and another one that grabbed me by the ears and made me smile as PMJ cover Aerosmith!!!
Bob Dylan, “The Wild Mountain Thyme,” at the Isle of Wight Music Festival, August 31, 1969.
and another one that grabbed me by the ears and made me smile as PMJ cover Aerosmith!!!
The Kinks1982-04-04RockpalastGrugahalleEssen, GermanyFM Broadcast
For Moby and his legion of fans!
CD 1:01. Around The Dial02. The Hardway03. Where Have All The Good Times Gone04. (Catch Me Now) I'm Falling05. Come On Now06. Destroyer07. Yo,Yo08. Lola09. Dead End Street10. Add It Up11. Low Budget12. Art LoverCD 2:01. Back To Front02. A Gallon Of Gas03. Celluloid Heroes04. Till The End Of The Day05. Bernadette06. All Day And All Of The Night07. Give The People What The Want08. Pressure09. You Really Got Me10. Stop Your Sobbing11. David Watts
"The Kinks entered the Rock & Roll Hall of Fame in 1990, the first year they were eligible. Other members of that class included The Who, Simon & Garfunkel, The Four Tops, The Four Seasons, and Bobbby Darin, just to name a few.This soundboard recording captures The Kinks at the Rockpalast on April 4, 1982, 44 years ago today, during their 2nd wave of popularity. The band's 1977 album Sleepwalker climbed to #21 on the Billboard chart in the US, with the title track and the tune Juke Box Music becoming staples on FM radio. Around the same time, new wave acts such as The Pretenders and The Jam recorded covers of Stop Your Sobbing and David Watts, bringing the Kink's music to a whole new audience. A cover by Van Halen of You Really Got Me also sparked renewed interest in the Kink's music. Then in 1979, The Kink's released the album Low Budget, which climbed to #11 on the Billboard charts. Their next album Give The People What They want, released in late 1981, went to #15 on the Billboard charts, continuing the band's string of chart success. By the way, The Kinks were on the same bill as Van Morrison, who's Rockpalast appearance we posted earlier today."
Great cleaning job on this class song . . check the harmonies! A couple of minutes of wonderful !
Crosby, Stills, Nash & Young2002-04-05Compaq CenterSan Jose, CASoundboard ALD Recording
CD 1:01. Carry On > Questions02. Military Madness03. Goin' Home04. Wooden Ships05. Feed The People06. You're My Girl07. I Used To Be A King08. Down By The River09. Southern Cross10. Almost Cut My Hair11. Cinnamon GirlCD 2:01. Helplessly Hoping02. Our House03. Old Man04. Guinnevere05. The Lee Shore06. Harvest Moon07. Ole Man Trouble08. Half Your Angels09. Suite: Judy Blue Eyes10. 7th Inning StretchCD 3:01. Let's Roll02. Long Time Gone03. Two Old Friends04. Woodstock05. Rockin' In The Free World06. Band intros & encore break07. Ohio08. Outro: Greensleeves
"One of my favorite rock trivia questions is the following: "Name the only 2 bands that have all 4 members inducted into the Rock & Roll Hall of Fame twice?" The answer: "The Beatles and CSNY". But there's a catch to the question! You see, the Beatles were inducted as a group, and then every member was inducted individually. But CSNY was never inducted as a group! CSN got in as a group, and Neil Young as a solo artist. Neil and Stephen Stills got their second inductions as members of Buffalo Springfield! Graham Nash got his 2nd induction as a member of The Hollies and David Crosby garnered his second as a member of the Byrds!This ALD recording captures the foursome in San Jose on April 5, 2002, 2 dozen years ago today. They were on the road for their Tour of America, a 40 concert run that started on February 6 in Detroit and ran until the final show on April 29 in Portland"
Current mood . . . . . . Visions of Johanna - Bob
well Alice at O My Soul turns up trumps with this one . . . a beauty from the island festival set
Bob Dylan, “The Wild Mountain Thyme,” at the Isle of Wight Music Festival, August 31, 1969.
More From Gary Lucas - don’t mind if we do; he posted this from Michael Davis
"This is a fantastic studio jam session by Jimi Hendrix and Buddy Miles, the drummer for Hendrix's A Band Of Gypsys. The project began in late 1969 with famed producer Alan Douglas recording the unmistakable Jimi Hendrix and legendary Buddy Miles in rolling and groove-laden musical backdrop with remarkable early rap stylings of Last Poets member Lightnin' Rod. The release also offered an obscure Jimi Hendrix recording that stands as one of his most interesting, albeit short-lived, side projects. Although this 1969 recording date was an impromptu affair, with Hendrix, Lightnin' Rod, and Buddy Miles improvising in the studio, the song is unique and tirelessly funky. Hendrix' grooving guitar playing is the perfect backdrop for Lightnin' Rod's truly imaginative lyrics that tell the outlandish tale of a prostitute, Miss Doriella Du Fontaine. Alan Douglas got his first taste of the music industry in the late 1950's by selling his debut pop production to Roulette Records, Douglas rose rapidly in the industry, thanks to his savvy, his musical knowledge, and his hustle. By 1962, he was heading United Artists' jazz line, and during the following decade, produced landmark sessions for Duke Ellington, Eric Dolphy, and John McLaughlin on UA and other labels. But the first time he heard Jimi Hendrix, he knew music was moving into a new realm and went with it. Douglas also acted quickly the first time he saw the Last Poets, becoming their producer of their classic recordings. ‘The Last Poets’ and ‘This Is Madness’ established the Harlem-based street poets who predated politically conscious hip-hop by over a decade HOW DID YOU BECOME THE FIRST ONE TO RECORD THE LAST POETS? I heard a snatch of material on television one night, and it stopped me short. It was on PBS, so I called the station, and I got an address and a telephone number. I called the next day and got a very hostile voice on the phone. I told them who I was and that I had heard a little bit of their material on television the night before, and I would like to talk to them about making records. So he said, "Well, if you want to hear it, man, you gotta come up here, and you have to be alone." Real hostile shit! So