Kelly Says:"I really try to show kindness and compassion in my videos as much as possible. I used this prompt a while back but before ai animation wasn’t as good as it is now. I love these strange characters. I prompted them to show kindness and be loving. #VEO3 got the assignment.
I’ve been really into the music for a while now, almost as much as the visual. The music originally started as a necessity for background for my videos as they are longer than the 1 to 1.5 mins that is allotted on social. But over time I started loving making the music just as much. When I was in high school I wrote poetry for my friends. Back when my brain was open and not filled with all of the things I learned over the years. Since I started working with ai I feel like my brain went back to that place. A place of wonder and excitement. I am only limited by my imagination at this point. The ideas feel endless. I have been writing lyrics and having so much fun with it. The more I do it the better I get and the better the lyrics the better the song. I play with Suno like it’s an art tool. I give it vocal prompts, type in crazy prompt ideas, prompt strange sound samples. I try anything and everything. I write most of the songs about feelings or ideas I come up with during the day. Or something that inspires me in the video. It doesn’t have to be so serious. The fun part about art is experimenting. I hope I have inspired some people to try it out, see if they feel the same way doing it. It’s been pretty great :-)
Lyrics written by me, Kelly Boesch. Music created under my creative direction with assistance from Suno."
January 22, 2003: Masked and Anonymous, a film co-written by Dylan and Larry Charles and starring an all-star cast, premieres at the Sundance Film Festival in Park City, Utah.
Following the Dr (THC) at Heavybootz item there is this found on the Tube!
Jimi Hendrix and Lonnie Mack released 1971
Maple Records – LPM 6004 (1971)
A1 Wipe The Sweat
A2 Sweat Segway II
A3 Sweat Segway III
A4 Goodbye (Bessie Mae)
A5 Two In One Goes
B1 All I Want
B2 Under The Table
B3 Table II
B4 Table III
B5 Psycho
And Thanks to regular visitor Dell there is a Discogs listing which appears to be totally different to the YouTube AND Heavybootz versions . . . .so that’s THREE separate version then!
These notes from Gail Mitchell on the discogs version are interesting but still ask more question than answers somehow
From Gary Lucas’sFacebook page again another gem . . . do we need to have a conversation about children’s playground songs arhyming songs and chants like Iko Iko!? Mockingbird! I think we do!
Red Saunders & His Orchestra - Hambone (Okeh) 1963
Gary notes: "This hit, originally released on Okeh in 1952, and featured prominently in the early 60's on SANDY BECKER's TV show in NYC, was arranged by the young Sonny Blount a/k/a Sun Ra”
If that diamond ring don’t shine Papa gonna buy take it to the five and dime . . . HAMBONE!
The Carthy family had hoped that the planned 2026 tour and festival dates with Martin Carthy, alongside his daughter Eliza, would offer a graceful and dignified exit from touring for him: one in which he could celebrate his amazing legacy and leave audiences with fond memories. Sadly, Martin's health has rapidly declined in the last few weeks. As such, we have made the incredibly painful decision that Martin will be unable to fulfil these duo bookings.
A message from Eliza Carthy:
"Dear everyone,
A month ago, Martin, at 84, was diagnosed with late-onset Alzheimers Disease. While his doctor initially suggested that Dad would and should be able to tour in the Spring, and we were hoping to use the tour to say goodbye to Dad's many fans, it now appears that this won't be possible or advisable for his health.
Dad sends his love and regrets to everyone hoping to see him one more time. Eliza will fulfil these shows, and will try to honour his legacy as much as possible. Our family thanks you for your patience and love."
We are currently working on plans to include some special guest appearances for the shows, including artists who have played a role in Martin's career and are bearers of his profound legacy in different ways. Details to follow as soon as possible.
Bobby keeps us on our toes and we never really know which song is going to come next back in 98 he suddenly adds Tomorrow Is A Long Time a favourite love folk song . . . . .
Pink Floyd's last concert tour was the Division Bell Tour, which began on March 30, 1994, and concluded on October 29, 1994. This tour was their final performance as a band before their disbandment.
Note Roger Waters does NOT appear on this recording
Pink Floyd - Comfortably Numb - Earls Court London UK 1994
Not so interested in Genesis and (not at all after Peter G left!) but Kostas does his usual great profile of Peter G live recordings and if you haven’t considered the thesis you need to check this out
Peter Brian Gabriel (born 13 February 1950) is an English singer, songwriter, musician, and human rights activist. He came to prominence as the original frontman of the rock band Genesis. He left the band in 1975 and launched his solo career with a hit debut single entitled "Solsbury Hill". After Gabriel released four successful studio albums (all entitled Peter Gabriel), his fifth studio album, So (1986), became his best-selling release; it is certified triple platinum in the UK and five times platinum in the US. A 2011 Time report said "Sledgehammer" was the most played music video of all time on MTV.
Producer, Vocals, Synthesizer, Piano, Words By, Music By – Peter Gabriel
Synthesizer, Piano – Larry Fast
Chapman Stick, Bass, Backing Vocals – Tony Levin
Drums, Percussion, Backing Vocals – Jerry Marotta
Guitar, Backing Vocals – David Rhodes
Peter Gabriel - Birdy 1984 on Urban Aspirines HERE
Peter Gabriel - Shock The Monkey (Live in Athens 1987)
. . . I think I hear Brian Eno on support vocals?! I always think they stayed friends after Brian left Roxy Music. I have always held the greatest respect and high regard for Manzanera as a guitarist
Mick Fleetwood: Peter Green could have been the stereotypical superstar guitar player and control freak," Fleetwood says. "But that wasn't his style. He named the band after the bass player and drummer. He was also always willing to give as much space and creative freedom to other members, like guitarist Jeremy Spencer, and songwriter Danny Kirwan, at the expense of his own creativity."
