BLUES BOOZE BOOKS AND BOBS

Quail Season 2011-2012

2012-01-24T16:30:00.000-06:00

It is no secret that South Texas is in the middle of one of the worst quail seasons in a long time. The quail numbers at the ranch are the lowest we have recorded in 20 years. For this reason, we have done very little quail shooting.

Many ranches and camps have shut down for the season or reduced their hunting significantly. It is a good example of hunters self-regulating their season to fit the conditions. Over the years, this is very common in South Texas. Most quail hunters don't need anyone in Austin to tell them to do the right thing.

There is a good explanation for the low quail numbers in South Texas. It is a direct result of La Nina and the record drought and heat in Texas during the last year. A large part of Jim Hogg County had 7 inches of rain in 2011 which is less than 40% of the average rainfall. Even the best range and quail management can not overcome that lack of rain.

Any bad season gives the critics and experts a chance to express their opinions. Recently, Mike Leggett, who writes an outdoor column for the Austin American Statesman, called for a multi-year ban on quail hunting. Here is an except from that article:
"I spent a miserable afternoon last week trying tohunt quail in a driving rain at Hidden Lakes, near Lake Fork Reservoir east ofDallas.

The reality of the situation is this: If you'regoing to shoot a quail this year, you're probably going to have to do it atsome kind of shooting resort.
If you don't want to do that — I'm serious — putthe guns in the safe and the dogs on Craigslist and move on.
Quail are done.
Blame the weather, land fragmentation, coastalbermuda, aflatoxin in deer corn, drought, fire ants or pesticides. It doesn'treally matter, because quail, bless their little hearts, are hurting, down solow they may never get up.
Texas Parks and Wildlife biologists know it, andthey plan to suggest to the commission that it shorten the season by about amonth and set up an eastern hunting zone with more restrictive limits.
It's not enough. My own modest proposal: Close theseason. No quail hunting in Texas for at least a year, if not two or eventhree. Give nature a chance to get back into a rainy cycle — and for the tinynumbers of surviving quail to repopulate where they can.
I know. I can hear the complaints now. Anoverreaction. But these are hard times.
Quail numbers are at an all-time low. Quail hunternumbers are at an all-time low. If that doesn't call for drastic measures tointerrupt the slide into oblivion, what would?"

Everyone is entitled to their opinion, but Mike is taking it a little too far. In the first place, to address the situation in terms of the entire state of Texas makes no sense. Texas is a big place and South Texas is very different than most other parts of the state. There has been no overall decline in the bird population in the Hebbronville-Falfurrias area. In fact, we recorded the best quail numbers in 30 years during the 2004-2005 season. Ranches in this area have been managing their quail for decades with great success. We don't need any help or suggestions like that.

Many of these ranches can afford to manage for quail because of the income that comes from hunters and hunting leases. Take this income away for multiple years and you will see a negative effect on the habitat and the quail population.

More importantly, local economy depends on the annual boost that comes from quail hunters. Jobs at hunting camps would be reduced, as well as revenue at motels, gas stations, convience stores and Frank's Cafe. Make the hunters stay home for a few years and it will not be a pretty picture in many of our small towns.

I know Mike is worried about the decline of quail in many parts of Texas and I share his concern. I don't think he needs to worry about South Texas. With a little rain, things are going to be fine.

January 20,1968: Bob Returns

2012-01-19T15:34:00.000-06:00

When Bob Dylan played at the Tribute to Woody Guthrie on January 20, 1968, he had been off the stage for almost two years. As it has been well documented, after the Tour 66 and his infamous motorcycle accident(?), Bob retired to Woodstock to be with his family and recuperate from the stress of his fame and the world tour.

When not playing family man, he played and recorded music with the future members of The Band at a house called "Big Pink" near Woodstock. These songs later became known as the Basement Tapes. He also ventured once to Nashville to record John Wesley Harding which was released a month before the show.

When he took the stage on that cold January afternoon at Carnegie Hall in New York City, it was the first look at another new Bob. This one was the Country Bob variety with a wispy beard, short hair and a plain suit. Gone was Electric Bob with the houndstooth suit, big hair and shades. Little did we know how many new Bobs were to come.

