Elijah Blue elijahblue@gmail.com 4ecea39363ce03d87b4ff4a5d7b40f89435517f0 Boulder CO 80304 NORFOLK ISLAND elijahblue@gmail.com Dead Guy Hippie Shit DJ Dude HIPPIE SHIT MUSIC. With some dead guys thrown in there for good measure. Generally PG13 but sometimes moves into R territory. Dead Guy Hippie Sh*t Show http://www.clickcaster.com/dghs Elijah Blue Elijah Blue elijahblue@gmail.com Music from dead guys and hippie sh*t music from the ages. 50's to today. No commercials, Just Great music. no 60s b dead deadguy deadguys freelove grateful hippie hippieshit music phish r rock soul http://www.clickcaster.com/channels/dghs/thumbnail.jpeg Dead Guy Hippie Sh*t Show http://www.clickcaster.com/dghs en-US Standard US Copyright Sat, 04 Oct 2008 10:33:00 -0500 ClickCaster FeedGenerator v3.0 DGHS-Little Feat Live 1976 Winterland - "Rampant Syncopatio" Sam Clayton - percussion, vocals
Lowell George - guitar, vocals
Kenny Gradney - bass
Ritchie Hayward - drums, vocals
Bill Payne - keyboards, vocals

Few bands that formed in the early 1970s have managed to survive and continue touring to the present day. Little Feat is one of the few that have, in no small part due to their outstanding musicianship and the idiosyncratic songwriting of founding member, Lowell George, which has stood the test of time.

This 1976 Winterland performance is one of the finest examples of Little Feat during the prime years of Lowell George, when the group had established a reputation as one of the most exciting and original bands on the planet. Lowell George's innate ability to craft songs with sophisticated melodies and intriguing lyrics, as well as the high production standards on the groups studio recordings, were key to the group's popularity and longevity. However, it was concert performances, such as this one, that truly established such a dedicated fan base that remains to the present day.

This concert, when Little Feat was opening for Electric Light Orchestra, remains one of their most legendary performances. Broadcast live on KSAN radio, parts of this performance were immediately bootlegged to vinyl and rapidly began circulating under various titles, the most common being "Rampant Syncopatio" and "Chinese Bejeezus," titles rumored to have been supplied by Lowell George himself.

It's no wonder that this performance became so popular, as it captures the band at the peak of the "Lowell George era," promoting the release of The Last Record Album. This album signaled the emergence of jazzier elements being incorporated into the bands sound, as well as stronger contributions from guitarist Paul Barrere and keyboardist Bill Payne, which added greater diversity to the group’s material.

The recording kicks off with a smokin' version of "Apolitical Blues," followed by a double dose of funky New Orleans flavored rock, with sizzling takes of "Skin It Back" transitioning into "Fat Man In The Bathtub." This establishes a deep groove that continues to intensify as the set progresses.

The middle of the set features several outstanding new songs by Barrere and Payne, "One Love Stand" and "All That You Dream," proving them a songwriting force to be reckoned with. Sandwiched between is an outstanding performance of Allen Toussaint's classic "On Your Way Down."

As great as this aforementioned material is, the set rises to another level entirely, when the band launches into "Cold, Cold, Cold." This is Lowell George at his most astounding; not only singing like his life depended on it, but playing devastatingly great slide guitar. His slide guitar technique, which utilized a Sears & Roebuck 11/16ths spark-plug socket wrench rather than the traditional glass or steel finger tube, is absolutely incredible here and utterly unique.

"Cold, Cold Cold" gives way to the ever popular "Dixie Chicken," one of the bands most popular songs, here featuring an extended jam that lets the band stretch out a bit. This eventually builds in intensity and transforms into a searing version of "Tripe Face Boogie." A solo section, first showcasing the percussion stylings of Sam Clayton and Richie Hayward, followed by an impressive keyboard improvisation by Bill Payne, is featured before they finish pummeling the audience into submission with the conclusion of "Tripe Face Boogie."

Seemingly in no hurry to hear the headliners, Electric Light Orchestra, the Winterland audience clamors for more. The band returns to the stage and Lowell leads them through the composition that helped facilitate him leaving The Mothers of Invention and forming Little Feat in the first place, "Willin'." (He elaborates on this prior to beginning the song.)

They close this incredible set with a ferocious take of "Teenage Nervous Breakdown."]]> Sat, 04 Oct 2008 10:33:00 -0500 http://www.clickcaster.com/items/dghs-little-feat-live-1976-winterland----rampant-syncopatio http://www.clickcaster.com/items/dghs-little-feat-live-1976-winterland----rampant-syncopatio http://www.clickcaster.com/items/dghs-little-feat-live-1976-winterland----rampant-syncopatio 3546179 Paul Barrere - guitar, vocals Sam Clayton - percussion, vocals Lowell George - guitar, vocals Kenny Gradney - bass Ritchie Hayward - drums, vocals Bill Payne - keyboards, vocals Few bands that formed in the early 1970s have managed to survive and continue touring to the present day. Little Feat is one of the few that have, in no small part due to their outstanding musicianship and the idiosyncratic songwriting of founding member, Lowell George, which has stood the test of time. This 1976 Winterland performance is one of the finest examples of Little Feat during the prime years of Lowell George, when the group had established a reputation as one of the most exciting and original bands on the planet. Lowell George's innate ability to craft songs with sophisticated melodies and intriguing lyrics, as well as the high production standards on the groups studio recordings, were key to the group's popularity and longevity. However, it was concert performances, such as this one, that truly established such a dedicated fan base that remains to the present day. This concert, when Little Feat was opening for Electric Light Orchestra, remains one of their most legendary performances. Broadcast live on KSAN radio, parts of this performance were immediately bootlegged to vinyl and rapidly began circulating under various titles, the most common being "Rampant Syncopatio" and "Chinese Bejeezus," titles rumored to have been supplied by Lowell George himself. It's no wonder that this performance became so popular, as it captures the band at the peak of the "Lowell George era," promoting the release of The Last Record Album. This album signaled the emergence of jazzier elements being incorporated into the bands sound, as well as stronger contributions from guitarist Paul Barrere and keyboardist Bill Payne, which added greater diversity to the group’s material. The recording kicks off with a smokin' version of "Apolitical Blues," followed by a double dose of funky New Orleans flavored rock, with sizzling takes of "Skin It Back" transitioning into "Fat Man In The Bathtub." This establishes a deep groove that continues to intensify as the set progresses. The middle of the set features several outstanding new songs by Barrere and Payne, "One Love Stand" and "All That You Dream," proving them a songwriting force to be reckoned with. Sandwiched between is an outstanding performance of Allen Toussaint's classic "On Your Way Down." As great as this aforementioned material is, the set rises to another level entirely, when the band launches into "Cold, Cold, Cold." This is Lowell George at his most astounding; not only singing like his life depended on it, but playing devastatingly great slide guitar. His slide guitar technique, which utilized a Sears & Roebuck 11/16ths spark-plug socket wrench rather than the traditional glass or steel finger tube, is absolutely incredible here and utterly unique. "Cold, Cold Cold" gives way to the ever popular "Dixie Chicken," one of the bands most popular songs, here featuring an extended jam that lets the band stretch out a bit. This eventually builds in intensity and transforms into a searing version of "Tripe Face Boogie." A solo section, first showcasing the percussion stylings of Sam Clayton and Richie Hayward, followed by an impressive keyboard improvisation by Bill Payne, is featured before they finish pummeling the audience into submission with the conclusion of "Tripe Face Boogie." Seemingly in no hurry to hear the headliners, Electric Light Orchestra, the Winterland audience clamors for more. The band returns to the stage and Lowell leads them through the composition that helped facilitate him leaving The Mothers of Invention and forming Little Feat in the first place, "Willin'." (He elaborates on this prior to beginning the song.) They close this incredible set with a ferocious take of "Teenage Nervous Breakdown." no 1:13:54 DGHS-Little Feat Live 1976 Winterland - "Rampant Syncopatio" Paul Barrere - guitar, vocals Sam Clayton - percussion, vocals Lowell George - guitar, vocals Kenny Gradney - bass Ritchie Hayward - drums, vocals Bill Payne - keyboards, vocals Few bands that formed in the early 1970s have managed to survive and continue touring to the present day. Little Feat is one of the few that have, in no small part due to their outstanding musicianship and the idiosyncratic songwriting of founding member, Lowell George, which has stood the test of time. This 1976 Winterland performance is one of the finest examples of Little Feat during the prime years of Lowell George, when the group had established a reputation as one of the most exciting and original bands on the planet. Lowell George's innate ability to craft songs with sophisticated melodies and intriguing lyrics, as well as the high production standards on the groups studio recordings, were key to the group's popularity and longevity. However, it was concert performances, such as this one, that truly established such a dedicated fan base that remains to the present day. This concert, when Little Feat was opening for Electric Light Orchestra, remains one of their most legendary performances. Broadcast live on KSAN radio, parts of this performance were immediately bootlegged to vinyl and rapidly began circulating under various titles, the most common being "Rampant Syncopatio" and "Chinese Bejeezus," titles rumored to have been supplied by Lowell George himself. It's no wonder that this performance became so popular, as it captures the band at the peak of the "Lowell George era," promoting the release of The Last Record Album. This album signaled the emergence of jazzier elements being incorporated into the bands sound, as well as stronger contributions from guitarist Paul Barrere and keyboardist Bill Payne, which added greater diversity to the group’s material. The recording kicks off with a smokin' version of "Apolitical Blues," followed by a double dose of funky New Orleans flavored rock, with sizzling takes of "Skin It Back" transitioning into "Fat Man In The Bathtub." This establishes a deep groove that continues to intensify as the set progresses. The middle of the set features several outstanding new songs by Barrere and Payne, "One Love Stand" and "All That You Dream," proving them a songwriting force to be reckoned with. Sandwiched between is an outstanding performance of Allen Toussaint's classic "On Your Way Down." As great as this aforementioned material is, the set rises to another level entirely, when the band launches into "Cold, Cold, Cold." This is Lowell George at his most astounding; not only singing like his life depended on it, but playing devastatingly great slide guitar. His slide guitar technique, which utilized a Sears & Roebuck 11/16ths spark-plug socket wrench rather than the traditional glass or steel finger tube, is absolutely incredible here and utterly unique. "Cold, Cold Cold" gives way to the ever popular "Dixie Chicken," one of the bands most popular songs, here featuring an extended jam that lets the band stretch out a bit. This eventually builds in intensity and transforms into a searing version of "Tripe Face Boogie." A solo section, first showcasing the percussion stylings of Sam Clayton and Richie Hayward, followed by an impressive keyboard improvisation by Bill Payne, is featured before they finish pummeling the audience into submission with the conclusion of "Tripe Face Boogie." Seemingly in no hurry to hear the headliners, Electric Light Orchestra, the Winterland audience clamors for more. The band returns to the stage and Lowell leads them through the composition that helped facilitate him leaving The Mothers of Invention and forming Little Feat in the first place, "Willin'." (He elaborates on this prior to beginning the song.) They close this incredible set with a ferocious take of "Teenage Nervous Breakdown." DGHS- Neil Young and Crazy Horse-live 1970 at the Filmore East. Neil Young - vocals, guitar
Danny Whitten - vocals, guitar
Ralph Molina - drums
Billy Talbot - bass
Jack Nitzsche - piano

 

Come On Baby Let's Go Downtown

Wonderin

Every Knows This Is Nowhere

Down By The River

Winterlong

Cinnamon Girl

Cowgirl In The Sand

Two words for Crosby, Stills and Nash - Crazy Horse! This is rock 'n' roll as it was meant to be played: barely in tune and teetering on the brink of oblivion. It's no wonder Neil Young preferred rockin’ in the free world with these guys over CSN’s cuddle-folk round-up (Joni Mitchell covers?!... Pleeze!). You can hear the blood and sweat in every stuttering guitar jab, Danny Whitten’s raspy tenor the perfect counterpoint to Neil’s wavering holler.

