The Band GuestbookWelcome to The Band guestbook. If you have problems reading this page, see the answers to frequently asked questions about the guestbook.
If you are looking for previous entries or posters, try searching the guestbook archives.
Entered at Thu Sep 21 16:22:52 CEST 2017 from (18.104.22.168)Posted by:
glenn tSubject: Al Edge
Thank you, Al, for putting into words what so many of us feel about The Band; about those first two magical, magnificent albums. And thanks to Jan for archiving it; preserving your effort and thoughts for years to come. Perhaps we should have a yearly reminder to read your article, and then to listen to those records without interruption (of course, we can't help but listen to them throughout the year).
Entered at Thu Sep 21 10:14:26 CEST 2017 from (22.214.171.124)Posted by:
Al EdgeSubject: Big Pink
Jan, you're one of a kind mate.
Many thanks for that. The sentiments of the piece mean so much to me. The fact those sentiments now have a permanent home for like-minded souls to share feels so nice.
Entered at Wed Sep 20 23:53:11 CEST 2017 from (126.96.36.199)Posted by:
Peter VI'm playing The Waterboys too. Excellent, though I'm not sure you can drive from Santa Fe to Little Rock in a day as in the lyric … well, maybe asleep in a big tour bus with two drivers. Mike Scott still loves his early 90s drum sound!
Larkin Poe … the CD from 2011 "Thick As Thieves" arrived today. Played it three times … it's only 25 minutes long so more of a CD EP. Fabulous singing, but I suspect they do covers so brilliantly because their own songwriting (as on Thick of Thieves) is not especially interesting! Will still get the 2017 one though.
Entered at Wed Sep 20 21:50:51 CEST 2017 from (188.8.131.52)Posted by:
jhWeb: My link
A GB post from 15 years ago was just promoted to the article archive :-) Thank you, Mr Edge
Entered at Wed Sep 20 21:46:21 CEST 2017 from (184.108.40.206)Posted by:
Al EdgeSubject: Larkin Poe
I sure wasn't ready for that. I've already watched a dozen of their videos back to back.
Guess I might even start to listen to the music they're playing now I've calmed down a bit!!!
Entered at Wed Sep 20 21:12:44 CEST 2017 from (220.127.116.11)Posted by:
Bob FSubject: The Waterboys Out Of All This Blue
The Waterboys new record Out Of All This Blue has a really great sound. My hearing is at least 1/2 way gone and I'm marveling at how it's just jumping out of the speakers.. Mike Scott has taken what's current in music and meshed it with The Waterboys classic sound to create something timeless. Very similar to what The Stones did back in the day with Some Girls. Folks from Great Britain will find Kinky Freedman's History Lesson very interesting. There was a discussion about keyboard players on The GB a few weeks back and The Waterboys have a great one. Brother Paul Brown has been playing with The Waterboys the past few years and he has really elevated their sound. It's easy to root for Mike Scott. One of the good guys.
Entered at Wed Sep 20 20:24:51 CEST 2017 from (18.104.22.168)Posted by:
Bob FSubject: Martin Beck
Dunc, thanks. I'm almost done reading the Martin Beck series. Loved all of them. Thanks again for that tip.
Entered at Wed Sep 20 19:51:34 CEST 2017 from (22.214.171.124)Posted by:
Jeff A.Lee. The "latest current new" "sound design" all over Adult Alternative Contemporary Pop Radio, even WFUV, which is supposedly a college NPR station, has a dark, murky feel and like you say, the vocals buried one way or several of another. And if you listen to these songs loud, they will punish your ears.
Entered at Wed Sep 20 18:37:28 CEST 2017 from (126.96.36.199)Posted by:
Enjoyed Roseann's clip very much, Bob. Thanks.
Played BARK's 'Kings and Queens', Bill. Really enjoying it. I only know four or five of the singers. Maybe this album was the BARK album, which took longer to grow on me.
Entered at Wed Sep 20 15:24:14 CEST 2017 from (188.8.131.52)Posted by:
Bill MSubject: We will not be moved ...
Ian W: Thanks for the long quote from Pancake-Nelson. I don't agree with your conclusion that they the don't "mince" their works. What do we make of the following concoction, which goes beyond mince and into the land of slurry: "The results are interesting and even moving .... But ... of no value to those of us who get our enjoyment from hearing old songs brought alive".
Entered at Wed Sep 20 14:46:42 CEST 2017 from (184.108.40.206)Posted by:
b.leeLocation: DE, USA
Subject: Just an observation
It has occurred to me lately that one reason I and many others were immediately drawn to the songs of the Band is that despite multiple vocalists and overlapping parts, not necessarily quite in rhythmic sync, even the first time you heard a Band song you could understand WHAT THE HELL THEY WERE SAYING! So many new (and probably many old) recordings have the vocals so buried in effects and back in the mix that I can't figure out what they are on about. (Of course my hearing at 60+ is not what it once was.) Thoughts?
Entered at Wed Sep 20 13:40:58 CEST 2017 from (220.127.116.11)Posted by:
Ian WSubject: In My Time Of Dyin' by Dylan - and more
I mentioned LITTLE SANDY REVIEW and its editors' predilections. I'll come on to a couple of examples shortly, but, first, the relevant part of the editors' review of Dylan's first album (plus a bit more):
"IN MY TIME OF DYIN' is a fine blues, with Dylan playing some outstanding knife guitar instead of his usual Jack Elliott-style scratch, flat-pick style. His vocal is effectively and strongly blues-tinged. Three other more-or-less blues (Bukka White's FIXIN' To Die, Lemon Jefferson's SEE THAT MY GRAVE IS KEPT CLEAN, and something called HIGHWAY 51) feature Dylan playing his flat-pick guitar, although the singing is generally more bluesy than Western. HOUSE OF THE RISING SUN, a song we can't stand even by Woody, is given superlative treatment here. It is one of the best, most carefully constructed and sung, numbers on the LP, and rises to a smashing emotional climax. Dylan's vocal is very subtle, here".
They end their lengthy review by stating, "All in all, this LP is a magnificent debut, and, we sincerely hope that Dylan will steer clear of the Protesty people, continue to write songs near the traditional manner, and continue to develop his mastery of his difficult, delicate, highly-personal style".
By way of contrast, a few words on Joan Baez, reprinted from a previous article in answer to a reader's letter:
"Baez is an exciting singer and would be stirring whether she did LITTLE MOSES or NIGHT AND DAY. In fact, it probably wouldn't matter which, since she is a superficial performer who doesn't probe the inner content of her material. She is not a folksinger, since she neither sings nor plays in traditional style - nor does she perform traditional versions of folksongs. It's too bad she doesn't, for we feel she has the talent and sensitivity to become a good performer ........ the condition comes about which we recognize in Miss Baez - - a gifted youngster who has heard a couple of Odetta albums and has had a guitar lesson or two jumping on folksongs, changing or arranging and tempering to get them to fit her personal 'style'. The results are interesting and even moving, if the singer is sensitive enough. But as folk music, it is at best a tweety-tweet watering down; at worst a complete and and tasteless travesty. And of no value to those of us who get our enjoyment from hearing old songs brought alive".
And talking of Odetta, they ended their review of her "Odetta At Town Hall" album as follows:/n "ODETTA AT TOWN HALL contains few songs she has not already recorded elsewhere, and is musically redundant as well. Odetta fans may want to buy it for the applause".
Not ones to mince their words, Jon Pankake and Paul Nelson
Entered at Tue Sep 19 23:08:22 CEST 2017 from (18.104.22.168)Posted by:
Ian WSubject: In My Time Of Dyin'
Thanks for the additional information, Peter.
I don't know whether Dylan actually had a copy of the Harry Smith set but, if not, it was certainly available to him when he got to Greenwich Village in early 1961. In fact, it is quite likely that he was aware of it when he went to college in Minneapolis, where he knew Jon Pankake and Paul Nelson. Pankake contributed an essay to the 1997 CD reissue and, in that essay, he wrote, "I was introduced to the 'Anthology' in 1959 by Paul Nelson, a friend and classmate at the University of Minnesota". 1959 was when Dylan was there. Pankake says that Nelson had located a copy and they sat up til dawn listening to it "over and over" and "talking excitedly". He cites several tracks that "especially enthralled" them and one of those was "John The Revelator", which was the Blind Willie Johnson" track on the set. This prompted Pankake and Nelson to start their LITTLE SANDY REVIEW magazine, which often contrasted (unfavourably) music of the kind on the 'Anthology' and the 'folk music' then being recorded and released by the record companies. Pankake went on, in the next couple of years, to trade (i.e. exchange) "entire 7-inch reels of dubs of old-time country songs and blues".
On arrival in New York, Dylan was fairly soon ensconced with the Village folkies. There is a film of a party at Alan Lomax's apartment (in the spring of 1961, as I recall) and, though Dylan does not appear in the film, several of the people he knew do and Dylan is rumoured to have been present. Lomax could well have had the original 78, as could several other people with whom Dylan was a familiar back then. Your suggestion of an original 78 seems quite likely and, if not an actual 78, then a taped dub of it.
Entered at Tue Sep 19 21:55:44 CEST 2017 from (22.214.171.124)Posted by:
Bill MWeb: My link
Here's a link to the CD JQ referred to. Seems to me to be a must-buy.
Entered at Tue Sep 19 20:58:41 CEST 2017 from (126.96.36.199)Posted by:
Bob FWeb: My link
Subject: RoseAnn on Bronxnet Television
Todd, thank you for those kind words about RoseAnn's songs. I'll pass them on. She will be thrilled. Some days all you need is encouraging words to keep going. Larkin Poe are wonderful. I will be purchasing some of their music. Thanks for that as well.
Al, thanks for never forgetting about RoseAnn. She's going to record her new songs in the next month or so. Hopefully she will have something out by Christmas.
Entered at Tue Sep 19 18:19:29 CEST 2017 from (188.8.131.52)Posted by:
JQSubject: God Don't Never Change
This tribute record to Willie Johnson came out a few years back. Interesting and holy.
Entered at Tue Sep 19 17:23:26 CEST 2017 from (184.108.40.206)Posted by:
Peter VObviously the single is titled "Jesus Make Up My Dying Bed".
Entered at Tue Sep 19 17:22:33 CEST 2017 from (220.127.116.11)Posted by:
Peter VSubject: In My Time of Dying
Ian, look up the song on Wiki. They have a picture of the 1928 Columbia 78 rpm single of In My Time of Dying by Blind Willie Johnson. Interest in him came from Harry Smith's Anthology of American Folk Music, which we know Bob had. He was clearly in touch with avid record collectors as he has described. I wouldn't worry about a reissue, but would assume he knew someone with the original Columbia 78.
Entered at Tue Sep 19 16:20:11 CEST 2017 from (18.104.22.168)Posted by:
Ian WSubject: In My Time of Dyin'
I've recently written an article on Dylan and Paul Oliver, the blues authority who died recently.
In this article, I quote from a book entitled "The Blues Revival" by Bob Groom, one in a series of "Blues Paperbacks" edited by Paul Oliver and published by Studio Vista in the 1970s. The book has a brief section mentioning the influence of Dylan in the "blues revival" and this section says that, as indicated by Peter V, "In My Time of Dyin'" came from Blind Willie Johnson, namely from his "Jesus Gonna Make Up My Dyin' Bed".
Bob Shelton (writing as Stacey Williams in the liner notes to Dylan's first album) said that Dylan had never played the song before the recording session and that Dylan could not remember where he had heard it. Dylan plays slide guitar on the recording, using girlfriend Suze Rotolo's lipstick holder to achieve this effect. Since I understand that Blind Willie Johnson also played slide (and that Josh White did not on his version), then this would seem to be a pointer to the likely source. However, John Godrich's 1965 booklet "Pre-War Blues Artists Reisuued on EP and LP 1951-1964" does not list this song amongst the Blind Willie Johnson recordings reissued in the period in question. This leaves open the question of where Dylan first heard the song.
"In My Time of Dyin'" was the very last song recorded at Dylan's first recording session (20 November 1961) and that the 'slating' did not happen until after the recording had taken place (slating normally preceded a recording). The song was done in a single take and it was as though Dylan threw it into the mix at the last minute. Moreover, the preceding recording ("Man of Constant Sorrow"), also done in a single take that day, had no slating whatsoever. I have often wondered if, perhaps as time was running out at the end of that first session, Dylan just quickly sang the two songs straight off, without a break. This suggestion is quite possible, perhaps probable, because "Man of Constant Sorrow did not get a "CO" number at all that day. It was only given a "CO" number two days later, when Dylan did three more takes, the third of which is the one on the album.
You can see all this on a "track sheet" in the BOOTLEG SERIES Vols.1-3 booklet, though this image shows the content of Reel 2C which has recordings from both sessions. My comments are based on "track sheets" for the individual sessions, though the information is the same.
Incidentally, the Paul Oliver article will be in the next issue of one of the Dylan fanzines.
Entered at Tue Sep 19 15:32:08 CEST 2017 from (22.214.171.124)Posted by:
Peter VWeb: My link
Subject: Mercedes Benz
Link to Jon Boden's version of Mercedes-Benz in his 365 song marathon "A Folk Song A Day", He justifies it as a folk song too!
Entered at Tue Sep 19 15:28:51 CEST 2017 from (126.96.36.199)Posted by:
Peter VPeter Cook's biography indeed says that he was "gobsmacked" by the Barry McKenzie cartoons.
Entered at Tue Sep 19 15:25:01 CEST 2017 from (188.8.131.52)Posted by:
Peter VSubject: More than you wanted to know …
gobsmacked. OK, Oxford say it dates to the 1980s. I suspect the Liverpool connection is because they trace five uses in Alan Beasdale’s TV series “Boys From The Blackstuff.” Then “Historically Speaking” a language website found it in a 1956 book by Jack Reynolds “A Woman of Bangkok.”
There is argument on what a GOB is. In Celtic languages, it’s a mouth. So smacked in the gob. Then they find it in coal mining for the space left when stuff is removed, a hole, or gob. It was packed with loose rock and left to collapse. When it collapsed, startled miners were “gob-smacked” (especially if standing under it) and they date it to 1700. A “gob” in coal mining is known in Australia, and they date that back to 1804, and the first mines.
I can't be bothered to go and look … but I have a funny feeling that GOBSMACKED appears in Barry McKenzie cartoons (about an Australian in England) from the mid-1960s.
Entered at Tue Sep 19 14:53:08 CEST 2017 from (184.108.40.206)Posted by:
Subject: The Ladies
Peter V, funny how the multitude of Larkin Poe videos can burn 1/2 hour or more before you've realized that much time has gone by. They also do a pretty good cover of 'Preachin Blues', and a fun version of the Hall and Oates song 'Rich Girl', which is performed in their bathroom. Even when they're goofing around, their talent and musicianship shines through.