Bob and The Band were on their game that day. The set list included three Guthrie classics: I Ain't Got No Home, Dear Mrs Roosevelt, and Grand Coulee Dam. Each song was played to perfection. If Bob or The Band was nervous, it didn't show.

Although the audience didn't know it at the time, the sound that day reflected what had been going on in the basement of Big Pink. When the Basement Tapes leaked out, The Band released Music From Big Pink later that year and Bob released Nashville Skyline the next year, music fans everywhere got a taste of what had been happening in Woodstock over those past 18 months. This new sound was very influential to the course of modern music for the years to come.

I have been reading Outlaw Blues by Jonathan Taplin over the last few days which reminded me of this anniversary. As a long time book collector, I have been resisting the iBook concept. In fact, I had never read one. Outlaw Blues is only available in this form, so I had no choice. I have to report, it wasn't that bad. Taplin was there for many of the most interesting musical events of that era, so the book makes great reading.

It is hard to believe that it has been 44 years since that show. Bob is still on the road and I am still listening to his music. I am glad we are both still here.

Let's Get It On by Marvin Gaye

2012-01-04T14:00:00.000-06:00

Marvin Gaye's follow up to his very successful and ground breaking album What's Going On was the sexually charged Let's Get It On. It was a record that was just as forward thinking as his previous one, but in a different way. Instead of taking on the problems of the world, Gaye turned his attention to the interaction between men and women and once again created a landmark album. No record has even covered the subject with better lyrics or music. From the opening sensual notes of Let's Get It On, which sold a million copies as a single at the time, he set a new standard for sexual ballads.

In the fall of 1973 when this album was released, the Floyd's Hotel staff was turned on to this album by the great Buddy Wolf. The Don, as he was know in the day, was a little rougher cut than most of the hotel staff. He added many things to hotel culture including his great appreciation and knowledge of soul music. Buddy swore by this album as a part of his seduction process, calling it the best sound track for a night of love ever recorded. After a few spins, we all agreed. The hotel staff might not have known a lot about the language of love, but we did know good music when we heard it.

Almost 40 years later, Let's Get It On is still the gold standard because of it's seductive sound, lyrics and soulful groove. Many singers and songwriters have worked this ground since, but nothing can compare to this masterpiece. Dust off your old copy and give it a spin or buy a new one now. It is a true classic.

THE BEST OF 2011

2012-01-02T09:54:00.000-06:00

Happy New Year. I want to recognize the best new music of 2011. These are the albums that made the most spins on my iTunes.

1. Robert Earl Keen's Ready For Confetti.

Ready For Confetti is the 16^th album of Robert Earl Keen's prolific career. Like his last two outstanding albums, What I Really Mean (2005) and Rose Hotel (2009), the record is a great mix of original songs and well-selected covers. Confetti was produced by Lloyd Maines who also produced The Rose Hotel. It includes 10 Keen originals, including a remake of my all time favorite REK song, Paint the Town Beige which was first released on Bigger Piece of Sky (1993).

With the title track, I Gotta Go, Show the World, and Waves on the Ocean, Robert continues to solidify his position as one the best songwriter from the great state of Texas. Like all great songwriters, he has an incredible ability to take vignettes from every day life and write them into songs that paint pictures in your mind.

Ready for Confetti is a CD that you will continued to play in 2012.

2. Glen Campbell's Ghost on the Canvas

Ghost on the Canvas is the final album of Glen Campbell’s amazingcareer. Earlier this year he was diagnosed with Alzheimer’s. Faced with thisreality, he decided to record one final album and organize a farewell tour.

The facts of his career arewell known. Originally a hot handed guitar player, Campbell was a member of thefamed Wrecking Crew in the 1960’s. This group of studio musicians played onmany of the big hits of the day including records by the Beach Boys, Sam Cooke, The Byrds, as well as the Wall of Sound records of Phil Spector.,

Later he teamed with songwriterJimmy Webb who wrote his signature hits WichitaLineman, By the Time I Get to Phoenix. These two along with Rhinestone Cowboy helped him sell over 45 million records. Although these string filled, slick countryhits may sounds a little dated today, they still sound great to my ear.