Fleetwood attributes a lot of credit to Green for instilling in him a sense of confidence in his playing. “I’ve never been a technical player. I’ve always had quite a light touch and Peter was the first person to ever say, that’s okay. He made me believe in my style of playing, which really suited the blues we were so into at that time anyway.”
Both Fleetwood and longtime bassist John McVie subscribe to the “less is more” school of thought for drums and bass. “The rhythm section is there to serve,” he says. “John and I have always felt very strongly about that. It’s not about showing off. We’re there to support the front line so they can bounce around all over the place while we keep it cool.”
Now I haven’t featured Guitars one-oh-one for a while they are SO big and have such a lot of stuff it is not really in need of my support and so here I share the link (below) which regulars will know I rarely do . . . . . . this is about the time I discovered Dwight through my old pal John Northcote who bought me the album on import Guitars, Cadillacs etc and for the longest time I had a life size cardboard cut out sales promo of Dwight from John that sat behind the TeeVee! (yes really!)
NOW I don’t find much Dwight Yoakam and this early set from '85 is REALLY worth it and whilst still a bit bright and hot for my taste it is FLAC format and the guys have done a lot of work on it, so it seemed right to share directly. If the guys at Guitars101 want me to remove the link please get in touch and I will do the usual [I live for sharing posts from the respective music sites I check on a daily basis to guide folks in their direction usually, so this is a bit of a change - feel free to challenge me if sometimes I make the mistake of sharing the link - it is all in the interests of sharing live music and if anyone objects I am always willing to take times down!
P.S. there are also various version of this concert available on YouTube but if you want a much better quality download try this one!
Andy 😉
Dwight Yoakam
Fillmore Auditorium
San Francisco, CA
31 DEC 1985
Tech spec:
SOURCE: SBD audio in 16/44 FLAC. The source was troubled with several problems, including a narrow and left-tilted binaural field, a hot snare hit, high mid-range harsh resonances, distracting hum and a buried fiddle.
BACKGROUND: Dwight performed at the Fillmore Auditorium in San Francisco, CA in December 1985, the year following his release of the six-song EP titled Guitars, Cadillacs, Etc. Etc. on Oak Records in 1984. Three months after this performance, Guitars, Cadillacs, Etc. Etc. would be released as a full-length album on Reprise Records.
SETLIST:
01. emcee introduction
02. Can't You Hear Me Calling
03. Guitars, Cadillacs
04. Down The Road
05. 1,000 Miles
06. Rocky Road Blues
07. Readin', Rightin', Rt. 23
08. Heartaches By The Number
09. I'll Be Gone
10. It Won't Hurt
11. My Bucket's Got A Hole In It
12. Miner's Prayer
13. Grand Tour
14. Long Black Train
15. Ring Of Fire
16. band intros/Jambalaya (On The Bayou)
17. Since I Started Drinkin' Again
18. Always Late (With Your Kisses)
19. This Drinkin' Will Kill Me
LINEUP:
Dwight Yoakam - vocals, acoustic guitar
Pete Anderson - electric guitar
Jeff Donavan - drums
J.D. Foster - bass
Brantley Kearns - fiddle
CORRECTIONS: Each track underwent clip repair (occasional digital clipping in most tracks), DC offset/hum removal (60Hz plus harmonics), phase correction, azimuth correction and initial gain setting. I had 2 sources for this show. The first, labelled a "soundboard," had distortions for the first 3/4 of Can't You Hear Me Calling. The second source apparently sought to solve this by deleting the first 3/4 of the song and applying a fade in. I decided to solve this by patching with another SBD version of Can't You Hear Me Calling from another show in the 1980s, around the same timeframe. The source used as the patch, to replace the first 3/4 of the song, had a much wider stereo field than the Fillmore West performance. This made for a noticeable transition at the start of the last 1/4 of the song, which was so stark as to sound as if the audio had been collapsed to mono. To soften this transition, I went back and narrowed the stereo field of the patch segment. There wasn't a terrific way to fix this track, but I felt that this was a better option than offering the last 1 minute and 19 seconds of the song.
REMASTERING: The harsh resonances were mitigated using a dynamic resonance suppressor. This was followed by a dynamics processor. EQ was then applied, using a small dynamic low shelf, a small dynamic high shelf and a spectral EQ bell to enhance the vocal range and help revive the fiddle. Stereo field optimization was done, collapsing the lowest bass frequencies to mono and keeping a watchful eye on the correlation meter. A bus compressor was used to help tame the mighty snare whacks. Gentle plate reverb was applied. Saturation was then added to help camouflage some of the remaining resonances. Finally, the final level was set with true peak and 8x oversampling to achieve a target integrated LUFS of ~ -15.0.
NOTES: This is a fantastic performance which highlights Dwight's songwriting and his re-interpretation of country classics made famous by the likes of George Jones, Hank Williams, Johnny Cash, Ray Price, Johnny Horton and Lefty Frizzell. It also showcases the musicianship of the Babylonian Cowboys, including Pete Anderson's fiery handling of the Fender Telecaster.