Al Edge, thanks for the tip to Roseann's performance on the Bronx Arts show. She definitely has a talent for putting words together. Reminds me of the type of songwriting and passion that one hears in Lucinda Williams, or Mike Scott and the Waterboys. I love this verse from the second tune that she performed on the show....it's world class songwriting and her phrasing does it justice.
"So I've been thinking about heading South
Entered at Tue Sep 19 14:30:18 CEST 2017 from (220.127.116.11)Posted by:
And the Bournemouth goal must be the goal of the season. What an angle!
Entered at Tue Sep 19 14:25:11 CEST 2017 from (18.104.22.168)Posted by:
Thanks, Al. I hope it works. But, I've noticed the murmurings of some of the fans. I passionately hope Robertson does the business to reignite the Scottish connection. He's a good player...we've just got to wait and see.
It's all about the money nowadays. Celtic have FAR more than any other club up here. It's 1991 since a team other than the old firm even challenged. I would love for any other club to win our league.
Sometimes I dream that an Arab nation buys Dundee United or St Mirren and invests an incredible amount of money in it and either team(our two families' teams) wins the league.
Thanks, Bill. It's amazing over the years how often I read how such and such a band were influenced by the ISB. Also the same for John Martyn. As well as Steve's and your enthusiasm for BARK, what also took me into them was Tom Wilson's enthusiasm for John Martyn.
I really miss John Martyn and Michael Marra annual concerts.
Maybe wrong, but I always thought of gobsmacked as Liverpool. Definitely not Scottish.
Entered at Tue Sep 19 14:13:01 CEST 2017 from (22.214.171.124)Posted by:
Peter VSubject: Football
A matter of life and death? It's more important than that … down here, we have had a horrendous start to the season, but even then it took Manchester City to the NINTH minute of extra time to squeeze a winning goal past us. As they say the ref must have been getting embarrassed wondering how long he dare keep it going until City got a goal.
Entered at Tue Sep 19 13:39:14 CEST 2017 from (126.96.36.199)Posted by:
Jeff A.Web: My link
Subject: Secret Handshake
Al, if you write to Jan, I'm certain he'd gladly create a secret handshake for you to post with.
Entered at Tue Sep 19 12:48:02 CEST 2017 from (188.8.131.52)Posted by:
Al EdgeSubject: Dunc
There's no panic re the Reds Dunc despite some so-called fans seeming to believe that any absence of instant success equates to the need for a new manager.
Fact is Kloppie will get there for us. He's an exceptional character and totally committed to football in a manner not entirely unlike that of a certain unique man from a now sadly vanished mining village called Glenbuck up in your neck of the woods.
The improvements required are coming. There not yet all in place but these things do take time if your objectives are as high as Kloppie's and ours. In relative terms it is on a limited budget compared to the evil artficially oil financed regimes at the Etihad and Stamford Bridge and Paris and the slightly less evil ones one over at Old Trafford, Munich, Bernebau and Nou Camp.
Entered at Tue Sep 19 12:29:59 CEST 2017 from (184.108.40.206)Posted by:
Al EdgeSubject: Gobsmacked
Nice one Todd AO.
Pete or Dunc or Roger may well have a more insightful takes on this and tell me they were using the expression down their way but I've always presumed it was Cilla who introduced this to the wider British public on her Blind Date show. From what I remember it's been around in Liverpool since I was a kid.
Obviously got to give a listen to Phillip Edgar [as I've heard their biggest fans term them] after all the fuss and report back.
Incidentally close to all our hearts there's a great You Tube of Roseann Fino performing two songs solo acoustic for Bronx Arts which I can't seem to link in the usual box as I keep getting flashing images of a guy who I swear resembles Johnny Cash giving me the finger. I only wish it were longer [the RoseAnn performance not Johnny's finger] and included some of her other incredible stuff from the last two EP's but I guess we just have to be grateful for small mercies.
RoseAnn's link - Bob - perhaps you can put up the link mate??
Entered at Tue Sep 19 10:36:09 CEST 2017 from (220.127.116.11)Posted by:
Peter VWeb: My link
Subject: Larkin Poe
Larkin Poe … Many thanks, Todd. I’d assumed it was a cross between Philip Larkin and Edgar Allan Poe. You can spend a long time on YouTube with these girls, let alone The Lovell Sisters. I’ve just ordered the CD of “Thick As Thieves” and I note they have a new one “Peach” in a fortnight.
I thought after my half an hour on YouTube that they were covers specialists … Bang Bang, I Got You Babe, Sounds of Silence, Off the wall, No Particular Place To Go, and many more. Then I looked at the CD listings which are not cover versions. I’m guessing that they have the hobby of recording covers for fun in hotel rooms on tour. They remind me of The Civil Wars and their version of Billie Jean. Jon Boden of Bellowhead did similar when he recorded a “Folk Song A day” 365 songs, done informally over a year. He also did the odd fun one, like Mercedes Benz by Janis Joplin among all the traditional folk.
They are a great find … The Lovell Sisters too, adding the third one. My only mild grouse is that on YouTube they attribute In My Time of Dying to Led Fecking Zeppelin. Bob Dylan, while also wrong, would have been a cooler attribution. I reckon it’s traditional, though Blind Willie Johnson may have been the first to record it in 1927.
Link to Larkin Poe’s earlier version as the Lovell Sisters.
Entered at Tue Sep 19 06:24:12 CEST 2017 from (18.104.22.168)Posted by:
In that previous post, I meant to type: "gobsmacked (as our British friendS might say)".
Entered at Tue Sep 19 05:59:12 CEST 2017 from (22.214.171.124)Posted by:
Subject: Larkin Poe
Hey Norm, glad you liked them! Aside from the fact that a lot of YouTube can be a vast wasteland, it can be a great place to hear talented folks who might not be household names.
Bill M, thanks for the Bruce Cockburn link to 'Soul of a Man'. Nice rendition, and always fun to see Richard Bell, Colin Linden and the boys. Ollabelle used to do a version of that song too. It was the first time I'd ever seen someone use a glass slide on an electric bass, as Byron Isaacs used to do on that tune.
JQ, astute of you to pick up on the bluegrass connection. From what I can gather, these girls have quite a few years of experience for only being in their mid 20's. They are from the Atlanta, Georgia area and started out as kids learning classical violin and piano. There is another sister named Jessica, and from about 2004 to 2010 they performed as sort of a bluegrass trio called the Lovell Sisters. There's stuff on YouTube from them as well. In 2005 they appeared on 'A Prairie Home Companion', and in 2006 performed at Merlefest where Rebecca won the Merlfest mandolin contest at the age of 15. After Jessica (who played violin) left to get engaged, go to college, and settle down, the other two remaining sisters formed Larkin Poe. They had a great, great, great, great Grandfather named Larkin Poe who was a distant cousin to Edgar Allen Poe.....so that's where the name came from.
So they've been together in this configuration for about 7 years now, touring and putting out their music independently. Hard to categorize, but they are more in the roots rock category now rather than their bluegrass and classical roots. I believe they have an album coming out this Fall, and they are on a label now, but I don't know how big it is. They also have done some touring with folks like Elvis Costello and Conor Oberst. In fact I first became aware of them by accident one day as I happened to catch a Conor Oberst concert on PBS from the House of Blues in Boston. I was never particularly a fan of his, but I was gobsmacked (as our British friend might say) by how good his band sounded, and watched it through to the end and saw their names in the credits.
It also seems that they were involved in a backing capacity in that 'Lost on the River: The New Basement Tapes' project. so they're getting out there, and getting noticed which should hopefully lead to bigger and better things for them. I just can't believe that I had never heard of them prior to a few months ago.
Entered at Tue Sep 19 02:41:14 CEST 2017 from (126.96.36.199)Posted by:
JQSubject: Larkin Poe
Thanks Todd - Very interesting duo. Have they reached a decent level of notoriety? They remind of the old brother duos in bluegrass in terms of their natural harmony singing.
Entered at Tue Sep 19 00:07:34 CEST 2017 from (188.8.131.52)Posted by:
WallsendYou can find an interesting press conference with Eric if you search ERIC CLAPTON: LIFE IN 12 BARS Press Conference | Festival 2017 on Youtube. Our guys get a mention at the end.
Entered at Mon Sep 18 22:58:04 CEST 2017 from (184.108.40.206)Posted by:
BIll MDunc: Good of you to mention the Incredible String Band, and good for Joe Boyd in organising something to honour them. I've had all their big albums, but my favourite by far is "The Big Huge" (as it was at least here, separated from "The Wee Tam"). Still, their lasting gift, as far as I'm concerned, isn't that, but Mike Heron's "Singing The Dolphins Through" as sung by Manfred Mann's Earth Band. I don't even know earlier versions of the song were released by ISB or Heron solo.
Entered at Mon Sep 18 21:57:38 CEST 2017 from (220.127.116.11)Posted by:
Thanks Bill M. Been busy - nothing exciting. Just catching up just now. Still enjoying BARK. But rationalising the CD collection. Giving to Oxfam the stuff I don't play just now.
Really enjoying Steely Dan just now. Great stuff, I regret I never saw them.
Glad to see you, Al. A bit disappointed by Liverpool just now - that Scottish link - and I go back to the wave of Bert Slater, Tommy Leishman, Ian St John - he of the desk carving, and Ron Yeats.
Lasting for ever. I wonder what of the Band's music will last for ever. Last month there was a concert dedicated to the Incredible String Band organised by Joe Boyd at the Edinburgh Festival, Got a lot of publicity, related to them being innovative and influential. I was aware of them, but probably too young, being into Troggs, Who, Beatles et al at that time.
And also it was 40 years ago last month that 'Mull of Kintyre' was recorded. It will last forever up here - school concerts' recorders, choirs, pipe bands. Brilliant.
Really enjoy Please Please Me, but favourite is A Hard Day's Night.
Enjoyed reading everybody's posts everybody.
Entered at Mon Sep 18 21:44:12 CEST 2017 from (18.104.22.168)Posted by:
BIll MSubject: the very best
John B: Thanks for your post. Building on that and Peter V's reply, I'd say that that verse from TNTDODD - "I don't mind them chopping wood / and I don't really care that the money's no good / Just take what you need and leave the rest / but they should never have taken the very best" - totally brilliant, expanding the frame of reference from the best logs, to the best logs and crops, to the best logs, crops and young men - a category that is clearly meant to include Virgil's brother.
Entered at Mon Sep 18 21:24:12 CEST 2017 from (22.214.171.124)Posted by:
Bill MWeb: My link
Subject: the soul of a man
Thanks for Larkin Poe, Todd. Their worthy "Soul Of A Man" caused me to check to see if Bruce Cockburn's cover of the same song is on YouTube too. It is, in multiple versions, including the version he recorded for his wonderful "Nothing But A Burning Light" album. But here's a different version from a 1990 TV show, which I chose because it shows his back-up band of the time - including Richard Bell, Colin Linden and the BaRK rhythm section of Gary Craig and John Dymond. Are you there Dunc?
Entered at Mon Sep 18 17:45:55 CEST 2017 from (126.96.36.199)Posted by:
Peter VWeb: My link
Subject: Last word to Johnny Cash
Not the Johnny Cash you might get if you posted SPAM here … but the song God Bless Robert E. Lee. It's linked from the article now, but for those who want it without reading … it's linked.
Entered at Mon Sep 18 17:41:38 CEST 2017 from (188.8.131.52)Posted by:
Peter VWeb: My link
Subject: Taken the Very Best
It's like "The Finest" in British references to fallen soldiers in wars which dates back two hundred years. It's a set expression. "The very best" is not just Virgil Kane's brother, but the fallen in general. As you say, it's NOT a reference to Lee.
Lee would hardly have been punished or taken, since he was responsible for the peace without witch hunts on Confederate troops after the war, and acted against the wishes of other leading Confederates. I know the 1920s date of the statues, but even so, they've got the wrong guy. In my recent article (LINKED AGAIN), I've pointed out that many consider Sherman a war criminal.
Entered at Mon Sep 18 17:25:16 CEST 2017 from (184.108.40.206)Posted by:
John BLocation: upstate New York
Subject: New York Times essay
In Eric Foner’s essay in the Sunday Sept. 17 New York Times, “The Making and the Breaking of the Legend of Robert E. Lee”, Mr. Foner writes that the narrator of The Band’s song, “The Night They Drove Old Dixie Down,” refers to Robert E. Lee as “the very best.” It is not clear from the context of the song whether “the very best” refers to the the narrator’s brother, who was killed in the war, or to the narrator’s best crops being taken away, but the phrase certainly does not refer to Lee. General Lee was never arrested, punished, or in any sense “taken” by the North.
Entered at Mon Sep 18 15:16:26 CEST 2017 from (220.127.116.11)Posted by:
Rockin ChairLocation: Pacific Northwest
Subject: Young Blood
Jesus Todd that is great stuff! The first licks on that steel of that old Robert Johnson song make the hair on you neck stand up. Just as Reina and Toni do, these girls understand dynamics and have their hearts into that long ago music.
In another life maybe they were there......Thanks.
Entered at Mon Sep 18 11:03:39 CEST 2017 from (18.104.22.168)Posted by:
Al EdgeSubject: Bill M
Ha ha - very droll Bill.
There's certainly 'nowhere' like it, that's for sure.
I'm with Pete though, I think he got mixed up with the milltown down the East Lancs road
Entered at Mon Sep 18 10:43:10 CEST 2017 from (22.214.171.124)Posted by:
Al EdgeSubject: John D - Catching up
Hi John - of course I've got your station show on favourite link though I have to confess to being utterly hopeless at remembering to give it a listen. Promise to remedy that as all told it's very likely the best thing of its type on the radio anywhere.
In fact the post you referenced was actually to JQ who also has something going in the same line but I'm glad you stepped in as we all need our memories jogging these days.
Entered at Mon Sep 18 10:36:44 CEST 2017 from (126.96.36.199)Posted by:
Al EdgeSubject: JT
Dear me. Spent some time quickly browsing back. So shocked and saddened to read about Jerry Tenebaum passing away. My belated condolences to his wife and family.
In the very early days I was on here Jerry never posted that much though he certainly made up for that over time and became one of the main posters with his unquenchable search for fresh as well as established music always shining through.
Not sure but I guess of all the regular posters who've ever been on here the fact his dad's nightclub figured so prominently in the early history of the boys made him the one on here with the closest links to them along with John D and Serge.
In those early days when he wasn't so prominent we used to exchange lengthy e-mails. Our discussions used to centre around "was there such a thing as the 'greatest' album, song, footballer, ice-hockey player etc etc - or not. My own takes were always veering towards the fact that there very likely are definitive categories. Jerry's take - much like my own son and any other sensible person - would always be that beauty was in the eye of the beholder and that comparisons were bordering on being invidious. He was right of course - subjectivity can never amount to an absolute.