The band had recently been plucked from obscurity as a Laurel Canyon garage band and the Horse is in fine form during this appearance at the Fillmore East in March of 1970. Maybe it was the opening set by Miles Davis that night that inspired them, or maybe it was just their way, but Neil and Co. hit the stage with both barrels blazing on "Come On, Baby, Let’s Go Downtown." That’s Whitten on lead vocal. The set list leans heavily on songs from Neil’s first release featuring Crazy Horse, 1969’s Everybody Knows This is Nowhere, but also includes a stunningly ragged version of live favorite "Winterlong," and an early rendition of a song called "Wonderin’" that you may have only heard before if you were one of the 20 or so faithful that actually purchased Everybody’s Rockin'.

With an equal measure of barroom swagger and West Coast psychedelia, there’s a youthful exuberance to this show that’s missing from later, bleary-eyed live shows. Though the recording is a a little rough around the edges, low fidelity suits these boys just fine, as long as everyone starts and ends the song at the same time, and adds a little passion and fury in between.

What you Hear here is Neil Young and Crazy Horse when they were still young and hungry - right out of the starting gates with something to prove.  Hope you enjoyed it.

]]> Sun, 28 Sep 2008 23:06:00 -0500 http://www.clickcaster.com/items/dghs--neil-young-and-crazy-horse-live-1970-at-the-filmore-east http://www.clickcaster.com/items/dghs--neil-young-and-crazy-horse-live-1970-at-the-filmore-east http://www.clickcaster.com/items/dghs--neil-young-and-crazy-horse-live-1970-at-the-filmore-east 3546175 Neil Young - vocals, guitar Danny Whitten - vocals, guitar Ralph Molina - drums Billy Talbot - bass Jack Nitzsche - piano Come On Baby Let's Go DowntownWonderinEvery Knows This Is NowhereDown By The RiverWinterlongCinnamon GirlCowgirl In The SandTwo words for Crosby, Stills and Nash - Crazy Horse! This is rock 'n' roll as it was meant to be played: barely in tune and teetering on the brink of oblivion. It's no wonder Neil Young preferred rockin’ in the free world with these guys over CSN’s cuddle-folk round-up (Joni Mitchell covers?!... Pleeze!). You can hear the blood and sweat in every stuttering guitar jab, Danny Whitten’s raspy tenor the perfect counterpoint to Neil’s wavering holler.The band had recently been plucked from obscurity as a Laurel Canyon garage band and the Horse is in fine form during this appearance at the Fillmore East in March of 1970. Maybe it was the opening set by Miles Davis that night that inspired them, or maybe it was just their way, but Neil and Co. hit the stage with both barrels blazing on "Come On, Baby, Let’s Go Downtown." That’s Whitten on lead vocal. The set list leans heavily on songs from Neil’s first release featuring Crazy Horse, 1969’s Everybody Knows This is Nowhere, but also includes a stunningly ragged version of live favorite "Winterlong," and an early rendition of a song called "Wonderin’" that you may have only heard before if you were one of the 20 or so faithful that actually purchased Everybody’s Rockin'. With an equal measure of barroom swagger and West Coast psychedelia, there’s a youthful exuberance to this show that’s missing from later, bleary-eyed live shows. Though the recording is a a little rough around the edges, low fidelity suits these boys just fine, as long as everyone starts and ends the song at the same time, and adds a little passion and fury in between. What you Hear here is Neil Young and Crazy Horse when they were still young and hungry - right out of the starting gates with something to prove.  Hope you enjoyed it. no 48:51 DGHS- Neil Young and Crazy Horse-live 1970 at the Filmore East. Neil Young - vocals, guitar Danny Whitten - vocals, guitar Ralph Molina - drums Billy Talbot - bass Jack Nitzsche - piano Come On Baby Let's Go DowntownWonderinEvery Knows This Is NowhereDown By The RiverWinterlongCinnamon GirlCowgirl In The SandTwo words for Crosby, Stills and Nash - Crazy Horse! This is rock 'n' roll as it was meant to be played: barely in tune and teetering on the brink of oblivion. It's no wonder Neil Young preferred rockin’ in the free world with these guys over CSN’s cuddle-folk round-up (Joni Mitchell covers?!... Pleeze!). You can hear the blood and sweat in every stuttering guitar jab, Danny Whitten’s raspy tenor the perfect counterpoint to Neil’s wavering holler.The band had recently been plucked from obscurity as a Laurel Canyon garage band and the Horse is in fine form during this appearance at the Fillmore East in March of 1970. Maybe it was the opening set by Miles Davis that night that inspired them, or maybe it was just their way, but Neil and Co. hit the stage with both barrels blazing on "Come On, Baby, Let’s Go Downtown." That’s Whitten on lead vocal. The set list leans heavily on songs from Neil’s first release featuring Crazy Horse, 1969’s Everybody Knows This is Nowhere, but also includes a stunningly ragged version of live favorite "Winterlong," and an early rendition of a song called "Wonderin’" that you may have only heard before if you were one of the 20 or so faithful that actually purchased Everybody’s Rockin'. With an equal measure of barroom swagger and West Coast psychedelia, there’s a youthful exuberance to this show that’s missing from later, bleary-eyed live shows. Though the recording is a a little rough around the edges, low fidelity suits these boys just fine, as long as everyone starts and ends the song at the same time, and adds a little passion and fury in between. What you Hear here is Neil Young and Crazy Horse when they were still young and hungry - right out of the starting gates with something to prove.  Hope you enjoyed it. DGHS Bluesy Funky Stuff
Today... FUNK and a touch of blues.. with a dash of soul.

Chug Chug Chug A Lug by The Meters
It's Your Thing by Cold Grits
Bold Soul Sister, Bold Soul Brother by Black On White Affair
Good Old Funky Music by The Meters
Moonshine Heather-Taken Care of Business by Parliament
Cold Bear by The Gaturs
Express Yourself by Charles Wright & The Watts 103rd Street Rhythm Band
Doin' It by Papa Grows Funk
Liver Splash by The Meters
Un Homme Est Mort by Florian Keller
Sunny by Booker T. & The MG's
Lowdown Popcorn by James Brown (live)
Stretch Your Rubber Band by The Meters
A Dime Away From A Hotdog by Oscar Brown Jr.
Deep Soul Pt. 1 by Ron Buford
You Don't Love Me by Book T. & The MG's
Swamp Chomp by Diplomats of Solid Sound
Hands of My Love by The Quantic Soul Crchestra

]]> Fri, 19 Sep 2008 19:17:00 -0500 http://www.clickcaster.com/items/dghs-bluesy-funky-stuff http://www.clickcaster.com/items/dghs-bluesy-funky-stuff http://www.clickcaster.com/items/dghs-bluesy-funky-stuff 3545865 Yea.. I'm back.  Enough of you requested it that, apparently, it's worth it. Today... FUNK and a touch of blues.. with a dash of soul. Chug Chug Chug A Lug by The Meters It's Your Thing by Cold Grits Bold Soul Sister, Bold Soul Brother by Black On White Affair Good Old Funky Music by The Meters Moonshine Heather-Taken Care of Business by Parliament Cold Bear by The Gaturs Express Yourself by Charles Wright & The Watts 103rd Street Rhythm Band Doin' It by Papa Grows Funk Liver Splash by The Meters Un Homme Est Mort by Florian Keller Sunny by Booker T. & The MG's Lowdown Popcorn by James Brown (live) Stretch Your Rubber Band by The Meters A Dime Away From A Hotdog by Oscar Brown Jr. Deep Soul Pt. 1 by Ron Buford You Don't Love Me by Book T. & The MG's Swamp Chomp by Diplomats of Solid Sound Hands of My Love by The Quantic Soul Crchestra no 1:04:21 DGHS Bluesy Funky Stuff Yea.. I'm back.  Enough of you requested it that, apparently, it's worth it. Today... FUNK and a touch of blues.. with a dash of soul. Chug Chug Chug A Lug by The Meters It's Your Thing by Cold Grits Bold Soul Sister, Bold Soul Brother by Black On White Affair Good Old Funky Music by The Meters Moonshine Heather-Taken Care of Business by Parliament Cold Bear by The Gaturs Express Yourself by Charles Wright & The Watts 103rd Street Rhythm Band Doin' It by Papa Grows Funk Liver Splash by The Meters Un Homme Est Mort by Florian Keller Sunny by Booker T. & The MG's Lowdown Popcorn by James Brown (live) Stretch Your Rubber Band by The Meters A Dime Away From A Hotdog by Oscar Brown Jr. Deep Soul Pt. 1 by Ron Buford You Don't Love Me by Book T. & The MG's Swamp Chomp by Diplomats of Solid Sound Hands of My Love by The Quantic Soul Crchestra DGHS-Real Viynl Recordings Fri, 05 Sep 2008 21:21:00 -0500 http://www.clickcaster.com/items/dghs-real-viynl-recordings http://www.clickcaster.com/items/dghs-real-viynl-recordings http://www.clickcaster.com/items/dghs-real-viynl-recordings 3545221 Some great OLD viynl recordings played on a real record player.  Been more than a few years and some great stuff here. no 1:07:25 DGHS-Real Viynl Recordings Some great OLD viynl recordings played on a real record player.  Been more than a few years and some great stuff here. DGHS- Live Ringo Star and His All Star Band
Ringo Starr - vocals, drums
Greg Lake - bass, vocals
Roger Hodgson - guitar, vocals
Ian Hunter - guitar, vocals
Howard Jones - keyboards
Mark Rivera - saxophone
Sheila E. - drums

Playlist:
Photograph
Act Naturally
Logical Song
No One Is To Blame
yellow Submarine
Give a Little Bit
You're Sixteen
The NoNo Song
Back Off Boogaloo
The Glamorous Life
I Wanna Be Your Man
Lucky Man
Take The Long Way Home
All The Young Dudes
Don't Go Were The Road Don't Go
With A Little Help From My Friends

What can you really say about a single concert that successfully features “The Glamorous Life” and “Lucky Man,” “The Logical Song” and “The No-No Song,” “All The Young Dudes” and “No One Is To Blame”? Well, you can say this - thanks Ringo Starr, Sheila E., Greg Lake, Ian Hunter, Roger Hodgson, Howard Jones and Mark Rivera for a night of great music and fab fun.

If you think hard about it, Ringo Starr’s All-Star road trips shouldn’t work quite so well. And the 2001 edition of the All-Starrs - possibly the most eclectic traveling hot weather hit machine to ever grace a venue near you - was arguably the most unlikely package deal of all. Impressively, it was also the most entertaining and crowd-pleasing All-Star show yet.

There’s a valuable lesson here: don’t think so hard. Sometimes an idea is just crazy enough to work. This much I know first-hand: I’ve been a regular pilgrim to the All-Star extravaganza ever since they were inaugurated back in 1989, and the truth is that I’ve never for a moment regretted making the musical trip. Seven times now Ringo and his hand-picked boys of summer - and in 2001, the fairest All-Starr of all, Sheila E. - have shown the world what can be done with a bunch of beloved songs and a good deal of help from your friends, both old and new.

The 2001 edition of the All-Starrs - now happily documented on this King Biscuit release - was “the best 1-800-BAND you’ll see this year,” as Ringo told me with a grin when we sat in his lovely yard shortly before the seventh edition of the All-Starrs hit the road that August. “Everyone has their hits, and people come to see those people do the hits - me included - and to see the whole combination. And it’s always like, “What the hell is he going to play with those guys? Some people are like, ‘I’ve got to see that.’ But you know it’s worked for 12 years.’ Indeed it has. Roger Hodgson - who proved to be in stunning form on the tour as he sang some of those high-flying and still super Supertramp classics - openly addressed the All Starr’s curious but potent mix of players when his turn came to speak during the 2001 tour. As he wryly put it, “I tell ya, when I saw the list of the band this year and thought, how’s this gonna work? What a motley crew. But it’s been incredible. I don’t think any of us have had such a great time in a long time. I think what makes it so special is there is so much respect and support. I just love playing these guy’s songs.”

Right there is the simple brilliance of the entire All-Starr concept - with its spirit of support and no-filler set list. Life as an All-Starr takes these talented singers and players out of their own usual musical contexts, with whatever old tensions and rivalries may exist there. And when these familiar players are all thrown into a short-term, high-profile summer band, the collective mission becomes what it should always be: coming together, playing some good music, giving the audience a fine time.

