A number of years later, Garcia himself noted that during that era when he was playing steel on a lot of albums, “The nicest thing I did during that period was on Crosby's solo album. I like what I did on that, generally speaking. I particularly like the pedal steel on ‘Laughing.’ That was some of the prettiest and most successful of what I was trying to get at at that time.”
Here I am (circled, lower left) on the movie crew at the 1970 Goose Lake International Pop Festival in Michigan's Irish Hills (south of Jackson). I was up close and personal for a kick-ass performance by Chicago Transit Authority, as they were then known.
This brought so many childhood memories back. I had the pleasure and honour of seeing the Romero brothers perform about 42 years ago and then have them all come back to our home for a reception. Hearing this again gave me chills of delight. The music is just magical.
I had the most amazing experience at a friend's birthday party a few years ago. In the middle of this sultry summer afternoon as conversation was starting to flag in the heat, his neighbor suddenly appeared with her guitar case and said she'd play a few tunes as her present, and I was like, oh yeah, ok, some Dylan tunes or something, why not.
What followed was just jaw-dropping. She went through this amazing suite of classical guitar pieces, starting with this one. Turns out she studied many years under Pepe Romero and was even playing on a guitar he gave her. Don't think I've ever experienced such a crass contrast before between my own low (uneducated) expectations and the perfection of someone else's delivery. Just brilliant.
Wow! Great story; wish I could have heard her play.
Nice music from a time when artists flowed across genre boundaries... Pick up a few of the Santo and Johnny CDs... dance slowly... Good sound to add to the flow this afternoon... I like this day's soundtrack... Movies of my days with soundtrack by RP... If I had a shorter plot, the movie might sell... but this plot has twists and turns that take a lifeime to develop with characters shalow and complex... Just like real life... Harlequin-? Nope... Black Sparrow-? Maybe... a very weak maybe
My older brothers had this track on a Santo & Johnny LP; it was great to grow up hearing their version.
Syd was long gone from the Floyd (and the realm of sanity) before this track was ever recorded and had nothing to do with it.
Resurrected as Come In Number 51, Your Time Is Up for the soundtrack to Michelangelo Antonioni'sZabriskie Point.
Chester Crill, the singer, violinist, and keyboard player for Kaleidoscope, remembers all too well the preview screening at which he saw Zabriskie Point. "When it was over," he says, "there wasn't a person who left that was looking anyone else in the eye. It was the most embarrassing thing that I'd ever been to. Everybody just slunk away."
**************************** Very true, that. After a protracted siege to get a date with Mormon Debbie K. (whose boyfriend was off on his mission), I took her to see this flick somewhere on the U of W Madison campus. What a mistake! It left me speechless; I was totally embarrassed by the completely disjointed quality of the film and embarrassed that I squandered my one any only shot with Debbie on this POS.
Being from Detroit I used to get to see Kenny when he came to town to visit his relatives and he would play a night or two at Baker's Keyboard Lounge. This album is on my desert island list, have it on vinyl and cd.
Baker's was a great club! I didn't get there often, but caught George Benson and Les McCann there on separate occasions.
Musically terrific and I have to say that his vocals are just obnoxious enough work on this track. (Thankfully his vocal isn't overbearing to the point of destroying the music bed.)
No you've got to be kidding. This sounds like Steven Seagal and his shitty band. This guy has no idea what he's doing with his guitar. It sounds like the only thing he's trying to do is make sure he fills every second with all the notes he can play. There really is no logic whatsoever in what he's doing... It's all pentatonic scales so believe me, as a guitar player myself, it's not even difficult what he's doing...
So does somebody equal him? I can not think of a guitar player in the entire RP playlist that's worse than this guy, no, SERIOUSLY.
Some people dislike the tune; there shouldn't be anything about "disturbing" about that. There are a great many things in life to be disturbed or troubled about - realizing that everyone else may not share your tastes in music should not be one of them. I like this tune, but I know a lot of folks who are pretty tired of hearing anything from or about The Beatles.
I liked it the first ten or so times I heard it after buying the LP, but then I quickly tired of it.
AAMOF, these are the only tracks on this LP that float my boat, and I'm a lifelong, die-hard FAN:
I remember doing that. And our parents wondered why it was so hard to wake us up in the morning.
I even still have the actual headphones. Why, I couldn't tell you, but I know right where they are and could even bust them out and plug them in in just one minute.
With a head full of Owsley, listening to ABX on my Koss phones...........
(Terrific concert, incidentally. Saw it with my sis and her boyfriend, the latter who became the former head of ABC Entertainment.)
The coolest thing about this song is that it dedicates the "well all right" at the end to Janis Joplin (San Francisco) Another band that deserves to be in the Rock and Roll Hall of Fame: groundbreaking!!! Al Kooper started the groove with Blues Project and then took it to BST: too bad DCT didn't get the intent right. I am fortunate to own at least 9 Al Kooper albums. Outstanding!!!
DCT killed any interest I had in BS&T. I still love this album.
Beck's live performance of this song at Ronnie Scott's in 2007 exceeds this recording. (That DVD is incredible BTW, and a worthy buy.) And the bass solo by Tal Wilkenfeld at Ronnie Scott's is incredible on top of it —- watch Beck's reaction to it!
I'm not sure if he's "under-rated": he's generally regarded as "legendary" by most guitar aficionados. He may be unknown to a lot of people because he has kept a pretty low-profile since the 1970's.
Like Pink Floyd co-founder Syd Barrett, Peter was an acid casualty way back when. He rebounded somewhat with his Splinter band, but somewhat is the operative word. I've checked out some of the his Splinter band's work and none of it comes even close to measuring up what Greeny was writing, playing and singing back in the late '60s.
What with the demise of Peter, Jeremy, Danny and now Bob Welch, Fleetwood Mac has a tainted history when it comes to personnel survival. It's amazing that John didn't fully succumb to the bottle and that Stevie didn't OD on pharma coke.
The Eagles were one of my favorite bands through the '70s. Now I just find the majority of music produced by Henley & Co. to be just depressing. That, and terrestrial AOR stations killed the experience for me. I hope I never have to hear anything from this album in particular ever again.
Some of their stuff is palatable, but RP overplayed this track a couple of years ago to the point that it now ranks alongside Hotel California, Layla, Stairway To Heaven, Lola and Freebird as tracks I never need to hear again. In short, it's been "Clear Channeled."
Yeah... I played it all the time when it was released. It then more or less became the soundtrack to a Colorado summer trip to Colorado when there was no plan except to drink Coors, camp, drink Coors, ride 10-speeds down mountain passes, drink Coors, swim, drink Coors, get high, drink Coors.....
In Traffic, Wood primarily played flute and saxophone, occasionally contributing keyboards and vocals. Wood also co-wrote several of Traffic's songs, particularly during the earlier period of the band's recording career. His most notable contribution is as the co-writer (with Steve Winwood and Jim Capaldi), of "Dear Mr. Fantasy".<3>
In 1969, Wood also appeared on the eponymous second album of Free and the Small Faces' The Autumn Stone. In 1970, Wood and his wife, along with Steve Winwood, joined Ginger Baker's Air Force, releasing one album before reforming Traffic. Wood remained with Traffic from the time of its 1970 reformation until its 1974 breakup. He played on John Martyn's Inside Out (1973).
Through much of his life, Wood suffered from addiction to drugs and alcohol, which were initially attributed to a fear of flying.<1> His wife Jeanette, from whom he had separated but was still on good terms, had died in 1980, at the age of 30, from the effects of a seizure. Wood was profoundly affected by her death.<1>
It's not that it's a bad song, it's just a little too overplayed. I agree with everyone else on that point. There are so many really really good songs out there. Please play this one a little less. thanks
You sure got that right!
I like the song, but I don't need to hear it in such heavy rotation. White Socks Flip Flops it ain't.
She sings in key; I think her pitch is fine - it's the screaming and yodeling that I find annoying.
Yes her voice is grating and as another listener put it, her dynamic range is permanently set at 11. Sadly this band is overexposed, and in my view not terribly original.
Right. I've totally had enough. Every time she comes on now my Pavlovian reflex switches to something different.
Ok, I'm gonna catch flack for this one...This album is a huge disappointment from beginning to end. Why on earth would this album be released shortly after Hey Jude was released as a single and have it no where to be found? The version of Revolution on this album was a slurred, slow, prodding performance. There was so much filler here too? Ob-la-di? C'mon! Songs like 'Everybody's Got Something To Hide Except For Me and My Monkey'...?! I suppose an album with such filler...songs like this one and possibly 'Julia' sound like masterpieces. Granted...I find George's contributions to be some of the best on this album...it is by far a 'good' Beatles album. A real middle finger from the fab four...knowing they can sell albums no matter what the material is. A botching from beginning to end IMO.
Ok bring on the lashings...I can take it.