Jerry lad. Rest in Peace. You'll be sorely missed.
Entered at Mon Sep 18 05:36:14 CEST 2017 from (188.8.131.52)Posted by:
Web: My link
Subject: She could hear the cars roll by, out on 441, like waves crashin' on the beach
Another Larkin Poe cover that I can't get enough of. They're doing Tom Petty's 'American Girl'.
I've always liked Tom Petty, but hearing their version of his song kind of reopened my ears as to how good of a songwriter he really is.
Entered at Mon Sep 18 04:53:56 CEST 2017 from (184.108.40.206)Posted by:
Web: My link
Subject: Larkin Poe
Norm, thanks for the recommendation. Talented ladies with a great feel and respect for the music.
Funny enough, I've been meaning to post something for a while now from a couple of gals who perform together as Larkin Poe. This is Rebecca Lovell singing and her sister Megan Lovell on lap steel.
They do a lot of originals, and have a bunch of professionally produced and recorded videos, but they also do a series of videos they call "Tip of the Hat", in which they pay homage to their influences. These are typically just quickly recorded performances in front of a home video or cell phone type of camera.
The song linked above is a cover of Robert Johnson's 'Come On In My Kitchen'.
I've probably watched this video a dozen times, and am blown away by their performance. A lot of people try to cover classic blues songs but often fall short and only rise to the level of imitation. I really feel like they've captured the essence of the song...especially the tasteful lap steel playing by Megan. Check it out!
Entered at Mon Sep 18 02:56:02 CEST 2017 from (220.127.116.11)Posted by:
Rockin ChairLocation: Pacific Northwest
Subject: A new find
Sitting back listening to a bit of music on youtube. I was again listening to "Tupelo Honey". On the side bar suggestions, I saw this girl for Tupelo Honey. I thought I'd give it a try.
Her name is Reina del Cid. If you haven't heard her, give it a try. Another girl plays lead on a strat for her with a young fellow playing stand up bass. She is quite ammasing and the girl playing lead is a serious guitar player.
I then clicked on them playing, "I shall be released". This is their Sunday morning thing. They are sitting beside a camp fire in their back yard with a wood pile. The way they sang, harmonized and played I shall be released made me cry thinking of our boys, dead and long gone. These girls have the feeling and sole in this song.
Entered at Mon Sep 18 01:52:01 CEST 2017 from (18.104.22.168)Posted by:
Bill MSubject: Nowheresville, Man
Peter V / Al E: if Liverpool's most favourite native was a self-described "nowhere man", doesn't it make sense that he would hail from a "nowhere town"?
Entered at Sun Sep 17 22:55:29 CEST 2017 from (22.214.171.124)Posted by:
jhWeb: My link
Subject: Clapton joining The Band -- again
"I was given an acetate of Big Pink back in England and it shook me to the core," he said during a press conference at the 2017 Toronto International Film Festival to promote his doc, Eric Clapton: Life in 12 Bars. "I was in Cream at the time with already the notion that it wasn't going in the right direction, and I thought, well this is what it is. I knew who Robbie Robertson was but I didn't realize that was their group. I thought they just appeared. I thought they were all from the Mississippi Delta."
Entered at Sun Sep 17 17:00:44 CEST 2017 from (126.96.36.199)Posted by:
Peter VI'm fascinated by the argument of Dreaming The Beatles, even if I don't totally agree about reactions per decade, nor that Liverpool's a Nowhere Town … he must be confusing it with Manchester :-)).
It made me think of hearing some kids in the late 70s. One girl asked who The Beatles were, and got the reply "It was a band Paul McCartney was in before Wings." That got answered, 'So was Paul McCartney in a band before Wings?"
Entered at Sun Sep 17 15:46:46 CEST 2017 from (188.8.131.52)Posted by:
John DSubject: Lost Tapes or Tombstone
I remember downloading all the songs; from this album; but for the life of me I can't remember from where. According to my iTunes I did it in 2014.
Entered at Sat Sep 16 14:59:22 CEST 2017 from (184.108.40.206)Posted by:
Al EdgeSubject: Bob's brill Beatles book
Cheers for that Bob.
As a proud Scouser I'm not sure about the 'nowhere town' bit in the interview like. :-0)
But I'm sure there's a perfectly good explanation - ha ha
Entered at Fri Sep 15 17:09:14 CEST 2017 from (220.127.116.11)Posted by:
Bob FWeb: My link
Subject: Dreaming The Beatles
Al, if you haven't read Dreaming The Beatles by Rob Sheffield, you must. Link is to recent interview with the author.
Entered at Fri Sep 15 16:27:46 CEST 2017 from (18.104.22.168)Posted by:
Peter VSubject: Cilla
Sheridan Smith is incredible. I’ve seen her on stage three times. I’ve seen her channel Janis Joplin in the “hippy” Midsummer Night’s Dream. I thought her live Funny Girl better than the Barbara Streisand film, and she did brilliant New York in Little Shop of Horrors on stage. She has huge charisma on stage. Didn’t she get Cilla Black to coach her for “Cilla”? I think I read that somewhere. Then she does Scouse in “Benidorm” and Estuary girl in “Gavin & Stacey.” "Mrs Biggs" is another great TV series. I saw the Cilla DVD in Sainsburys or Tescos last week for about £5 or £6. (I already had it). What she does bring out is that Cilla could really rock before Parlophone and Brian Epstein started directing her career.
Entered at Fri Sep 15 13:42:32 CEST 2017 from (22.214.171.124)Posted by:
Al EdgeSubject: Cilla/Beatles etc
First time I've re-watched any of that programme so thanks a bunch for linking it Pete. I'd forgotten about it. What's amazing on this second viewing is that it's so hard not to think that it really is Cilla. The likeness is so striking. What a performance from Sheridan Smith.
Also it's hard not to believe the backing group actually isn't Rory Storm and the Hurricanes. Mind you, I didn't have the same problem with the video that follows on showing Teddy [Kingsize] Taylor in his outrageous red check 3 piece suit as the real Teddy Taylor lived 3 doors away from us when we were kids. Ha ha.
As for PPM. Totally agree Pete. For me it's got to be near the top of any all time list of important album landmarks simply because prior to it there'd been nothing like it. Some might say Billy Fury's debut album for the same innovative reasons but that was almost pure rockabilly so whilst it’s hugely impressive for its amazing authenticity it does suffer for me from its sameness.
PPM on the other hand brought in a variety of diverse musical strands from the raw and desperate soul of John’s ‘Anna’to the seemingly naïve innocence of Paul’s nod to the musical ballad with ‘Taste Of Honey’ to the delicious ‘boy group’ harmonies of the Shirelles‘Baby It’s You’ and John’s killer rock ‘n’ roll delivery of ‘Twist and Shout’. Shoulder to shoulder with all this was the never before heard magical intuitive and innovative fusion of all influences in John and Pauls’ own compositions such as the incredible I saw Her Standing There, Please Please me itself and There’s A Place. Not a skip over on the entire album since the weakest cut Do You Want To Know A Secret is a must listen for George’s rendition of the strongest scouse accent ever committed to record until Lee Mavers.
Entered at Thu Sep 14 19:12:54 CEST 2017 from (126.96.36.199)Posted by:
Peter VGreat photo with Garth - wonderful expression on Willie Nelson's face. Not sure about the later one with two fans by a bus "Willie Head" sounds so close to "Dick Head" to the British.
Entered at Thu Sep 14 15:56:05 CEST 2017 from (188.8.131.52)Posted by:
jhWeb: My link
Subject: Garth & Willie Nelson
Garth hooked up with Willie Nelson yesterday, and joined Willie and Family on stage in Poughkeepsie, NY!
Entered at Thu Sep 14 15:48:38 CEST 2017 from (184.108.40.206)Posted by:
CalvinNot sure how much American Post Punk Resonated in the UK, but Grant Hart of Husker Du just passed after a lengthy battle with cancer. I did love those guys, and still see Bob Mould fairly regularly. That was some fun music.
Entered at Thu Sep 14 12:00:45 CEST 2017 from (220.127.116.11)Posted by:
Jeff A.Subject: I Heard It Through The
Downtown Brooklyn is abuzz about the British couple that was just visiting. Apparently when the husband imbibed a little too much wine he espoused about Rock & Roll & the Rhythm & Blues, & the Mrs. referred to him as "Grape Viney."
Quite proud of myself for that one,
Entered at Thu Sep 14 10:42:02 CEST 2017 from (18.104.22.168)Posted by:
Peter VSubject: More on Lost Band Tapes
Much of the accreditation of those lost Band tracks on circulating tapes were speculation. Aaron was there, so I would expect to find things were somewhat different to our guesses.
Entered at Thu Sep 14 10:40:05 CEST 2017 from (22.214.171.124)Posted by:
Peter VCalvin, did I leave a book on the table? Don't know if it was Thursday lunch or Friday dinner.
(Jeff knows I'm joking)
Entered at Thu Sep 14 10:39:00 CEST 2017 from (126.96.36.199)Posted by:
Peter VSubject: The Lost Band Tapes (Jules Shear sessions)
… or is it the lost Sony album? The link only mentions Jules Shear on "The Lost Band Tapes."
Too Soon Gone appeared on Jericho, and because Jules Shear is credited with harmony vocal, and John Simon with piano, I'd guessed that was the older session.
High Price of Love appeared on High on The Hog and is definitely new because the lyrics have been updated to reference the Gulf.
The rest of the Jules Shears songs THAT WE KNOW ABOUT (which is the intriguing point, there may be more) are River of Money, Baby Don't You Cry No More, Long Ways to Tennessee, Money Whipped and Never Again Forever. The last appeared on Jules Shears' "Healing Bones" album in 1994. Tombstone, Tombstone was apparently written by Colin Linden, but Jules Shears sings on the demo.
Eight songs? There were versions of Bruce Hornsby's Circle of Time, Night On The Town and The Tide Will Rise among alleged "Jericho outtakes" which might be from the same era, plus the brilliant Nobody Sings Em Like Ray, which hasn't got a writer name attached and Keep The Home Fires Burning.
I'd hope all those "Band Apocrypha" tracks are on Professor Louie's album. On the circulating tapes (OK, cassettes they were) I thought the strongest tracks were the Hornsby ones.
And then there were the two Los Lobos tracks (The Battle Is Over, What Good Is Love).
I'm fascinated and delighted by Professor Louie's new release.
Entered at Thu Sep 14 05:42:52 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.See what I mean Bob, the low blow insults we have to put up with on this GB.
Calvin, next you'll tell me you were here to meet Peter.
Entered at Thu Sep 14 05:09:50 CEST 2017 from (184.108.40.206)Posted by:
CalvinIf it makes you feel better Jeff I've been in Brooklyn at least 2 other times that I didn't call you.
Entered at Thu Sep 14 05:05:43 CEST 2017 from (220.127.116.11)Posted by:
Jeff A.I think it was tonight- Garth reported as joining willie Nelson onstage for two songs.
Entered at Thu Sep 14 01:18:00 CEST 2017 from (18.104.22.168)Posted by:
Bob FWeb: My link
Subject: Professor Louie - Lost Band Songs
Professor Louie and The Crowmatix new release may be of interest to Band fans.
Entered at Wed Sep 13 19:34:12 CEST 2017 from (22.214.171.124)Posted by:
Jeff A.Bob, well, it was Monday night,a 7:30 - 10 showtime for a non big name who hasn't been playing out in some years. this was his first night out again, unless he was just sittin in with some one occasionally, .....& this was in a small neighborhood joint in Harlem. no real advettising of any kind..... place seats maybe 70 at the very most .... there were never more than twelve or thirteen of us in there at one time, and two women i spoke with who happened in were their early 40s.there were two other people at the bar i'd say late 40s, and the rest of us were over 55...
Entered at Wed Sep 13 19:10:13 CEST 2017 from (126.96.36.199)Posted by:
Bob FSubject: Hot Fun In The (Late) Summer Time
Jeff, I guess you saw the modern version of The Harlem Shuffle. Sounds like a great night. I'm curious what was average age of the audience was.
Entered at Wed Sep 13 19:03:49 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.Pete, smaller cities tend to have good record stores, there's no explanation abut Brooklyn. There are somE scattered ABOUT. tHERE'S ONE OR TWO ON 7TH OR 5TH AVE IN pARK sLOPE, THERE'S ONE ON aVE u AND E26TH I THINK... though St Louis lost a few, ti does still have Vintage Vinyl & Euclid Records, maybe others...Minneapolis has stores, in his mid 80s Bob Koester (Delmark Records) finally lost his lease where he had Jazzmart but moved to a new location in chicago...... Brooklyn & NYC are unusual without much in the way of record / cd stores i guess
Occasionally Daptone has a big clearance sale outside their building in Bushwick,. sells their various imprints cheaply and directly..
On the high rent- the truth is Pete, the rents are insane. Astronomical. The coffee shops get street traffic all day long- that's how they survive. If you stood in front of one of thsoe joints and saw the amount of people that go through and pay enormous prices for coffee you'd know how they do it....Peopel will pat big tickets for coffee but won;t pay fair prices for music..... the digital world did it....and most people don;t know or care about sound quality. I'm creating a gorgeous sounding record - will it matter if i do?...and it still could get killed in the mix today. I'm gonna do all i can to not let that happen.
TO give you an idea, last week i had a phone conversation with a huge name engineer. recorded and mixed many big hits in the 70s & 80s. He's got to be about 70 years old now, or older. Good guy, we have alot of commonality....a sound genius, with golden ears, and the hits to prove it.. the man knows sound, knows music... and seems cool..
he does occasionally work in a great room- but says that costs double.And that it won't sound twice as good as if he mixed it in his home studio in the extra bedroom in his apartment... i probably disagree with that...because he's gotten rid of almost all his analogue gear & mixes with almost all software... that double cost for the analogue mixing room essentially means he charges as much for himself in his home room as the name room charges daily to rent the room out... Like many mize engineers he'd prefer to mix withoptu the client present, and then you get some chances to adjust- he did say- hsi attitude is if you don';t love it ti's not done..... but when he said that he sends mp3s back and forth for listening, my stomach tightened...... maybe he meant musical files and just used the term mp3s..but in any event- nothign is like being there. in the same great sounding room with great equiopment at te same time...
Odds are i mix this in a great studio owned by friends, and the four of us fight it out for three or four days again. Mixing- when you the engineer got it you listen and you listen and you listen. You Listen on one set of speakers, then another, then another, then a boombox. Then you might raise one thing a db or a half in one spot, listen again. you might change a tone, listen again. You take alot of breaks and you rest your ears... and then you go back..It always helps when people agree :-)... All you do is listen, listen more, and when you have something totally solid, and you decide to print it, after wards you listen a few more times to make sure it printed without glitches.....