Over the years this sort of back-to-basics approach has led to a significant breakthrough for many All-Starrs, none more so than the ever changing group’s benevolent leader himself. The truth is that the first All-Starr tour marked the public start of Ringo Starr’s heartening second coming as an entertainer, a singer, a songwriter and yes, a drummer. After too many years of being a self-described “lost boy,” a newly sober Ringo finally found himself again at the end of the Eighties. And it’s only fitting that he found himself right where he’s always belonged. Behind the drum set and in front of a crowd of people who can’t get enough of him.

One of my favorite Ringo Starr songs that All-Starr performed on the 2001 summer jaunt was “Don’t Go Where The Road Don’t Go.” In the end, this tune from the Time Takes Time album is much more than a winning, propulsive rocker - it’s also solid bit of advice. Ringo, here’s hoping you stay on the road forever. And while you’re at it, please don’t forget to take the rest of us along for a ride.

]]> Sun, 11 May 2008 12:40:00 -0500 http://www.clickcaster.com/items/dghs--live-ringo-star-and-his-all-star-band http://www.clickcaster.com/items/dghs--live-ringo-star-and-his-all-star-band http://www.clickcaster.com/items/dghs--live-ringo-star-and-his-all-star-band 3542000 Ton's o hits here. And, as usual with Ringo's traveling summer band of stars, lots of big names: Ringo Starr - vocals, drums Greg Lake - bass, vocals Roger Hodgson - guitar, vocals Ian Hunter - guitar, vocals Howard Jones - keyboards Mark Rivera - saxophone Sheila E. - drums Playlist: Photograph Act Naturally Logical Song No One Is To Blame yellow Submarine Give a Little Bit You're Sixteen The NoNo Song Back Off Boogaloo The Glamorous Life I Wanna Be Your Man Lucky Man Take The Long Way Home All The Young Dudes Don't Go Were The Road Don't Go With A Little Help From My Friends What can you really say about a single concert that successfully features “The Glamorous Life” and “Lucky Man,” “The Logical Song” and “The No-No Song,” “All The Young Dudes” and “No One Is To Blame”? Well, you can say this - thanks Ringo Starr, Sheila E., Greg Lake, Ian Hunter, Roger Hodgson, Howard Jones and Mark Rivera for a night of great music and fab fun.If you think hard about it, Ringo Starr’s All-Star road trips shouldn’t work quite so well. And the 2001 edition of the All-Starrs - possibly the most eclectic traveling hot weather hit machine to ever grace a venue near you - was arguably the most unlikely package deal of all. Impressively, it was also the most entertaining and crowd-pleasing All-Star show yet.There’s a valuable lesson here: don’t think so hard. Sometimes an idea is just crazy enough to work. This much I know first-hand: I’ve been a regular pilgrim to the All-Star extravaganza ever since they were inaugurated back in 1989, and the truth is that I’ve never for a moment regretted making the musical trip. Seven times now Ringo and his hand-picked boys of summer - and in 2001, the fairest All-Starr of all, Sheila E. - have shown the world what can be done with a bunch of beloved songs and a good deal of help from your friends, both old and new.The 2001 edition of the All-Starrs - now happily documented on this King Biscuit release - was “the best 1-800-BAND you’ll see this year,” as Ringo told me with a grin when we sat in his lovely yard shortly before the seventh edition of the All-Starrs hit the road that August. “Everyone has their hits, and people come to see those people do the hits - me included - and to see the whole combination. And it’s always like, “What the hell is he going to play with those guys? Some people are like, ‘I’ve got to see that.’ But you know it’s worked for 12 years.’ Indeed it has. Roger Hodgson - who proved to be in stunning form on the tour as he sang some of those high-flying and still super Supertramp classics - openly addressed the All Starr’s curious but potent mix of players when his turn came to speak during the 2001 tour. As he wryly put it, “I tell ya, when I saw the list of the band this year and thought, how’s this gonna work? What a motley crew. But it’s been incredible. I don’t think any of us have had such a great time in a long time. I think what makes it so special is there is so much respect and support. I just love playing these guy’s songs.”Right there is the simple brilliance of the entire All-Starr concept - with its spirit of support and no-filler set list. Life as an All-Starr takes these talented singers and players out of their own usual musical contexts, with whatever old tensions and rivalries may exist there. And when these familiar players are all thrown into a short-term, high-profile summer band, the collective mission becomes what it should always be: coming together, playing some good music, giving the audience a fine time.Over the years this sort of back-to-basics approach has led to a significant breakthrough for many All-Starrs, none more so than the ever changing group’s benevolent leader himself. The truth is that the first All-Starr tour marked the public start of Ringo Starr’s heartening second coming as an entertainer, a singer, a songwriter and yes, a drummer. After too many years of being a self-described “lost boy,” a newly sober Ringo finally found himse... no 1:14:31 DGHS- Live Ringo Star and His All Star Band Ton's o hits here. And, as usual with Ringo's traveling summer band of stars, lots of big names: Ringo Starr - vocals, drums Greg Lake - bass, vocals Roger Hodgson - guitar, vocals Ian Hunter - guitar, vocals Howard Jones - keyboards Mark Rivera - saxophone Sheila E. - drums Playlist: Photograph Act Naturally Logical Song No One Is To Blame yellow Submarine Give a Little Bit You're Sixteen The NoNo Song Back Off Boogaloo The Glamorous Life I Wanna Be Your Man Lucky Man Take The Long Way Home All The Young Dudes Don't Go Were The Road Don't Go With A Little Help From My Friends What can you really say about a single concert that successfully features “The Glamorous Life” and “Lucky Man,” “The Logical Song” and “The No-No Song,” “All The Young Dudes” and “No One Is To Blame”? Well, you can say this - thanks Ringo Starr, Sheila E., Greg Lake, Ian Hunter, Roger Hodgson, Howard Jones and Mark Rivera for a night of great music and fab fun.If you think hard about it, Ringo Starr’s All-Star road trips shouldn’t work quite so well. And the 2001 edition of the All-Starrs - possibly the most eclectic traveling hot weather hit machine to ever grace a venue near you - was arguably the most unlikely package deal of all. Impressively, it was also the most entertaining and crowd-pleasing All-Star show yet.There’s a valuable lesson here: don’t think so hard. Sometimes an idea is just crazy enough to work. This much I know first-hand: I’ve been a regular pilgrim to the All-Star extravaganza ever since they were inaugurated back in 1989, and the truth is that I’ve never for a moment regretted making the musical trip. Seven times now Ringo and his hand-picked boys of summer - and in 2001, the fairest All-Starr of all, Sheila E. - have shown the world what can be done with a bunch of beloved songs and a good deal of help from your friends, both old and new.The 2001 edition of the All-Starrs - now happily documented on this King Biscuit release - was “the best 1-800-BAND you’ll see this year,” as Ringo told me with a grin when we sat in his lovely yard shortly before the seventh edition of the All-Starrs hit the road that August. “Everyone has their hits, and people come to see those people do the hits - me included - and to see the whole combination. And it’s always like, “What the hell is he going to play with those guys? Some people are like, ‘I’ve got to see that.’ But you know it’s worked for 12 years.’ Indeed it has. Roger Hodgson - who proved to be in stunning form on the tour as he sang some of those high-flying and still super Supertramp classics - openly addressed the All Starr’s curious but potent mix of players when his turn came to speak during the 2001 tour. As he wryly put it, “I tell ya, when I saw the list of the band this year and thought, how’s this gonna work? What a motley crew. But it’s been incredible. I don’t think any of us have had such a great time in a long time. I think what makes it so special is there is so much respect and support. I just love playing these guy’s songs.”Right there is the simple brilliance of the entire All-Starr concept - with its spirit of support and no-filler set list. Life as an All-Starr takes these talented singers and players out of their own usual musical contexts, with whatever old tensions and rivalries may exist there. And when these familiar players are all thrown into a short-term, high-profile summer band, the collective mission becomes what it should always be: coming together, playing some good music, giving the audience a fine time.Over the years this sort of back-to-basics approach has led to a significant breakthrough for many All-Starrs, none more so than the ever changing group’s benevolent leader himself. The truth is that the first All-Starr tour marked the public start of Ringo Starr’s heartening second coming as an entertainer, a singer, a songwriter and yes, a drummer. After too many years of being a self-described “lost boy,” a newly sober Ringo finally found himself again at the end of the Eighties. And it’s only fitting that he found himself right where he’s always belonged. Behind the drum set and in front of a crowd of people who can’t get enough of him.One of my favorite Ringo Starr songs that All-Starr performed on the 2001 summer jaunt was “Don’t Go Where The Road Don’t Go.” In the end, this tune from the Time Takes Time album is much more than a winning, propulsive rocker - it’s also solid bit of advice. Ringo, here’s hoping you stay on the road forever. And while you’re at it, please don’t forget to take the rest of us along for a ride. DGHS- Live Blues Budy Guy & Junior Wells- New York 1978 Junior Wells - vocals, harmonica
Kenny Ray - bass
Douglas Fagen - tenor saxophone
Philip Guy - guitar
Merle Perkins - drums

Playlist:
Intro/Instrumental
Inflation
What My Mama Done Told Me
Untitled1
Untitled2
Junior Wells Intro/Low Down
Yonder's Wall
Last Night
Don't Start Me Talking
Closing Instrumental

In early January of 1978, Buddy Guy and the Junior Wells Blues Band took to the Bottom Line stage for a two-day showing of classic funky blues. At the time of this performance, both Buddy Guy and Junior Wells were renowned blues musicians—Buddy Guy a powerful guitarist who played with the likes of Jimi Hendrix and whom Eric Clapton once described as the best guitar player alive, and Junior Wells a notable Chicago blues singer and harmonica player who at 16 years old, was playing alongside Muddy Waters and other legendary jazz and blues figures. Needless to say, the dynamic presence of these two musical powerhouses crafted a soulful and invigorating onstage presence that this audience was clearly thrilled to be a part of.

Wells and Buddy Guy teamed up in 1965, commencing a long-running touring and recording partnership that ended in the 1990s, so by the time they played this show in New York City, they were comfortable with one another and certainly had a special onstage camaraderie. They released a number of blues albums together, most recently at the time of this show Live at Montreux in 1977, and the year following this performance they released Pleading the Blues.

This special performance is kicked off with an instrumental, funky horn-driven jam and goes into a soulful rendition of “Inflation” with Wells’ signature voice accenting a heavily instrumental composition. The crowd is highly enthusiastic and the palpable energy drives the performance along, with highlights including the 13-minute “What My Mama Done to Me,” during which Buddy Guy introduces the rest of the band, including his brother Philip on guitar. He effectively hushes the audience into submission and then effortless picks things up into the kind of emotive blues he became known for. Soon after, Junior Wells takes over and rocks out on the harmonica.

