets, on September 20, 1973, 52 years ago today at the Concertgebouw in Amsterdam. A few months earlier, in July, Reed had released the concept album Berlin which tells the tale of a couple, Jim and Caroline, and their struggle with drug addiction and abuse. The album was initially a commercial and critical disaster, though over the years opinions have changed, with Rolling Stone even ranking it at #334 on its list of the greatest albums of all time.
I got given a white label Autobahn album by my old friend John Northcote and still have it somewhere . . . . . . down in the vaults, past the dungeon and round past the Ha-ha!
. . . and this one goes out in memoriam to the Northcote boys (we all went to school together) as this one is for John’s brother Bill (real name Colin!go figure) . . . . . . he turned me on to the Dead as he suddenly turned up one day at my parent’s house with Working Men’s Dead and saying ‘Hey you gotta hear this!' . . . . . . miss you boys
some fellow musicians and favourites have written as follows
Gary Lucas shared this from: Alan Jones:
RIP Danny Thompson, whose bass you can hear on records by Nick Drake, Richard Thompson, Pentangle, John Martyn, Tim Buckley, Davey Graham, Donovan, Bert Jansch, Kate Bush, David Sylvian, Talk Talk, T Rex and more. A wonderful musician, but a borderline berserker when I turned up to interview John Martyn in Leeds in 1975 and found him and Martyn so far gone it was like they'd been drinking since at least the earth cooled, possibly longer. A fair amount of mayhem ensued.
from the equally legendary producer and muso Joe Boyd
Danny Thompson was a giant, a virtuoso bassist with an endessly inventive musical imagination. His tone was like no other – warm but with an edge I never heard from another bassist. His joyful spirit and sense of humour energised recording sessions, inspiring everyone around him - musicians, singers, engineers and producers.
'Wotcher Joe!' I always had a spring in my step approaching the studio when Danny was on the session. He made Nick Drake laugh and teased Toumani Diabaté, and both adored playing with him. He was a Londoner through-and-through, a product of a fertile time in the city's musical history and a uniquely open-eared exception. He loved rhyming slang and was endlessly inventive with it, once demanding to know if I was going to pay him in 'Nelsons' (Eddys / readies) or with a 'Gregory' (Peck / cheque).
Danny was the proverbial one-off, a once-in-a-generation inovator and pioneer. He would never presume to use such words about himself, but for me he was the ultimate diamond geezer and I will miss him terribly.
From Kathryn Williams
So sad to hear the news that @therealdannythompson has moved on. From early John Martyn albums through to playing on stage at nick drake shows he’s been the low end constant in my musical life. Bass players like @jonthorneinsta are the lineage of what he carved. He was so down to earth and just did the thing that all artist have to do which is turn up and keep going, the music world has lost a true timeless great. He’s on so many records. I am so lucky that the track I wrote with @paulwellerhq SO QUIETLY from supplement 66 was I think Danny’s last recording in the studio. Thank you you beautiful human x
From Paul Weller
To our dear, departed brother and mentor Danny Thompson.
We are going to miss you but we all feel blessed to have worked with you and to have known you.
A true legend and giant of a man.
Our thoughts are with his family and anyone who was lucky enough to have met Danny.
Thank you Danny Boy.
"Whoppers as ever!"
Gone, not gone.
PW
From Billy Bragg
Very sorry to hear that Danny Thompson, the great double bass player, has passed away. He’s one of those characters who can justifiably be described as legendary. He played on most of my Workers Playtime album. That’s his soulful double bass you can hear on ‘Must I Paint You A Picture’ and ‘Valentines Day Is Over’.
He had a wealth of great stories that kept us laughing through the hanging around waiting to play that makes up much of a musician’s life.
When the drummer that producer Joe Boyd brought in proved unreliable, me and Wiggy convinced him to book Mickey Waller, who had played on our favourite Rod Stewart albums. While he was setting up his kit, Danny walked in and they started musing on when they had last worked together. After a bit of discussion they came to the conclusion that it was probably when they both played on ‘Maggie May’.
Listening in the control room Wiggy and I got a bit emotional.
Rest in peace big fella.
UNCUT mag