Second only to Let It Be, it's admittedly my least favorite Beatles album (as released in the States). George Martin rightfully advised them to leave half of it on the cutting room floor, so to speak, but the Fabs (read: Paul) wouldn't have it. You also have to consider that they were floundering as a group—they had just recently lost Brian Epstein, immediately after which John was quoted as, "Great... what are we going to do now?" Never mind that Paul had already taken charge as the group's leader (at least in the studio) long before.
They had also just returned from that ill-advised trip to the Maharishi's compound in India, where most of them eventually saw through their new-found spiritual leader and correctly identified him as a fraud. After both events I know I'd be despondent and wouldn't be open to suggestions from George Martin or anyone at EMI. Given that they were also at loggerheads with one another at this point, I think recording this LP was nothing more than self-absorbed therapy. That it yielded any tunes worthy of inclusion in the Beatles canon is phenomenal and illustrates just how creative and musical they could be.
Oh, and did I fail to mention that Yoko had just recently come on the scene? I do not blame her for their breakup, as it had been brewing already. That said, the Lennons' insistence that she be ever-present in the studio during the recording of this double-LP could only serve to further alienate each individual member. (I lump Ringo and George together, however, as I both of them had issues with the "double-headed monster" at this point.)
I've been a Floyd fan since Saucerful of Secrets in '68. however, I've always found this track to be just downright depressing, with little going on musically to give it a passing grade. After eagerly purchasing the LP when it first came out, it's one that I never returned to and, although I had a cassette of it in the van, I just never was motivated to pull it out and give it another go.
I like her stuff and want to be enthusiastic about her, but she just doesn't seem to have any pizzazz. I have a couple of her numbers on my MP3 player in rotation, but when they come on my reaction is invariably "meh". I'm not in a hurry to delete them, but just don't have the same pull toward her music that I do, say, Norah Jones.
High marks for guitar proficiency! Low marks for originality - typical blues progression with typical licks. At best a 6.
Like Sonny Landreth to my ears. I like a couple of Joe's tracks, but this one is way too bombastic for my taste. As for blues originality, virtually all blues is 100% derivative. What's the beef... you either like the blues or you don't.
Best guitar player ever? Ha. He very well may be hot and terrific to see live, but in the same league as Hendrix and Jeff Beck? Not hardly.
Wow, a timeless classic...I recall driving along the Bolsa Chica State Beach parkway on a trip out to SoCal in the early 80s, maybe late December of '82, and this came on the radio...I parked and sat there looking out at the sea in the moonlight...and thanks to RP, I can still access that high...and it still feels right!
Beatles recording engineer Geoff Emerick states that the recording of all records changed dramatically once this was released. Completely revolutionary in '66, it still sounds amazing 46 years later. Much of the production owes its genesis to Paul's interest in avant garde productions by Karl Stockhausen, from whom the idea of multiple tape loops (made by Paul and John) fed into the mixing console emanated.
I'm surprised to hear it here, but I'm glad they play it - I'd like to hear more of this genre on RP. In the studio, The Tijuana Brass was often largely comprised of members of The Wrecking Crew.
I think I really need to check out their earlier stuff - I'd go as far and say that I prefer songs like this one, Fat Old Sun and Fearless to their "Greatest Hits" (well, except Comfortably Numb). I guess it's because I feel that there's a "rawer" and more direct quality to them. Any recommendations on similar tunes?
I've long enjoyed their entire catalog from Saucerful ofSecrets through Meddle. Skipping Ummagumma*, that leaves More and Atom Heart Mother in addition to the aforementioned and Obscured By Clouds. in my opinion Piper At the Gates of Dawn is for collectors only, as well as those obsessed with the sound of 1966 "Swinging London" (although I do enjoy Interstellar Overdrive and See Emily Play).
I wish they had produced more music like the two tracks you called out, but then Roger pretty much assumed creative control. While DSoM is touted as billing wholly collaborative, from that point on I feel as though their product was that of Roger Waters and his hired sidemen. David Gilmour was able to periodically shout him down and insist on some melody, but the latter was never a lyricist. I also wish that Rick Wright had been more demonstrative, as his keyboard pieces were frequently very evocative.
*Ummagumma is one-half live album, one-half "each member does whatever". If you love their early space-rock sound (I do), then it's a must. Don't expect any great lyrical content on this release, however
just learned about this group today on RP and read a wiki article about them. thanks for the education RP.
Read The Last Sultan: The Life and Times of Ahmet Ertegun. Many great accounts in this single volume, which you may be able to find at your local library.
December 10, 2011 - "Chasing the Wind," "Night Storm," "Victory" and "Stormy Sea" have been added to the Radio Paradise queue and are now streaming worldwide.
The melody to this song was actually written by Ringo. He met the brittish director and art collector Sir Derek Clive in a bar one night, and Clive asked him to write a tune for the movie he was filming at the moment, called "The mirror never talks back, or does it?". Ringo went up to his room and wrote the melody using George's guitar but when he presented it to Paul and John they turned it down. Ringo has always claimed they stole the tune and just added the words to it. The film completely flopped, btw.
I have a wall of books about the Beatles and have never, ever come across this fable. Citation required, please, otherwise this gets filed the "complete bullsh*t" circular file.
Because the more modern the classical music, the less constrained by musical conventions it is, though that's a very broad brush generalisation. So Mozart had to compose within very strict conventions, as did Beethoven but less so. Move on to Shostakovich, say, and conventions went out of the window. Arguably, the less need to conform to conventions, the greater the room for expressionism, though many take the view that composing within conventions (12-bar blues, say) allows you to be more expressive. For sure, Beethoven was pretty damn expressive. I hold no view on that being pretty much an ignoramus in such matters.
19th and 20th century classical music is highly expressive, though how much that's down to lack of convention, and how much down to artistic fashions (IIRC Debussy was contemporary with Impressionists in painting, though please correct me if I'm wrong), is difficult to say
It sure is easy to tell (well, usually) when music by a Russian composer is being played!
And for the record, Mozart did play too many notes! His music reminds me of certain electric guitarists who think it's all about how many notes they can play as quickly as possible, without paying any attention to tone and melody.
I totally get that The Wall is a spectacular show. Cool.
As much of a life-long freakin' Floyd fan* I am, however, I just never cared for this album. For me, those years where Waters commandeered the group (including Animals) are a loss.
(*Beginning with Saucerful of Secrets in '68, then backtracking to Piper At the Gates of Dawn.)
This was not originally an "album" in the U.K.; it was a 2-disc, six-song, EP. So, it was possibly a little more difficult to lie back get into the flow for Fred and some other folks over there when this came out.
Yeah, I bought a copy in Bermuda when I was 15. I wondered about its authenticity, though, because it was on some label called Parlophone.
Bufo Alvarius - The Psychedelic Toad of the Sonoran Desert....
Size of a friggin' dinner plate, they are....scared the bejeesus outta me a few times, here in the land where man can fly over mountain and hill, and he doesn't need a spaceship, and he never will...
Wait a minute. Did I just hear a kookaburra in the background? Kookaburra are native to Australia and New Guinea and Australia is a continent so he must be singing about New Guinea.
And it's a recycled kookaburra at that. Must have had the same sound effects tape laying around as when he recorded Out In the Woods.
Never been a huge fan of ZZ, but I've always loved "Jesus Just Left Chicago". The guitar is crazy good though
You just may change your mind after seeing them close one of Clapton's Crossroads concerts (on DVD and maybe streaming from Netflix). I believe it was the 2004 gig in Dallas.
Back in the day.......I would play the vinyl version of this with the grills off of the ol' Advents. The bass would make the woofers wobble. Perhaps that explains my tinnitus.
When I played late night DJ on the college radio station in Durango, I had some completely stoned girl calling all the time requesting this song. It took me about a month before I figured out what song she actually wanted, but I kept it handy afterwards - there are so few loyal listeners at 3:00 am.
Hate saying it, but Edge he was so different and so L-A-M-E compared to the others. Jack White blew everyone completely away with the roughly-made guitar and solos on those crappy, plastic guitars. The guy it way beyond Edge... Sorry, but just sayin'. http://www.youtube.com/watch?v=xCFXeChXfcI
Jack's a punk. Learning how The Edge gets his effects was the most interesting part of the show.
Oh, and it never did get LOUD, so there was false promotion going on here.
The artwork is a portrait of singer Ari Picker's mother - herself an artist - whose heartache, depression and suicide were the inspiration behind this album (A Church That Fits Our Needs). Despite the bleak subject matter, the album is an inspirational celebration of her life - check out Golden Eyelids and This Dead Bird Is Beautiful, two of the most moving songs I've heard in a long time.
Golden Eyelids is still in the LRC queue, I'm hoping it starts cropping up soon!
Yeah, I get the back story. From a purely marketing standpoint, however, this choice is hurting the group. It reminds me of this:
As a then 15-year old record buyer, I stayed clear of this for a long time. Great music inside, but I couldn't bring myself to plunk down my $7.98 for this back then.
Back when I used to smoke a lot of dope and play DJ for friends in a similar state, the instrumental portion of this track would always end just as we were really tracking it.
I really only need to hear this about once every ten years or so, if that. I gets its historical significance 'n all, but other than that it's about three minutes too long.