Entered at Wed Sep 13 15:07:26 CEST 2017 from (184.108.40.206)Posted by:
Peter VI bought The Weight / I Shall Be Released 45 before I bought Big Pink. As I have said, I still recall seeing the LP in the upstairs record department at W.H. Smith and reading the sleeve and wondering about the painting. Rumours were that Dylan was on it, and of course there are the co-written songs.
Entered at Wed Sep 13 14:38:21 CEST 2017 from (220.127.116.11)Posted by:
Peter VSubject: pirate CDRs
The CDRs in the street puzzled me too. One stall was next to an NYPD van. In the UK, the Copyright Agency have been known to swoop on record fairs with police accompaniment. Bootlegs get confiscated and sellers arrested. Certainly pirate stuff with B&W typed labels would be swooped on. The Copyright agency does the work, but the police go with them.
Bootlegs are more problematic, and many ARE sold at UK Record Fairs. The trouble is that until a few years ago neither Italy nor Luxemburg allowed live performances to be copyrighted so they are in a grey area of legality in the EU. There are also lots of US radio shows on sale even in HMV, which are apparently legal.
It’s an interesting argument. Say there’s a live performance in the park, and you don’t pay to enter the fenced area, but stand on public land outside it and record what you hear, it’s legally akin to recording noisy neighbours for a complaint. You’re on public space. You can hear it. However, once you take it indoors, it surely differs. Whatever, Italy and Luxemburg allowed it.
At UK fairs, I’m told Van Morrison has been known to send some big lads to confiscate any bootlegs of his work. Fair enough.
My biggest surprise was the absence of record stores in Brooklyn. We didn’t get to Rough Trade (which I’ve been to before) and my phone listed two in Williamsburg, but otherwise nothing. Our far smaller conurbation (350,000 in the three towns and their suburbs) has two large HMVs, a local independent who has gone from one store to three stores in two years, another independent and five secondhand vinyl and CD stores. Plus every supermarket has the Top 20 and a few compilations. The bigger supermarkets have the Top 40 CDs and a new vinyl section, limited to 20 or 30 classic titles, but they’re there.
I asked and was told rental was too high in Brooklyn, but there are lots of independent coffee shops surviving with just four or five tables, so they can’t be paying that much rent. I would have thought a similar area of London to Fort Greene / Boerum Hill would have several. Islington for example has a large HMV, one independent and three second hand stores.
Is the USA further down the road to a CD / vinyl free world? It seems so, though in the UK, more stores are opening nowadays.
Entered at Wed Sep 13 04:18:04 CEST 2017 from (18.104.22.168)Posted by:
Jeff A.Kevin, i always wished i was a few years older than I was. Though i was exposed to great music since i was a little kid, being 5 or 7 years older, at the very most 10, woulda put me right in the middle of it...and I would have been at the record store when or days after Big Pink came out. I wish i was...It's one of the greatest recordings in history...I started going to concerts in 72, when i was 13, but I'd have rather been at concerts starting in 67...., or 62. Of course, I could have easily ended up in Vietnam....There's no telling what I'd have done, but, I can see conscientious objectors arguments & even agree with alot of it...but, I've not ever been the type to leave my fellow citizens high & dry either.. Of course, conscientious objectors believe they are doing the right thing for their fellow citizens... I might have if i was a kid then...No telling...But i probably woulda been in the service.
Entered at Wed Sep 13 04:06:12 CEST 2017 from (22.214.171.124)Posted by:
Kevin JSubject: Jump into the Fire - Harry Nilsson
Every now and then a song used in a television commercial really jumps out. IBM Cloud have an ad out using a remastered version of Harry Nilsson's "Jump into the Fire". Instant flashback to Goodfellas and how effective the song was in that film.
MFBP: As with almost any artist, musician or author, it is often down to when the discovery was made and how. Did you find something on your own......did it help you through a night or a month, etc. With The Band.......I came to them through my brother's record collection and wanting to impress a friend one afternoon ( house to ourselves ) with something a little bit different than our usual fare of David Bowie, Rod Stewart..........Rock of Ages it was....I still remember every bit of every part of that experience.....Next was Best of The Band ( white album ) that was in every Canadian's record collection I ever looked through. Then the Last Waltz and only several years later did I get to the Brown album......Astonishing it was, song after song of greatness. When I finally did get to MFBP, it felt like a letdown. I don't feel that way now but I also rarely listen to it.
David P and Al have both explained in wonderful ways the importance of discovery and the times in which MFBP emerged and helped to shape their musical lives. Nothing can beat that but likewise no one else can really feel it totally if they didn't live that experience in the first place.
Speaking of Harry Nilsson.........I really like the song "Spaceman"......Bill Lee does a bit every day on a Monttral radio show ( Mitch Melnick's show ) which has the song as his intro.
Entered at Wed Sep 13 00:37:11 CEST 2017 from (126.96.36.199)Posted by:
Jeff A.Bob, for me it was Brown. Buying The Brown Album, taking it home and listening to it, then going back and buying another copy for myself ( I always believed in back ups). I had loved The Weight, but i bought Big Pink after Brown.
Entered at Wed Sep 13 00:17:21 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.Subject: City Sponsored Piracy
BTW,Pete, possibly you know that if you walk far enough west from the Fulton Mall you run into Borough Hall. As in Brooklyn Borough Hall. Where the Borough President operates from, ....The Courthouse is opposite it. There are pirates selling burnt discs from tables right in front of the Court House. Cops everywhere...
Entered at Wed Sep 13 00:07:30 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Pete, i understood that three days here you'd not have time to meet. But you snuck in a fourth day and rather spend it with your new grandson & family than meet me, now i'm insulted. But i'll live :-)
Bob, see the pile of insults us GBers have to live with increases is insurmountable.. But i got to admit. Calvin was here once years ago when i was in for a long stretch from St Louis.... I don't remember what was going on but do remember it was an impossible time for me & i wasn't able to meet him. I still have guilt about it though. No joke, i still feel badly about that.
Pete, there also are large teams of Oriental people who drag rolling cases of burnt discs all over the city, selling music and videos. The cops do nothing. I;ve told some of em they better throw out all there products in front of me, i want to see them put em in the garbage can, or i'm callng the cops. they just keep going store to store, and walking down the sidewalk. They have regular routes...
Entered at Tue Sep 12 23:18:37 CEST 2017 from (220.127.116.11)Posted by:
Peter vSubject: Daylight piracy
Just back from seeing my new grandson, four days in Brooklyn, and didn't even get time to cross the bridge to Manhatten. A surprise was seeing tables on the street in Fulton Mall, downtown full of CDRs at 3 dollars, two for 5 dollars. All rip offs of James Brown, Stevie Wonder, Marvin `Gaye. Has copyright become so worthless that this stuff is just allowed now on open view? No wonder musicians can't make a living.
Entered at Tue Sep 12 16:01:43 CEST 2017 from (18.104.22.168)Posted by:
Bob FAl, really nails it with these two paragraphs.
"You'd find yourself reading the words of the back cover over and over again searching for some hidden clues as to what these fellows were about, which bit of the respective songs each of them was singing, where they had come from, where they were going. Frustratingly, you'd find little to quench your thirst. All you had to go on was the music and vocals spitting out from what seemed like different parts of that little mono record player before you. There was a complete absence of fuss or hype. It left you craving for the merest snippet. Your intrigue at the stark simplicity of their collective name would soon cede to a glaring realisation. What else, after all, could these guys possibly have been called?"
"Then there was the utter appropriateness of their own names – Danko, Manuel, Garth, Jaime and Levon. 'Levon' for Chrissakes!! You just couldn't make this sort of stuff up, so authentic did it all sound. And then the few brief sentiments uttered by the guy on guitar, Jaime 'Robbie' Robertson, about them enjoying it all 'just enough to smile at one another when we're playing'. It was like some snatched insight into the mental rigeurs of a bunch of musical geniuses. What else would they do, you'd reflect knowingly, smiling to yourself at the logic of it all. Not only was all this utterly convincing. For those to whom such things mattered – and as you might expect with these sort of things that was regrettably a minority – it was intoxicating, enchanting. In short it became vital."
Young people can still pick up on all this. Rob Sheffield just wrote one of the all time great Beatle books 'Dreaming The Beatles', he's probably only in his 40's now. However, to actually have gone in a record store and bought Big Pink and brought it home back then and played it for the first time. Wow! That memory for many of us is priceless.
Entered at Tue Sep 12 14:18:04 CEST 2017 from (22.214.171.124)Posted by:
John DSubject: Al regarding radio spot
Al if your addressing me kind sir; yes I'm still on the radio every Saturday afternoon on CIUT 89.5 in Toronto. We're on the world wide web. I guess your time, I would be heard from 7-9 pm in the evening. I'm not on this Saturday; but return on the 23rd. If this wasn't me you were addressing, apologies.
Entered at Tue Sep 12 14:07:53 CEST 2017 from (126.96.36.199)Posted by:
Jeff A.I went to see a guy sing last night. Fine guitar player who ain't been out much in many years & i was happy to know he was back on the scene..... Toured with several huge name pop, funk, & semi disco stars in the 70s & 80s but was a constant presence in the 80s & 90s in NYC..... This was a show in a lounge /restaurant up in Harlem.....Tip bucket thing, i doubt the room pays em ...Well.... he teamed up with a 15-16 piece band led by a good, very cool, native NYer over 65 drummer. Only about a quarter of the band could fit in this venue. Guitar player was very generous to the kids. The kids were all from other corners of the globe... They must have played the entire Sly & The Family Stone songbook.And Al Green, James Brown, all sorts of old stuff. The front people for the partnering band were two Japanese chicks in their twenties.....the lead vocalist percussionist & dancer was about 80 pounds soaking wet, the sax player,, quite fetching she was, also sang a lot ( both did a lot of back ups & add ons with Guitar player, the bands guitarist coulda been El Salvadoran or Japanese or anything in betwee, the keyboardist was from Italy, & the bassist i think Greek, & halfway through, a third Japanese chick ( also 80 - 85 pounds soaking wet) makes it, & jumps onstage & was the most outrageous dead serious go go dancer actress singer you'll find these days- clearly a high level serious professional dancer too. Have you ever seen/ heard young Japanese chicks proficient & emotionally invested in Sly & The Family Stone & the music of the 60s?....When guitar player got the sax playing gal to step off the stage & walk between tables, her first three moves while adjusting to the idea were nice sized bunny rabbit style hops.. My heart tugged.
Entered at Tue Sep 12 13:46:45 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.Bob, you made the man appear... How do we get Al to run for President of the U.S.?
Think hard man...Ro would be headlining the inaugural ball.
Entered at Tue Sep 12 10:06:22 CEST 2017 from (184.108.40.206)Posted by:
Peter VWeb: My link
Subject: A Shot of Rhythm & Blues
I commented on that Toppermost piece on Arthur Alexander, especially on how every UK band used to cover A Shot of Rhythm & Blues.
I mentioned The Beatles, Gerry & The Pacemakers, Zoot Money and Johnny Kidd and The Pirates. Then I remembered Sheridan Smith in the "Cilla" TV serial performed it as the young Cilla Black. It is a brilliant impersonation of Cilla, but also has atmosphere. (LINKED)
Entered at Tue Sep 12 10:01:22 CEST 2017 from (220.127.116.11)Posted by:
Peter VWeb: My link
Subject: Please Please Me
Al's piece is also memorable for the stuff on Please Please Me. Those are surely the two greatest debut albums ever, PPM and MFBP. The first Rolling Stones compares in influence and power but has no originals.
PPM was on my mind reading the recent Toppermost on Arthur Alexander (LINKED) … a brilliant comprehensive piece on him. At various times The Beatles did A Shot of Rhythm & Blues and Soldier of Love, but the big link is "Anna" on PPM. It had me re-listening to Arthur Alexander's greatest hits on Ace, and noting that like The Beatles, he was fascinated by girl group sounds … who else but The Beatles would have sung "Boys" dead straight?
Al's piece was wonderful for those of us who invariably list Please Please Me as one of the very best Beatles albums, and not only that, but it should be in those "20 Greatest Albums Ever" lists.
Entered at Tue Sep 12 04:46:54 CEST 2017 from (18.104.22.168)Posted by:
CalvinI guess I picked the right time to start dropping back in, really good to hear from you Al.
Entered at Tue Sep 12 02:36:00 CEST 2017 from (22.214.171.124)Posted by:
Bill MWeb: My link
Ahoy Al E: Good to hear from you directly, and also to reread your ancient post about your introduction to MFBP the other day. Aside from your delightful enthusiasm, what stands out in the latter is that rather than reviewing the music on the album you took the trouble to put it into the context of the time - when nothing like it existed. That terribly important point is inevitably lost on most people. And I would be among those most people, as I didn't even get to pop radio until the late summer / early fall of 1968. That's about when MFBP came out, but they certainly weren't playing it on CHUM-AM.
Oddly enough, the song that DID strike a chord with me at that very time was the one I've linked to, which shares a churchy organ, a dirge-like rhythm and somewhat muted vocals with "The Weight" (which really SHOULD have been played on CHUM-AM at the time). Plus, the group was five guys from Canada who'd woodshedded around forever before signing with Capitol in the US - and did pretty well, all considered.
Entered at Tue Sep 12 00:42:50 CEST 2017 from (126.96.36.199)Posted by:
Al EdgeSubject: Hi J
Hows the radio spot going? As you'll no doubt have gathered from the post, things piled up on me so I never did get around to listening. If your spot's still going send us the details again or perhaps even put them up on here if that's allowed
Entered at Tue Sep 12 00:35:55 CEST 2017 from (188.8.131.52)Posted by:
JQSubject: Hi Al
Good to see you here, thoughtful as always.. and a dam good writer!
Entered at Tue Sep 12 00:20:42 CEST 2017 from (184.108.40.206)Posted by:
Al EdgeSubject: You guessed it
As all the current crop of regulars will be only too aware [or, more likely, relieved :-0)], I don’t get to pop into the GB that often now. So it was a lovely surprise and a genuine real bonus for me to come on and read Bob F’s unbridled enthusiasm for Big Pink and the piece I wrote about it.
‘Friend’ relationships really can be weird things at the best of times. They can be solid and lasting. They can also be fleeting and ephemeral. They can be some place in between. Often you can never truly be sure about their substance or what motivates them and what sustains them. Misunderstandings can test and sometimes break them.
