Thursday, May 28, 2026
Traffic - Paper Rain 1967-1968 | Voodoo Wagon
Traffic - Paper Rain Live 1967-68
a Silent Way re-post
Traffic - Paper Rain Live 1967-68
Soundboard (A) @320First seven tracks same as Traffic Jam
Various Venues
Track List:
1. Giving To You
2. Smiling Phases
3. Coloured Rain
4. Hole In My Shoe
5. Feelin' Good
6. Paper Sun
7. Dear Mr. Fantasy
8. Coloured Rain
9. Feelin' Alright
10. You Can All Join In
11. Dear Mr. Fantasy
12. No Face, No Name, No Number
13. Hope They Never Find Me Here
14. Just For You
15. Little Woman
Originally posted September 21, 2012
Tracks 1-7: Konserthuset, Stockholm, Sweden, September 12, 1967
Tracks 8 & 12: Fillmore West, San Francisco, March 14, 1968
Tracks 9-11: Grona Lund, Copenhagen, Denmark, August 5, 1968
Track 13: Basing Street Studios, 1967
Tracks 14-15: Dave Mason solo single, 1968
Steve Winwood - organ, guitar,
Dave Mason - guitar,
Jim Capaldi - drums,
Chris Wood - sax
HOLE IN MY SHOE (1967) by Traffic
Traffic - Here We Go Round The Mulberry Bush ( 1968 ) colourised
Covered: George Harrison, Volume 1: 1964-1971 | Albums That Should Exist
Covered: George Harrison, Volume 1: 1964-1971
Harrison is such a famous musician that I'm not going to try to sum up his life or even just his music career. But I do want to write some about the early evolution of his songwriting.
When it came to writing songs, he was a late bloomer. In the Beatles, John Lennon and Paul McCartney wrote about 100 songs separately or together before the Beatles released their first album in 1963. (A lot of them were discarded.) Harrison was watching and learning from one of the greatest songwriting teams of all time. But apparently it wasn't until 1963 when he wrote his first complete song, or at least one he considered good enough to show to the other Beatles. His "Don't Bother Me" would appear on the band's second album, "With The Beatles." He wrote it while sick in bed during the summer of 1963. He later said that it was as an exercise to see if he could write a song, and "at least it showed me that all I needed to do was keep on writing, and then maybe eventually I would write something good."
But despite this early success (which, in fact, was a good song), the next two Beatles albums went by without any original Harrison songs on them. (He occasionally sang cover versions on Beatles recordings instead.) He later said that he lacked confidence and found it hard to compete with what he called the many "wondrous hits" written by the Lennon-McCartney team. But then the 1965 Beatles album "Help!" contained two of his songs. From that point on, every Beatles album contained at least one of his songs, usually two, and once three. (There were four on 1968's "The White Album," but that can be seen as two albums with two of his songs each.) He also had the occasional song come out on a B-side or archival release. Ultimately, 22 of his songs were released while the Beatles were together, out of 188 original songs by the band in total. But a few more of his songs trickled out in archival releases, such as "You Know What to Do," "Not Guilty," and "All Things Must Pass." There are still more of his songs the Beatles tried in the studio but remain unreleased. Most of those eventually appeared on his solo albums.
Unfortunately, for many years, Lennon and McCartney underestimated Harrison's songwriting, and didn't do much to encourage him. The two of them were writing so many excellent songs that they weren't keen to find room for many of Harrison's songs as well. But by 1969, that changed. Harrison's two songs for the "Abbey Road" album that year, "Something" and "Here Comes the Sun," aren't just great Beatles songs, they're some of the best and most acclaimed songs of all time. "Something" is one of the most frequently covered songs ever, and as I write this in 2026, "Here Comes the Sun" is the most listened Beatles song on Spotify.
As a result, Lennon and McCartney could no longer downplay Harrison's songwriting talent. Lennon called "Something" the best song on "Abbey Road." And, in 1969, McCartney said, "I think that until now, until this year, our songs have been better than George's. Now this year his songs are at least as good as ours." Also, decades later, McCartney had this to say: "It was easy to underestimate George because me and John... had always written most of the stuff... and George was a late bloomer as far as writing was concerned. He wasn't that interested in the beginning but then he started to get interested and, boy, did he bloom, you know? He wrote some of the greatest songs ever."
On September 8, 1969, the Beatles had an important meeting about their future plans. Ringo Starr couldn't attend, so the other Beatles made a tape recording of the meeting. That means a recording of exactly what was said has survived. In the meeting, due to the undeniable success of Harrison's songs on "Abbey Road," Harrison was treated as a songwriting equal to Lennon and McCartney, perhaps for the first time within the band.
Lennon had been drifting away from the Beatles for some time, distracted by his relationship with Yoko Ono and hobbled by a heroin addiction. But in the meeting, he suggested the Beatles record a new album and a new single before the end of 1969, which would have been an ambitious schedule. He also suggested that he, McCartney, and Harrison get four songs each on every Beatles album moving forward, with Starr getting one or two if he wanted. (At this point, Starr had only written two songs on Beatles albums credited solely to him.)
