PLAYING FOR CHANGE

But this is for everyone on a Spring Bank Holiday Monday and celebrating a nice long weekend in the sunshine. Nice and mild here but holy moly check out the California Footwarmers!
Warmed these feet a treat!

992 plays

Just because . . . they adopted Eric Clapton and this is a favourite blues song . . . . .they didn't enjoy too much success over here but are really worth a listen. Down home blues and easy in the rocking chair . . . . 

Delaney & Bonnie & Friends- Come on in My Kitchen

T.S. Eliot, Burnt Norton (Four Quartets) 

another in the occasional series of albums or singles bought when they came out and this is one. 
Somehow we had only just got our heads around the onslaught from the supergroup trio This was who we all wanted to be and the concert at the Royal Albert Hall being televised with the shock that set hit us with then no sooner had we got used to that then they were saying 'Goodbye!' . . . . . . 

discussed here over at the wonderful 

CREAM Goodbye (1969)

April 15, 2017 – 18:10

Goodbye (1969)
A Patchwork Farewell

In this age of box sets, bonus tracks, session outtakes and “complete” reissues, a lot of catalog releases these days are marketed more to have-it-all collectors than your casual music lover. Some LPs, however, sidestepped that re-tinkered fate simply by their very nature… like Cream’s final 1969 album, Goodbye. Released months after their split, Goodbye was a Frankenstein of bits and pieces – half live (hot on the heels of the half-live, Wheels Of Fire) with three studio tracks, one written by each member of the band. It was originally conceived as a double album, a grand farewell, but that idea quickly fell apart, so there wasn’t much in the way of extras or outtakes to fill out what became a stillborn project. But, that didn’t stop Goodbye from becoming a much beloved finale. It’s easy to critique it, but not so easy to shake the memories of the era that are still carried with it. Eric Clapton & George Harrison’s “Badge” was the standout studio track, but I’ve always been a fan of Ginger Baker’s unique compositions (“Pressed Rat And Warthog,” “Passing The Time” and, later, “Do What You Like”), and his “What A Bringdown” is a live-in-the-studio blast. Still a standout Cream track in my book. And… how can you not love that cover? Even the bonus soundtrack 45, “Anyone For Tennis,” now seems to fit in with this record’s scattershot approach. I’m posting this simply because I had a hankering to relive this LP in its original form, so… you get to, too. If nothing else, we’ll steer you to some of our very interesting archive posts, HERE, which include titles we really shouldn’t be mentioning. Find Goodbye at Amazon, HERE.

I’m So Glad (9:13) – Live At The L.A. Forum, Oct. 19, 1968
Politician (6:20) – Live At The L.A. Forum, Oct. 19, 1968
Sitting On Top Of The World (5:04) – Live At The L.A. Forum, Oct. 19, 1968
Badge (2:48) (Clapton/Harrison)
Doing That Scrapyard Thing (3:18) (Bruce/Brown)
What A Bringdown (3:58) (Baker)
Anyone For Tennis (2:36) (Clapton/Sharp) – Bonus Track

Hello again . . . . . . . . 

TRAINSPOTTING - T2

T2

BOB DYLAN & MARK KNOPFLER 

- Complete Collaborations

From Big O recently and you may want to grab these bits before they all disappear but this is a gem a collection of all the rehearsals and boot performances between these two. Completely excellent and mostly peerless quality apart from some of the live tracks but worth having in their entirety none-the-less. Almost worth having for just one track the peerless acoustic version of 'Blind Willie McTell'

Bob Dylan & Mark Knopfler - complete collaborations 79-86 Disc 1

Bob Dylan & Mark Knopfler - complete collaborations 79-86 Disc 2

Bob Dylan & Mark Knopfler - complete collaborations 79-86- Disc 3

[remember Big O generally only posts these links live for a couple of weeks so grab 'em quick]

The only (sic) mild irritation is the cover note declaring that track 6 on Disc 3 is 'Rock 'em Dead' which frankly is just sloppy as it is obviously 'Eranium Rock' by legendary Rockabilly star Warren Smith. Given Bob's encyclopaedic knowledge of his subject it is merely lazy to assume otherwise and not search for the song and correctly identify it. 

To labour the point here's the original which is peerless fun and no mistake (sic!)