"Green has explained that he wrote the song after experiencing a drug-induced dream, in which he was visited by a green dog which barked at him. He understood that the dog represented money. "It scared me because I knew the dog had been dead a long time. It was a stray and I was looking after it. But I was dead and had to fight to get back into my body, which I eventually did."
It's been said that people struggling with emotional or psychological issues, as Peter Green was, are more likely to "freak-out" on LSD (Acid), which Green apparently had been taking steadily. Acid has a tendency to lay bare the layers of personality, so that it is easier to see inside yourself and thus into your dark side. I find it interesting that his last name is Green and the dog was green. I wonder if he was seeing a side of himself that he couldn't bear to look at.
...Now back to deciphering the ZOSO and Sergeant Pepper album sleeves!
Actually, his last name is really Greenbaum. So was he looking to apply some the mad dog's saliva on himself as a balm? And why does the end of the song suddenly, uh, peter out?
Weird.... I borrowed all of the Wilco CDs from my daughter-in-law about eight years ago and didn't get into them much. Upon hearing the group over the past six years on RP, however, I've come to really appreciate Wilco.
Brings me back to being an 8 year old boy laying on the floor listening to CKLW on my transistor radio and being mesmerized by this incredible song.
This was a standard at Detroit's Grande Ballroom (think SF Fillmore) during intermissions and such. I can never hear it without being instantly transported back there, before remnants of The Summer of Love faded forever after Altamont and such.
That year I had taken a one-time date to an Association concert. (I was 15, so I think we went by school bus.) I remember talking to her about this guy/group and wondering out loud if I should invest in the group's debut LP. I took the gamble and never looked back. I don't think I ever listened to the Association again, until recent years when I included them in a nostalgia mix.
The song has everything I'd like to be in my regular rotation. However, I just can't past the notes he uses to phrase the "Holy cow" bit. As I've written before, it always reminds me of seeing the (very) annoying Three Non-Blonds on Lettermen.
uugggghhhhh, Every single time I listen to RP, David Byrne is always on the airwaves. I used to like him, but there's way too much of him on RP. headphones off for the next 5 mins.
Yep. I've not been listening to RP very much these past few months, as there is little that's new to my ears anymore. Time was when I'd be chasing down 80% of everything I heard here... those were the days.
Anyway, I'm glad I'm sitting at the computer and happened to glance at what's next so I could quickly mute my sound system.
I've put some thought into the obvious correlation between financial success and degradation of artistic merit that one sees in mass-media age. I think the problem is the outrageous success, the financial shock of success, and the screwed up corporate culture of mass-media makes the artists life and experiences too divergent from the their audiences, and they no longer relate as well.
When they have a lot of life experiences behind them, they often can avoid or mitigate these influences, but the artists who experience this success at an early age (life or artistic), seem to suffer the most.
Yet another reason to question copyright. www.questioncopyright.org
For a long time, I let my opinion of whether something was "wimpy" or whatnot interfere with my enjoyment of music. If you let that be your main criteria, you end up listening to a narrow range of rock music. I'm mostly over that, although there are some songs I'm more likely to blast out the car window than others. If I was blasting this song, I'd be doing it ironically (and here I didn't think I was one of those damn hipsters).
Not so. My listening crosses many genres, with my collection numbering over 100,000 tracks. I like certain songs that bring out my so-called feminine side, but I could never appreciate Artie's perceived talent. Ever. Paul I can take in limited doses.
I make every attempt to be a songwriter, But I really have nothing of interest to say. I go ahead and do it anyway, though, And have just decided to let the chips fall where they may.
It's 1965 and out of nowhere this LP shows up. In contrast to day's music, and today's listeners, I'll give you that this may sound a bit dated. To me, however, it's still an all-time classic that totally stood out from any other popular music (so-called "race records" excluded, to which I had yet to have any significant exposure).
Please approach with a open mind, haters... I think you're missing out.
The way this song kicks off reminded me of the Youngblood's "Darkness Darkness" (just me?)
Musically, much of it sounds like a direct lift of Darkness Darkness. Of course, the Zep are pretty notorious in this area, having, uh, "borrowed" heavily from Spirit when they created Stairway To Heaven.
I like this song, but the backup vocalists are annoyingly flat during the refrain. I would've done another take or performed some studio trickery to fix that.
Okey-dokey. Just asking. So - if someone else was to cover this song (because the lyrics are pretty eloquent), who would you choose to do the vocals? Ball's back in your court, jagdriver. You're quick with opinions, but I bet there's a lot of other stuff simmering under the surface. And if there isn't, then I'm sadly disappointed, because you come across as an intelligent (albeit snarky) poster with definite opinions and ideas.
I've never considered this question. My experience is that music appreciators can be divided into two camps to begin: those who listen to the music first versus those who are driven first by lyrical content. I am definitely the former, so if a lead singer grates on my ears, it doesn't matter how wonderful the lyrics may or may not be. This explains why I'm not a Jackson Browne fan, for example, among many others who are considered to be top notch lyricists.
"Ivory Joe Hunter had a few hits of his own but felt more at home producing records. Hunter liked everything about the song except the drum track - it needed more "bump and grind." An idea hit him and he excused himself, went to his car, and brought back a crow bar. He sat on a concrete floor and said, "Roll tape." They went through the song one more time while Hunter slammed the tire tool against the concrete floor on the downbeat to create one of the most defined and distinctive drum beats in rock and roll history."
I'm so over the Beatles. They are without doubt the most overexposed group on the planet. If I don't hear another of their songs for the next year or so, that'll be just fine, thanx.
I certainly heard enough of this track on terrestrial radio in '76—'77 to last me a freakin' lifetime. Between a Glen Campbell track, another Hall & Oates hit and a Climax tune that finally made the charts, it seems that these were the only things we heard on the radio during a round-trip drive from Northern Lower Michigan to Hilton Head Island, SC, by way of Great Smokey Mountains National Park.
Enough already, seriously! It's to the point to where I don't even care whether I like them or not; I don't want to hear groups that I like every other freekin' song, what is this clear channel??!!
American Alrlines gives away those headphones? Crap - I'ma have to fly somewhere, because my headphones are broken. Um, what kind of headphones did you order? I always lean towards Koss.
Having been a Koss owner, I recommend Sennheiser HD 280 Pro as a great set of relatively-inexpensive, full enclosure cans that fold up for travel.
I agree with you both...I have no idea what Roger Waters' childhood experiences were like or whether he just used the story of an emotionally isolated rock star as a metaphor for mass cultural alienation and social oppression, but this album is a dead-end history piece for me.
Maybe I'd completely change my mind if I saw the live performance of the album, but I lost patience with The Wall about five years after it came out. It offers no coherent focus or story for all its rage and sadness, and no way forward. Good to know that Roger got that out of his system, but like John Lennon's music about losing his mother and working out his relationship with Yoko, I can't keep listening to this stuff over and over. Something inside me says "Sorry for your troubles...can we move on now?"
Could we hear some of Roger's post-Wall music? He and PF actually put out an album after the Wall...not that anyone plays it.
Right. If Animals wasn't enough to turn off this dyed-in-the-wool PF fan (dating back to their debut LP), then The Wall made my own alienation with the group all the more decisive. I'm sorry that Roger hijacked the group, but thank God Dave insisted that at least a portion of the tracks have some melody.
The Manics have struck gold with this number, and never fails to excite me with that simple but tasty guitar hook
Even though it's in regular rotation on my MP3 player, I'm still groovin' on it after first hearing it here some six years ago. It's also a GREAT song to use as a fear-nothing motivator while skiing.
I cannot. I am glad someone else is speaking up, they are taking over the joint. Like I have said before, I don't want to hear groups I like so many times a day on a radio station.
Eric Clapton's autobiography is a very very good read for the personal view he allows us to have of him. But a byproduct is a music history lesson. And part of that is the role early Fleetwood Mac had on the 60's English Blues Rock scene. FM was every bit as involved as the Yardbirds, John Mayhall, and many others.
An important psychedelic era song. Really brings me back to the days of my early teenagehood. Filled with the spiritual / political message that emerged in the late 60's.
With a headful of zid listening to the X on my Koss cans.
*sigh* I feel so... unAmerican. I just never could get into her music.
Try Court & Spark with some really good headphones or on a top-notch surround sound rig without any distractions. Best on a sunny day, I believe. In fact, I think C & S was probably an extension of this track, judging from the terrific production and in comparison to the other numbers on this album.
Well this is sure listenable to me! In fact, I seem to prefer Floyd's earlier "psychadelic" stuff better than their (to me) more depressing later work.
This was an OUTSTANDING addition to my skiing mix... hearing it in my helmet (with 40mm SkullCandy speakers) gave me some higher energy on a recent outing to Squaw Valley.
Well I'll say this for Porcupine Tree: Their influence is broad and growing. Hooray. 2.
Really.
"Let's think of a unique group name that is two words, the first starting with P and the second, T." Extra points if the first word has the same number of characters as "Porcupine."