Here's an entire article about that meeting. It's fascinating reading if you're a Beatles fan, with a lot of discussion about Harrison's songwriting and his role in the band:
https://www.guitarplayer.com/guitarists/john-lennon-plan-to-keep-the-beatles-together
Unfortunately though, later that month, Lennon took part in a rock festival in Toronto, Canada, as a solo artist. That experience went so well for him that it gave him the confidence to want to leave the Beatles and have a solo career instead. About a month after that, he told the other Beatles he was leaving the band, although they kept that a secret for another six months due to wanting to present a united front in a legal dispute they were having with their record company.
However, even after Lennon's announcement he was leaving, there was still a chance the Beatles would continue, releasing more solo albums mixed with Beatles albums where Lennon, McCartney, and Harrison would get four albums each. Here's the audio of a radio interview Harrison did in March 1970 where he talked about the Beatles getting back together later in 1970 to record another album after all four of them did solo albums:
https://www.youtube.com/watch?v=F-fNA3Ee5eM
Unfortunately, growing problems prevented that from happening, most especially due to financial conflicts between the band members as they fought over management and ended up suing each other. But that meant that by 1970, Harrison had a big backlog of excellent songs he'd been writing. Many of them came out on his classic and very successful solo album "All Things Must Pass" later in 1970. (Technically, it was a triple album, but it's basically a double album of songs because the third album just contains some long jam sessions.) A lot of those were written much earlier, but had been ignored by the other Beatles. For instance, "Isn't It a Pity" was written back in 1966, and had been rejected by the others for both the "Revolver" and "Sgt. Pepper's" albums!
Anyway, let me steer this more to discussing the songs on this volume. Across the six volumes in this series, I have included ALL the songs Harrison wrote for the Beatles, but most of them don't show up until later volumes, just because what I considered the best cover versions didn't happen until years later. Instead, this volume has many songs that Harrison was writing with and/or for other musical acts at the time, since usually the best (and often the only) versions were the first ones. So, for instance, "Sour Milk Sea" was a song he wrote for Jackie Lomax, though Lomax's 1968 single of it didn't make the charts. He co-wrote "Badge" with Eric Clapton, and it was released by the band Clapton was in at the time, Cream.
"Hurdy Gurdy Man" is an interesting case. Donovan wrote it when he was vacationing in India with the Beatles and others in 1968. It was a big hit, making the Top Five in both the U.S. and Britain that year. But it turns out Harrison helped him out, writing a verse of the song by himself. But when the song came out as a single, the Harrison verse was missing. It was cut by the producer, due to the pressure of keeping a single under three minutes. Donovan later regretted this, saying it was the best verse in the song. He has often performed the Harrison verse in concert ever since. Apparently, Harrison was also very disappointed the verse wasn't included. I've used a live solo acoustic version from 1973 that includes that verse. But I put it in 1968 chronologically, since that's when Donovan's version of the song first came out (and when the Harrison verse should have come out as well).
"Octopus's Garden" is another tricky case. Technically, and legally, that song was written solely by Ringo Starr, and was included on the Beatles' "Abbey Road" album. But, in fact, it's pretty obvious to me that while the original idea was Starr's, Harrison played a key role finishing the song. At the time, Starr had barely done any songwriting, and he needed help. Harrison did Starr a favor by not asking for a songwriting credit. In both the "Let It Be" and "The Beatles: Get Back" films, one can actually see footage of Harrison helping him write the song while also teaching songwriting techniques.
Basically, the exact same thing happened with "It Don't Come Easy." The song was released as a solo single by Starr in 1971, and it made the Top Five in both the U.S. and Britain. Here's an except from the Wikipedia entry about the song: "Although Starr received sole writing credit for 'It Don't Come Easy,' Beatles historian Bruce Spizer writes that he had 'substantial, but uncredited, assistance' from his bandmate George Harrison. In author Robert Rodriguez's description, the official songwriting credit was long thought to be 'bogus' and, notwithstanding Starr's involvement, a sign of Harrison's 'great generosity' in wanting to help the drummer establish himself independently of the Beatles." Starr started writing it in 1968 by himself, but he had trouble finishing songs. I would guess Harrison wrote half or more of it.
A couple of songs here you might not recognize, even if you're a big fan of Harrison's music, because he never released his own versions of them: "Ain't That Cute" by Doris Troy, "Sing One for the Lord" by Billy Preston, and "I'm Your Spiritual Breadman" by Ashton, Gardner and Dyke. In each case, he was involved in the production and/or recording of albums by those artists, and got involved enough to write or co-write some songs. "Try Some, Buy Some" by Ronnie Spector was another case of that, but he eventually did release his own version of that one.
This album is 59 minutes long.