Ghost on the Canvas has a more contemporary country sound thatcomes from Campbell’s collaboration with several artists including Jacob Dylan(little Bob), Paul Westerberg, Chris Isaak, and Billy Corgan. Some of the songslook back to Campbell’s string filled past, but others have a more modern feel.The lyrics on several of the songs address his current situation in a verypowerful moving way. This is particularly true with songs like A Better Place and There’s No Me.... Without You.

Although familiar with hisclassics, I have to confess that this is the first Glen Campbell record I haveever owned. It is a very moving, beautiful album and one of the best of theyear. I recommend it highly.

3. Sons of Fathers

They main players behind Sons of Fathers are David Beck and Paul Cauthen. They came together as a duo but have now added another guitar and drums to round out the band. It is their original compositions and vocals harmonies that make Sons of Fathers such an impressive debut. The production by Lloyd Maines, who did the same for Robert Earl Keen on his last two albums, captures a clean, authentic sound that compliments the great songwriting on every cut.

All of the songs on the album are good but several are real standouts. The opener, Weather Ballons, has great lyrics and a very catchy tune. Listen to it more than once and it will be stuck in your head. David Beck's upright bass gives the song a nice bottom and teams well with Cauthen's guitar. Someone does a good job on piano as well. Adam and Eve is another great track with more good piano that compliments the lead guitar and singing.

The band has a sound that is hard to categorize. Is it country, alt-country, folk? I’m not sure what to say other than that it has the depth and quality of real roots music. It’s not loud, but it still rocks. There isn't a bad cut on the whole album. The record has a real ensemble feel to it that reminds me of the early work of The Band.

Sons of Fathers is a very impressive debut as well as a great album. I recommend it highly.

Two other CD's worth mentioning:

KMAG YOYO by Hayes Carll

Future Blues by Johnny Nicholas

SONS OF FATHERS

2011-12-04T15:44:00.001-06:00

Ok, I am finally out of the blog cave again, this time for avery good reason. I spend most of my time listening to old music because 95% ofnew music sounds like crap to my ear. I am always hoping for something new toexcite me, but most of the time I am disappointed. Then it’s back to the Bob,Merle, Waylon and the usual suspects.

I still hope for the excitement of spinning a new disk andbeing blown away by what comes out of the speakers. This experience is evensweeter if it is a debut album. Can you remember hearing Are You Experienced,Music from Big Pink or Excitable Boy for the first time? I can. Unfortunately, those kind of musical moments arefew and far between.

A couple of weeks ago when Robert Earl Keen played in CorpusChristi, I got talking to Bill Whitbeck after the show. Bill plays bass in theband but more than that he is an incredible musician who has great taste inmusic. He likes Bob Dylan as much as I do and can sing like Merle Haggard,which is something, I definitely can’t do. He told me about a band that his sonhas formed called Sons of Fathers. He said they just released an album and Ishould check it out. It took me a couple of weeks to get around to it, but I’mglad I did. It is great.

They main players behind Sons of Fathers are David Beck and Paul Cauthen. They came together as a duo but have now added another guitar and drums to round out the band. It is their original compositions and vocals harmonies that make Sons of Fathers such an impressive debut. Theproduction by Lloyd Maines, who did the same for Robert Earl Keen on his lasttwo albums, captures a clean, authentic sound that compliments the great songwriting on every cut.

All of the songs on the album are good but several are realstandouts. The opener, Weather Ballons, has great lyrics and a very catchytune. Listen to it more than once and it will be stuck in your head. David Beck's upright bass gives the song a nice bottom and teams well with Cauthen's guitar. Someone does a good job on pianoas well. Adam and Eve is another great track with more good pianothat compliments the lead guitar and singing.

The band has a sound that is hard to categorize. Is it country,alt-country, folk? I’m not sure what to say other than that it has the depth and qualityof real roots music. It’s not loud, but it still rocks. There isn't a bad cut on the whole album. The record has a real ensemble feel to it that remindsme of the early work of The Band.

One of the disadvantages of iTunes is that Iam a little in the dark as to who is playing what on each track. It doesn’treally matter because it is that good. I am looking forward to seeingthem live the next chance I get.

I am recommending Sons of Fathers highly. It is one of the best CD's of the year. Check it out atAmazon or on iTunes. You will not be disappointed.