The only think that keeps me from giving this a 10 is that Fagen consistently mispronounces "Oregon." It's pronounced "Orry-gun," not "Aurie-gone." And the residents of Oregon are not "Oreganos."
I was originally taken with it, but after hearing it back in my own mix found it to stand out as being quite annoying. The repetitive lyric about sister/queen is the capper.
I had heard that the fact that The Kinks were signed to a small label (Pye Records) meant that they weren't given the same exposure, in America, that other British invasion bands (ie The Beatles and The Stones) and this in turn affected their popularity. However I found this is Wikipedia:
The group released three albums and several EPs in the next two years. They also performed and toured relentlessly, headlining package tours with the likes of The Yardbirds and Mickey Finn, which caused tension within the band. Some legendary on-stage fights erupted during this time as well. The most notorious incident was at The Capitol Theatre, Cardiff, Wales in May 1965, involving drummer Mick Avory and Dave Davies. The fight broke out during the second number of the set, "Beautiful Delilah". It culminated with Davies insulting Avory and kicking over his drum set after finishing the first song, "You Really Got Me". Avory responded by knocking down Davies with his Hi-Hat stand, rendering him unconscious. He then fled from the scene, and Davies was taken to Cardiff Royal Infirmary, where he received 16 stitches to the head. Avory later claimed that it was part of a new act in which the band members would hurl their instruments at each other.
Following the summer 1965 American tour, the American Federation of Musicians refused permits for the group to appear in concerts in America for the next four years, cutting the Kinks off from the main market for rock music at the height of the British Invasion. Although neither the Kinks nor the union gave a specific reason for the ban, at the time it was widely attributed to their rowdy on-stage behaviour.
Sounds like they were, at least partially, the author of their own misfortune. Also sounds familiar ....does Oasis ring a bell? I like the group and this song.
Interesting. I first saw the Kinks on Ed Sullivan. Shortly thereafter I dashed out and got their greatest hits LP. For this I was not disappointed.
EDIT: One also wonders if Hendrix and the Who read about this in the paper and .....
Never really cared much for this song or these guys, but I have to admit that's a badass intro.
I was originally taken with it, but after hearing it back in my own mix found it to stand out as being quite annoying. The repetitive lyric about sister/queen is the capper.
What is up with all these bands with the high-end male-ish singers of late a la Fleet Foxes? I get the feeling that Graham Nash must have fathered an awful lot of kids in his heyday.
You must have Graham confused with his singing partner, David "Sperm Donor" Crosby.
Simply gorgeous song.. Kinda makes you just wanna pull that special person close and let the world fade away in a sea of wildflowers in a sunny field somewhere far from the maddening crowd...
agreed — i had rated this one a 7, downgraded to a 5 today. her voice is striking me as "whiney" today (like a female billy corgan?) perhaps because i'm hearing it so often
Probably invented half of rock'n'roll. Little Richard, Chuck Berry, Jerry Lee Lewis, Elvis, and Willie Mae Thornton got a half each. Never got his due. My favorite cover is QSM's on Happy Trails
As for , I have to agree with Bill. There is a film in the works about Detroit's Grande Ballroom (equivalent to the original Fillmore*). The original trailer featured Terrible Ted spouting off in the most obnoxious and offensive manner possible. I wrote the film's producer and told him that if he wants to do this film justice, then remove that segment. The advice was taken, I'm happy to report.
*EDIT: In fact, Bill Graham himself personally instructed "Uncle" Russ Gibb (on a SF visit and, later, of "Paul Is Dead" fame) how to run such an enterprise.
I'd like to see the movie for which this is a soundtrack.
It was very interesting, especially to learn that McNamara was pretty much—in Washington circles—an unknown, arbitrary pick by the Kennedy administration. It's too bad he didn't remain at Ford or some other large corporation, as it's abundantly clear in hindsight that McNamara had NO business accepting such a role in the administration.
As for Philip Glass, the PBS documentary about him was mildly interesting.
A lot of people are still mad at Pink Floyd about the messages known to have been placed in their music. Sure, some of them only said, "Congratulations, you found the secret message". But there is strong evidence to suggest that excessive dosages of Pink Floyd can induce extreme behavior in otherwise rational individuals. In combination with alcohol, it can produce catatonia.
"Breakfast in Los Angeles....macrobiotic stuff....I like French toast...."
Apparently I said this five years ago on these comments. . . Five years closer to my rest home. . .
Roger that. I have my MP3 collection and headphones primed.
I was 15 when this came out and, as usual, was the first in my circle to pick up on it. I well remember getting pissed at a friend's house one weekend night when his parents were out, doing my best to impress his sisters with my ability to sing like Robert Planet (sic). And, naturally, what followed later was the emoticon immediately to the right of the one I just selected.
Another Suck-ass song from the ulta-overrated, belated Mr. Zevon. What absolute crap.
I'm in your camp, Crocky... I have to mute anytime anything by Zevon comes on. It's reminiscent of how terrestial radio shoved Hotel California and Stairway to Heaven down our collective throats.
One wonders. I'm still how it came to pass that they're topping the AF/Calexico bill in Berkeley next month! To my ears, Calexico could easily carry the entire show by themselves.
Michael Wood (BBC) has an excellent series on The Conquistadors that you can stream from Netflix. Fascinating, educational, and with stupendous photography.
This song is like a big ol' body pillow.... it has always stopped me in my tracks, whatever I'm doing, and demands my full attention. Why this song?... I don't know. It never fails to grab me and surprise me.
And if you like this style of music, check out the earlier works of the Wayne Johnson Trio (from about 25 years ago). The albums are probably out of print, but you can order them directly from (Manhattan Transfer guitarist) Wayne by visiting his website.
I don't get you folks. This is an amazing track from one of the best albums of all time. Bill, you can play anything from this anytime. And while you're at it, add some tracks from My Life in the Bush of Ghosts by Eno and Byrne.
big fan of this scene after getting hooked on willie & lobo via RP..
this song is a huge redemption for RP after playing the coldplay pop tune right before it.. uggh coldplay..
You'll like instrumental tracks by the Gipsy Kings, as well as Ottmar Liebert, Strunz & Farah, Paco DeLucia, the Romeros (Pepe, etc.), et al. Not to mention Jesse Cook and Rodrigo y Gabriela.
I think I like this track so much because it reminds me of AM radio back in the day. You know... you'd be suffering with some banality by Bobby Vinton, et al., and then something cool like THIS would come on.
Venue: Berkeley's Greek Theater Acts: Arcade Fire, Calexico Dilemma: I LOVE Calexico, but is it worth schlepping to Berkeley when Arcade Fire is the headliner for this bill?
P.S. The Greek Theater in the autumn is reason enough to go.
Well, it still sounds cool after all of these years, and I recall buying a copy from a 7th-grade friend whose mom owned ("Paul Is dead") WKNR (Dearborn, MI).
Wikipedia:
Trombonist Paul Tanner played the Electro-Theremin (or "Tannerin") for the 1958 LP Music for Heavenly Bodies, the first full length album featuring the instrument, and played it subsequently on several television and movie soundtracks — most notably on George Greeley's theme for the 1960s TV series My Favorite Martian — and on an LP entitled Music from Outer Space. Most famously, Tanner played his Electro-Theremin on three tracks by The Beach Boys: "I Just Wasn't Made for These Times", "Good Vibrations", and "Wild Honey".
I would've LOVED this when I was 15. Alas, I've pulled Sonny out my mix in that his stuff doesn't play well next to everything else. My ears say, "Oh, no... here's Sonny" and I can't wait to FFWD to the next track.
This pulled me from my Facebook-focus. I knew it was Ray LaMontagne, but I thought I'd posted. Since I didn't, I will. This is just so close to perfect in every way, I can't say anything that hasn't already been said. Solid 9, with a view to 10. I love his music, and his music with Pariah Dogs is just icing on the cake.
Oh no! The live-screeching-animal-guitars at the end is one of my favorite parts about this song! You don't think we can handle it Bill?
They have their place. I have to admit to fast-forwarding this on the MP3 player while driving home from vacation (son and wife were in the front and I thought they may be getting perturbed by it).
Crybaby... don't worry they'll put some classic rock on for you sooner or later.
I'm no Clear Channeler and bet my collection runs circles around yours, so ........
This is a boring and typically monotone. While her band has always been HOT and she's terrific in the eye candy department, she can sing maybe—MAYBE—a whole quarter-octave.
Sorry, detractors... I've liked her voice since BIll first turned me on to her several years ago. As for appearance, this album cover certainly makes her look hot.
Wow...actually made something very nice out of an over rated rock cliche. I really, really like to listen to people who know how to play their instrument.
When I heard this I thought it WAS Elbow. I actually enjoyed this version, though I'm still of the mind that covers need to walk a fine line between being too much like the original band and sounding almost nothing like the original song.
I mean, what's the point of him duplicating this track when even his vocal sounds as if it's Elbow?
I can't find this song available for download anywhere. Can anyone help me? I heard for the first time in 15 years and I can't get it out of my head. Thanks! D
I don't think Robin Trower was underrated, more under-known through not playing particularly commercial music. Most people I know who know him at all think he's fantastic.