Rampant sexism at it's very VERY best! Hah! 
Great song and we had this at home on a 78 by Bill Hailey and The Comets (of course) but this original is still really worth a listen and no mistake. Superior in every way INMH. Sounds like a New Orleans classic but it ain't, it's Kansas City's finest Big Joe Turner . . . must find out the musicians* but under Ahmet Ertegun's direction you KNOW this was going to rock your socks off!

again from the brilliant Jeff Harris' blog BEHIND THE GROOVES

On this day in music history: April 12, 1954 - “Shake Rattle And Roll” by Big Joe Turner is released. Written by Jesse Stone under the name Charles E. Calhoun, it is the biggest hit and signature song for the Kansas City, MO rhythm & blues legend. Stone (“Don’t Let Go”, “Money Honey”) writes the song after Atlantic Records chief Ahmet Ertegun suggests that he come up with an uptempo blues number for the singer. Turner record the song on February 15, 1954 at Atlantic Studios in New York City. The single is an immediate hit upon its release, spending three weeks at #1 on the R&B chart and peaking at #22 on the pop Best Sellers chart. “Shake” is covered by numerous artists over the years most notably by Bill Haley & His Comets (#7 Pop) and Elvis Presley. Big Joe Turner’s original recording of “Shake Rattle And Roll” is inducted into the Grammy Hall Of Fame in 1998.

* well as usual the entry from Wikipedia is helpful and of interest here and I can't improve upon it after researching:

Turner's version^[5] was recorded in New York on February 15, 1954. The shouting chorus on his version consisted of Jesse Stone, and record label executives Jerry Wexler and Ahmet Ertegün. The saxophone solo was by Sam "The Man" Taylor. Other players included McHouston "Mickey" Baker ("Love is Strange") on guitar and drummer Connie Kay (later from the Modern Jazz Quartet). Turner's recording was released in April 1954, reached #1 on the US Billboard R&B chart on June 12, did not move for three weeks, and peaked at #22, nearly at the same time, on the Billboard pop chart^[6] (subsequently billed as the Billboard Hot 100).The song, in its original incarnation, is highly sexual. Perhaps its most salacious lyric, which was absent from the later Bill Haley rendition, is "I've been holdin' it in, way down underneath / You make me roll my eyes, baby, make me grit my teeth". [It may actually be "Over the hill, way down underneath.] On the recording, Turner slurred the lyric "holdin' it in", since this line may have been considered too risqué for publication. The chorus used "shake, rattle and roll" to refer to boisterous intercourse, in the same way that the words "rock and roll" were first used by numerous rhythm and blues singers, starting with Trixie Smith's "My Man Rocks Me (With One Steady Roll)" in 1922, and continuing on prominently through the 1940s and 1950s. Stone stated that the line about "a one-eyed cat peepin' in a seafood store" was suggested to him by Atlantic session drummer Sam "Baby" Lovett, which is also a sly sexual reference, the "one-eyed cat" being the male organ and the more traditional "seafood" reference being the female organ.

I had long been a fan of Tracy Thorn solo work and first came across her in Marine Girls and the subsequent 'Everything But The Girl' with her partner Ben Watt was a great sound of the period but this single which I bought upon release and in the 12' single version but surprised by the crossover into dance music of the period . . . . . . . still really like both of them and Ben's wonderful mixtape selections are discussed elsewhere here

milestones . . . . . . . . 
I recall my friends, brothers Leo and Leon Lewis, getting us together round at their parent's house and on their Dad's Hi-Fi which was state of the art for the period and we put this new album on the deck . . . . . . we weren't really the same after that!

CIAO! MANHATTAN

Interesting post from the wonderful blog Aquarium Drunkard about the Edie Sedgwick movie Ciao! Manhattan! 

Ciao! Manhattan

One of the saddest tales of the time and this is around the time of Manson and Altamont remember but the implications of the counter culture and hippie revolutionary freedoms came home to roost   and produced characters like Edie Sedgwick. Those who stood by and watch her disintegrate have a conscionable debt regarding her death but Andy too is dead now and his notorious lack of intervention was central to his ethos. This film explores the zeitgeist of the Sixties with painful accuracy and people are very much divided over how to interpret the facts but hey . . . . . . those were different times, for sure.

Edie with Alan Ginsberg