Overall, this is a wonderful testament to authentic funky blues delivered by two of the more influential figures in music.]]> Sat, 03 May 2008 16:17:00 -0500 http://www.clickcaster.com/items/dghs--live-blues-budy-guy---junior-wells--new-york-1978 http://www.clickcaster.com/items/dghs--live-blues-budy-guy---junior-wells--new-york-1978 http://www.clickcaster.com/items/dghs--live-blues-budy-guy---junior-wells--new-york-1978 3541737 Buddy Guy - guitar, vocals Junior Wells - vocals, harmonica Kenny Ray - bass Douglas Fagen - tenor saxophone Philip Guy - guitar Merle Perkins - drums Playlist: Intro/Instrumental Inflation What My Mama Done Told Me Untitled1 Untitled2 Junior Wells Intro/Low Down Yonder's Wall Last Night Don't Start Me Talking Closing Instrumental In early January of 1978, Buddy Guy and the Junior Wells Blues Band took to the Bottom Line stage for a two-day showing of classic funky blues. At the time of this performance, both Buddy Guy and Junior Wells were renowned blues musicians—Buddy Guy a powerful guitarist who played with the likes of Jimi Hendrix and whom Eric Clapton once described as the best guitar player alive, and Junior Wells a notable Chicago blues singer and harmonica player who at 16 years old, was playing alongside Muddy Waters and other legendary jazz and blues figures. Needless to say, the dynamic presence of these two musical powerhouses crafted a soulful and invigorating onstage presence that this audience was clearly thrilled to be a part of. Wells and Buddy Guy teamed up in 1965, commencing a long-running touring and recording partnership that ended in the 1990s, so by the time they played this show in New York City, they were comfortable with one another and certainly had a special onstage camaraderie. They released a number of blues albums together, most recently at the time of this show Live at Montreux in 1977, and the year following this performance they released Pleading the Blues. This special performance is kicked off with an instrumental, funky horn-driven jam and goes into a soulful rendition of “Inflation” with Wells’ signature voice accenting a heavily instrumental composition. The crowd is highly enthusiastic and the palpable energy drives the performance along, with highlights including the 13-minute “What My Mama Done to Me,” during which Buddy Guy introduces the rest of the band, including his brother Philip on guitar. He effectively hushes the audience into submission and then effortless picks things up into the kind of emotive blues he became known for. Soon after, Junior Wells takes over and rocks out on the harmonica. Overall, this is a wonderful testament to authentic funky blues delivered by two of the more influential figures in music. no 1:18:45 DGHS- Live Blues Budy Guy & Junior Wells- New York 1978 Buddy Guy - guitar, vocals Junior Wells - vocals, harmonica Kenny Ray - bass Douglas Fagen - tenor saxophone Philip Guy - guitar Merle Perkins - drums Playlist: Intro/Instrumental Inflation What My Mama Done Told Me Untitled1 Untitled2 Junior Wells Intro/Low Down Yonder's Wall Last Night Don't Start Me Talking Closing Instrumental In early January of 1978, Buddy Guy and the Junior Wells Blues Band took to the Bottom Line stage for a two-day showing of classic funky blues. At the time of this performance, both Buddy Guy and Junior Wells were renowned blues musicians—Buddy Guy a powerful guitarist who played with the likes of Jimi Hendrix and whom Eric Clapton once described as the best guitar player alive, and Junior Wells a notable Chicago blues singer and harmonica player who at 16 years old, was playing alongside Muddy Waters and other legendary jazz and blues figures. Needless to say, the dynamic presence of these two musical powerhouses crafted a soulful and invigorating onstage presence that this audience was clearly thrilled to be a part of. Wells and Buddy Guy teamed up in 1965, commencing a long-running touring and recording partnership that ended in the 1990s, so by the time they played this show in New York City, they were comfortable with one another and certainly had a special onstage camaraderie. They released a number of blues albums together, most recently at the time of this show Live at Montreux in 1977, and the year following this performance they released Pleading the Blues. This special performance is kicked off with an instrumental, funky horn-driven jam and goes into a soulful rendition of “Inflation” with Wells’ signature voice accenting a heavily instrumental composition. The crowd is highly enthusiastic and the palpable energy drives the performance along, with highlights including the 13-minute “What My Mama Done to Me,” during which Buddy Guy introduces the rest of the band, including his brother Philip on guitar. He effectively hushes the audience into submission and then effortless picks things up into the kind of emotive blues he became known for. Soon after, Junior Wells takes over and rocks out on the harmonica. Overall, this is a wonderful testament to authentic funky blues delivered by two of the more influential figures in music. DGHS Show...Lou Reed- Live in Liverpool- 1973 9/28/73

Lou Reed - vocals, guitar
Steve Hunter - guitar
Dick Wagner -guitar
Ray Colcord - organ
Prakash John - bass
Pentti Glan - drums

Playlist:
Intro into Vicious
How Do You Think It Feels
Caroline Says 1
I'm Waiting For The Man
Satelite Of Love
Walk On The Wild Side
Oh Jim
Heroin (incomplete)
White Light/WHite Heat
Rock & Roll


After the remarkable commercial success of Lou Reed's 1972 Transformer album, which contained his biggest hit, "Walk On The Wild Side," he then recorded the dark and depressing Berlin album, which although now acknowledged as a classic, was initially met with extremely unfavorable reactions. Nonetheless, Reed fully embraced the moment, deteriorating into alcohol and drug addiction and with David Bowie's Ziggy Stardust as a rough template, recreated himself as the "Rock 'n' Roll Animal," a caricature of what many perceived him to be. His self-deprecation and resentment fueled his performances during this time and the band he assembled helped to revamp his music, taking it to the level of arena rock, which was met with dismay from many of his Velvet Underground-era fan base. To this day, Lou Reed fans remain divided over this era and Reed's artistic validity on this tour. Still, it remains amongst Reed's most celebrated and controversial tours. The soaring guitars of Steve Hunter and Dick Wagner, swirling organ of Ray Colcord and thundering rhythm section of Peter Walsh and Pentti Glan, created high-voltage rock, leading many longtime fans to perceive the band as overpowering Reed. However, in retrospect, Reed and this band were a decade ahead of their time, blazing a path that many rock artists were soon to follow. The live album from this tour, Rock & Roll Animal, remains one of the most influential guitar albums in rock history. On this tour, Reed established a sardonic, indifferent and haunted druggy ambience that greatly contrasts with the grandiose and elaborate interplay of the two guitarists, capturing the ripe decadence of the time perfectly.

This set, recorded in the Beatles hometown of Liverpool England at the Empire Theatre, captures this remarkable band as they were hitting their stride and Reed was creating emotionally honest musical turbulence on stage. Although the revamped Velvet Underground material veers toward well-crafted stadium rock, this serves to accentuate the crisis Reed was dealing with at that time. He was now an artist too popular for the small venues and intimate audiences of the Velvet Underground-era, yet disdainful and downright hostile of performing before larger arena-rock audiences.

Reed’s set begins with the band developing one of their soon-to-be classic opening jams, applying it on this night to “Vicious,” rather than the more familiar “Sweet Jane.” The instrumental sparks fly through this opening sequence, clearly defining the sound of this band. Thanks to the dual guitar creativity of Hunter and Wagner, when Reed enters, the energy level is cranked way up. The ambiguousness of "How Do You Think It Feels" and "Caroline Says I," both from the Berlin album, follow in sneering style; both are studies of physical and mental suffering. A tough, undulating "I'm Waiting For The Man" is up next, taking this classic VU song to another level. In contrast, the "Satellite of Love" that follows is a dreamy, downright romantic ballad. Two of Reed’s most fully realized character studies follow with "Walk On The Wild Side” and "Oh Jim." The latter packs a serious punch before settling down into a haunting version of “Heroin.” Incomplete due to the master running out at the 45-minute mark, the cascading flow of music from this band engulfs the lyrics as Reed battles his way through the highs and lows of addiction.

When the recording resumes, Hunter and Wagner launch into a blistering version of “White Light/White Heat” to conclude the set. This is a powerful closer to the show, leaving the audience clamoring for an encore. Reed and his band oblige with a driving take on yet another Velvet Underground classic, “Rock & Roll.” Here, for the first time in this performance is a song with a glimmer of hope. In contrast to what preceded it, this is downright elative, becoming an anthem for the only thing that can save Reed's life, rock ‘n’ roll.

Regardless of how the shows on this tour were perceived at the time, something important was clearly going on here. The melding of Reed's unique brand of decadent, literate music with a big arena rock sound would eventually reach the masses in a way the Velvet Underground never could. The strange contrast between Reed's detached, blasé vocals and the hard rocking professionalism of his backup band is the essence of its appeal.]]> Sun, 20 Apr 2008 12:33:00 -0500 http://www.clickcaster.com/items/lou-reed--live-in-liverpool--1973 http://www.clickcaster.com/items/lou-reed--live-in-liverpool--1973 http://www.clickcaster.com/items/lou-reed--live-in-liverpool--1973 3541224 Recorded live at the Empire Theatre in Liverpool, England, Sept. 28th, 1973 9/28/73 Lou Reed - vocals, guitar Steve Hunter - guitar Dick Wagner -guitar Ray Colcord - organ Prakash John - bass Pentti Glan - drums Playlist: Intro into Vicious How Do You Think It Feels Caroline Says 1 I'm Waiting For The Man Satelite Of Love Walk On The Wild Side Oh Jim Heroin (incomplete) White Light/WHite Heat Rock & Roll After the remarkable commercial success of Lou Reed's 1972 Transformer album, which contained his biggest hit, "Walk On The Wild Side," he then recorded the dark and depressing Berlin album, which although now acknowledged as a classic, was initially met with extremely unfavorable reactions. Nonetheless, Reed fully embraced the moment, deteriorating into alcohol and drug addiction and with David Bowie's Ziggy Stardust as a rough template, recreated himself as the "Rock 'n' Roll Animal," a caricature of what many perceived him to be. His self-deprecation and resentment fueled his performances during this time and the band he assembled helped to revamp his music, taking it to the level of arena rock, which was met with dismay from many of his Velvet Underground-era fan base. To this day, Lou Reed fans remain divided over this era and Reed's artistic validity on this tour. Still, it remains amongst Reed's most celebrated and controversial tours. The soaring guitars of Steve Hunter and Dick Wagner, swirling organ of Ray Colcord and thundering rhythm section of Peter Walsh and Pentti Glan, created high-voltage rock, leading many longtime fans to perceive the band as overpowering Reed. However, in retrospect, Reed and this band were a decade ahead of their time, blazing a path that many rock artists were soon to follow. The live album from this tour, Rock & Roll Animal, remains one of the most influential guitar albums in rock history. On this tour, Reed established a sardonic, indifferent and haunted druggy ambience that greatly contrasts with the grandiose and elaborate interplay of the two guitarists, capturing the ripe decadence of the time perfectly. This set, recorded in the Beatles hometown of Liverpool England at the Empire Theatre, captures this remarkable band as they were hitting their stride and Reed was creating emotionally honest musical turbulence on stage. Although the revamped Velvet Underground material veers toward well-crafted stadium rock, this serves to accentuate the crisis Reed was dealing with at that time. He was now an artist too popular for the small venues and intimate audiences of the Velvet Underground-era, yet disdainful and downright hostile of performing before larger arena-rock audiences. Reed’s set begins with the band developing one of their soon-to-be classic opening jams, applying it on this night to “Vicious,” rather than the more familiar “Sweet Jane.” The instrumental sparks fly through this opening sequence, clearly defining the sound of this band. Thanks to the dual guitar creativity of Hunter and Wagner, when Reed enters, the energy level is cranked way up. The ambiguousness of "How Do You Think It Feels" and "Caroline Says I," both from the Berlin album, follow in sneering style; both are studies of physical and mental suffering. A tough, undulating "I'm Waiting For The Man" is up next, taking this classic VU song to another level. In contrast, the "Satellite of Love" that follows is a dreamy, downright romantic ballad. Two of Reed’s most fully realized character studies follow with "Walk On The Wild Side” and "Oh Jim." The latter packs a serious punch before settling down into a haunting version of “Heroin.” Incomplete due to the master running out at the 45-minute mark, the cascading flow of music from this band engulfs the lyrics as Reed battles his way through the highs and lows of addiction. When the recording resumes, Hunter and Wagner launch into a blistering version of “White Light/White Heat” to conclude the set. This is a powerful closer to the show, leaving the audi... no 1:00:39 DGHS Show...Lou Reed- Live in Liverpool- 1973 Recorded live at the Empire Theatre in Liverpool, England, Sept. 28th, 1973 9/28/73 Lou Reed - vocals, guitar Steve Hunter - guitar Dick Wagner -guitar Ray Colcord - organ Prakash John - bass Pentti Glan - drums Playlist: Intro into Vicious How Do You Think It Feels Caroline Says 1 I'm Waiting For The Man Satelite Of Love Walk On The Wild Side Oh Jim Heroin (incomplete) White Light/WHite Heat Rock & Roll After the remarkable commercial success of Lou Reed's 1972 Transformer album, which contained his biggest hit, "Walk On The Wild Side," he then recorded the dark and depressing Berlin album, which although now acknowledged as a classic, was initially met with extremely unfavorable reactions. Nonetheless, Reed fully embraced the moment, deteriorating into alcohol and drug addiction and with David Bowie's Ziggy Stardust as a rough template, recreated himself as the "Rock 'n' Roll Animal," a caricature of what many perceived him to be. His self-deprecation and resentment fueled his performances during this time and the band he assembled helped to revamp his music, taking it to the level of arena rock, which was met with dismay from many of his Velvet Underground-era fan base. To this day, Lou Reed fans remain divided over this era and Reed's artistic validity on this tour. Still, it remains amongst Reed's most celebrated and controversial tours. The soaring guitars of Steve Hunter and Dick Wagner, swirling organ of Ray Colcord and thundering rhythm section of Peter Walsh and Pentti Glan, created high-voltage rock, leading many longtime fans to perceive the band as overpowering Reed. However, in retrospect, Reed and this band were a decade ahead of their time, blazing a path that many rock artists were soon to follow. The live album from this tour, Rock & Roll Animal, remains one of the most influential guitar albums in rock history. On this tour, Reed established a sardonic, indifferent and haunted druggy ambience that greatly contrasts with the grandiose and elaborate interplay of the two guitarists, capturing the ripe decadence of the time perfectly. This set, recorded in the Beatles hometown of Liverpool England at the Empire Theatre, captures this remarkable band as they were hitting their stride and Reed was creating emotionally honest musical turbulence on stage. Although the revamped Velvet Underground material veers toward well-crafted stadium rock, this serves to accentuate the crisis Reed was dealing with at that time. He was now an artist too popular for the small venues and intimate audiences of the Velvet Underground-era, yet disdainful and downright hostile of performing before larger arena-rock audiences. Reed’s set begins with the band developing one of their soon-to-be classic opening jams, applying it on this night to “Vicious,” rather than the more familiar “Sweet Jane.” The instrumental sparks fly through this opening sequence, clearly defining the sound of this band. Thanks to the dual guitar creativity of Hunter and Wagner, when Reed enters, the energy level is cranked way up. The ambiguousness of "How Do You Think It Feels" and "Caroline Says I," both from the Berlin album, follow in sneering style; both are studies of physical and mental suffering. A tough, undulating "I'm Waiting For The Man" is up next, taking this classic VU song to another level. In contrast, the "Satellite of Love" that follows is a dreamy, downright romantic ballad. Two of Reed’s most fully realized character studies follow with "Walk On The Wild Side” and "Oh Jim." The latter packs a serious punch before settling down into a haunting version of “Heroin.” Incomplete due to the master running out at the 45-minute mark, the cascading flow of music from this band engulfs the lyrics as Reed battles his way through the highs and lows of addiction. When the recording resumes, Hunter and Wagner launch into a blistering version of “White Light/White Heat” to conclude the set. This is a powerful closer to the show, leaving the audience clamoring for an encore. Reed and his band oblige with a driving take on yet another Velvet Underground classic, “Rock & Roll.” Here, for the first time in this performance is a song with a glimmer of hope. In contrast to what preceded it, this is downright elative, becoming an anthem for the only thing that can save Reed's life, rock ‘n’ roll. Regardless of how the shows on this tour were perceived at the time, something important was clearly going on here. The melding of Reed's unique brand of decadent, literate music with a big arena rock sound would eventually reach the masses in a way the Velvet Underground never could. The strange contrast between Reed's detached, blasé vocals and the hard rocking professionalism of his backup band is the essence of its appeal. Pink Floyd Live- Oakland Coliseum Arena- 1977 with some band comments at the end. David Gilmour - guitar, vocals
Rick Wright - keyboards, vocals
Nick Mason - drums
Dick Parry - sax, keyboards
Snowy White - guitar, bass