01 Don't Bother Me (Gregory Phillips)
02 If I Needed Someone (Hollies)
03 Sour Milk Sea (Jackie Lomax)
04 Hurdy Gurdy Man (Donovan)
05 Badge (Cream)
06 Octopus's Garden (Ringo Starr)
07 My Sweet Lord (Billy Preston)
08 Something (Shirley Bassey)
09 Ain't That Cute (Doris Troy)
10 Sing One for the Lord (Billy Preston)
11 Here Comes the Sun (Richie Havens)
12 Taxman (Junior Parker)
13 It Don't Come Easy (Ringo Starr)
14 I'm Your Spiritual Breadman (Ashton, Gardner & Dyke)
15 Try Some, Buy Some (Ronnie Spector)
16 Let It Down (Stone the Crows)
17 The Inner Light (Jimmy McGriff & Junior Parker)
George Harrison Sings (Rutland Weekend Television)
Elvis Costello - Capitol Theatre, Port Chester, NY, 11-12-2013 | Albums That Should Exist
Elvis Costello - Capitol Theatre, Port Chester, NY, 11-12-2013
In September 2013, Costello released his latest studio album, "Wake Up Ghost," supported by the band the Roots. So one would think this concert just two months later would promote that. But no, you would wrong. Even this concert was over two hours long, only two of the songs were from that album ("Cinco Minutos con Vos" and "Tripwire"). Instead, it seemed he played whatever he felt like playing from all points in his career, including some obscurities. Then, in early 2014, he returned to this venue backed by the Roots, and performed a more typical concert promoting the "Wake Up Ghost" album. A recording of that concert has been leaked as well, and I'd like to post it eventually.
Some improvements were made by this recording by my musical associate Lil Panda. I made some additional minor changes on top of that, such as boosting the volume of the cheering at the ends of some songs, since that usually was quite low, as is the case for many soundboard bootlegs. I also boosted the volume of most of the banter between songs.
If you're a big Elvis Costello fan, this is a good concert for you, because he only played a few of his hits and made a lot of unexpected but interesting selections instead. And the sound quality can't be beat.
By the way, when this appeared in the leak I mentioned above, it was labeled as a 2012 concert. But I found out it definitely was a 2013 concert instead. The proof is from this page from an Elvis Costello fan site:
Elvis Costello info here . . .
It links to a newspaper review of the concert, which removes all doubt about the date. It also has some other interesting things related to this concert. For instance, that's where I got the photo for the cover.
This album is two hours and 12 minutes long.
01 King Horse
02 Either Side of the Same Town
03 Little Triggers
04 talk
05 Sneaky Feelings
06 talk
07 Crimes of Paris
08 talk
09 Town Cryer
10 talk
11 Starting to Come to Me
12 After the Fall
13 Watching the Detectives
14 The Long Honeymoon
15 The Delivery Man
16 talk
17 Walkin' My Baby Back Home
18 Beyond Belief
19 Human Hands
20 Party Girl
21 talk
22 Almost Blue
23 talk
24 The Flirting Kind
25 talk
26 Shipbuilding
27 Cinco Minutos con Vos
28 Alison
29 In Another Room
30 A Slow Drag with Josephine
31 Blue Chair
32 talk
33 Dirty Rotten Shame [Edit]
34 Jimmie Standing in the Rain
35 I Want You
36 [What's So Funny 'Bout] Peace, Love and Understanding
37 Tripwire - [What's So Funny 'Bout] Peace, Love and Understanding
(all tracks Elvis Costello)
Still hot here approaching 30| ARISTOTLE ON MUSIC and ‘Ignoble passions’!?
"Music directly imitates the passions or states of the soul...when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form."
(Aristotle)
Wednesday, May 27, 2026
For Levon Helm [on his porch]
Amy Helm for her Da
"My dad taught this song to me shortly before he passed. We only performed it three or four times in his final months. I've held the song close and sung it hundreds of times to honour all of those who we miss who are waiting on the other side. To sing it for him, on the porch of his childhood home with friends and family, was profound.” Amy Helm
Religious I grant you but we can like a hymnal if we don’t share the view, huh?
(I like churches too!)
>> NB there are more churches than there are homeless people<<
VA - Woodstock, Back To The Garden, The Definitive 50th Anniversary Archive [2019] (38 x CDs) Plus
check the link for details of all THIRTY EIGHT CDs
VA - Woodstock, Back To The Garden, The Definitive 50th Anniversary Archive [2019] (38 x CDs) Plus
MM
MMMind you its still HOT here!
Marilyn Monroe.
"This shot is part of the famous 1951 photo shoot that took place in the backyard of the 20th Century Fox studio in Los Angeles. I took a picture Earl Theisen, a staff photographer at Look magazine who often worked with the actress
Many photos of Marilyn Monroe on social media are hand—coloured or AI-assisted versions of the original images. The shades often change at the same time: for example, the swimsuit in the colored photos can be either bright yellow, lemon, or even golden"
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