I am Ready For Confetti

2011-08-28T16:37:00.000-05:00

Hurricane Irene had me trapped in the house for the last two days. I spent most of this time listening to the great new album from Robert Earl Keen. This fine record broke me out of the blog-lock that has been hanging on me for many moons. Good music will do that.

Ready For Confetti is the 16^th album of Robert Earl Keen's prolific career. Like his last two outstanding albums, What I Really Mean (2005) and Rose Hotel (2009), the record is a great mix of original songs and well-selected covers. Confetti was produced by Lloyd Maines who also produced Rose Hotel. It includes 10 Keen originals, including a remake of my all time favorite REK song, Paint the Town Beige which was first released on Bigger Piece of Sky (1993).

I first heard the song Ready For Confetti a few months ago and it has been stuck in my head ever since. With it’s catchy lyrics, Rich’s jet engine solo and great background singing, it’s a winner. Not sure if it has to do with REK’s annual trip to Key West Songwriters Festival, but I hear a little calypso/reggae influence in this and Waves on the Ocean. Waves is probably my next favorite on the disk. It is another catchy tune with beautiful lyrics.

People who know Robert say that you never want to cross him or you might end up in one of his songs. It has happened in the past and with The Road goes On and On it happened again. Toby Keith was obviously not paying attention in third grade when the teacher explained plagiarism. Most REK fans who heard his Bullets in the Gun thought it sounded a lot like The Road Goes On Forever. Guess Robert did too. I don't think he liked it.

Robert has had good luck covering songs by James McMurtry and others. With Play a Train Song, he has taken a great song by his good friend and excellent songwriter Todd Snider and made it his own. It's one of my favorites on the record.

Robert Earl Keen is best known for his energetic live shows. By touring for years with his band of great musicians, he has earned a loyal following. Night after night, his fans are rewarded with well-played songs from his catalogue mixed with tasty covers of songs from James McMurtry, Greg Brown, and Todd Snider. Great material played by a band that really works together.

Every REK show is a chance for the fans to sing along, drink a few cold beers, and chant ROBERT EARL KEEN in unison. Each night ends with his signature anthem The Road Goes on Forever. It is a great closer, an opportunity for the band to stretch out and send everyone home happy.

That said, I strongly believe that ultimately Robert's career will be defined by his songwriting. With each album, he continues to add to his impressive catalogue. Ready For Confetti is another step forward. Available tomorrow on iTunes and from Amazon. Pick it up.

GREG BROWN

2010-03-30T16:00:00.002-05:00

If you are a frequent reader of this blog, you know that I pride myself on searching out new music and artists. These are the musical high notes that I dream about at night.

Although my wife would disagree, I am fairly open to suggestions about new music. In this pursuit, I have wasted a lot of money on CDs that became frisbees after one or two spins. I guess you do have to kiss a lot of musical frogs in order to find something good.

Robert Earl Keen has been telling me great things about Greg Brown for a couple of years. I’m not sure why I was so slow to buy one of his records. If a good friend who just happens to be one of our premier songwriters likes Greg Brown, wouldn't you expect me to be running to the nearest record store? Well, I didn't run, but I got there eventually.

Intrigued by Robert's cover of Brown's Laughing River on The Rose Hotel, I finally took the plunge. Under the heading Better Late than Never, I ordered Greg Brown’s If I Had Known-Essential Recordings Vol 2, 1980-1996.

Talk about falling in love with a record. I have played nothing else for the last two months. Even Outlaw Country has taken a back seat to playing this CD. It is a great feeling to discover someone this good.

I will take a stand here: GREG BROWN IS THE BEST SINGER SONGWRITER YOU HAVE NEVER HEARD OF!

Robert told me about Brown's records: “The more you listen to them, the better they get.” He is so right. Each time I listen to this record, I am more impressed with what I am hearing.

The lyrics to his songs are often very simple, yet they always say a lot. He also has a huge range of topics in his songs. He writes about growing up and growing old (If I Had Known and Laughing River). He writes about love and relationships (Poet Game and Spring Wind). Many of the songs address the situation of rural people in this country and their disappointments (Worrisome Years). Several of his songs express concerns about our environment and the encroachment of the city on rural land and life styles (Boomtown and Two Little Feet). He also displays a quirky sense of humor in several songs (no wonder REK likes him).