Playlist:

Pigs (Three Different Ones)
Shine On You Crazy Diamond (pt1)
Welcome to the Machine
Have a Cigar
Wish You Were Here
Shine On You Crazy Diamond (pt2)
Money
Us and Them

Pink Floyd's 1977 tour is widely considered to be one of the band's most memorable. Following the truly massive sales of Dark Side Of The Moon and Wish You Were Here, the Animals album had not been as commercially successful, but the group's popularity was at an all-time peak. The tour sold out arenas and stadiums across North America and Europe, eclipsing all previous scale and attendance records. The tour was also the first since 1972 that the group did not use backing singers, with the only augmentation to the core band being Snowy White adding guitar and occasional bass parts and Dick Parry playing sax and occasional keyboards. The shows were structured so that the band played the Animals album, in a different sequence, during the first set and following an intermission, performed the entire Wish You Were Here album in its exact running order. The encore would usually consist of either “Money” or “Us And Them” from Dark Side Of The Moon.

With technology and audiences both at a monumental scale, the tour was not without problems. Technical issues plagued many of the shows and audience members were often disruptive by yelling and screaming during quiet passages or by setting off fireworks. However, when the band landed in California for a two-night stand at the Oakland Coliseum, these were not issues. The first night, May 9, 1977, is often considered to be one of the greatest performances of the band's career. The band members seemed to enjoy the show just as much as their rapt audience. This show turned out to be the longest of any show on the tour, with the band delivering two powerful sets, followed by both Dark Side Of The Moon songs. The audience was so enthusiastic that the group returned to the stage and performed "Careful With That Axe, Eugene" for the first time since 1973 and for last time ever.

Bill Graham's partial soundboard recording of this legendary performance begins near the end of the first set, approximately eight minutes into the final sequence of "Pigs (Three Different Ones)." The piece is relaxed but focused, with Rick Wright's spooky synth and one of the band's heavier jams highlighting this set-ending performance.

Following the intermission, the show resumes with the Wish You Were Here album performed in its entirety. Fans of this album will be thoroughly delighted as this is a near flawless performance, with all the songs held together by extended sonic interludes. Prior to the vocals, the first part of "Shine On You Crazy Diamond" has a distinctly bluesier edge than its studio counterpart and David Gilmour's guitar playing remains superb throughout the set. He even approaches jazz territory in his soloing during the later parts of this song, when they return to it later in the set. In between are poignant renditions of "Welcome To The Machine" and "Wish You Were Here" and a truly powerful performance of "Have A Cigar." On the latter, Roger Waters and David Gilmour are both laughing through much of the first verse, further exemplifying the camaraderie and good feelings that permeate this night's performance. Something that went afoul after the wild success of Water's "The Wall" (and let's face it, PF was his back up band for that album... and he knew it). Too bad it turned him into an raging egotistical dickhead for the rest of his life (at least, to date).

Following the Wish You Were Here album and an overwhelming roar of approval, Pink Floyd offers the audience a double dose from Dark Side Of The Moon. It begins with the familiar sound of change hitting a cash register. "Money" lasts a full ten minutes and features a memorable jam within. Waters informs the audience that the last song will be quiet one and the familiar synth sound leads into the spacey free-floating groove of "Us And Them" to close the show. Unfortunately, the soundboard tape runs out a few minutes in.

Certainly one of the strongest, most cohesive performances of the 1977 Tour and possibly the greatest performance of the Wish You Were Here album ever. The group would never perform another tour that so richly emphasized this material. They would also be augmented by additional musicians on future concerts, diluting the sound of the core band. Many fans consider this tour to be the greatest of the band's career and this concert to be the definitive show of that tour.

Ending this show are two short interview clips with Gilmore and Waters after the bad broke up. One of Gilmore saying 'sure.. I'd do more PF work' and Waters putting a clear and sold 'No Frakkin way' on it.

We'll see on that.