Cyber relationships are the weirdest of all. I’m sure like myself you’ve all had many over the years since the magical yet confounded screen in front of us all first seduced us to touch cyber base with folks we’re never ever likely to meet in the flesh. And as for fucking Facebook and Twitter – sheesh – tittle tattle fucking corner or what.
That’s the main reason why Bob’s post so richly warmed the cockles of my heart when I read it. Bob and I had got very close cyber-wise during the time last year when I was pulling up any tree I could wrap my arms around to champion Bob’s hugely talented daughter RoseAnn and her wonderful songs.
Then – for me at any rate – for various reasons real life took a firm grip and dictated that its cyber life buddy be pushed very firmly into the background. It meant me and Bob kind of lost touch. As we all know, it’s precisely the sort of thing that can and does happen especially in cyber world.
Clearly, though, when there’s a solid foundation on which a cyber friendship is built then it can survive such drifting away. And Bob’s post has sure reminded me just how much that is the case. Only a true friend goes out of their way after a nigh 12 month hiatus to reaffirm the sort of loyalty and fondness Bob has just shown. So, Bob, the emotion is more than reciprocated mate.
Yet, needless to say being me, there is another aspect to this. One which concerns the content of the Big Pink piece itself.
This, as we all know, is a website – a superb one by any standard – created by that uniquely motivated Norseman Jan H to display to one and all his devotion to The Band and to honour their legacy. None of the legions who have graced or, in a few rare cases, disgraced its pages down the years would be remotely known to each other were it not for Jan’s cyber pages and that legacy of its incredible subject matter.
Which is why I defy anybody who truly ‘gets’ The Band’ to name anything in their musical pantheon that stands taller and prouder than the venerable treasure that is Music From Big Pink.
When, untold moons ago, to my exuberant delight I first found this website the aspect which took me by surprise as I began to bed in was the apathy for Big Pink amongst a fair few of the posters.
Being amongst fellow Band enthusiasts I found such apathy extremely puzzling. So much so, it compelled me to write the piece which Bob has just re-posted. My objective was to try to convey what I felt the album and its creators represented at the time of its release; the magic of the unique entity into which the four Canadians and one Arkansan had miraculously evolved by the time they released it along with the corresponding magic of the unique record entity they had contrived to create.
It is then hardly surprising that both as a music daft young kid in Liverpool and subsequently as a nigh lifelong Band acolyte, the impact of absorbing every last resonance of Music From Big Pink back in 1968 will always remain with me.
Big Pink is where The Band, as we came to know them, all began and to me will always remain the beating heart of what the group represented. No matter how incredible some of The Band’s subsequent stuff might have been, most especially of course their masterpiece, the Brown album, the groundbreaking legacy of Music From Big Pink stands as a towering musical beacon that proclaimed without fuss or fanfare their undoubted greatness and uniqueness within the musical landscape.
Inevitably then, my piece on Big Pink will always occupy a special place in my own heart and it will always remain a source of pride that I was hopefully able to capture so many years later just what it was back then that the debut album meant to me and, perhaps, others like me. So thank you once again Bob lad for enabling me to reinforce my own connection with both the article and, more significantly of course, the album itself.
Entered at Mon Sep 11 22:11:00 CEST 2017 from (220.127.116.11)Posted by:
Peter vApart from being mid-travel. I had read Al's piece before and kept a copy. I was pleased tp] see it again, what more do you say?
Entered at Mon Sep 11 21:57:23 CEST 2017 from (18.104.22.168)Posted by:
Jeff A.Bob, I hope that Al's well. Though it's been many years since any significant exchanges between he & I , even if i never have any further communication with him, i'll always wish him well.
It's not that unusual for people to not respond to relevant posts and subjects around here. In fact, as you pointed out, it's more often than not that the ridiculous subjects get more play here.
It's just how it is.
You could try not being such a cheerful, polite, and friendly bastard, maybe you'll get more responses :-) But
Don't let it bother you.
I'm off to musical matters.
Entered at Mon Sep 11 21:17:33 CEST 2017 from (22.214.171.124)Posted by:
Bob FSubject: WTF
A couple days ago I posted Al Edge's great article on Big Pink. Other then Kevin making a passing comment, no responses. Is it because I posted it? If a more "liked" poster had posted it would the GB community had taken the time to read Al's excellent piece and commented on it? The fact that Al Edge one of the brightest and kindest posters on the GB hasn't posted in several months should have warranted at least "Hi Al, miss you' response". Is the GB community really that miserable?
I think it was a couple weeks ago we had a dialogue on the GB about slang descriptions for penis. That discussion had several responses over a couple days. Is that really more interesting then a great article on Big Pink? If that's the case we should think about changing the name of the Band Guestbook to something that would parody Jimmy Buffet's Parrotheads.
Entered at Sun Sep 10 16:10:28 CEST 2017 from (126.96.36.199)Posted by:
DanSubject: Big Pink
Nice article inn WSJ Weekend Review Section - Loudon Wainwright reminiscing about seeing The Band in concert in 1970, and how it inspired him.
Entered at Sun Sep 10 15:23:21 CEST 2017 from (188.8.131.52)Posted by:
I don't know about memberships/priority bookings, as I don't attend many shows. More because ther are not many people that I care to see. What boggles my mind is the time length when a show is announced and tickets are put on sale versus the actual show date. Back when I was in high school (69-73), they would announce and put tickets on sale about three or four weeks before a show. Last week, we saw Bruno Mars (great show by the way) and my wife purchased the tickets, one year earlier.
Even going to the track at Saratoga, for the past two years, have added the price of admission into the price of the box seats, to squeeze out more money from interest into their coffers.
My father was a big baseball fan, who was a season ticket holder. After the strike of 1994, my father had to wait for a long time to get the balance of his tickets refunded. When he finally got his money back, he didn't renew his season tickets for the following season. The Expos phoned him to find out why. I am happy to say that he did not mince words with them.
Entered at Sun Sep 10 14:46:07 CEST 2017 from (184.108.40.206)Posted by:
Peter VSubject: Tickets
We discussed this recently. Unfortunately theatre and concert tickets are using the same idea as airlines and Uber and using demand pricing. It's just moving into London's West End now, though hopefully the South Bank theatres will keep away from it. They rely on "Friends" (i.e. Members) who pay an annual fee for priority booking instead, a good system as they get the friends' fees upfront, and sell most of the theatrical run on the first day of booking for the season.
Now they've sorted out how to do it for airlines and concert tickets, I envisage a blood test at the food store to determine how hungry you are before pricing up your groceries.
Entered at Sun Sep 10 00:53:46 CEST 2017 from (220.127.116.11)Posted by:
Jeff A.Subject: Slow down, slow down.sheesh...
Peter, obviously she was employed and cast. That's exactly what i meant. I wrote planted because it tied to implants. Placed to me means the same as employed & cast. Writing some one had her interest, same thing. Whether or not one has talent, You don't get employed and cast unless some one has your interest. And sometimes some one has to have your interest to get you employed and cast. Obviously that entire video was planned, scripted, etc. That was obvious from the beginning of the first time anyone sees it.
What a waste, discussing this video.who started this.... Kevin? you starting commie trouble again, you lefty?
Entered at Sun Sep 10 00:39:17 CEST 2017 from (18.104.22.168)Posted by:
Peter vSubject: Dancing in the dark
Courtney Cox wasn't planted. She was employed and cast. It was rehearsed, just as Bruce had a tad too much make up, but it was 1984. It was directed by Brian de Palma, it was hugely popular and shifted Bruce from rock star to global star. I just rewatched it. It was a construct, but I still think a brilliant construct and Clarence looks great.
Entered at Sun Sep 10 00:26:17 CEST 2017 from (22.214.171.124)Posted by:
Jeff A.Subject: Plants
Kev, it was a horrible, horrible video. The girl you didn;t recognize was Courtney cox, and the video elevated her into a career.Obviously, she was planted or placed, and considering she's no Barbara Stanwyck, Helen Mirren, catherine Hepburn, or Sophai Loren or ann MArgaret, some one with pull had her interest at heart...and don't forget, this was prior to any implants. It's possible she had one set for Friends, then a second post Friends. Whether or not she got any prior to Friends is a guess, but she definitley did by the time she was in the remake of The Longest Yard.
Entered at Sat Sep 9 21:13:59 CEST 2017 from (126.96.36.199)Posted by:
Kevin JSubject: Dancing in the Dark - The Horror
Oh my! Where to start......on just how excruciatingly bad the video was.......let's see....The Twirls....and for God's sake isn't that enough......but let's keep going.......the hopelessly awkward dancing.....that cute white blouse the Boss was wearing.....the psycho eyes of that girl he pulls from the front row.....The only redeeming feature was at least the girl could dance a bit.
On a list of worst rock videos ever made, only the Queen Freddie Mercury "vacuuming the house" video where Freddie was wearing a dress and oh so enjoying the exercise - even ranks with the Boss one.
Rhythm Jimmy: Really good to see you back.
Bob F:Thank you for the Al post.....He's likely feeling blue today after the clobbering Liverpool took from Man City !
Entered at Sat Sep 9 15:56:34 CEST 2017 from (188.8.131.52)Posted by:
Bob FSubject: Al Edge on Big Pink
Kev, thanks for bringing up Al. Last time I inquired about him I was accused of acting like a hall monitor. I miss Al and his incredible writing. His writing on The Band, Bruce, The Beatles and all things Liverpool were wonderful.
This piece he wrote on The Big Pink was the best of the best of Alan Edge.
THE BAND'S BEST
Really nice of Amanda to take on board the point I was attempting to make regarding the significance of Music From Big Pink to many of us older Band fans. I have to say I found it really quite gratifying that she had gone to the trouble of actually trying to listen to the album through the ears of one of us 'arl arses', as it were. It’s a rarer thing than ever these days, such old age empathy. So many thanks Amanda.
If we go back to the time of the original discussions on this topic, my more magnanimous side had put forward a view little of which could, I feel, be construed as contentious. It was along the lines that since The Band so clearly represented different things to different sections of the group's following – in many cases this being consistent with the point of exposure of the respective individual to whichever album, album collection or particular incarnation of the group they had first experienced – the way in which Big Pink itself was rated would often correspond to such patterns. In such light it was therefore scarcely surprising – although nonetheless still very much personally disheartening – to witness the relatively lowly rating of Big Pink amongst so many on this GB – particularly, it would appear, amongst those of more recent persuasion.
My more bullish and contentious side now ventures to expand upon the slant that Amanda touched on – that is, how and why Big Pink came to represent something of a watershed to many of us – including old Slowhand Clapped Out himself - who were exposed to it for the first time back in 1968; why and how it has come to carry such significance to us.
In fact, let us go even further and for the sake of argument take it to a rather more extreme conclusion. What if we now put it to fellow GB'ers that anyone who finds they are unable to rank Big Pink alongside The Brown album at the very pinnacle of The Band's recorded musical achievements are very possibly failing to see the entire picture as lucidly as they perhaps should? That certainly – in so far as history must surely end up judging our heroes – such a contention actually goes to the very core of what The Band represents.
Okay, so I realise feathers can easily get ruffled with such candid assertions as this. Let's see then if we can try and follow this one through right from the start, beginning with a slightly broader perspective on how we formulate judgements on these sort of things.
Let's take somebody who has just latched onto a particular artist. Any artist of significance. They naturally rate this artist highly and are genuinely earnest about acquiring a completely balanced perspective on this artist. In such an instance which would constitute the most reliable way for them to become acquainted with the catalogue of that artist? Would it not be to do so as chronologically as possible? Clearly, not always the easiest way - nor the most affordable. However, in order to formulate a truly objective appreciation of a particular artist's development, both in its own right and in relation to its peers, surely the best way? In other words, you can certainly have your favourite snatches of any artist but unless you have viewed everything through the appropriate objective lens then such favouritism remains merely that. I'll venture a personal experience where I perceive relying on mere favouritism can tend to obscure such judgement.
I have spent many an hour on various websites defending the magnificence of the Beatles first album, 'Please Please Me'. What I have tended to find is that many of the Beatles more recent fan base are invariably only too eager to dismiss the – shall we call them in hindsight – rather naive and simplistic qualities of that first album. They compare it with the sophisticated intricacies and resonances of subsequent Beatles offerings, such as Revolver, The White Album, Abbey Road or any late sixties/early seventies Rolling Stones classic album and declare poor old PPM a non-starter by comparison.
In doing so they are – in my opinion – overlooking what simply has to be a crucial part of any such judgement. That is the comparison with what else was on offer at the relevant time.
In the Beatles case this is straightforward enough to demonstrate, of course – or at least it is for those of us who happened to be around at the time. We take it as read the pivotal importance PPM occupies in rock history. Before it, for example, no other popular artist had self-penned so many songs purely for an album. Further no other popular artist had so successfully merged pure pop with R&B and R&R. The fact is that at the relevant time – namely 1963 – PPM was simply staggering in its consistent quality. It was, comfortably, the best pop/rock album up to that point in time. The best, in fact, until The Beatles next album – 'With The Beatles'. Indeed, as a little 'test the water' gauge on this, one needs only look at arguably the joint weakest track on that second album. The track "I Wanna Be Your Man" was given to The Rolling Stones by John and Paul and became the Stones’ – up to then – most successful song. It also convinced Mick and Keef that they could try their hand at songwriting. A prompting of some significance I'm sure most would agree.
Thus, in the case of The Beatles, it would be extremely flawed reasoning to form a judgement on PPM – or its follow up – without placing such judgement in its historical context. Also without taking cognizance of all the ensuing limitations of what at that time the Beatles' peers were creating or, indeed, what it was humanly possible for any contemporaneous popular music artist to create.
Moving onto the case of The Band, we find things are significantly different.
The Band's creative arc never mirrored that of The Beatles. True, their musical development did not begin an awful lot later than The Beatles – possibly only a matter of a few years or so at most. The crucial difference was that by the time The Band formally released their first recorded offering in 1968, namely Music From Big Pink, they were already comfortably the finished article, possibly as tight and accomplished as it was possible for any combo to be. What's more, they were able to dip selectively into the full repertoire of rock music's, by then, already formidable legacy and marinate it with their own vast range of contemporary and traditional musical influences. By so doing they created a sound that, whilst in itself no more unique than that of The Beatles, carried a maturity that was entirely unique.
A major part of that maturity evolved from an instinctive democracy that seemed to permeate every pore of that first album. Each tiny part of Big Pink appeared to exist simply to serve the whole. It was as if each vocal, each harmony, each instrument – in fact each and every contribution – was teetering on some invisible tightrope between dominance and subservience; competing frantically for every available space yet never less than complementary or utterly accommodating to the other.