Greg Brown has been making music for over 40 years. He is from the Hacklebarney region of Iowa. After living in New York, Los Angles and Las Vegas, he now lives in Iowa. He is married to the great country singer Iris DeMent. In the 1980's, Greg was heard often on A Prairie Home Companion. He continues to tour today.

The title track of the album is a sweet little song about growing up. It has very insightful lyrics and a catchy beat. I woke every morning for a month with it in my head. Have a listen:

If I Had Known

The next track on the disk is called Worrisome Years. In contrast to the up tempo If I had Known, this song shows Brown's more serious side. Here he sings about rural people and their problems. It is a great tune:

Worrisome Years

Another great track that rocks a little more than some of the others is Boomtown. Once again, Brown's lyrics hit the mark while the band hit a great groove. This is another one that I have been singing for weeks. Here it is:

Boomtown

These are some of the more accessible songs on the disk. I hope they will intrigue you enough to buy this collection. There are several more songs including Poet Game and Spring Wind that are very beautiful and thoughtful. Here are some lyrics from Spring Wind:

                                 My friends are gettin older,
                                 so I guess I must be too.
                                Without their loving kindness,
                                 I don't know what I'd do.
                                Oh the wine bottle's half empty--
                                the money's all spent.
                                And we're a cross between our parents
                                and hippies in a tent.

                                Love calls like the wild birds--
                                it's another day.
                               A Spring wind blew my list of
                               things to do...away.

To buy this album from Amazon click here:

If I Had Known: Essential Recordings Vol. 1, 1980-1996

Seems Like a Freeze Out: My Life & Bootlegs Part 5

2010-02-09T15:20:00.000-06:00

Seems like a Freeze Out came into my life sometime in 1972. As you can see from the photo, it is an early Trade Mark of Quality product that featured good sound and nice packaging. The quality of bootlegs was definitely improving.

At the time, I was living at Floyd’s Hotel in downtown Somerville, MA. By then, I was buying bootleg albums through the mail from some kind of mimeograph list. I can’t exactly remember the particulars. Guess the 38-year-old memory bank has a hole in it. I do know that we was still listening to lot of Dylan and Band as well as lots of Big Joe Turner and rhythm and blues at the hotel during these years.

The album was a memorable event because it was my first listen to outtakes from Blonde on Blonde. Since this 1965-1966 period found Bob at the height of his powers as a songwriter, all real fans were hungry for anything unheard from this time. Although the important tracks on the record were labeled as coming from the “L.A Band sessions in 1965”, it is now known that this is not the case. A careful review of Bob schedule during that time has cast serious doubt on any recording being done in Los Angeles in that time frame.

It has since been determined that four of these tracks were actually recorded in New York between October of 1965 and January of 1966 with the future members of The Band: Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and Levon Helm. Bob’s effort to capture the Thin Wild Mercury Sound that would be heard on Blonde on Blonde began in the studio in New York City. Although the sessions did not produce any music that would ultimately end up on Blonde on Blonde (that would come later in the Nashville studio), these tracks do have historic value and they sound great as well.

The most important cut is the early version of Visions of Johanna called Seems like a Freeze Out. Visions of Johanna has always been one of Bob most popular and most analyzed songs. Of the 60’s songbook, it my be his best realized combination of lyrics and music. The poetry of the lines like: "The ghost of electricity howls in the bones of her face" had never been seen in a rock song at this time. If you compare this to even the Beatles’ efforts at the same time, you realize why even Lennon and McCartney had good reason to be in awe of Bob’s songwriting.

To hear this early working version of a legendary song made the album worth the price. Often referred to as the Nightingale’s Code version for its variation of the lyrics, the song seems even darker and more desperate than the one that ultimately got on Blonde on Blonde.

Have a listen: Seems Like a Freeze Out

Three other great tracks from the same sessions: She’s Your Lover Now, I Wanna Be Your Lover and Can You Please Crawl Out Your Window make their debut on this disk as well. She’s Your Lover Now is my favorite of these songs. With Dylan’s insistent piano and madcap lyrics combined with Robbie’s guitar, it may not be the Thin Wild Mercury, but it is damn good. It is unfortunate that a fully realized version of this song never was captured on vinyl.