The Police pulled in over a quarter of a Billion (yea.. Billion) dollars last year with their reunion tour with Sting and Copeland hating each other's guts. Imagine what PF could pull in. Half a Billion? I wouldn't be surprised.]]> Sun, 13 Apr 2008 17:02:00 -0500 http://www.clickcaster.com/items/pink-floyd-live--oakland-coliseum-arena--1977-with-some-band-comments-at-the-end http://www.clickcaster.com/items/pink-floyd-live--oakland-coliseum-arena--1977-with-some-band-comments-at-the-end http://www.clickcaster.com/items/pink-floyd-live--oakland-coliseum-arena--1977-with-some-band-comments-at-the-end 3540987 Roger Waters - bass, vocals David Gilmour - guitar, vocals Rick Wright - keyboards, vocals Nick Mason - drums Dick Parry - sax, keyboards Snowy White - guitar, bass Playlist: Pigs (Three Different Ones) Shine On You Crazy Diamond (pt1) Welcome to the Machine Have a Cigar Wish You Were Here Shine On You Crazy Diamond (pt2) Money Us and Them Pink Floyd's 1977 tour is widely considered to be one of the band's most memorable. Following the truly massive sales of Dark Side Of The Moon and Wish You Were Here, the Animals album had not been as commercially successful, but the group's popularity was at an all-time peak. The tour sold out arenas and stadiums across North America and Europe, eclipsing all previous scale and attendance records. The tour was also the first since 1972 that the group did not use backing singers, with the only augmentation to the core band being Snowy White adding guitar and occasional bass parts and Dick Parry playing sax and occasional keyboards. The shows were structured so that the band played the Animals album, in a different sequence, during the first set and following an intermission, performed the entire Wish You Were Here album in its exact running order. The encore would usually consist of either “Money” or “Us And Them” from Dark Side Of The Moon. With technology and audiences both at a monumental scale, the tour was not without problems. Technical issues plagued many of the shows and audience members were often disruptive by yelling and screaming during quiet passages or by setting off fireworks. However, when the band landed in California for a two-night stand at the Oakland Coliseum, these were not issues. The first night, May 9, 1977, is often considered to be one of the greatest performances of the band's career. The band members seemed to enjoy the show just as much as their rapt audience. This show turned out to be the longest of any show on the tour, with the band delivering two powerful sets, followed by both Dark Side Of The Moon songs. The audience was so enthusiastic that the group returned to the stage and performed "Careful With That Axe, Eugene" for the first time since 1973 and for last time ever. Bill Graham's partial soundboard recording of this legendary performance begins near the end of the first set, approximately eight minutes into the final sequence of "Pigs (Three Different Ones)." The piece is relaxed but focused, with Rick Wright's spooky synth and one of the band's heavier jams highlighting this set-ending performance. Following the intermission, the show resumes with the Wish You Were Here album performed in its entirety. Fans of this album will be thoroughly delighted as this is a near flawless performance, with all the songs held together by extended sonic interludes. Prior to the vocals, the first part of "Shine On You Crazy Diamond" has a distinctly bluesier edge than its studio counterpart and David Gilmour's guitar playing remains superb throughout the set. He even approaches jazz territory in his soloing during the later parts of this song, when they return to it later in the set. In between are poignant renditions of "Welcome To The Machine" and "Wish You Were Here" and a truly powerful performance of "Have A Cigar." On the latter, Roger Waters and David Gilmour are both laughing through much of the first verse, further exemplifying the camaraderie and good feelings that permeate this night's performance. Something that went afoul after the wild success of Water's "The Wall" (and let's face it, PF was his back up band for that album... and he knew it). Too bad it turned him into an raging egotistical dickhead for the rest of his life (at least, to date). Following the Wish You Were Here album and an overwhelming roar of approval, Pink Floyd offers the audience a double dose from Dark Side Of The Moon. It begins with the familiar sound of change hitting a cash register. "Money" lasts a full ten minutes and features a memorable jam within. Waters info... no 1:28:07 Pink Floyd Live- Oakland Coliseum Arena- 1977 with some band comments at the end. Roger Waters - bass, vocals David Gilmour - guitar, vocals Rick Wright - keyboards, vocals Nick Mason - drums Dick Parry - sax, keyboards Snowy White - guitar, bass Playlist: Pigs (Three Different Ones) Shine On You Crazy Diamond (pt1) Welcome to the Machine Have a Cigar Wish You Were Here Shine On You Crazy Diamond (pt2) Money Us and Them Pink Floyd's 1977 tour is widely considered to be one of the band's most memorable. Following the truly massive sales of Dark Side Of The Moon and Wish You Were Here, the Animals album had not been as commercially successful, but the group's popularity was at an all-time peak. The tour sold out arenas and stadiums across North America and Europe, eclipsing all previous scale and attendance records. The tour was also the first since 1972 that the group did not use backing singers, with the only augmentation to the core band being Snowy White adding guitar and occasional bass parts and Dick Parry playing sax and occasional keyboards. The shows were structured so that the band played the Animals album, in a different sequence, during the first set and following an intermission, performed the entire Wish You Were Here album in its exact running order. The encore would usually consist of either “Money” or “Us And Them” from Dark Side Of The Moon. With technology and audiences both at a monumental scale, the tour was not without problems. Technical issues plagued many of the shows and audience members were often disruptive by yelling and screaming during quiet passages or by setting off fireworks. However, when the band landed in California for a two-night stand at the Oakland Coliseum, these were not issues. The first night, May 9, 1977, is often considered to be one of the greatest performances of the band's career. The band members seemed to enjoy the show just as much as their rapt audience. This show turned out to be the longest of any show on the tour, with the band delivering two powerful sets, followed by both Dark Side Of The Moon songs. The audience was so enthusiastic that the group returned to the stage and performed "Careful With That Axe, Eugene" for the first time since 1973 and for last time ever. Bill Graham's partial soundboard recording of this legendary performance begins near the end of the first set, approximately eight minutes into the final sequence of "Pigs (Three Different Ones)." The piece is relaxed but focused, with Rick Wright's spooky synth and one of the band's heavier jams highlighting this set-ending performance. Following the intermission, the show resumes with the Wish You Were Here album performed in its entirety. Fans of this album will be thoroughly delighted as this is a near flawless performance, with all the songs held together by extended sonic interludes. Prior to the vocals, the first part of "Shine On You Crazy Diamond" has a distinctly bluesier edge than its studio counterpart and David Gilmour's guitar playing remains superb throughout the set. He even approaches jazz territory in his soloing during the later parts of this song, when they return to it later in the set. In between are poignant renditions of "Welcome To The Machine" and "Wish You Were Here" and a truly powerful performance of "Have A Cigar." On the latter, Roger Waters and David Gilmour are both laughing through much of the first verse, further exemplifying the camaraderie and good feelings that permeate this night's performance. Something that went afoul after the wild success of Water's "The Wall" (and let's face it, PF was his back up band for that album... and he knew it). Too bad it turned him into an raging egotistical dickhead for the rest of his life (at least, to date). Following the Wish You Were Here album and an overwhelming roar of approval, Pink Floyd offers the audience a double dose from Dark Side Of The Moon. It begins with the familiar sound of change hitting a cash register. "Money" lasts a full ten minutes and features a memorable jam within. Waters informs the audience that the last song will be quiet one and the familiar synth sound leads into the spacey free-floating groove of "Us And Them" to close the show. Unfortunately, the soundboard tape runs out a few minutes in. Certainly one of the strongest, most cohesive performances of the 1977 Tour and possibly the greatest performance of the Wish You Were Here album ever. The group would never perform another tour that so richly emphasized this material. They would also be augmented by additional musicians on future concerts, diluting the sound of the core band. Many fans consider this tour to be the greatest of the band's career and this concert to be the definitive show of that tour. Ending this show are two short interview clips with Gilmore and Waters after the bad broke up. One of Gilmore saying 'sure.. I'd do more PF work' and Waters putting a clear and sold 'No Frakkin way' on it. We'll see on that. The Police pulled in over a quarter of a Billion (yea.. Billion) dollars last year with their reunion tour with Sting and Copeland hating each other's guts. Imagine what PF could pull in. Half a Billion? I wouldn't be surprised. Pirate Radio.. the movie Thu, 10 Apr 2008 13:04:00 -0500 http://www.clickcaster.com/items/pirate-radio--the-movie http://www.clickcaster.com/items/pirate-radio--the-movie http://www.clickcaster.com/items/pirate-radio--the-movie 3540851 This file is BIG.  Over 600MB.  But, it's a great film on pirate radio and what's it about.  If you give a shit about media and diversity (not to mention your freedoms), you should take the time to download it and watch it. no Pirate Radio.. the movie This file is BIG.  Over 600MB.  But, it's a great film on pirate radio and what's it about.  If you give a shit about media and diversity (not to mention your freedoms), you should take the time to download it and watch it. The Who, Live at the Spectrum in 1973 Fri, 28 Mar 2008 19:14:00 -0500 http://www.clickcaster.com/items/the-who--live-at-the-spectrum-in-1973 http://www.clickcaster.com/items/the-who--live-at-the-spectrum-in-1973 http://www.clickcaster.com/items/the-who--live-at-the-spectrum-in-1973 3540369 When the Who still rocked (and wasn't doing late night infomercials for 60's rock collections). no 1:57:06 The Who, Live at the Spectrum in 1973 When the Who still rocked (and wasn't doing late night infomercials for 60's rock collections). The DGHS Show- CAKE's latest release, well, sort of
Given the nature of a band, B-side/rarity collections can be hit and miss. Thankfully in the case of quirky California outfit Cake, their long standing sense of wit and wistful depravity make their self-released B-Sides and Rarities a sheer joy, not only to diehard fans, but to those who have yet had the pleasure of being exposed to their unique honky-tonk flavorings.

Okay, so the album kicks off with "War Pigs," a song everybody and their uncle has covered (think back to the vainglorious Faith No More version and continuing this discussion becomes moot). Cake's take on the Sabbath classic is pretty staid. Yet even in its by-the-books simplicity it comes off fresh and clever, mostly because if you've grown up with Cake you would never take them for Ozzy fans. So in many ways their rusticated barroom vision, while being rather straightforward, is still light years more original than most bands' take on the song.

Of course the band kick the shit the opposite direction with the very next track, "Ruby, Don't Take Your Love To Town," a rollicking upbeat Mel Tillis country number about a man having a wee bit of trouble with his lady. If you didn't know that it was a Tillis original you'd swear it was one of Cake's laconic odes to strange relationships.

The band keeps things on full-tilt with "Mahna Mahna," the veritable Muppet Show spaz out. This song alone makes owning this album a must. Turning the whimsical and nonsensical ramblings into a horn infused country stomp is near brilliant. That they stuff a bubbling tribute to 6-bit videogame soundtracks into the mix, along with desert monk chanting only makes thing all the more wily. Classic.

More solid country dealings unravel on the Buck Owens/Harlan Howard classic "Excuse Me, I Think I've Got A Heartache," which display Cake's loose and loving embrace off real country music idioms (they ain't into that slick, MOR, mainstream shizzle, that's for damn skilly). Electro burble and acoustic strumming interlope on "Conroy," which is adrift in echo flange and Middle Eastern toneology.

Meanwhile the standard "Strangers In The Night" gets a wonderfully sublime retrofit. What's most enjoyable is that even when Cake play it straight it still sounds like a loose lark. It's the combination of frontman John McCrea's snide timbre and the band's trademark trumpet (courtesy of Vince DiFiore) infused honky-tonk elements.

It's back to the country ramble on "Subtract One Love (Multiply The Heartaches)" and then into Barry White's "Never Never Gonna Give You Up." The latter again shows the band taking a well-known tune and while being true to the heart and soul of the original still managing to make it sound like one of their own original numbers. They find that delicate balance between camp and overt reverence that few artists are able to straddle when doing a cover.

The last studio recording on the album is "Thrills," which sounds like a Les Claypool extravaganza, a languid instrumental saddled with a twitchy, nasal vocal spiel about man being born, living, and dying. It's like existential country prog funk psychedelia, if such a thing existed.

Things get capped off with a couple of live numbers. First up is "Short Skirt, Long Jacket," culled from the band's Comfortable Eagle album. Recorded live in Sydney, Australia, it's a crisp, clean version of the bubbly hit. "It's Coming Down" recorded in Brussels, Belgium, is more of a bittersweet lament, but it resonates with a rich sincerity.

If you stay tuned then you'll get hip to the "secret" untitled track tacked on at the very end. It's a live version of "War Pigs" which sounds an awful lot like the studio version that kicked off the album. Normally I'd be a bit pissed at a band for opening and closing an album with the same track, but in this case the 5-minute and 20-second live version is a much better example of the band's interpretation of Ozzy and company (in fact, they should have left the studio version off altogether).

If truth be told, I'd kind of grown tired of Cake's trademark shtick over the course of their past few releases. Even though they'd sort of slipped off my radar, I still appreciated their snickering flash at contemporary standards and unabashed love of classic shit kicking, beer chugging, boot stomping musicality. But if anything has renewed my faith in this outfit at this particular moment in space and time it would have to be this wonderfully fun and loose collection of covers, originals, and live takes. I mean who doesn't want a girl with smooth liquidations? This album might just help you get one step closer to realizing that dream. There you have it. Nah-nah-nah-nah-nah!]]> Fri, 16 Nov 2007 19:13:00 -0600 http://www.clickcaster.com/items/the-dghs-show--cake-s-latest-release--well--sort-of http://www.clickcaster.com/items/the-dghs-show--cake-s-latest-release--well--sort-of http://www.clickcaster.com/items/the-dghs-show--cake-s-latest-release--well--sort-of 3534812 B-Sides and rarities collections are often like "Best Of/Greatest Hits" and live albums. They more often than not serve as a stopgap for a variety of situations. In some instances a band is trying to get out of a contract and need to cough up one final album to fulfill their obligations. Other times a band has been snatched away from one label to another and the former is trying to cash in on their departure. And of course there's bands that just manage to crank out a lot of material which for some reason or another never made it onto an album. Given the nature of a band, B-side/rarity collections can be hit and miss. Thankfully in the case of quirky California outfit Cake, their long standing sense of wit and wistful depravity make their self-released B-Sides and Rarities a sheer joy, not only to diehard fans, but to those who have yet had the pleasure of being exposed to their unique honky-tonk flavorings. Okay, so the album kicks off with "War Pigs," a song everybody and their uncle has covered (think back to the vainglorious Faith No More version and continuing this discussion becomes moot). Cake's take on the Sabbath classic is pretty staid. Yet even in its by-the-books simplicity it comes off fresh and clever, mostly because if you've grown up with Cake you would never take them for Ozzy fans. So in many ways their rusticated barroom vision, while being rather straightforward, is still light years more original than most bands' take on the song. Of course the band kick the shit the opposite direction with the very next track, "Ruby, Don't Take Your Love To Town," a rollicking upbeat Mel Tillis country number about a man having a wee bit of trouble with his lady. If you didn't know that it was a Tillis original you'd swear it was one of Cake's laconic odes to strange relationships. The band keeps things on full-tilt with "Mahna Mahna," the veritable Muppet Show spaz out. This song alone makes owning this album a must. Turning the whimsical and nonsensical ramblings into a horn infused country stomp is near brilliant. That they stuff a bubbling tribute to 6-bit videogame soundtracks into the mix, along with desert monk chanting only makes thing all the more wily. Classic. More solid country dealings unravel on the Buck Owens/Harlan Howard classic "Excuse Me, I Think I've Got A Heartache," which display Cake's loose and loving embrace off real country music idioms (they ain't into that slick, MOR, mainstream shizzle, that's for damn skilly). Electro burble and acoustic strumming interlope on "Conroy," which is adrift in echo flange and Middle Eastern toneology. Meanwhile the standard "Strangers In The Night" gets a wonderfully sublime retrofit. What's most enjoyable is that even when Cake play it straight it still sounds like a loose lark. It's the combination of frontman John McCrea's snide timbre and the band's trademark trumpet (courtesy of Vince DiFiore) infused honky-tonk elements. It's back to the country ramble on "Subtract One Love (Multiply The Heartaches)" and then into Barry White's "Never Never Gonna Give You Up." The latter again shows the band taking a well-known tune and while being true to the heart and soul of the original still managing to make it sound like one of their own original numbers. They find that delicate balance between camp and overt reverence that few artists are able to straddle when doing a cover. The last studio recording on the album is "Thrills," which sounds like a Les Claypool extravaganza, a languid instrumental saddled with a twitchy, nasal vocal spiel about man being born, living, and dying. It's like existential country prog funk psychedelia, if such a thing existed. Things get capped off with a couple of live numbers. First up is "Short Skirt, Long Jacket," culled from the band's Comfortable Eagle album. Recorded live in Sydney, Australia, it's a crisp, clean version of the bubbly hit. "It's Coming Down" recorded in Brussels, Belgi... no DGHS Show- Ray Charles Tribute One of the great inspirations for musicians the world over and a man we lost only recently after 5 decades of amazing music:  Ray Charles.  Here's my tribute to him.  I put together my favorites and it was over 4 hours.  It took me 2 hours just to cull out enough music to make this a one hour show... so much goodness came from they guy.  One of the Dead Guys out there that I really do wish weren't dead.