Meanwhile, the products of these precarious balancing acts [the ensuing finished album tracks] – no matter how memorable and distinctive they happened to have been – were, in effect, always going to be there as merely a part of an integral whole. It meant Big Pink was not simply a collection of outstanding yet ultimately disparate songs. Rather, like the group who'd created it, the album was a genuine entity where everything fused together seamlessly to create a whole that was simply magical.
The instinctive ‘metaphorical’ jettisoning from this entity of This Wheel's on Fire and I Shall Be Released by some fans – myself included – was to come later. As it stood at the time of its inauguration, it was to be little wonder that The Band's contempories had never before heard such a sound, let alone that they were never able to approach the mark it set.
Nor was such unmatched accomplishment the only quality that distinguished Big Pink from anything else around.
Possibly even more distinctive and defining was its inherent authenticity. The sound conveyed everything about where it was from. The singers and performers on Big Pink sang of their everyday life; the everyday trials and tribulations of the community they were so clearly an integral part of. Crucially their words and sentiments were not mere posturing. In contrast to the vast majority of their white contempories with their – by comparison – sometimes limp offerings, these fellows were the real deal. True representatives of their own bretheren.
This wasn't Joe Cocker asking you to lend your ears for him to sing you a song or Eric Clapton waiting for some mystical love to shine in. It wasn't even John Lennon dissecting the pitfalls and/or merits of a revolution. Rather these were ordinary Joes, country cousins and kinfolk singing from all corners of their front parlour – often at the same time – in some deliciously raw and previously unheard yet unmistakable harmony of the rural American community they had emanated from. The music they were making was simply an extension of that community. Earthy yet heavenly; bleak yet uplifting; stark yet comforting.
Significantly, too, they were also inviting you, their audience, to become a part of what that music – their music – was offering. Its joys and heartaches; its mundanity and its mystery; its suffering and its healing. Even if it were only for the magical interludes when you were listening to them extolling it, then it was still more than enough for it to sink its teeth into your psyche and draw you right in to its very heart.
"Come let me show you how...to milk a cow" was no idle aside. Rather this was a fully blown invitation for you to get those city hands of yours carressing those cow's teats for all they were worth.
Forget anyone else, this was the nearest to complete Soul - and, for that matter Blues and Gospel – that any white artists had ever got; have ever got. The community they extolled was opening up before your very ears – and eyes. Imprisoned in some inner city bedroom you simply couldn't ask for more from a piece of long playing plastic than for it to transport you heart and soul into the backwoods and homesteads of rural America.
Big Pink – and its successor The Band – were a reflection of an artistic entity at the very zenith of its individual and collective power and sensibility. They were performing and singing about – and within – an environment in which they had become steeped; about which they were genuinely passionate.
And it showed.
In every note, in every chord, in every pause came evidence of that conviction. It may not have been the easiest listening music in which you'd ever attempted to immerse yourself. It may not have contained a solitary moment of what we might term pure pop or rock. However, once you had allowed its rhythms and pulses, its front parlour harmonies and sentiments, its craftsmanship and sheer mastery of the idiom to invade your own sensibilities then you could not help but become convinced that you were in the presence of some unique musical entity wherein the sum of the constituent parts amounted to far more than seemed at all humanly possible.
Hardly surprising then the attachment grew stronger with each play. And there were hundreds and hundreds of those playings. One after the other as the album's ambience entered your every orifice. And lingered for all time.
You'd find yourself reading the words of the back cover over and over again searching for some hidden clues as to what these fellows were about, which bit of the respective songs each of them was singing, where they had come from, where they were going. Frustratingly, you'd find little to quench your thirst. All you had to go on was the music and vocals spitting out from what seemed like different parts of that little mono record player before you. There was a complete absence of fuss or hype. It left you craving for the merest snippet. Your intrigue at the stark simplicity of their collective name would soon cede to a glaring realisation. What else, after all, could these guys possibly have been called?
Then there was the utter appropriateness of their own names – Danko, Manuel, Garth, Jaime and Levon. 'Levon' for Chrissakes!! You just couldn't make this sort of stuff up, so authentic did it all sound. And then the few brief sentiments uttered by the guy on guitar, Jaime 'Robbie' Robertson, about them enjoying it all 'just enough to smile at one another when we're playing'. It was like some snatched insight into the mental rigeurs of a bunch of musical geniuses. What else would they do, you'd reflect knowingly, smiling to yourself at the logic of it all. Not only was all this utterly convincing. For those to whom such things mattered – and as you might expect with these sort of things that was regrettably a minority – it was intoxicating, enchanting. In short it became vital.
Meantime, the downside was there as well, of course. Invisible, undetectable yet nevertheless looming all the time in the background.
Not surprisingly, The Band as a collective power could never surpass such an epiphany; such bona fide genius. With Big Pink and its bedfellow The Band they had succeeded in establishing a ceiling that nobody before nor since has got near.
Their achievements had soared beyond merely the sound their music had created. Somehow, the sincerity and sheer downhomeness of their songs and performances on those albums had married together to create an aura of ordinary folk community, rustic life and American history that had resulted in something unique. An art form within an art form as it were. What's more, they had taken it as far as it could go. In the process they had set a mark that was to become unattainable not only for others but also for themselves. Thereafter, inevitably, they, their music and that art form waned. As unerringly as an arrow falling from the apex of its arc, they – and we – were all destined to head towards planet earth.
As they and, hence, their music grew away from the very togetherness and lifestyle that had helped forge it; that had created and sustained it. Inevitably, inexorably it was to lose its substance. The integrity and purity of Big Pink and The Band – those albums' very essence – had been but a tangible manifestation of what was a living breathing entity.
Now the inherent pressures and trappings of fame meant The Band were struggling to hold that together.
Sure, their subsequent offerings were still of the very highest order. Fact was even at their lamest these fellows were peerless musicians and vocalists. Many individual tracks were remarkable. There still came moments of exquisite beauty. Stagefright, their third album contained a string of magical songs and performances that were a testimony to artists of such stature. Rock of Ages was ludicrously accomplished and unleashed My Brother Jake for fucks sake. Moondog Matinee was a nostalgic delight. Northern Lights, meanwhile, presented luscious textures that just soothed the soul.
The difference was in the tales these subsequent albums told; in the windows they opened.
No longer did those tales carry that indefinable authenticity of Big Pink and The Band. No longer did those windows open up to reveal a consistent cinematic landscape. What had once somehow sucked you into its tapestry until you had felt an integral part of it, now merely enthralled you with its isolated layers of brilliance.
That validity which had singled those masterpieces out; that had set them apart was – understandably – gone. Those very ingredients that had made Big Pink and The Band such complete entities, once so available, were now proving more than elusive even for these multi-talented folk.
The sobering fact was no longer did the new material speak for an entire breed of people. Rather it spoke just for the singers and performers and – while that made perfect sense for someone in their position and could still sound at times like heaven – it was simply no longer enough to sustain the aura. The Band's first two creations had made them immortal. Now, manifestly, they were showing they were not. Remorselessly, life was calling in its dues.
A sense of duty is an instinctive thing. Mostly we display it in respect of family and those closest to us. The need to protect them and defend them. To be responsible for them. It is part of the bond.
To feel something akin to that for what is merely a rock album is most probably a preposterous notion. Nonetheless, that I feel such a bond for 'Music From Big Pink' is quite evident from what I find I've written here. This is not least in response to what I have perceived since first discovering this site as a tendency of some to relegate the importance of Big Pink. The intensity of my sentiments may or may not be shared by others. And in the overall scheme of things that, frankly, matters not. What does matter, as far as I'm concerned, is that what I see as the unique majesty of Music From Big Pink has now been represented in a manner which I hope has done it some form of the justice I believe it merits.
Entered at Sat Sep 9 13:48:39 CEST 2017 from (184.108.40.206)Posted by:
Peter VMrs V watched Dancing In The Dark video many times. We bought a VHS "video single" - very few ever made. Bowie' Let's Dance was another. I like Dancing in The Dark and the video. And she wasn't famous then. Friends comes later.
Entered at Sat Sep 9 06:07:04 CEST 2017 from (220.127.116.11)Posted by:
Rhythm JimmySubject: PS
What's wrong with the "Dancing in the Dark" video? One of Springsteen's best songs. I was there in St. Paul on the second night of the show when the video was recorded. I actually thought the girl he pulled up from the audience to the stage was an awe-struck fan, not a famous actress. What the hell did I know. It was the last big arena show I ever saw–1984? 1985?
Entered at Sat Sep 9 05:59:05 CEST 2017 from (18.104.22.168)Posted by:
Rhythm JimmyLocation: South of here
Kevin, thanks for your good humor. Sorry to hear what has befallen Springsteen. I just finished a beautiful novel by Douglas Bauer, "The Book of Famous Iowans," a story of loss and a life forever changed. Tonight seems extra melancholy. I haven't made an appearance here for a long time. My life has taken on larger preoccupations. I am glad to hear some of the voices of the past in these pages. Sleep well tonight, dear Guestbookers.
Entered at Sat Sep 9 04:08:39 CEST 2017 from (22.214.171.124)Posted by:
Kevin JSubject: The Real Story.....Bob
Bob F........here's the skinny on the Springsteen Broadway fiasco.........Jon Landeau is a massive fan of this GB and desperately wants to see Al Edge back. What better way ? And on the backs of Wall Street fat cats......perfect.
Or maybe the $550,000 a night in profit the Boss is expected to make will be used to buy up and destroy every single copy in every possible format of the most wretched rock video ever made......"Dancing in the Dark"
........performers often end up playing for the audiences they deserve.........nobody ever nailed this better than Jeff Beck when he decided to pull the plug on his participation in a Rod Stewart tour after just 3 shows a decade or so back.........when RS confronted him as to why........Jeff Beck said simply "Rod, I'm fed up playing for housewives"
Entered at Sat Sep 9 03:49:50 CEST 2017 from (126.96.36.199)Posted by:
CalvinAgreed with two exceptions Bob.
Ray Davies Storyteller shows. Where he told the story of the Kinks in the way only Ray can, and played songs in between the tales. Cut the amount of actual songs by 40%, but we'll worth it.
And Henry Rollins spoken word shows. Cause that man in unhinged.
Entered at Sat Sep 9 02:02:37 CEST 2017 from (188.8.131.52)Posted by:
Bob FSubject: Broadway Bruce
Jeff, it really is crazy. He made well over 200 million dollars on his last world tour alone. If it was The Stones it would be no big deal because you don't expect better from them. The people sitting up front in the 850 seats are going to be all the Wall Street fat cats. All the people he was ragging about on the Wrecking Ball record. It's would be really sad if it wasn't such a joke. It's always about the money. Plus he's going to read from his book again. I'm so sick of him talking about his book. I'm so sick of all these rich guys writing these biographies and then going around talking about it. Why can't they be like Dylan, just put the book out and then shut up about it.
Entered at Sat Sep 9 00:28:27 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Web: My link
See da link... Spotify needs its ass kicked royally. Kinda separately, a few weeks ago i received notice of a pending class action suit settlement with them- notifying me to be aware that if i have a claim that they streamed any of my songs without license during a certain time frame there is money in my future, if i file the claim when the settlement is approved...... I like these surprised but i think that by the time this window began i may have licensed everything for streaming, though i was reluctant to..... gotta check
Last week I did get a check for 9 bucks & change from a class action lawsuit against Sylvania auto light bulb products.... i remember buying some of their headlights about 8 years ago and there was a rebate going on,,, they must have had me in their system form the rebate........... 9 bucks is 9 bucks but it don't buy a sanguiche or breakfast in NYC no more.
Entered at Sat Sep 9 00:03:31 CEST 2017 from (220.127.116.11)Posted by:
Jeff A.Web: My link
Subject: 850 smackers to see Bruce on Broadway
If i could afford it, i wouldn't pay it. It's disgusting.
I caught two of the Garcia on Broadway shows and the tickets weren't particularly expensive. Noteworthingly normally priced ar a time tickets to concerts were still priced normally, affordably...
Entered at Fri Sep 8 23:57:19 CEST 2017 from (18.104.22.168)Posted by:
Bill MWeb: My link
Oops - I just noticed that the link to "That's All Right" by Richie Knight and the Mid-Knights from 1965 was not there like I thought it was going to be. Here it is again. Richard Bell on piano, George Semkiw on guitar.
Entered at Fri Sep 8 22:20:28 CEST 2017 from (22.214.171.124)Posted by:
Kevin JSubject: Rick looking great in his white suit.....
Sinead was still in transcendent vocal form but the cracks were stating to show.......the performance as LINKED by jh is the rehearsal the night before the show that we all watched on tv. Don't remember the full story but something went wrong with "Mother" the night of the broadcast and Sinead had some sort of falling out with Waters - either then or later on in post production....Hence, the rehearsal footage being used for the dvd release.
Bill M: Thank you for those links !
.......and Mike Nomad.....cheers to the weekend and thank you for the "Fire & Fury" thoughts....nice to have a laugh when reading something here !
Cambridge Five: Just watched this mini-series from several years ago......Really well done and Tom Hollander as Guy Burgess is off the charts good.
Entered at Fri Sep 8 21:07:22 CEST 2017 from (126.96.36.199)Posted by:
jhWeb: My link
Subject: Roger Waters...
...with Sinead O'Connor + Garth, Levon and Rick!
Entered at Fri Sep 8 16:02:39 CEST 2017 from (188.8.131.52)Posted by:
PeterVThanks, Ian. It's one we hadn't booked. Worth seeing.
Entered at Thu Sep 7 22:27:45 CEST 2017 from (184.108.40.206)Posted by:
Ian WSubject: "Oslo" at the National Theatre
We went to see "Oslo" at the National Theatre today. It's a play about the setting up and achieving of what became the Oslo accord between the Palestinians and the Israelis in the early 1990s.
The play lasted 3 hours (including the interval) which, what with the subject matter and the fact that we know the outcome and the subsequent events in the Middle East, might make you think it is a play to avoid; on the contrary, I found it riveting. There were tense interchanges between the characters, the problems of ensuring secrecy, the question of who amongst senior diplomats and politicians in various countries knew what, some out-and-out swearing, some bluff and counter-bluff, not to mention duplicity, a fair amount of humour and a few actual jokes told by the participants between the actual meetings. All in all, a very worthwhile outing.
If you have ever wondered about the "behind closed doors" machinations of politicians or have ever been involved in the give and take of negotiation (even if not for such high stakes), you will find it particularly rewarding. If, on the other hand, you are simply intrigued by how implacable foes might come together, you will find it both intriguing and interesting.
"Oslo" is transferring to the West End next month.
Entered at Thu Sep 7 17:44:54 CEST 2017 from (220.127.116.11)Posted by:
Pat BFagen got very ill on that first UK tour, forcing the cancellations.
Entered at Thu Sep 7 10:01:37 CEST 2017 from (18.104.22.168)Posted by:
Yes, Jeff. I noticed they named the person who serviced it. Thanks.