On what became the single version of Can You Please Crawl Out Your Window, Robbie and the boys, who had only met Bob three weeks before, put their distinctive stamp on this classic Dylan Tune. This successful combination of Bob and his future band mates is an early indication of the great music to come.

Listen to Can You Please Crawl Out Your Window here.

The record also contained the alternate version of From a Buick 6, which was on some copies of Highway 61 Revisited. BobCat Numero Uno had one of those copies and I can remember playing it often and loud while drinking teenage cocktails at Road’s End.

The other side of the album contains some acoustic songs from 1963. Interesting stuff, bit I don’t think it got much play at Floyd’s Hotel.

A copy of Seems Like a Freeze Out would probably be hard to find now, although I have seen a few on eBay. These versions of Visions of Johanna, She’s Your Lover Now and Can You Please Crawl Out Your Window can be found on several Dylan bootleg CDs, so you can get them into your iPod that way.

Paul Butterfield on To Tell The Truth

2010-01-13T14:13:00.002-06:00

It is a trip to see the great Paul Butterfield interacting with these vintage television personalities on To Tell The Truth. Judging from the questions about Bob Dylan, this episode probably aired in late 1965 or 1966. Butterfield's debut album was released in 1965 and the band also backed Dylan at the Newport Folk Festival in July of 1965. That album and the appearance with Dylan created a buzz about Butterfield that went beyond the music world of Chicago.

You might have thought that they could find a stronger contestant than a wig salesman to be the third guest. Thanks to new friend and fan of the blog Mike C for sending me the link.

If you don't own the first album by the Paul Butterfield Blues Band, you are missing one of the best blues albums of all time. See my post from August 23, 2008 for more about the band and the record. It is available on iTunes and from Amazon

Tell Me, Mama from Tour 66

2010-01-10T12:20:00.002-06:00

Following up on my last post, here is a video clip from Eat The Document of Bob playing Tell Me, Mama. I am not sure which stop on the Tour 66 this is from, but it captures the volume and the intensity of the music from that tour.

If you have not seen Eat The Document in it's entirety, you are missing one of the great rock and roll movies of all time.

LOOKING BACK: Bootlegs & My Life Part 4

2010-01-07T13:44:00.000-06:00

In the summer of 1971, I was acting out my own personal On The Road fantasy. After driving cross country with a college friend, I ended up in San Francisco. I stayed for a week in Haight-Ashbury where I met up with some old friends from Philadelphia. From there, we spent three weeks hitchhiking up the coast to Vancouver, around Canada and back down to Big Sur, where we camped for a few days on a beautiful beach.

Before hitching back across the country by myself (another great story), I stopped in Monterey to visit a college friend named Ducky Millard, whose family owned a house there. It felt good to sleep in a bed, eat a real meal and have some clean clothes on my back.

On the night before I was to resume my journey, we went into Monterey for dinner. At a local record store, I found my copy of Looking Back. For reasons that are better left untold, I had Ducky mail the record to my parent's house in Rhode Island instead of bringing it with me on the rest of the trip.

When I made it back to Rhode Island a week or so later, the record had just arrived at the house. At a small gathering to celebrate my safe return, I unwrapped the album and gave it a spin. When I heard the sound of the music from Tour 66, I couldn't believe my ears.

The double album contains music from three different live performances. Sides 1 and 2, which claim to be from Royal Albert Hall, are actually from the show at the Free Trade Hall in Manchester the week before. Sides 3 and 4, which are advertised as coming from a show at the Berkeley Community Theatre, contain material from two other shows. Side 3 features some of the great acoustic songs from the first half of each concert on the Tour 66. These particular tracks were recorded in Dublin on May 5th. Side 4 was recorded in April of 1963 at Town Hall in New York. All this bad information proves that truth in advertising was never the strong suit of the bootleggers. It has been written that the mislabeling was done to make the record more attractive to the West Coast buyers.