I had a grea picture of Ray.. but ClickCaster won't let me upload it and attach it to this show!  Weird.

Playlist files:

      1. Ray Charles - Let's Go Get Stoned (3:02)
      2. Ray Charles - What'd I Say - Parts 1 & 2 (6:29)
      3. Ray Charles - Busted (2:11)
      4. Ray Charles - In The Heat Of The Night (2:37)
      5. Ray Charles - Unchain My Heart (2:53)
      6. Ray Charles - Hit The Road, Jack (2:01)
      7. Ray Charles - I Don't Need No Doctor (2:32)
      8. Ray Charles - Low Society (2:53)
      9. Ray Charles - Sinner's Prayer (3:25)
      10. Ray Charles - Rockhouse, Parts 1 & 2 (3:55)
      11. Ray Charles - Lonely Avenue (2:36)
      12. Ray Charles - Booty Butt (4:14)
      13. Ray Charles - Feel So Bad (3:15)
      14. Ray Charles - Makin' Whoopee (6:20)
      15. Ray Charles - Let The Good Times Roll (2:53)
      16. Ray Charles - Them That Got (2:50)
      17. Ray Charles - Don't Set Me Free (2:39)
      18. Ray Charles - None Of Us Are Free (4:59)]]> Sat, 28 Jul 2007 18:17:00 -0500 http://www.clickcaster.com/items/dghs-show--ray-charles-tribute http://www.clickcaster.com/items/dghs-show--ray-charles-tribute http://www.clickcaster.com/items/dghs-show--ray-charles-tribute 3530728 One of the great inspirations for musicians the world over and a man we lost only recently after 5 decades of amazing music:  Ray Charles.  Here's my tribute to him.  I put together my favorites and it was over 4 hours.  It took me 2 hours just to cull out enough music to make this a one hour show... so much goodness came from they guy.  One of the Dead Guys out there that I really do wish weren't dead. I had a grea picture of Ray.. but ClickCaster won't let me upload it and attach it to this show!  Weird. Playlist files:       1. Ray Charles - Let's Go Get Stoned (3:02)       2. Ray Charles - What'd I Say - Parts 1 & 2 (6:29)       3. Ray Charles - Busted (2:11)       4. Ray Charles - In The Heat Of The Night (2:37)       5. Ray Charles - Unchain My Heart (2:53)       6. Ray Charles - Hit The Road, Jack (2:01)       7. Ray Charles - I Don't Need No Doctor (2:32)       8. Ray Charles - Low Society (2:53)       9. Ray Charles - Sinner's Prayer (3:25)       10. Ray Charles - Rockhouse, Parts 1 & 2 (3:55)       11. Ray Charles - Lonely Avenue (2:36)       12. Ray Charles - Booty Butt (4:14)       13. Ray Charles - Feel So Bad (3:15)       14. Ray Charles - Makin' Whoopee (6:20)       15. Ray Charles - Let The Good Times Roll (2:53)       16. Ray Charles - Them That Got (2:50)       17. Ray Charles - Don't Set Me Free (2:39)       18. Ray Charles - None Of Us Are Free (4:59) no 1:05:34 DGHS Show- Ray Charles Tribute One of the great inspirations for musicians the world over and a man we lost only recently after 5 decades of amazing music:  Ray Charles.  Here's my tribute to him.  I put together my favorites and it was over 4 hours.  It took me 2 hours just to cull out enough music to make this a one hour show... so much goodness came from they guy.  One of the Dead Guys out there that I really do wish weren't dead. I had a grea picture of Ray.. but ClickCaster won't let me upload it and attach it to this show!  Weird. Playlist files:       1. Ray Charles - Let's Go Get Stoned (3:02)       2. Ray Charles - What'd I Say - Parts 1 & 2 (6:29)       3. Ray Charles - Busted (2:11)       4. Ray Charles - In The Heat Of The Night (2:37)       5. Ray Charles - Unchain My Heart (2:53)       6. Ray Charles - Hit The Road, Jack (2:01)       7. Ray Charles - I Don't Need No Doctor (2:32)       8. Ray Charles - Low Society (2:53)       9. Ray Charles - Sinner's Prayer (3:25)       10. Ray Charles - Rockhouse, Parts 1 & 2 (3:55)       11. Ray Charles - Lonely Avenue (2:36)       12. Ray Charles - Booty Butt (4:14)       13. Ray Charles - Feel So Bad (3:15)       14. Ray Charles - Makin' Whoopee (6:20)       15. Ray Charles - Let The Good Times Roll (2:53)       16. Ray Charles - Them That Got (2:50)       17. Ray Charles - Don't Set Me Free (2:39)       18. Ray Charles - None Of Us Are Free (4:59) Goodbye

Well this is it.  100 shows.  An average of one a week for almost 2 years.  But, I'm done, it's time to move on to other things.  I hope you enjoyed the show as much as I enjoyed creating it for you each week.  To all you dead guy hippie shit fans... keep your heads down, your bongs clean and most of all,  keep on rocking...

elijahblue@gmail.com. 
]]> Wed, 18 Apr 2007 23:10:00 -0500 http://www.clickcaster.com/items/goodbye-69 http://www.clickcaster.com/items/goodbye-69 http://www.clickcaster.com/items/goodbye-69 3465889 Well this is it.  100 shows.  An average of one a week for almost 2 years.  But, I'm done, it's time to move on to other things.  I hope you enjoyed the show as much as I enjoyed creating it for you each week.  To all you dead guy hippie shit fans... keep your heads down, your bongs clean and most of all,  keep on rocking... elijahblue@gmail.com.  no 7:35 Goodbye Well this is it.  100 shows.  An average of one a week for almost 2 years.  But, I'm done, it's time to move on to other things.  I hope you enjoyed the show as much as I enjoyed creating it for you each week.  To all you dead guy hippie shit fans... keep your heads down, your bongs clean and most of all,  keep on rocking... elijahblue@gmail.com.  DGHS Show Van Morrison LIVE at the Bottom Line in NYC late 70's Bobby Tench - guitar, backing vocals
David Hayes - bass
Peter Van Hooks - drums
Pete Bardens - keyboards
Pee Wee Ellis - saxophones
Katie Kissoon - backing vocals
Ann Peacock - backing vocals

Van Morrison was enjoying a commercial renaissance with both this tour and the album he was promoting at the time. Always a magnetic live performer, Morrison delivered a stunning set in New York's intimate Bottom Line club - the venue that launched the careers of both Bruce Springsteen and Billy Joel, among countless others. Opening with a jazzed up version of "Moondance," the show provided a healthy mix of material from his then-new Wavelength LP and all the best-loved Morrison classics.

The band was lava-hot and provided the perfect compliment to Morrison's free form vocal stylings. In the line-up was Pete Bardens (who also played keyboards in Morrison's 1960s British Invasion band, Them) and former Jeff Beck Group vocalist/guitarist Bobby Tench. Because he was backed by a great band, Morrison was able to successfully mix hot jazz, blazing blues, romantic and melodic ballads and gospel-fevered rock 'n' roll over the course of a single show. By the time he shakes it up on the closers - "Wild Night" and "Caravan"- the audience is completely in the palm of his hand.

"Crazy Love," "Tupelo Honey" and "Into The Mystic" faithfully bring the listener back to Morrison's classic early ‘70s Warner Brothers Records period, when he was the darling of the pop music press. "Kingdom Hall," "Checkin' It Out," and the aforementioned "Wavelength" were new songs at the time, but were just as well received, since it was clear to the audience that Morrison had just released one of his best albums in years. Still, it was Morrison's earliest solo hit, "Brown Eyed Girl," that first brought the crowd to its feet.

For that Bottom Line audience, and now for all of us, this show remains a classic.

Elijahblue@gmail.com
www.clickcaster.com/dghs
]]> Mon, 02 Apr 2007 00:31:00 -0500 http://www.clickcaster.com/items/dghs-show-van-morrison-live-at-the-bottom-line-in-nyc-late-70-s http://www.clickcaster.com/items/dghs-show-van-morrison-live-at-the-bottom-line-in-nyc-late-70-s http://www.clickcaster.com/items/dghs-show-van-morrison-live-at-the-bottom-line-in-nyc-late-70-s 3382923 Van Morrison - lead vocals, guitar, piano, sax Bobby Tench - guitar, backing vocals David Hayes - bass Peter Van Hooks - drums Pete Bardens - keyboards Pee Wee Ellis - saxophones Katie Kissoon - backing vocals Ann Peacock - backing vocals Van Morrison was enjoying a commercial renaissance with both this tour and the album he was promoting at the time. Always a magnetic live performer, Morrison delivered a stunning set in New York's intimate Bottom Line club - the venue that launched the careers of both Bruce Springsteen and Billy Joel, among countless others. Opening with a jazzed up version of "Moondance," the show provided a healthy mix of material from his then-new Wavelength LP and all the best-loved Morrison classics. The band was lava-hot and provided the perfect compliment to Morrison's free form vocal stylings. In the line-up was Pete Bardens (who also played keyboards in Morrison's 1960s British Invasion band, Them) and former Jeff Beck Group vocalist/guitarist Bobby Tench. Because he was backed by a great band, Morrison was able to successfully mix hot jazz, blazing blues, romantic and melodic ballads and gospel-fevered rock 'n' roll over the course of a single show. By the time he shakes it up on the closers - "Wild Night" and "Caravan"- the audience is completely in the palm of his hand. "Crazy Love," "Tupelo Honey" and "Into The Mystic" faithfully bring the listener back to Morrison's classic early ‘70s Warner Brothers Records period, when he was the darling of the pop music press. "Kingdom Hall," "Checkin' It Out," and the aforementioned "Wavelength" were new songs at the time, but were just as well received, since it was clear to the audience that Morrison had just released one of his best albums in years. Still, it was Morrison's earliest solo hit, "Brown Eyed Girl," that first brought the crowd to its feet. For that Bottom Line audience, and now for all of us, this show remains a classic. Elijahblue@gmail.com www.clickcaster.com/dghs no 1:04:49 DGHS Show Van Morrison LIVE at the Bottom Line in NYC late 70's Van Morrison - lead vocals, guitar, piano, sax Bobby Tench - guitar, backing vocals David Hayes - bass Peter Van Hooks - drums Pete Bardens - keyboards Pee Wee Ellis - saxophones Katie Kissoon - backing vocals Ann Peacock - backing vocals Van Morrison was enjoying a commercial renaissance with both this tour and the album he was promoting at the time. Always a magnetic live performer, Morrison delivered a stunning set in New York's intimate Bottom Line club - the venue that launched the careers of both Bruce Springsteen and Billy Joel, among countless others. Opening with a jazzed up version of "Moondance," the show provided a healthy mix of material from his then-new Wavelength LP and all the best-loved Morrison classics. The band was lava-hot and provided the perfect compliment to Morrison's free form vocal stylings. In the line-up was Pete Bardens (who also played keyboards in Morrison's 1960s British Invasion band, Them) and former Jeff Beck Group vocalist/guitarist Bobby Tench. Because he was backed by a great band, Morrison was able to successfully mix hot jazz, blazing blues, romantic and melodic ballads and gospel-fevered rock 'n' roll over the course of a single show. By the time he shakes it up on the closers - "Wild Night" and "Caravan"- the audience is completely in the palm of his hand. "Crazy Love," "Tupelo Honey" and "Into The Mystic" faithfully bring the listener back to Morrison's classic early ‘70s Warner Brothers Records period, when he was the darling of the pop music press. "Kingdom Hall," "Checkin' It Out," and the aforementioned "Wavelength" were new songs at the time, but were just as well received, since it was clear to the audience that Morrison had just released one of his best albums in years. Still, it was Morrison's earliest solo hit, "Brown Eyed Girl," that first brought the crowd to its feet. For that Bottom Line audience, and now for all of us, this show remains a classic. Elijahblue@gmail.com www.clickcaster.com/dghs DGHS Show- Michael Bloomfield live in 1969 at the Fillmore West
This show was done as an opener for Chuck Berry in 1969 at the Fillmore West and has a stellar lineup of 'friends' playing with Michael.