We knew it had been cancelled, Peter, and didn't travel.
Entered at Thu Sep 7 01:22:43 CEST 2017 from (22.214.171.124)Posted by:
Jeff A.Dunc, alot of engineers are capable of taking their boards apart, repairing and maintaining them themselves, and putting em back together.And that's kinda how it should be...
Entered at Thu Sep 7 00:08:35 CEST 2017 from (126.96.36.199)Posted by:
Peter VSubject: Steely Dan
Yes, we all drove to Southampton to see them. Notice on the door it was cancelled. Not certain we even got a refund. Still, many years of good music means forgiveness.
Entered at Wed Sep 6 22:30:45 CEST 2017 from (188.8.131.52)Posted by:
Subject: Steely Dan
Never saw them. A sad story because me and the mates were all set to travel to Glasgow, sleep in the station and get the milk train back to Dundee the next day, but the tour collapsed or something. I can't remember.
They came back in the nineties, but I was working.
Entered at Wed Sep 6 22:20:00 CEST 2017 from (184.108.40.206)Posted by:
Subject: Dirty work
Thanks, Jeff. I also never knew such things were made in the U.K. Still using my 'Made In Brooklyn' headphones.
I really like Donald Fagen's vocals. But I was in a a restaurant today in the West End of Glasgow at lunchtime having a burger and a beer, and 'Dirty Work' came on the radio with David Palmer on vocals and the line 'Like the castle in its corner in a medieval game' and the musicianship with the great sax solo, and I thought it doesn't get any better than this.
(Simple pleasures - I'm getting old.) They are a brilliant band.
Entered at Wed Sep 6 19:08:22 CEST 2017 from (220.127.116.11)Posted by:
Bob FWeb: My link
Subject: Gregg Allman
Jed, thanks for the heads up about the Allman record. It's a really good record. Great Dylan cover, Willin', Song For Adam. The entire record sounds so good. His singing is beautiful.
I found a really good article in Rolling Stone about the making of the record that I linked.
Entered at Wed Sep 6 19:01:18 CEST 2017 from (18.104.22.168)Posted by:
Pat BNobody "foisted" Dave Palmer on Steely Dan. Fagen didn't like his own voice and was constantly complaining during the recording of their first album that the group needed a lead singer. The drummer Jim Hodder said he knew a guy back on the East coast who could fit the bill. Based solely on Hodder's opinion, Fagen and Becker hired him sight unseen, and he ended up singing lead on a couple of songs. Producer Gary Katz thought it was crazy and that Fagen should sing his own compositions, a view which eventually won out.
Entered at Wed Sep 6 18:59:01 CEST 2017 from (22.214.171.124)Posted by:
Jeff A.Dunc. There are technical people who know how these things work. (Also,Engineers can generally easily tell if things are working properly. OF course, they may be fooled by a quick fix....) And there are people who work on em. I'd assume that you always have it properly checked out. One studio i had two sessions in in Brooklyn had bought a Neve 1073 desk console from Pye Studios in London. The studio owner enlisted another Brooklyn studio owner to fly to London to inspect it for him..
Entered at Wed Sep 6 18:39:37 CEST 2017 from (126.96.36.199)Posted by:
But how do you know such a complex thing is still all good when you buy it, Jeff?
Entered at Wed Sep 6 18:12:10 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.Web: My link
Subject: For Sale
You sure gotta take the course
Entered at Wed Sep 6 17:01:29 CEST 2017 from (184.108.40.206)Posted by:
Bill M-thanks for that Lighthouse link. Always a joy to listen to. I remember the hype surrounding their reunion weekend at the old Ontario Place Forum in '82 (?) but missed it. Amazing band with 2 great singers, having both Skip Prokopp and the late Bob McBride (Hawkins/Band connection) who could also write. I remember seeing a CHUM/CITY simulcast in the late 70's featuring Bob McBride and his band but I don't recall if he had any former Lighthouse members with him.
R.I.P. Walter Becker. Evidently he missed the last few Dan shows. It was also my understanding that David Palmer was foisted on the band as the "suits" didn't think Fagan could sing, especially in a live setting.
Entered at Wed Sep 6 16:23:48 CEST 2017 from (220.127.116.11)Posted by:
b.leeLocation: DE, USA
Bill, I'm not sure I even have the albums. I may have played them from the station's library. I would have to dust off the record box to see if they are in there. I seem to recall that one them had a plaid cover. Danny Douma is a name I remember. Did not know there was a Band connection! As I recall, the album(s) were a bit bizarre, in a good way, kind of like Hungry Chuck.
Entered at Wed Sep 6 15:47:38 CEST 2017 from (18.104.22.168)Posted by:
Bill Mb.lee: Wikipedia says "Berkshire" was their second LP and "The Big Wa-koo" was their second. It also says that group-leader Danny Douma left to do a solo LP using some Wa-Koo members and Garth Hudson.
You mentioning Wa-Koo tickled a file in the memory bank. Is Domenic Troiano credited somewhere on the first LP? (Yet another link to our guys, if so.)
Entered at Wed Sep 6 15:38:40 CEST 2017 from (22.214.171.124)Posted by:
JedSubject: roger waters
The Jewish community is finally pushing back against Waters's anti Semitic imagery and words.Through the JCRC,they are not urging boycotts,but merely having an organized educational plan to publicize roger's anti semitism.Good idea if done well.Its high time greater efforts were made to expose what a bigoted creep roger waters is.
Entered at Wed Sep 6 12:57:32 CEST 2017 from (126.96.36.199)Posted by:
b.leeLocation: DE, USA
Subject: David Palmer
David Palmer, post Dan, was in a group named Big Wha-koo (sp?) that released at least one album, I think called Berkshire. I played at least the title track on college radio in the 70s.
I believe Palmer was forced on the Dan by their record label, who did not think that Fagan's voice was radio friendly.
Entered at Wed Sep 6 03:49:40 CEST 2017 from (188.8.131.52)Posted by:
Bill MHere's "That's All Right" by Ritchie Knight and the Mid-Knights, the flip of their cover of "Work Song", which I posted yesterday. Richard Bell on piano, George Semkiw on Robbie guitar.
Entered at Wed Sep 6 03:26:42 CEST 2017 from (184.108.40.206)Posted by:
Bill MWeb: My link
Ben P: Re Steely Dan, I'd just looked at what Wikipedia had to say about them (surprisingly amusing in parts), not because of Walter Becker but because I wondered if David Palmer of "Can't Buy A Thrill" was the David Palmer of the circa '70 Quinaimes Band (see link for their odd cover of "Visions Of Johanna"). It was.
Entered at Wed Sep 6 03:20:22 CEST 2017 from (220.127.116.11)Posted by:
Jeff A.Ben , you are welcome to speak up any old time.
Entered at Wed Sep 6 01:03:35 CEST 2017 from (18.104.22.168)Posted by:
Ben PikeLocation: Cleveland Tx
Subject: Throwing back the little ones
Interesting not much on here about Walter Becker's death, particularity in light of Dan's connections to The Band.
Anyone have those boots of "Gaucho?" They seemed to be easy to get at one time and then Steely Dan clamped down. You can hear there first single on Youtube, which they never talked about because it's not very good.
Entered at Tue Sep 5 23:23:20 CEST 2017 from (22.214.171.124)Posted by:
Bob FWeb: My link
Subject: Neil Young Interstate
John D, Check out this Neil Young on you tube. He use to do this with The Harvesters in the mid 80's. It's a masterpiece.
Entered at Tue Sep 5 19:55:58 CEST 2017 from (126.96.36.199)Posted by:
Bill MLocation: Toronno
Web: My link
A few days ago a few of us posted about drummer Skip Prokop, best known up here as co-founder of the Lighthouse. Here's their big song, which still brings a smile to the face. The horns and strings were part of the band - 13 pieces in all - so touring must've been a bitch. (The bassist is Lou Yachnin, a Montrealer who'd been in John D's favourite Canadian '60s band, JB and the Playboys.
Entered at Tue Sep 5 19:38:02 CEST 2017 from (188.8.131.52)Posted by:
Bill MWeb: My link
Subject: a Hawksish cover of an Adderley song
Here's a link to a decent 1965 sub-Hawks cover of an Adderley classic, "Work Song" - by Richie Knight and the Mid-Knights. Robbie-ish guitar by George Semkiw. Richard Bell's piano is buried in the mix, but is front and centre on the flipside, "That's Alright". I'm sure the Hawks weren't the only local rockers who caught Adderley in person on Yonge Street, but there's also a decent chance that the Hawks performed their own cover of the song, and that's what the Mid-Knights picked up. Come to think of it, the song is still a fixture in Eugene 'Jay' Smith's live shows, and as a regular guest with Hawkins and the Hawks guys, he may well have sung backed by our guys.
Entered at Tue Sep 5 19:19:40 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Calvin, anything is possible. I mighta caught Zing on off nights, but he was playing plenty, just didn't have real oompf. Who knows, he could be amazing other times. . It's possible he hadn't played much with Jimmy before,I've seen guys get intimidated by Vivino more than once. Seasoned players, but not established heavyweights though. It shouldn't happen, there's no reason to get intimidated, but i've seen guys who's playing i knew get scared of vivino...maybe that was it....
Entered at Tue Sep 5 16:03:14 CEST 2017 from (220.127.116.11)Posted by:
CalvinWell Jeff, I saw Drew just once with Steely Dan. It was the fall of 1993 it seems, and he was damn good. Maybe he was having a killer night, who knows. But I was impressed.
Entered at Tue Sep 5 14:43:20 CEST 2017 from (18.104.22.168)Posted by:
Jeff A.Web: My link
Subject: The Return of Power station
The NYC & worldwide music industry just got a organ transplant. Avatar Studios was the last Manhattan Studio that real audio guys would swear by- in other words, were not afraid to say you could avoid a technical problem when recording there. Sear Sound may still be in that league too, but of course Walter died some years ago... The amazing thing about Sear- Walter willed the studio to his employees.. A few years ago, after a disappointing experience, When I asked one of the foremost mastering engineers & recording authorities alive what was left that was safe, he sadly told me X & Avatar was all, left Sear Sound out... Maybe he overlooked it, It might be great.... Well X closed, & Avatar went up for sale...I don't doubt that there might have been or are some small great studios that are kept up in Manhattan, but, you never know when people lose their marbles.Shit happens. And people lie to snag projects , sessions...This really is open heart surgery folks...In any event. Berklee College bought Avatar & is operating it...quite great...Check out the studios, & Studio G will give you a great idea of what a great mixing room is made of..And if you pay attention to the monitors in each studio, the Yamahas, & genelecs are found in great mixing rooms or control rooms all over the place. The Westlakes and Altecs are often the third, the large monitorss, Yuris are great for the large ones too. (Generally, most studios mix in the control room, but in the older days, it wasn;t uncommon to have dedicated mixing rooms so tracking could continue. Today, many engineers have mixing rooms of their own, but, they ain;t for real mixing rooms like Studio G is. Great sound requires a great recording, a great mix, by a great mixer. And you really do need that great equipment and great sounding room. It all enters into the mix.:-)
Entered at Tue Sep 5 01:30:56 CEST 2017 from (22.214.171.124)Posted by:
John DSubject: Girl From The North Country
Amazon announced the soundtrack will be released here. Good news. Soundtrack recorded at Abbey Road.
Entered at Tue Sep 5 01:27:46 CEST 2017 from (126.96.36.199)Posted by:
Jeff A.Calvin, imho, Drew Zing was okay. Vivino was fucking amazing.Blew Zing right outa the water ... I saw shows they did at the Lone Star Roadhouse with both Jimmy & Drew on guitar, Vivino was the man for the job... These were the pre first reunion tour shows, named other things....Vivino had too much else going on though.... for a long time now Jon Herrington is the man....When these guys aren't on the road you can catch Herrington playing bands to 50 to 100 people here. ...I did catch one of ( i think) the first reunion shows late in the summer at Jones Beach, it was an excellent show, but i still thought that they could have done much better than Zing on guitar. ...As i;ve often statedm that entire reunion was the result of Fagen showing up at Little Big BAnd shows, playing, and comin back. Then Vivino grew it into the NYC Rock and SOul Revue...and then one night walter Becker showed up, and vivino invited him up onstage out of the audience......
Entered at Mon Sep 4 23:44:00 CEST 2017 from (188.8.131.52)Posted by:
CalvinI only saw Steely Dan once, mid to late 90s on the initial reunion tour. Had to be 15,000 or so there, so it was clearly a reunion people where looking for.
I thought they sounded amazing, largely because of a guitarist named Drew Zing if I remember right. Can't imagine what I heard paled before the 70s shows.
Entered at Mon Sep 4 18:19:07 CEST 2017 from (184.108.40.206)Posted by:
That should read 'There is a run of albums from 'Neil Young' to 'Hawks and Doves' which is a brilliant body of work.
Entered at Mon Sep 4 18:06:48 CEST 2017 from (220.127.116.11)Posted by:
Thanks, Bob F. I'll get it. I'll probably have to wait a couple of weeks to get it. Still supporting record shops, here. There is a run of albums from 'Neil Young' to 'Hawks and Doves'
Really enjoying the Performance Series, but I've not been able to pick up 'Live at the Riverboat' on CD. Is it only part of a larger package? Last five albums played - horrific rain today, day off.
Neil Young 'On The Beach'
The Band Roosevelt Stadium
John Cale Artificial Intelligence
Alex Harvey Soul Band
Lloyd Cole 'The Collection'
Entered at Mon Sep 4 17:37:21 CEST 2017 from (18.104.22.168)Posted by:
Peter VSubject: Keyboard lists
On keyboard players, there is the whole range of prog virtuoso keyboard players to take into account if someone's going for a list.
Entered at Mon Sep 4 15:37:56 CEST 2017 from (22.214.171.124)Posted by:
John DSubject: Neil Young
BOB F, I got an advanced copy the other day and it is really great Neil!!!
Entered at Mon Sep 4 14:35:58 CEST 2017 from (126.96.36.199)Posted by:
Bob FWeb: My link
Subject: Neil Young Hitchhiker
Dunc, great new old Neil coming out Friday. Check out link.
Entered at Mon Sep 4 13:01:28 CEST 2017 from (188.8.131.52)Posted by:
Peter VWeb: My link
Subject: Mercy Mercy Mercy
Link to Cannonball Adderley with Joe Zawinul - recorded in the era when The Hawks were huge Cannonball Adderley fans and describe going to see him in Toronto regularly.
Entered at Mon Sep 4 10:35:29 CEST 2017 from (184.108.40.206)Posted by:
Thanks for the review, Jon. I have already looked out my copy to play later today.