I said, "Where's up here?" and he made a date with me at 137th Street and Lennox Avenue. So, I went up there, and it was a schoolyard with two old, funky basketball courts with rims and no nets. I looked over at one of the courts, and there was a whole bunch of black guys - must have been twenty five of them - standing there. I got out of the car and walked over, thinking, "This is either suicide or a great sign." As I got there, the crowd kind of separated, and these four guys were left. There were three rappers and a conga player standing underneath a basket. They pointed at the foul line and said, "You stand there," and they did the material that ended up on the first album with me. So I said, "Come to the studio with me right now, and we'll record this. If you like the tape, we'll do a deal; if you don't like it, you take the tape with you." They thought that was reasonable. They all jumped in my car, and we went down to a friend of mine's studio on 66th Street, and we recorded the whole thing in one afternoon. They liked it. I got whatever money together I could - $1,000 or something - and we did a deal. I put the record out, and the rest is history. Then, one of them ended up in the joint, so I did the next record, ‘This Is Madness’, with just two of them. I had to use more recording techniques on the second one because we had less power from the group itself. YEAH, BUT THE PRODUCTION WORKED, "O.D." PROBABLY BEING THE BEST KNOWN EXAMPLE. Yeah, it worked because of the material. They were all good rappers, but those first two albums contain the most interesting material. The only other album I did with one of them, Jalal, was one called ‘The Hustlers Convention’. WHICH HAS A REP FOR BEING A BRIDGE BETWEEN THE LAST POETS AND HIP-HOP. Right, because that was gangsta rap from an objective, rather than a subjective, point of view. 'The Hustlers Convention' was, essentially, a toast, which was the original art form that rap came from. The Poets came out of the old black prison tradition of jail toasts. Jalal wrote that whole thing from pieces of things he'd been hearing for years. We also did more stuff, like the toast about the famous hooker, Doriella Du Fontaine, with Jimi Hendrix. I was recording Jimi one day and Jalal walked in. I had him do it for Buddy Miles, and Buddy got all involved with it and started playing with him. Jimi came in and said, "Wait for me," and he jumped in on it. They improvised thirteen minutes straight; it was beautiful." Michael Davis / BAM Magazine Aug 1995
This from Gary Lucas . . . . . . I kid you not! . . . . . . . He’s NUTS!
speaking of androgynes . . .well it is Sunday and while we have featured this track before, I don’t CARE and here with the only Prince I recognise!
From the outset, her letters command and caress at the same time. “Write to me often and long, the longer the better,” she urges him in one. “On Saturday I’ll bring your sweater, your books and a lot of violets,” she tells him in another. She takes love as seriously as it ought to be taken but also knows it dies without play: “Sorry about constantly repeating the word ‘love’ five times in a row, but it’s just that I’m very silly.” She signs herself “your pretty girl (monkey face),” “your girl, buddy, woman or whatever you like,” “your sister (girlfriend, buddy, wife).” (It starts so early, that trembling gamble of the heart by which a person tries to discern what they mean to another.) Over and over, she offers glimpses into her uncommon inner world. In a letter penned the summer she turned seventeen, after some arrangements for how they can see each other — Frida’s parents disapproved of the relationship — she writes:Now I’m going to read Salambo until half past 10, it’s 8 o’clock now, and then the Bible in three volumes and, finally, think for a while about huge scientific problems and then go to bed, and sleep until half past 7 in the morning, eh? Until tomorrow, may we have a good night and may we both think that great friends must love each other very, very much, much, much, much, much, mucho . . . with “m” for music or for “mundo.”A month later, she offers that lovely unasked assurance that makes a fragile young love feel safe and solid:My Alex, since I won’t see you for two days and I miss you so much, I’m writing you this so that you will start to believe something that you don’t believe, but which is very true.And then, beneath a drawing, she adds:Please forgive me for not writing any more but I started to draw the doll at 9 and it took me an astronomical three quarters of an hour to draw and another half hour to write, so it’s about 10 now and you know that makes me sleepy like the hens, but I’ll keep writing this letter in my dreams and you know that I would write enough to fill at least a thousand pages.I love you very much.Your pretty girl (monkey face)


I’d either forgotten or didn’t even know that Tom covered the classic pop Thunderclap Newman ear worm and major hit
. . . . and this showed up in my feeds from PMJ’s Facebook page even though it’s a year old . . . worth a visit - I thought it was great . . . . . .some of their covers haven’t grabbed me lately so maybe the algorithms are fighting back?
Might sign off with this one from Kelly Boesch as it mentions her new debut album which you can pre-order if you follow the links . . . . .she and her work fascinate me
Golden In The Sun[Verse]I find it funny how life isSo beautiful and full of loveI find it funny how life isSo cruel and so tough[Chorus]But ohI’m golden in the sunI’m so glad that I can breatheI love the airI love the treesI’m so happy to be me[Verse 2]Sometimes the rain won’t stop fallingAnd I can’t find the words to sayBut then the clouds start to openAnd light just pours my way[Chorus]OhI’m golden in the sunI’m so glad that I can breatheI love the airI love the treesI’m so happy to be me[Bridge]There’s beauty in the breaking,Grace in the scars I see,I’ve learned to keep on waking,To let my heart just be free.[Final Chorus]OhI’m golden in the sunI’m so glad that I can breatheI love the airI love the treesI’m so happySo happy to be me.