He is fantastic! When it became more and more apparent that PH was a keyboard-oriented band, he wisely struck out on his own.
According to Wikipedia, the symbol means you disagree. Why would you call someone you agree with stupid? I'm just curious, I've never really gotten the joke with it.
John was a big fan of Lewis Carroll and of wordplay in general. According to one account, this was JL sitting down with an old school chum and writing non-sensical lyrics to deliberately baffle the music critics, they latter being fond of citing "Aeolian cadences" and other poppycock in the Beatles' work. The eggman reference is to Eric Burdon, who reportedly has a proclivity for cracking raw eggs on his bed partners before "the act."
Artistically, there is much more here than meets the (dead dog's) eye.
Thanks for the insight - so, in CART, which car is Mark referring to as the roadrunner? Does this Roadrunner beat the Coyotes a lot? The only Roadrunner cars I ever knew about were not racecars, but kind of looked like a late 60's version of what "Supercar" would look like - like in the late 60's - kind of a tank. . . It still reminds me of the cartoon.
Oh, gosh.... there was a Roadrunner many years ago, back in the days of USRRC competition (when Jim Hall—of Chaparral fame—Roger Penske and Carroll Shelby raced against one another). But in this case I think he just made it up, as there was no Roadrunner chassis in the CART series.
New Bird is out. And he is the first artist that I have ever kept his prior disc in rotation in my car all the way around until the next disc was released. They are now both in there along with the Motel Motels and Nils Peter Molvar. Shit. What will I remove?
Oh man, this song may be long, but it is GREAT ! I wish I could cut the end groove into a continuous loop and just keep it running.... Thanks, RP: I had actually not heard this song in a long time and forgotten how cool it is. Nice to have a departure from 2 minute 30 songs of most radio stations !!
The first part (the vocal segment) is mediocre, then all of a sudden it changes course and takes OFF!
Thank you for all the wonderful music through the years. You could make a lot of people happy if you "all" created a new album.... regardless, thanks..
Hard to pull off when David wants nothing to do with Roger, and Rick died of cancer last year.
Well! Turns out I had NOT previously sucko-barfoed this vapid noise. Now I have! Sweet satisfaction!
Your loss. Johnny put on one of funnest and most memorable concerts we've ever been to. Although I've always loved his hits since I was a kid, he was not at all what I had expected. He rocked!
bev wrote: You can actually hear audience chatter in the background (rather annoyingly) on several tracks!
~~~~~~~~~~~~~~~~~~~~~~~~~~
Actually, those audience sounds were dubbed in at the studio. I've researched it.
What I didn't know was that Johnny's producer was Lou Adler, who also produced the Mamas & Papas. Along with Derek Taylor (later to become Apple Records PR guy), who was hanging in LA back then, Lou, Johnny, and Derek were the major proponents behind the Monterey Pop Festival! Of course, John Phillips (M & P) was also heavily involved in pushing the deal.
And did you know that when Eric Burdon sings, "His majesty, Prince Jones, smiled as he moved among the crowd," that he was referring to Brian Jones? And I just saw an old interview with Clapton whereby Cream's manager had told the band that it was too early to go over to America. Go figure! floydslips.blogspot.com
Still FANTASTIC in concert if you can catch him in a small venue! We saw him in Phoenix at the Celebrity Theater, with seating in the round (stage revolves). Johnny is an amazing entertainer and excellent lead guitarist. I had no idea..all those years I had thought his act was like that of a Tom Jones. Don't be dissuaded — he's GREAT
Released as a single in 1969, Albatross has been re-released many times as a single in various countries, with many different B-sides. It has the distinction of having inspired the Beatles' Sun King from 1969's Abbey Road.
One can find this song on any given day on most playlisted, commercial FM radio stations. Doesn't belong here, IMHO. Good song but definitely over-played.
Ya, but who listens to FM radio? "Not I," said the Little Red Hen.
Why should Bill even consider FM radio's playlists? He shouldn't.
If Bill didnt play it, would we ever hear it (wo playing it from our own collections)? Rarely.
In order to hear this song on commercial radio, one would have to suffer through the rest of the crud including commercials.
Elliot's music really is very pretty, and it is nice to hear it from time to time, but it is really very depressing, too. Could you maybe play him just a little bit less often?
And there is a terrific Arthur Lee DVD for rent via Netflix whereby he performs all of Love's hits with a Swedish orchestra circa 2000. Stories have it that Hendrix modeled his flamboyant dress after seeing Lee.
This song takes me back to '59. I was watching Captain Kangaroo on TV. He announced that after the break, they were going to have a dancing bear perform. I got all excited and went to tell my mom. I ran back to the TV as the commercial was ending waiting to see the dancing bear. Then I realized it was just a man dressed up in goofy bear suit.
And for that the good captain preempted a Tom Terrific cartoon!
In '68 Spirit was backed on tour by Led Zeppelin. Many accounts cite that, in creating Stairway To Heaven, the Zep's Jimmy Page borrowed the key riff from Spirit's Taurus—charges that Page denies. California ultimately penned all of Spirit's hits, including I Got A Line On You, 1984 and Nature's Way. More....
Deodato visited my school shortly before this came out as a visiting musician, bringing with him guitarist John Tropea and flautist Herbert Laws. He's no Herbie Hancock (and certainly no Wayne Shorter) but he's a wonderful musician and like every other Brazilian I've met, when he says "Let's go to dinner" what he means is "let's start drinking at 5, eat dinner sometime around 10, and have coffee and spirits until 3 or so."
Cool! I've got some great Brazilian stuff in my collection, starting with Deodato and—around the same time—Gato Barbieri when he did the music to Last Tango In Paris.
And we loved seeing/hearing Gato play the Red River Opry when we lived in PHX.
jagdriver wrote: Saw Pinetop Perkins with Willie "Big Eyes" Smith a couple of years ago (both were members of Muddy's band). They played this number *three* times! We weren't sure if it was because they thought it was warranted, or (more likely) it was advancing age creeping in (sad). At any rate, it was a pleasure to see/hear both, also having met them briefly at the hotel down the street where we had had dinner prior to the show.
That's my story and I'm sticking to it. It took place in Grass Valley.... BUT OF COURSE!
This song was a little to commercial sounding for me when it came out but I still like it enough to give it a 7 but not as much as some of the other songs on this Fleecewood Jack lp
Great band...I highly recommend the tune "Bubblehouse" off of the "Shack Man" album. Saw these guys at Coachella back in '99 and they were great, especially "Bubblehouse".
I'd like to hear some pre-Army Elvis added to the RP mix.
Oh, and ELVIS HAS LEFT THE BUILDING!
We watched part one of his '70s Comeback Special last week via Netflix. Parts were terrific, other parts cheesier than hell. The former reminded me why he's The King; the latter reminded me why I hate network TV and how the post-Army Elvis was but a shadow of his former self.
I want to like Norah, and I generally like this kind of music, but I just haven't heard anything that really catches my attention that isn't poppier then a 10 gallon bucket of Coke.
She could read a book about natural disasters and make it sound sexy though...
I do like some Norah, but everything Bill's playing from this album is too poppy for my taste.
Back in the late 80's I wanted to see the Big O and my fiance would go only if I would take her to see Madonna... I should have known right then and there it would end in divorce.
I jumped in here to give this listen, but it doesn't get it. There are better tracks off this LP, to be certain, that show off Julie's work with the Trinity. This simply is not representative.
Quite fascinating. Just read the Wiki because I was dubious. Maybe I should remain so as it is "a Wiki", eh? ;)
Confirmed in Andy's excellent book. With Zoot Money, Andy was a member of the Eric's "New Animals." That said, I don't believe that this hit was recorded by that lineup. Rather, I believe it was recorded by the original Animals that included Hendrix "discoverer" Chas Chandler.
So I (finally) ordered this a few weeks back, and I'm playing it in the Man Cave upstairs when my daughter bursts in, "That's Guster! I didn't know we had that! I love that song!" And I have no idea how she knows about this song at all because she was six when it came out. I stopped trying to understand a while ago...
After I turned her on to the Floyd (Atom Heart Mother) at the tender age of 8 or so, it was my daughter who kept me up-to-speed on things I might like through her teenage and college years. Since she turned me on to (the original) Napster and MP3 collecting ten years ago, the table is once again turned.
RP's incessant playing of Talking Heads has really turned me off to the station. I used to use the RP links to buy songs but I just can't do it anymore. I like Bill and the concept of the station, but I feel RP is not much of a value. Much of the oldies I've bought long ago and don't need to hear for some time. The new stuff is so rare that I spend more time at other stations. It's sad to see the comments here of old people listening to the same tired tunes and going on about how amazing their generation's music was. It's just old farts stuck in their time.