Mike Bloomfield - guitar, vocals
Nick Gravenites - guitar, vocals
Mark Naftalin - piano
Ira Kamin - organ
John Kahn - bass guitar
Cornelius "Snooky" Flowers - baritone sax
Geralg Oshita - baritone sax
John Wilmeth - trumpet
Noel Jewkes - tenor sax
Dino Andino - congas
Bob Jones - drums

At this Fillmore West show, Mike Bloomfield, Nick Gravenites, Mike Naftalin and friends opened for Chuck Berry.

"Born In Chicago" is a significantly different arrangement here than it is in the Butterfield Blues Band version. Bloomfield lays low throughout this song, letting the horn section lead the way. At times this approaches free jazz, but the rhythm section keeps it grounded in the blues.

"Work Me Lord" is a showcase for Nick's singing and it's great to hear this song when it was fresh and new. Mark Naftalin's piano work stands out on this one. Janis Joplin would take this song for her Kozmic Blues album later that year.

"Killing My Love" and "Holy Moly" are both tight arrangements, varying only slightly from the released versions, accentuated by scorching Bloomfield leads. "My Heart Beats Like a Hammer" is a tune featuring a focused, strong and assured Bloomfield on lead vocals. This rendition of "It's About Time" is much longer than the album version. This funkified tune prompts Bloomfield to play in a fiery mode, much different but just as intriguing as the slower blues numbers that make these shows so memorable.

"Young Girl" is another standard blues song, typical of Nick's songwriting at the time and featuring Bloomfield on lead vocals with his guitar leads punched up by the horn section. Again, respectable playing, but not as outstanding as the other songs that the group were playing in this mode as Bloomfield's guitar playing seems distracted by his singing. A second version of "Born In Chicago" closes the set.

After Bill Graham watched these shows, he unexpectedly invited them to headline over the Byrds the following week. After listening to these tapes and needing more material for a headliner slot, they quickly developed more songs, including several more slow blues numbers to augment those final shows.

Want more?  Let me know. 

Elijahblue@gmail.com
www.clickcaster.com/dghs

Recorded LIVE every Sat. night.  You can listen in (and chat with EB) at www.thebouldersound.com


]]> Sat, 24 Mar 2007 22:30:00 -0500 http://www.clickcaster.com/items/dghs-show--michael-bloomfield-live-in-1969-at-the-fillmore-west http://www.clickcaster.com/items/dghs-show--michael-bloomfield-live-in-1969-at-the-fillmore-west http://www.clickcaster.com/items/dghs-show--michael-bloomfield-live-in-1969-at-the-fillmore-west 3336680 One of the great white bluesmen of the hippie era.  Michael Bloomfield. This show was done as an opener for Chuck Berry in 1969 at the Fillmore West and has a stellar lineup of 'friends' playing with Michael. Mike Bloomfield - guitar, vocals Nick Gravenites - guitar, vocals Mark Naftalin - piano Ira Kamin - organ John Kahn - bass guitar Cornelius "Snooky" Flowers - baritone sax Geralg Oshita - baritone sax John Wilmeth - trumpet Noel Jewkes - tenor sax Dino Andino - congas Bob Jones - drums At this Fillmore West show, Mike Bloomfield, Nick Gravenites, Mike Naftalin and friends opened for Chuck Berry. "Born In Chicago" is a significantly different arrangement here than it is in the Butterfield Blues Band version. Bloomfield lays low throughout this song, letting the horn section lead the way. At times this approaches free jazz, but the rhythm section keeps it grounded in the blues. "Work Me Lord" is a showcase for Nick's singing and it's great to hear this song when it was fresh and new. Mark Naftalin's piano work stands out on this one. Janis Joplin would take this song for her Kozmic Blues album later that year. "Killing My Love" and "Holy Moly" are both tight arrangements, varying only slightly from the released versions, accentuated by scorching Bloomfield leads. "My Heart Beats Like a Hammer" is a tune featuring a focused, strong and assured Bloomfield on lead vocals. This rendition of "It's About Time" is much longer than the album version. This funkified tune prompts Bloomfield to play in a fiery mode, much different but just as intriguing as the slower blues numbers that make these shows so memorable. "Young Girl" is another standard blues song, typical of Nick's songwriting at the time and featuring Bloomfield on lead vocals with his guitar leads punched up by the horn section. Again, respectable playing, but not as outstanding as the other songs that the group were playing in this mode as Bloomfield's guitar playing seems distracted by his singing. A second version of "Born In Chicago" closes the set. After Bill Graham watched these shows, he unexpectedly invited them to headline over the Byrds the following week. After listening to these tapes and needing more material for a headliner slot, they quickly developed more songs, including several more slow blues numbers to augment those final shows. Want more?  Let me know.  Elijahblue@gmail.com www.clickcaster.com/dghs Recorded LIVE every Sat. night.  You can listen in (and chat with EB) at www.thebouldersound.com no 1:00:28 DGHS Show- Michael Bloomfield live in 1969 at the Fillmore West One of the great white bluesmen of the hippie era.  Michael Bloomfield. This show was done as an opener for Chuck Berry in 1969 at the Fillmore West and has a stellar lineup of 'friends' playing with Michael. Mike Bloomfield - guitar, vocals Nick Gravenites - guitar, vocals Mark Naftalin - piano Ira Kamin - organ John Kahn - bass guitar Cornelius "Snooky" Flowers - baritone sax Geralg Oshita - baritone sax John Wilmeth - trumpet Noel Jewkes - tenor sax Dino Andino - congas Bob Jones - drums At this Fillmore West show, Mike Bloomfield, Nick Gravenites, Mike Naftalin and friends opened for Chuck Berry. "Born In Chicago" is a significantly different arrangement here than it is in the Butterfield Blues Band version. Bloomfield lays low throughout this song, letting the horn section lead the way. At times this approaches free jazz, but the rhythm section keeps it grounded in the blues. "Work Me Lord" is a showcase for Nick's singing and it's great to hear this song when it was fresh and new. Mark Naftalin's piano work stands out on this one. Janis Joplin would take this song for her Kozmic Blues album later that year. "Killing My Love" and "Holy Moly" are both tight arrangements, varying only slightly from the released versions, accentuated by scorching Bloomfield leads. "My Heart Beats Like a Hammer" is a tune featuring a focused, strong and assured Bloomfield on lead vocals. This rendition of "It's About Time" is much longer than the album version. This funkified tune prompts Bloomfield to play in a fiery mode, much different but just as intriguing as the slower blues numbers that make these shows so memorable. "Young Girl" is another standard blues song, typical of Nick's songwriting at the time and featuring Bloomfield on lead vocals with his guitar leads punched up by the horn section. Again, respectable playing, but not as outstanding as the other songs that the group were playing in this mode as Bloomfield's guitar playing seems distracted by his singing. A second version of "Born In Chicago" closes the set. After Bill Graham watched these shows, he unexpectedly invited them to headline over the Byrds the following week. After listening to these tapes and needing more material for a headliner slot, they quickly developed more songs, including several more slow blues numbers to augment those final shows. Want more?  Let me know.  Elijahblue@gmail.com www.clickcaster.com/dghs Recorded LIVE every Sat. night.  You can listen in (and chat with EB) at www.thebouldersound.com DGHS - 2nd Live show- The Country Funk-N-Roll show.
God knows what else to call this. 

2nd live show (on www.thebouldersound.com at 9PM MT Sat. nights).

Chat me live at Elijahblue8888 on most IM services.

Email me at elijahblue@gmail.com (I'll check it every few minutes during each show and, of course, during the course of the week)

And, of course, will post the podcast recording of the show on www.clickcaster.com/dghs for all you subscribers out there.



Playlist files:

      1. Los Lobos - That Train Don't Stop Here (3:52)
      2. Sonia Dada - I'm Gone (5:18)
      3. Sonia Dada - Zachary (4:12)
      4. Little Feat - Rock And Roll Doctor (2:58)
      5. Little Feat - Eldorado Slim (4:41)
      6. Marc Cohn - Walking in Memphis (4:18)
      7. Soundtrack - Old Habits Are Hard To Break (5:32)
      8. Jimi Hendrix - Power To Love (6:55)
      9. Blues Saraceno - The Shakes (3:36)
      10. Keb' Mo' - Don't Try To Explain (3:58)
      11. Nirvana - Unplugged In New York 11 Oh Me (3:25)
      12. Lou Reed - Sick Of You (3:26)
      13. Temptations - Shakey Ground (3:18)
      14. Frank Zappa - Strictly Genteel (6:36)
]]> Sat, 17 Mar 2007 21:12:00 -0500 http://www.clickcaster.com/items/dghs---2nd-live-show--the-country-funk-n-roll-show http://www.clickcaster.com/items/dghs---2nd-live-show--the-country-funk-n-roll-show http://www.clickcaster.com/items/dghs---2nd-live-show--the-country-funk-n-roll-show 3314678 The Country FunkNroll show! God knows what else to call this.  2nd live show (on www.thebouldersound.com at 9PM MT Sat. nights). Chat me live at Elijahblue8888 on most IM services. Email me at elijahblue@gmail.com (I'll check it every few minutes during each show and, of course, during the course of the week) And, of course, will post the podcast recording of the show on www.clickcaster.com/dghs for all you subscribers out there. Playlist files:       1. Los Lobos - That Train Don't Stop Here (3:52)       2. Sonia Dada - I'm Gone (5:18)       3. Sonia Dada - Zachary (4:12)       4. Little Feat - Rock And Roll Doctor (2:58)       5. Little Feat - Eldorado Slim (4:41)       6. Marc Cohn - Walking in Memphis (4:18)       7. Soundtrack - Old Habits Are Hard To Break (5:32)       8. Jimi Hendrix - Power To Love (6:55)       9. Blues Saraceno - The Shakes (3:36)       10. Keb' Mo' - Don't Try To Explain (3:58)       11. Nirvana - Unplugged In New York 11 Oh Me (3:25)       12. Lou Reed - Sick Of You (3:26)       13. Temptations - Shakey Ground (3:18)       14. Frank Zappa - Strictly Genteel (6:36) no 1:02:37 DGHS - 2nd Live show- The Country Funk-N-Roll show. The Country FunkNroll show! God knows what else to call this.  2nd live show (on www.thebouldersound.com at 9PM MT Sat. nights). Chat me live at Elijahblue8888 on most IM services. Email me at elijahblue@gmail.com (I'll check it every few minutes during each show and, of course, during the course of the week) And, of course, will post the podcast recording of the show on www.clickcaster.com/dghs for all you subscribers out there. Playlist files:       1. Los Lobos - That Train Don't Stop Here (3:52)       2. Sonia Dada - I'm Gone (5:18)       3. Sonia Dada - Zachary (4:12)       4. Little Feat - Rock And Roll Doctor (2:58)       5. Little Feat - Eldorado Slim (4:41)       6. Marc Cohn - Walking in Memphis (4:18)       7. Soundtrack - Old Habits Are Hard To Break (5:32)       8. Jimi Hendrix - Power To Love (6:55)       9. Blues Saraceno - The Shakes (3:36)       10. Keb' Mo' - Don't Try To Explain (3:58)       11. Nirvana - Unplugged In New York 11 Oh Me (3:25)       12. Lou Reed - Sick Of You (3:26)       13. Temptations - Shakey Ground (3:18)       14. Frank Zappa - Strictly Genteel (6:36) DGHS Show- First LIVE show by Elijahblue- recorded 10.10.07- 80's music galore
Some technical glitches trying to get the chat clients working, but eventually it came together.

I'd like to know if you like this format or the old format of just straight up music with no DJ commentary.  I like doing it both ways so I'm good with whatever you guys like.  Until I hear differently, I'll be doing it at 9pm Sat. nights (mountain time/USA) at www.thebouldersound.com, then uploading the recording as a podcast to ClickCaster.

Here's t