Patti Smith never recorded 'Let's Twist Again' and rarely played it live, so this is possibly the ONLY existing version! The Chubby Checker cover was filmed live in Belgium at the Cirque Royal for a TV feature on December 10 1976. The full feature with an interview and 2 more songs is here: • Patti Smith: 3 live songs & interview, 197...
'Gloria' from the same 1976 gig is here: • Patti Smith 'Gloria' 1976, Belgium
this bootleg is an earlier version from label "Godfatherecords" (2007)
All thanks go to Mr. 'Ready.zp' from Russian tracker for sharing this boot...! -------------------------------------------------------------------------------------------- argenteumastrum.com says:
ANY PORT IN A STORM - THE LOST SOUNDBOARD SHOW GODFATHER RECORDS GR 223/224
Recording: Superb stereo soundboard. Source: Garden Court, West Refectory, Southampton University, Southampton, England Jan. 22 '73. Comments: Italian bootleg. Deluxe trifold cardboard sleeve. --------------------------------------------------------------------------------------------
Artwork included /full scans/
CD 1 1. Rock And Roll 2. Over The Hills And Far Away 3. Black Dog 4. Misty Mountain Hop 5. Since I've Been Loving You 6. Dancing Days 7. The Songs Remains The Same 8. The Rain Song 9. Dazed And Confused
CD 2 1. Stairway To Heaven 2. Whole Lotta Love 3. Heartbreaker 4. Thank You 5. How Many More Times 6. Communication Breakdown
“Rock as it is known today just doesn’t interest me at all,” said Ry Cooder to The Guardian in 2011. “I hate commercial music. If I hear that money in it, all that winking and nodding… It kills me.”
You could say that this time thing is what gives music its quality. Depth, if you like. Now? The urge for immediate success – always with one eye on the bottom line – often removes something from music. A purity perhaps? Realism? An individuality? Cooder is of that opinion, “I think, maybe, because everything happens too fast, that you don’t build a craft, you don’t build artistry in yourself. And you don’t listen. If you don’t listen to music, all music, I don’t see how you know. It’s like a child learning to talk without having heard people speaking. What are you gonna do, start talking in abbreviations, like texting? And that’s exactly what’s happening. If you don’t read books and you don’t understand experience, how the hell can you write about it and sing about it? Or you’re just going to end up writing about yourself. Then it’s like everybody’s in a closet with themselves and it’s very limited.”
This footage has now emerged from 1971. Two guys, Larry Sechrist (camera) and John Fizzdale (sound) came on the road with us for a promotional tour. We also had two roadies. By the time we arrived home, there was no money -- at least for me. I remember going to Warner Brothers to pick up my earnings. I was directed to Carl Scott, who had been sent by Warner Brothers to act as tour manager after Grant Gibbs ( our actual manager ) decided to abandon ship. Carl Scott was down the hallway to the right. When I came in, he asked me to hand him a box of KimWipes that was on a shelf behind me. He carefully his dark sunglasses and put them on, afterwards explaining that there "was no money" as the expenses had eaten up all the profits. I guess this was easier to do while hiding behind shades. Can you imagine doing seven weeks on the road and then getting stiffed entirely? Anyway, I did get to see some of this footage from the tour when Larry and John brought a sample of it up to Felton ( near Santa Cruz ) and we watched it on a projector without sound. I notice here that Don is completely lost in "Woe is a Me Bop." This whole segmented performance was edited together by Elliot Ingber (Winged Eel Fingerling), who had this concept of "no breaks" and featuring the best bits of music all flowing together. Also, notice Elliot wasn't playing, because most of this stuff was beyond his grasp. We had six people in the group, one of whom barely played, two roadies ( I'm sure they were paid) and two guys in a film crew ( who probably ALSO were paid). No wonder there was no money for the band. Anyway, I find it really ironic that someone owns this footage ( which wouldn't exist without US) and is selling our image without any thought of the band actually getting paid. The same with the Record Companies! The only company that has paid us consistently has been Sony -- and this is for Safe as Milk. However, even this is a bit wonky, as when Safe as Milk was released on CD, they added several "bonus tracks" -- and those tracks are actually from "The Mirror Man Sessions," which was a separate, unfinished album. So, they're technically paying us for one album while selling two. I know, I bitch a lot about the non-compensation, but, this was some of the HARDEST work I've ever done, and was groundbreaking! Yet, the guys pictured ( aside from Don) really never received much, if any pay. Mark Boston recently had to have a fundraiser just to keep a roof over his head -- and now someone is selling our images -- yet again, without compensating us at all.
Unlike most groups, Canned Heat are not unduly impressed about having a hit single. "That's not the prime importance for us. Our main intention is to keep the blues alive in this country. We felt that the blues, the only true musical tradition to originate in this country, was in danger of dying.
We're country based, unlike most of the blues outfits. We have all studied the music and I have been 'collecting blues records for 15 years So we formed 'Canned Heat' in an attempt to do something to keep the music alive here.
"Gradually, the blues is coming out from underground and gaining ground Groups like us and Big Brother and the Holding Company and Tai Mahal are gradually becoming known. I think that the problem with the blues is getting it heard. When people hear the music they dig it, but if they aren't allowed the chance to hear it, they can't like it or dislike it."
Source: Melody Maker, August 31, 1968
Robert Ernest "Bob" Hite, also known as "The Bear". (Photo by Baron Wolman Collection)