Well, I'm an old fart and I've been tuning in here for the past six years or so to get introduced to a lot of stuff I missed post-1980 (busy with work and raising a family). MP3 players and the 'Net opened up a whole new world and I was very fortunate to discover RP. Starting this past January, however, the thrill is beginning to seriously wane. It seems that 99.7% of the music I was interested in I've now heard and obtained copies for myself. There is very little that is new to these ears these days—especially when we get the same old DB/TH in such regular rotation. Today I think I've posted a record number of "blechs" in response to the playlist, so maybe it's finally time to move on.
Cranked up L-O-O-U-U-D! As good as it gets... the whole FRIPpin' album. Can't get ENOugh.
Funny, I was just thinking late last week that I need to pull out my McDonald & Giles LP and have another listen after reading an article about this incarnation of KC.
I love this cd but I've always found the sound a little muddy, has it been remastered yet? Or let me put it this way, does anyone have a remastered version and is the sound much cleaner?
As I recall the story, the original masters were lost or destroyed before the LP was released. Walter and Donald had to high-tail it back into the studio to make reparations.
Sorry, doubters and trashers, but I don't see how a creative mash-up diminishes the originals in any way. In fact, I think it's pretty cool how the Martins exposed the rhythmic affinity between the two songs, something, I daresay, none of us had imagined much less observed.
A friend just laid a copy of this on me as a house warming gift, and I have to say that—even for a Beatles purist such as me—that this belongs in every serious fan's collection. I do regret, however, that they just didn't put the CdS show on a DVD and include it with the set, for it's unlikely I'll ever be going to Las Vegas for any reason.
I visited Havana in late January-early February of 2004. One of the things that I loved most about that city was that there was music like this everywhere. Walking through the streets of Old Havana was just an awesome experience. I stopped to watch a flamenco dancer in the lobby of the Hotel Valencia. She was the most seductive woman I have ever seen. Or was it the city itself?
Funny album title . True, blues is a pure form of "folk" music, but it strikes me as funny nevertheless.
Recommended:
The sounds of 1950s Chicago spring to life in this musical drama based on the true story of Leonard Chess (Adrien Brody), a bar owner turned record mogul who signs a lineup of future legends to his fledgling label, Chess Records. He eventually crosses paths with the likes of Muddy Waters (Jeffrey Wright), Chuck Berry (Mos Def) and Etta James (Beyoncé Knowles), changing the face of popular music forever.
This is one of the worst songs I have ever hear in my entire life. The singers voice is a grinding annoying noise. The music is sooo boring and repetitive. It goes on for way too long. So surprised it gets played nearly every day on radio paradise.
Besides watching the lakers pass by whenever I was near a channel, I used to be an ad rep for the quarterly Great Lakes/Seaway Review magazine. I have two cover photo credits, taken up at the Soo locks back in about '84. My son and I visited the museum while there and saw relics from the Fitz.
Carol is widely acknowledged one of the finest singers in Ireland, her stunning voice and songwriting has graced albums by The Plague Monkeys, The Tycho Brahe and Autamata. She is now working on her own solo material.
Flo and Eddie (the Turtles) appeared with Zappa and the Mothers. Its was them, not Zappa, who performed that version of Happy Togeher. Frank just gave them an unforgettable introduction (with a bullet!)
Lord, please let there be some really cool new indie songs released this year. And may Bill & Rebecca quickly discover them so we don't get inundated with this sort of thing.
Saw 'em live 5 or 6 years ago, maybe even 7. Hated 'em! But I keep hearing songs since - in large part due to RP - that I like. So I don't know what went wrong that one night. I hadn't heard anything by them at the time - don't know whether that had anything to do with it or not.
I had a similar experience with Cowboy Junkies when they backed up Sting.
Came to the Web site to check what this great tune is. Surprised to find that it's Fleetwood Mac!
Why is that? The group has had several incarnations (with Mick and John being the two constants) and has a very deep back catalog dating back to the late '60s! There's much more to F-M than the overexposure provided by the Buckingham Nicks era.
This is a very solid album, as is the follow-on, Future Games. While somewhat spotty, the Kiln House precursor also has many tracks that rock as hard, or harder, than this.
Ok, I get it that Bill likes TH/DB but why does he have to play something TH/DB literally everyday knowing there are a lot of people here that don't like it. Thats not an exaggeration either, just look at the playlists.
Very nice. I like flowing guitar work such as this. And although it's very mellow (some wrote "ambient"), he doesn't have a wimpy voice like some of the others in this genre that are heard here.
I'll always remember discovering this in my brother's LP collection when I was in 6th grade ('65). My life was boy/girl parties (how to get some nookie?), skateboarding, Hot Rod magazine, CARtoons, slot car racing, model cars ...
This was out around the same time Hendrix released "Purple Haze, " Vanilla Fudge . "Get Out My Life" The Doors "Back Door Man" Not to mention The Zeppelin, Cream,Otis Rededing, Van the Man and the Stones..... and the young folk think we have no idea what good music sounds like.......
jagdriver wrote: I wonder how much is Keith versus hired gun Ry Cooder. And don't forget that Bill Wyman knew his blues so well, he wrote the book. Well, a book, anyway.
According to the liner notes - Ry played mandolin on 'Love in Vain'.
According to Jimi "Mr. EXP" Hendrix, "You cannot believe everything you read and hear now, can you?"
Jeeze, that's sad. I always admired his silvery guitar work.
As sad as losing the Green Manalishi to too much LDS back in the '60s.
Jeremy I'm not so keen on, in that while he was also a fab guitarist, he was stuck in that Elmore James world, to be sure. While good stuff (and I regularly listen to FM In Chicago recorded at Chess Records), I really like the progression the Mac made after they dispensed with Jeremy's persuasive ways.
Kiln House, Bare Trees, Future Games, et al., are still great albums.
buddy wrote:
Wow! You must be a young'un.
This is hands down my favorite FM song and probably my favorite album as well. For more of this, check out the "Bare Trees" and "Mystery to Me" albums, both before the Buckingham/Nicks Fleetwood Mac years.
Mystery to Me was with Bob Welch in the lead guitarist spot. Danny was long gone by then.
WonderLizard wrote:
Great version of the band (Kirwan and Welch on guitar). Great album.
Bob Welch hadn't joined yet, as I recall. I think he first appeared on Penguin.
I created this for Detroit's Grande Ballroom back in the day. It's been included in a BB exhibit at the Rock and Roll Hall of Fame & Museum. Wolfgang's Vault has the card listed at over $200 each!
When we were little kids, dad would play this REALLY LOUD, and tell us to run outside and be bumblebees. We thought it great fun... but now I realize he did it just to get us out of the house......
Homer to crowd: "And we're going to take a whole five minutes!"
C'mon, Neil... this is so 1970. Had you put this out about the time of Ohio, I might have gotten into it. Now it just sounds anachronistic. Contrary to John and Yoko's campaign, war is here to stay. There isn't a thing you nor Bono can do about it.
I think I remember the alternate reality movie this song must have come from - Red Dawn with Patrick Swayze (R.I.P.) The USSR invades the heartland - good stuff.
One of the absolutely worst movies of all time. Unfortunately it was the only thing playing in Sault Ste. Marie the night my five-year-old son and I were in town with nothing else to do.
There I was at the dawning of (modern) time, living in Midwest nuclear suburbia, when I not only stumbled across this stellar LP amongst my brother's limited LP collection, but also a copy of Kerouac's On the Road. Epiphany-inducing elements, these.
Rented Fly Jefferson Airplane from Netflix. It was surprisingly very interesting and well produced. Both the audio and video were of very good quality.
A good friend had a band back in Michigan, for which I was a roadie. Owning one of those very early Sony reel-to-reel monochrome video recorders, I taped an early performance of theirs. The playback was enough to convince the female electric piano player that she should hang it up once she heard her backup, uh, "vocal."
A technician does not a musician make. Technically great, but a tune would be nice - a nice solid 2
I give it a higher rating than that, but I do have to agree that this track gets tiring in my personal mix, even when I only hear it every so often. There is something about Sonny's work that really makes the bolded statement above ring true. I suppose if I were 15 again that I'd be really into his stuff, but there's just so much more to listen to these days.
Yup, we made a special trip down there to see them at a special New Year's Eve performance they do every year on a restaurant patio. That's after we first saw them at the Palms Playhouse in Winters, CA. They're wonderful musicians and a great couple of guys.
I have the opposite reaction, I stop what I'm doing to listen to her. I don't love everything she's done but I do like many of her recordings. To each his own.
First heard this on a Canadian station - CKLW - just before it was released in the States. Couldn't get enough of it. Still sounds great on RP.
"THIS is Byron McGregor...CKLW...20-20 news!"
CK would often pick up "what was happnin'" from WKNR in Dearborn, the latter breaking many a nationwide hit. WKNR-FM was, of course, home of the "Paul Is Dead" story, as perpetuated (but not originated) by "Uncle" Russ Gibb.
Then you'll love this video of Rod Stewart surprising Jeff Beck on stage in L.A. recently : http://www.youtube.com/watch?v=T43m6dcMk6U&feature=PlayList&p=825832618C772EC8&playnext=1&playnext_from=PL&index=3
Be grateful, at least he's not shrieking, playing the harmonica, or playing the guitar with a piece of re-bar, which is how he sounds most of the time.