Playing 'On The Beach' just now with Rick and Levon playing on 'Revolution Blues' just now. Great track and great album.
Entered at Mon Sep 4 10:29:55 CEST 2017 from (220.127.116.11)Posted by:
Subject: Rick Danko
Does anyone know how Carol is getting on with Rick's biography. Will this be published? We are, as Bob F. said recently, all not getting any younger.
And there should be a biography of the greatest keyboard player in the history of rock n' roll. Should there not?
Entered at Mon Sep 4 10:05:38 CEST 2017 from (18.104.22.168)Posted by:
Peter VSubject: Keyboard places
Without question, the top two are Garth Hudson and the late Joe Zawinul. I know Zawinul's later stuff is hardly rock, but listen to the soul jazz of Mercy Mercy Mercy with Cannonball Adderley or Birdland by Weather Report. Listen to "Jupiter Hollow" for Garth today!
Benmont Tench and Roy Bittan are excellent professionals in great bands, but hardly innovators. Even though Green Onions is not hard to play, you'd have to rate Booker T above either for innovation and influence.So my number three.
Entered at Mon Sep 4 05:23:28 CEST 2017 from (22.214.171.124)Posted by:
Bill MKevin J: I didn't get out to see Pag. I was in town but some greater priority must have inserted itself in my day - but I don't recall what it was. And thanks so much for your post about PSB's thoughts on "Testimony" and the Band. I'd gotten most of the way through the 'review' before giving up, but your enthusiasm for the Part 2 of the piece made me dig it out and read it all the way through. And Part 2, as you say, is terrific. So PSB, thanks very much for that. Like you, I now have Seth Rogovoy's perceptive thought about the post-OQ reverting to the Hawks stuck in my head. One of the seldom-discussed aspects of the Hawks is that they tended to see themselves as lacking a clear onstage leader and frontman. They'd had a great one in Hawkins, and they would find another in Dylan, and in between they offered the job to John Finlay and another guy (who both turned them down), and to Bruce Bruno (who accepted but didn't last all that long). Somehow Robbie must've grown into that role in the OQ (even if in an understated, non-vocalist way) - but after that ...
Entered at Mon Sep 4 04:35:28 CEST 2017 from (126.96.36.199)Posted by:
hasoLocation: Seacoast NH
Subject: post TLW, etc
You've all got my curiosity up on the Roosevelt Stadium pieces. See what I can find to hear on you tube or concert vault. Also, I guess I need to find my old cassette of Jubilation. Like many, I've usually discounted anything post-TLW, but plead a good deal of ignorance; while Jeff certainly gives a passionate response to such as me. I have given more due to Levon... Dirt Farmer, etc and Amy's output.
Good on your lad, Jan; sorry about Ray Phirri and one 1/2 of Steely Dan.
Interesting sort of dialog I take from recent issues of Rolling Stone. An article on Petty and the Heartbreakers referenced Benmont Tench as the greatest keyboards in r-n-r. A reader's letter then took exception, putting forward Roy Bittan of the E St. band. I suspect almost all here on the GB might say....... um.....GARTH. Does anyone else really even sit on his organ bench? After that, the most recent Stone has B. Tench encapsulating his own take on top 5 tunes, last of which he calls out Richard and the Band's treatment of I Shall be Released. Makes you wonder how Benmont considers Garth. In a way, I've always liked the TLW version w/ Richard in his regular voice on verse 2 and adding falsetto to Dylan on 3. Of course too bad the tired camera-folk couldn't have got more of Richard then, or otherwise.
I'd be w/ others who read PSB's review of Testimony as pretty accurate. Also wouldn't think Robbie didn't hash that over a lot before making his decision. It was/is painful, yet probably warranted. Renewed input from Sebastian, etc. would be most welcome.
Entered at Mon Sep 4 03:45:37 CEST 2017 from (188.8.131.52)Posted by:
Jon LynessLocation: NYC
Subject: Roosevelt Stadium
Wow, thanks Peter for finding that review of mine. (I think I had a lot more time back then!) Going to dust that CD off and give it a fresh listen.
Entered at Mon Sep 4 03:39:27 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Web: My link
Subject: Old fashioned Ways
This body was found a mile and a half away from where I live.... We have murders in my neighborhood once or twice a week. I live two blocks from the projects and there's always action there. This was notable because of the way the guy was killed or buried at sea.
Entered at Mon Sep 4 03:17:44 CEST 2017 from (220.127.116.11)Posted by:
Bill Mjh: Congratulations on CC's latest success - and thanks for that spate of posts and links. Regarding well-dressed five, I suspect the shot's from later in '64 as there's no Jerry Penfound - though I suppose he could've been behind the camera.
Entered at Mon Sep 4 00:27:08 CEST 2017 from (18.104.22.168)Posted by:
Bob FWeb: My link
Subject: Leeroy Stagger
Leeroy Stagger from British Columbia is playing in my town tomorrow. I was wondering if any GB folks are familiar with him? I'm liking his songs.
Entered at Sun Sep 3 20:25:28 CEST 2017 from (22.214.171.124)Posted by:
Sorry to hear that, Jeff. I think Steely Dan are great. Always sound fresh. Filled in a couple of gaps in my retirement and still play them all the time. Never saw them. Really like Donald Fagin's solo work too.
Hi Nux. Sorry to hear about the death of Ray Phirri. Bought three Stimela albums after Graceland tour. Thanks.
Entered at Sun Sep 3 15:59:42 CEST 2017 from (126.96.36.199)Posted by:
Peter VSubject: Roosevelt Stadium
There were two shows, both bootlegged. The 31st July one was right after Watkins Glen and contains Saved and Endless Highway. It has been in several versions … This Wheel's On Fire, Blue Highways, Old Dixie. The sound was poor. The performance mediocre except for Lovin' You which was dire.
BUT then the bootleg "Roosevelt Stadium 1/8/73" is the second night. On this GB, Jon Lyness said:
"There is what appears to be a "new" soundboard CD boot of the Band's 2nd concert at Roosevelt Stadium, August 1, 1973. It is INCREDIBLE. I've defended the quality of their performance at the 1st concert (July 31, 1973) before, so it is time to eat my words. The 2nd show blows away the first in every way, tying or surpassing Watkins Glen as the definitive show from that middle period of the original group. The sound is phenomenal, with all of the instruments sounding crisp and in-your-face, and the Band sounds like they are at the top of their game. A fairly pedestrian setlist (for the time) is elevated by smoking, confident performances by each and every member. Robbie's guitar in particular stands out...but they all really outdo themselves on this one. Several of the songs (Back to Memphis, Chest Fever, & others) even feature extended instrumental verses which are breathtaking...I've never heard the original lineup jam so much!, although perhaps those of you with a tape collection know more than I do. Sadly, Garth's Genetic Method has been cut, seemingly to fit the whole show onto one disc, but that is the only flaw I can find with this gem."
Entered at Sun Sep 3 15:43:16 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.Though, like The Post Last Waltz Band, Steely Dan wasn't exactly like they were once upon a time, why wasn't it was great that they put a band together & went out on tour since the 90s.
Same goes for the post break up Allman Brothers, versions of Spooky Tooth, Procol Harum, Yardbirds, Pink Floyd, Paul Revere & The Raiders, Fleetwood Mac, Canned heat, Booker T & The MGs w/o Al Jackson,, The Blues Brothers w/o Belushi & Akroyd,, Eagles, The Animals, War, Traffic, the rare Led Zeppelin appearance, Buffalo Springfield, rarer Cream....
And then again, maybe all these acts & others have nothing but a lot of fucking chutzpah for even daring to think the thought. Maybe, just maybe people shouldn't even live past their prime. Now that's nervy. Continuing to live after you've reached your peak. And if you got the gall to do that, imagine having the gall to keep fucking when you don't always fuck as good as you used to....Forget the fact that sometimes you do or do as well differently - maybe people have no business fucking when they don't fuck as good as often.
Maybe,oh, never mind.
Entered at Sun Sep 3 15:25:50 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Walter Becker died.
Entered at Sun Sep 3 12:07:51 CEST 2017 from (220.127.116.11)Posted by:
Rod ProwseRoosevelt stadium is interesting in that they played a few extra songs from moondog matinee and tried to extend a few other songs. A bit messy though but still more interesting than anything they did after TLW
Entered at Sat Sep 2 21:14:18 CEST 2017 from (18.104.22.168)Posted by:
jhWeb: My link
Subject: Sharp-dressed men
53 years ago. I was 4 years old. And the times sure were about to change...
Entered at Sat Sep 2 19:23:16 CEST 2017 from (22.214.171.124)Posted by:
Pat BROIO just posted both Roosevelt Stadium shows from 73.
Those who saw the OQ generally have the same opinion. Although they were mostly a joy to see, the post-LW version never came anywhere near the live brilliance of the OQ--especially 69-71. Combine that with the release of those first four albums at the same time...oh, never mind.
Entered at Sat Sep 2 12:46:26 CEST 2017 from (126.96.36.199)Posted by:
Peter VSubject: Garth Largo
Truly wonderful. In fact the last time I heard it was last night. I have a "Relaxing" playlist on my iPad that I usually listen to for around 20 minutes before I go to sleep. The whole list is over two hours, but the Garth section has French Girls, Largo & Little Island. Reflection (Adagio) by Robbie Robertson is also on there. I hear Garth's Largo at least once a week.
Entered at Sat Sep 2 12:16:30 CEST 2017 from (188.8.131.52)Posted by:
jhWeb: My link
Subject: Levon + Rick + Keef + Scotty Moore + DJ Fontana +++
Enough of the whimpering. "Deuce and a Quarter", with loads of good-time pics from 23 years ago in Levon's barn, should cheer you up. And that concludes today's YouTube odyssey :-)
Entered at Sat Sep 2 12:08:46 CEST 2017 from (184.108.40.206)Posted by:
jhWeb: My link
Subject: "Garth Largo"
Hadn't listened to this one for a while. Still stunningly beautiful, Maud Hudson's vocal together with Garth's sax and accordion will bring you to tears. At least this old geezer gets a little misty-eyed listening to it. Music by Anton Dvorak, arranged by Garth Hudson.
Entered at Sat Sep 2 11:53:32 CEST 2017 from (220.127.116.11)Posted by:
jhWeb: My link
Subject: Garth + Pink Floyd
"Us and Them", w/Doug Paisley, Garth Hudson, Sister Maud Hudson, Netami, Bazil Donovan, Chuck Erlichman, Matt Barber, MOJO magazine (UK) tribute CD, 2011
Entered at Fri Sep 1 23:31:09 CEST 2017 from (18.104.22.168)Posted by:
Jeff A.Congratulations to Magnus. And the proud parents!
Entered at Fri Sep 1 21:47:05 CEST 2017 from (22.214.171.124)Posted by:
Peter VPhew! Producer of the year and #3 album! It's that early exposure to The Band, Jan/
Entered at Fri Sep 1 21:24:48 CEST 2017 from (126.96.36.199)Posted by:
jhWeb: My link
Subject: And now....
...for something completely different. Or is it?
Entered at Fri Sep 1 17:45:51 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.sts shoulda been at a
Entered at Fri Sep 1 17:45:05 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Peter, sts glsnce, Hartford used just the first few bars of the verse,
Entered at Fri Sep 1 16:45:14 CEST 2017 from (220.127.116.11)Posted by:
PSBAnd "Gentle On My Mind" was Hartford rewriting Dylan's "Mama You Been On My Mind."
Entered at Fri Sep 1 15:49:37 CEST 2017 from (18.104.22.168)Posted by:
Jeff A.And John, yes, I had acknowledged (to Ol Buddy) my error by virtue of common denominator. In this case, the common denominator was Glen Campbell, who hit with Gentle On My Mind, & some Jimmy Webb songs. These days, show my synapses a common denominator, they'll jump the track to the wrong one. Obviously, i need something gentle on my mind.
Entered at Fri Sep 1 15:29:46 CEST 2017 from (22.214.171.124)Posted by:
Peter VSubject: Showboat
It is more or less Gentle On My Mind. There has been much here about Right Said Fred, who discovered that the new Shania Twain borrows its chorus from I'm Too Sexy. Shania put her hand up at once when it was pointed out, then she had their names put on as co-authors and cut them in on the royalty. It is easy to lift accidentally, and Shania Twain shows what you should do when you realise you have done. Good for her, and Right Said Fred seem content too.
Entered at Fri Sep 1 14:25:06 CEST 2017 from (126.96.36.199)Posted by:
John DSorry Ol' Buddy already mentioned that.
Entered at Fri Sep 1 14:24:02 CEST 2017 from (188.8.131.52)Posted by:
John DSubject: Gentle On My Mind
Well I just listened to the Ritter song. All I could think of was Gentle On My Mind. By the way the song was written by John Hartford and not Jimmy Webb.
Entered at Fri Sep 1 04:39:54 CEST 2017 from (184.108.40.206)Posted by:
Jeff A.Ol Buddy, yes, hartford.....my brain is on overload. Today i meant to say four years ago, instead said 2004. My friend didn't know what the helli was talking about.... Millions of my synapses are fried. On that note, time to pass out.
Entered at Fri Sep 1 04:15:54 CEST 2017 from (220.127.116.11)Posted by:
Ol' BuddySubject: Gentle On My Mind
John Hartford wrote it.
Entered at Fri Sep 1 03:31:26 CEST 2017 from (18.104.22.168)Posted by:
Jeff A.BTW folks...Bob was joking in a very positive way when he wrote: "The man's got some culture."..That's classic Fino humor & generosity. ..& yes, Ritter doesn't seem to be a purveyor of schlock.
Entered at Fri Sep 1 03:28:03 CEST 2017 from (22.214.171.124)Posted by:
Jeff A.Not necessarily Bob. It wasn't borrowing one lick... I guess we'll see how Jimmy Webb or his publisher feels about it (Whether or not it becomes legal may not be up to Webb alone, he might have no over ride if the publisher wants to sue).
It's not traditional blues or traditional folk or gospel. If those were Webb's unique changes & melody (& at the moment I don't associate them with any other song I can think of),whoever wrote Showboat may have a problem.
Entered at Fri Sep 1 02:43:28 CEST 2017 from (126.96.36.199)Posted by:
Bob FJeff, nothing wrong with borrowing and sharing. Better he borrows from a classic instead of some crappy Sting or U2 song. The man's got some culture.
Entered at Fri Sep 1 01:56:18 CEST 2017 from (188.8.131.52)Posted by:
Jeff A.Subject: Call the cops!
Wow! The melody & structure of the verses of Showboat are a direct lift from Gentle On My Mind... I haven't listened all the way through to both to compare bridges etc but the verse melody & structure are direct..!! Hit me immediately...Boom!
See Bob, when you post music, I do check it out :-)