I think it's just the recording itself, which doesn't sound like it was taken from the board. If you listen to the remastered DVD, The Last Waltz, the sound is awesome!
And yes, Waters may have written the bulk of the PF catalog, but it is very obvious that Gilmour was responsible for the "Pink Floyd Sound."
There were many battles during The Wall days, DG insisting that songs must at least have a melody. If not for him, later PF tracks might consist of a bunch of angst-driven screaming that in no way could ever be hummed. Couple David's sense of tunesmithing with his great vocal style—nevermind his instantly-identifiable trademark guitar playing—and that's what made the PF sound as great as it is.
Indeed. Sennheisers for me but to each his own. Other than my donation to RP, investing in quality headphones has made life in office land quite bearable.
Sennheisers it is. My affordable, fold-up HD 280 Pros have been providing much office enjoyment these past five years.
This track never fails to take me to a country field in the late spring, where the sun's rays are being filtered by the new growth leaves on the trees.
Especially for the time (1966) in which it was released. Incredible mixture of experimental sounds, with a lot of influence coming from Macca's interest in John Cage avant-garde stuff. And hat's off to (engineer) Geoff Emerick for helping make the Fabs' rough ideas come to fruition.
(John: " I want to have my voice sound as if I'm singing from the top of the Himalayas.")
I had hippie parents and probably overheard stoned conversations similar to the concept in the last stanza of this song many times and we've been hearing this idea in the zeitgiest ever since; but being a classic music semi-expert I feel stupid for never having read the lyrics to this song before. This song sounded really good a few songs after that great new "Built to Spill" song. I'm not even gonna try to respond to the ignorance of some of the comments —it's already a full-time job on YouTube setting the kiddies straight.
Well I'm no kiddie. That said, it takes more than great lyrics to make a great song—never mind one that is even listenable.
From another old hippie: Yeah, this IS good, and yeah, it reminds me a bit of Lynyrd Skynyrd, and yeah, I find that pretty funny, too. I have some stuff Ben did with the Blind Boys, and THAT'S also good. Is everything Ben Harper good?
Along with Skynyrd, I hear a bit of It's Breaking Me Up from Jethro Tull's This Was LP.
I bought this album on CD just a couple of years ago. When I asked about it, the clerk at the record store said, "Al Kooper? Do you mean Alice Cooper?"
Kids these days.
I remember buying this LP, Electric Flag's debut, and Butterfield's seminal East <> West on one outing to Discount Records. Those were the days!
(....trekking uptown in 10" of snow, blah, blah, blah...)
This song would've been terrific had he confined himself to fewer verses. As it is, it goes on too long and—from an instrumental standpoint—drags as a consequence. Had they somehow varied the backing track or inserted a bridge, I might find this more listenable.
EDIT: BTW, we did thoroughly his recent performance in Berkely.
As many times I've heard this since the first time I heard it (on an AM radio in my mother's kitchen) I still stop whatever I'm doing to listen again. It's hard to describe what a mind-fark this was when it came out.
tbaloney619 wrote: isn;t this a Fleetwood Mac song? And is it old enough to have been a Peter Green song?
Proclivities wrote:
The Peter Green's Fleetwood Mac song is one entitled "World Keeps Turning". They are different songs.
Bump
World Turning appeared on the self-titled Fleetwood Mac LP shortly after Buckingham and Nicks joined the group. This was several incarnations past the Peter Green-led group.
take this foreign african sh** off the station - there is way too much of it - we wanna to be able to actually understand the lyrics!
I'm glad you went back into your hole, AM. Besides being a PITA in the Forum, your song comments are simply not worth the bits it takes to post them. Enjoy your Liberace and Patti Page music.
"Sometimes you have to be broken down to your core to get back to your essence," the pop-jazz singer-songwriter Melody Gardot reflected. "You have accumulated a crust from the world, and it needs to be destroyed."
For Ms. Gardot, 24, the breaking point was a near-fatal accident in 2003, when she was struck by a Jeep Cherokee making an illegal left turn while she was riding her bike in Philadelphia. She suffered multiple pelvic fractures and head injuries that left her bedridden for nearly a year. Unable to walk or to formulate words, she slowly regained her powers of language after a doctor suggested music therapy as a way to reconnect her neural pathways. While lying on her back in a body cast, she learned the guitar, and began writing songs inspired by her experience.
Not my favorite cut from this set of tunes (ATMP), but it's certainly palatable. If it wasn't George, though, I'm not sure I'd give it as much rapt attention.
Not sure I'm giving it any rapt attention these days, I'm afraid.
andrewmi wrote: If this song was played without the vocal track I would probably rate it about 5 points higher. In the meantime, pardon me as I remove my headphones.
I am with this comment - give the vocals to some other artist
Love several tracks off of this CD, but then I'm also an avid DG fan.
Don't miss the DVD that followed this release, available for rent from your favorite mail order rental enterprise. Besides another look at Rick Wright doing what he did best (RIP, Rick), there are several guest artist appearances.
All lyrics by his very lovely wife, Polly. (Dave is not a lyricist.)
The whole story of the Mad Dogs tour will probably never be told, but it's mind-blowing enough to realize that the band, show, and song list were put together in two weeks, including rehearsals.
I recall seeing something about Leon having spearheaded the effort.
So glad I'm guaranteed not to hear another TH song after this one. I can manage one song without muting or changing the station...Byrne just grates my nerves.
Speaking personally after having played this probably a thousand times in probably ten different bar bands, I get kind of Tourette like tics whenever I hear it now. Same with Mustang Sally and Born To Be Wild.
I think I might like this version if I didn't know the Joe Jackson version as it is it gets a meh
Roger that. I know of Bill's affinity for covers of covers of covers, ad nauseum, but sometimes it's best to "just say no," especially when there's absolutely no redeeming quality to said cover.
The previous poster through his comments has already admitted to having a very narrow mind. Please ignore him, thanks.
Stay in your trash can, Oscar. I'm entitled to my opinion, thanks. And I'll bet I listen to many, many more artists in more genres than you do, so to write that I have a narrow mind is in itself narrow-minded.
Not only that, if you review the comments below, you'll quickly learn that a good portion of the listeners agree with me.
I used to be a fan 25+ years ago, but this track does nothing for me. I didn't find the instrumental changes noteworthy at all. Rather, the whole thing just dragged.
That's her on Jeff Beck's version of Rollin and Tumblin, too —- if you get a chance to check out his live DVD (features Imogen) don't miss it.
Agreed! You can also check out that singular track on YouTube.
I originally thought, "Wow! She is really, really tall" (I'll refrain from using a popular idiom here.) Anyway, then I saw a Jools Holland...Later DVD with Mssr. Beck. In watching that, the viewer learns that it's not that Imogen towers over everyone else, it's that Jeff is height-challenged!
Of course, I revere Jeff's playing and also think him to be a regular bloke based on both his stage presence and the "extra bits" interviews on the DVD. It was just quite a contrast, that's all.
This is a lot better than some of the borderline tunes on RP (Gary Junes and Elliott Smith immediately come to mind), so I think it's a keeper for now. And yeah, it's derivative, but there are VERY few tunes out there anywhere that aren't in some way, shape or form. Who cares? If it sounds pleasant and there's some sort of instrumental hook somewhere, then it works for me!
I feel totally the opposite. Her voice is like nails on a chalkboard.
She can be on or off. I thought was terrific on the recent Jeff Beck @ Ronnie Scott's DVD (a must watch). You can see her on YouTube from that concert performing a stupendous version of Rollin' 'N' Tumblin'.
But then I heard a track here the other day from Imogen's new CD and it was very bland. It reminded me of Sade and how she had come on so strong in the early days of MTV, only to become repetitively boring (although her band cooked!), with every song sounding just like the last.
{snip} and try and get your act together for what seems like an eternity of Echoes.
I finally edited that track a couple of years ago so I could actually listen to it. The asylum banshee screams were too much then and now. When the track appeared on the Echoes CD compilation, it was as if the producer and I had had a little discussion prior to its release.
Yeah, and it sure is nice not to have to flip over the LP anymore, to be sure. Better yet is the advent of MP3 players stuffed with ~40GB of tracks, all of which you already know you enjoy, cuz YOU picked 'em!
(As for your taste in culinary arts, have you ever tried jalapeño jelly on a glazed donut?)
The Stones have one of my few "10's" (Let It Bleed) and a whole bunch of "9's". But I've always found this song boring, too long, too repetitive, and overwrought. Not many Stones songs get a "3" from me but this does.
Yeah, I really love this album but it's not my favorite track.
I don't find it as "boring, too long, too repetitive, and overwrought" as something like Hey Jude, Let It Be or The Long & Winding Road, however, so it gets an 8 just for being an integral part of this collective release.
peter_james_bond wrote: Well no comment from Calypsus_1 so I thought I'd try my hand at it. Here's what I got after a few passes through the google translater:
Melody player is the sound of a guitar genius, he Jeff Beck. Indian classical drum beat is immersed in the heat of the liquid style of play. - 9 -
Indeed.
And if you haven't yet seen the current Jeff Beck At Ronnie Scott's DVD, I highly recommend it! A great production, this.
I'm sorry, but I absolutely cannot stand this song, and I rarely feel that way about Bill's choices. Something about it grates on my nerves. Simply my opinion.
...to which you are certainly entitled.
I have my share of "Audreys," but this doesn't fall into that category for me. Rather, I enjoy all of their stuff and am thankful I learned of 'em via RP.
He is a fine songsmith and poet, and the words you quote are a terrific poem, but his nasal whiney voice makes this listener reach straight for the mute key. I love Dylan songs sung by anyone but Dylan, and I do like his voice in recent years in his blues stuff, but the Dylan voice that all rave about just sounds like a drunk with adenoids to me. But wtf, one person's sucko-barfo is another's godlike, and long may that continue.
Oh, and it is possible to dislike Dylan and still have braincells. It's those who say that "if you don't like X/Y/Z you must be a dense uncultured ignoramus" who are displaying a sub-optimal level of intelligence...
It seems there are users in RP Station that behave as agitators and destructive; and poor education and lack of respect; frustation repressed? infantis behaviour? Bizarre situations? are a genuine obstacle and nuisance to who frequents the RP Station with interest the positive aspects and seriously; should in future there by the administrator a default filter good habits and customs that avoids this type of abuse. These situations "gratuitous-pure-exhibitionism" telling should be given warning, and if they are not binding, must be banned.
Far out, Catherwood. Roll another bomber and leave it on the side table.
ZedLeppelin wrote: Can some more people send in requests for Hey Joe?! It's never been played!
The song "Hey Joe" was about as ubiquitous as "Louie Louie" in the 1960s and played by a number of groups including the Byrds,The leaves, Love, and the Music Machine and others but all were faster with a lot of bass riffing. Jimi Hendrix was not the first one to the table on that one but established the slow tempo version which every high school garage band covered.
And then there's the Zappa send-up, Flower Punk:
Hey Punk, where you goin' with that flower in your hand? Hey Punk, where you goin' with that flower in your hand?
Well, I'm goin' up to Frisco to join a psychedelic band. I'm goin' up to Frisco to join a psychedelic band.
Hey Punk, where you goin' with that button on your shirt? Hey Punk, where you goin' with that button on your shirt?
I'm goin' to the love-in to sit & play my bongos in the dirt. Yes, I'm goin' to the love-in to sit & play my bongos in the dirt.
Hey Punk, where you goin' with that hair on your head? Hey Punk, where you goin' with that hair on your head?
I'm goin' to the dance to get some action, then I'm goin' home to bed. I'm goin' to the dance to get some action, then I'm goin' home to bed.
Hey Punk, where you goin' with those beads around your neck? Hey Punk, where you goin' with those beads around your neck?
I'm goin' to the shrink so he can help me be a nervous wreck . . .
Besides its inherent song-based memories, there's the idea that this used to be a staple of free form FM radio in the 70s when DJs played whatever was new and cool, regardless of length. And then there was, about 11pm, "Headphones Only" where you'd plug em in and lay there and listen to something new, like Autobahn, and it would blow your mind...
I wholeheartedly concur re: headphone time. Thankfully, I get to listen to my Sennheiser cans all day at work as I enjoy RP. But... an RP-inspired playlist sure sounded awesome outdoors on my JBL EON PA speakers this Labor Day past.
(Sounds like LR got some extended use of the monkeys sound effect he used in Lost In the Woods.)
I have not found a PT/SW song I don't enjoy. He has and they have become such a great part of my musical life. I still can't believe they have not reached the ultimate in startdom. They are up there with the best rock bands ever to grace a stage.
snitramc wrote: This is where Pink Floyd jumped the shark. Two songs repeated endlessly for four whole vinyl sides. I got really tired of listening to Roger, Nick et al apologize continuously to Syd for being so great. And god knows, they were great; saw 'em live twice and it was a life changing experience ('course, it might have been the blotter). But sadly no, this is not Floyd. Not even close. And the worms ate into his brain....
Before Rick Wright passed, there was a MySpace page that was ostensibly his. On it he had a personal that read:
Looking for a bass player who doesn't always write songs about his dad.
Nice guitar. Beautiful ode. Another unpreviously unknown performer.
The sounds he knocks out are like those of Gerry Leonard, who can be heard on one or two Jonatha Brooke CDs, among many, many other places. He also has a solo CD out.
For some reason, in the six years since this eloquent comment's appearance, no one has made note of the fact that "it's outdated" is two words, not one. The comment is outdated, not this song. Sorry kids, your lack of knowledge of this band and their place in history doesn't render them "outdated".
Roger that!
(PS: I can't believe all of the low scores! A 4.9 for this masterpiece?)
A gorgeous belly dancing friend of mine introduced me to Loreena McKennitt. Now i see her dancing in my head when i listen to her music ...what's not to like?
John was a big fan of Lewis Carroll and of wordplay in general. According to one account, this was JL sitting down with an old school chum and writing non-sensical lyrics to deliberately baffle the music critics, they latter being fond of citing "Aeolian cadences" and other poppycock in the Beatles' work. The eggman reference is to Eric Burdon, who reportedly has a proclivity for cracking raw eggs on his bed partners before "the act."
Artistically, there is much more here than meets the (dead dog's) eye.
See the video; Monterey Pop....is it out on DVD yet? Highly recommended!
Yes. I rented it from Netflix about a year ago. Be sure to get the complete set; the extra bits with interviews with Lou Adler, et al., were very interesting. And it was from a rare book by (Beatles press agent) Derek Taylor that I learned that, aside from Adler and John Phillips, Johnny Rivers was also one of those involved in helping organize the concert. And apparently it was Sir Paul who recommended they get one (then-unknown in the U.S,) Jimi Hendrix Experience on the bill.
And while this may be a big DOH! for some of you, only in watching the concert DVD did it finally dawn on me who Eric Burdon was singing about in the lyric, His majesty, Prince Jones, smiled as he moved among the crowd. (I hadn't yet put two and two together regarding this line.)
In a Cream DVD I rented, EC acknowledges that they weren't there because Stiggy (Robert Stigwood) didn't think the timing was right! (It didn't matter, though, as Bill Graham would soon book the group for an unprecedented two weeks at the original Fillmore.)
AFA Janis goes, the performance of hers that really put me away was in yet another DVD, Festival Express.
Where else could I learn that Iggy Pop wrote this and Stevie Ray Vaughan played lead guitar on it? (I know, I know, the album.) RP, naturally! Thanks, you guys. I love this place!
So come tour Miami ("an elegant coma") with Mr. Pop.
HeyMickey wrote: Oh Lord yes! I haven't heard Michael Franks since... forever I guess. Now let's get Popsicle Toes in the playlist. God, I hate that song!
What kind of Jag ? A Jag Jag ? A British Leyland Jag ? Or a Ford Jag ? Or a Mick Jag ?
Well, if you really must know, I wasn't listening to RP in the car when I owned the Jag. I didn't have a long-enough Ethernet cable and the wireless signal stength was a bit weak. I also didn't have enough WEP codes to make the audio portion worthwhile. Sigh....
It was a Jag Jag; a used, 6-cylinder '95 XJS convertible that had 40K miles on it when I got 'er. Bosch electronics (not those from the English "Prince of Darkness"). It was a fun car, but as any Jag owner will tell you, it's a costly automobile to attempt (operative word) to keep on the road. As it turned out, mine had its passenger footwell flooded by its former owner, rendering the ECU somewhat errant. After I did the same, the car would no longer pass CA emissions. In an attempt to locate a used or rebuilt ECU, I got scammed by a Jacksonville, FL, auto parts supplier specializing in Internet consumer fraud. I finally just donated the car to our local NPR affiliate and took a ridiculously low tax deduction as my solace.
I'm relaying this story to possibly save some readers the same grief this Internet fraud episode caused me. Had I initially used Google Earth, I would have discovered that the actual location posted on the 'Net was a trailer in a construction yard—NOT a large two-story building that made these crooks appear trustworthy.
What does this have to do with Broose? Well, we both like cool cars, but there the similarity ends in relation to most of his songs.
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agreed
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this is really awful.
You're referring to the Let It Be sessions at Twickingham Studios.
All rights reserved.JPG)
.....
Yes! And he made Jagger look like a wimp..jpg)
how it came to pass that they're topping the AF/Calexico bill in Berkeley next month! To my ears, Calexico could easily carry the entire show by themselves. 
You don't think we can handle it Bill?
He stopped being "Stevie" Winwood upon his founding of Traffic.
. True, blues is a pure form of "folk" music, but it strikes me as funny nevertheless.
Now that's asking for a caption competition 
Such a happy song!
It's got a certain Lucinda quality to it.....
Ed Sullivan insists the Rolling Stones sing Let's Spend Some Time Together....
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