Except for a single cut of Just Like Tom Thumb's Blues, I had not yet heard any of these songs from a very important period of Bob's career. The music from Tour 66 would the soundtrack of my life for most of the '70's. When you compare it to the new music that Bob was making at the time, there was a reason I played this record to death. Do you want to hear Self Portrait, New Morning or this?

When the first notes of Tell Me, Mama came out of the stereo, I was stunned. Beginning with Garth's circus organ and Micky Jones' whack-a-mole drumming, it was a sound unlike anything I had ever heard before. The raw power of the band mixed with Bob's tortured vocals to create music that left me spellbound. Listen for Robbie's solo before the last verse. It is breath taking.

Tell Me, Mama

The next thing on the record is Bob in his road weary voice introducing the next number: "This is called I Don't Believe You. It use to be like that and now it goes like this." A familiar cut from Another side of Bob Dylan is given the Tour 66 treatment and the addition of the band is excellent.

On all 8 songs on two sides of this record, Dylan and the band take the best songs from his early catalogue and turn them into magical pieces of music history. Over 40 years later, I wonder what it would have been like to see one of those great shows.

In addition to this, on side 4 of Looking Back, there is the first taste of the acoustic set that started each show on the tour. I wrote about this portion of the show in a post called Before Judas: Tour 66 Acoustic Set (June 10, 2009).

It might be hard to find a copy of Looking Back today, but you can hear the music from Tour 66 on The Bootleg Series Vol 4. It is available on iTunes and from Amazon. It should be on your playlist.

It's 53 miles to Laredo, but it's 153 miles back.

2009-12-16T22:33:00.000-06:00

I have always said there are two types of hunting guests. Most are like Charlie Robison and they immediately grasp the concept of 53 miles to Laredo and 153 miles back, but some are like The Rooster and they never do. I guess it's one of those things that you either get or you don't.

Of all of the border towns in Texas, Laredo has been the most celebrated in music and literature. There is a good reason reason for this. For generations, trips across the border have been a right of passage into manhood for many young men in South Texas. Ranch hands, hunters, frat boys, even high flying bankers are part of countless stories that involve crossing the border in Laredo and enjoying the thrills found in Nuevo Laredo. Regardless of who you are, the fun begins when you cross that international bridge.

Unfortunately, the trouble caused by the narco-terrorists in Mexico has spilled over into Nuevo Laredo and spoiled this fun for everyone. Most of the bars and shops in Nuevo Laredo have closed. I have not been across the border in over 6 years. Until I hear that my friends in Laredo are going again, you will not find me over there.

In the old days, a road trip from the hunting camp to the Cadillac Bar was part of the South Texas hunting experience. Once at the Cadillac, it was a quick run over to Boy's Town, which has been called the adult equivalent of Disneyland. I will refrain from further discussion of Boy's Town, since this is a family blog.

Laredo has been mentioned in many songs. Cowboy's Lament (Streets of Laredo) has been covered by many artists including Johnny Cash, Joan Baez, Chet Adkins and Marty Robbins. This is the Marty Robbins version which is my favorite:

Streets of Laredo

Willie Nelson’s great song Me and Paul has a verse about Laredo. Here is a live version from a Kris Kristofferson show:

Me and Paul

Doug Sahm recorded a song with the Texas Tornadoes called Laredo Rose which was a big hit. A few friends of Doug invested in the session that produced the song. When Laredo Rose became a big hit, we thought that we would be entitled to some of the profits. Later we heard that the hit wasn't the version of the song that we had invested in. Welcome to the music business.

Here is Laredo Rose

A song by Charlie Robison on his album Good Times mentions Nuevo Laredo and one of the most famous tourist attractions of Boy's Town. It is a very unique little club called Dallas Cowboys. I have told Charlie several time that I never thought I would hear a song that mentions that club on a major label release. Thanks to Charlie to keep this South Texas tradition alive. Have a listen to

New Year's Day.

It was an incident on the International Bridge in Laredo that led to a jail term for Timothy Leary. In December of 1965, Leary attempted to cross into Mexico from Laredo. After being refused entry into Mexico, he returned on the bridge to the United States. At the check point, marijuana was found in his car and Leary was arrested. In 1966, he was sentenced to 30 years in prison.

TRUTH by JEFF BECK

2009-12-02T07:24:00.005-06:00

On Sunday night, I watched the 25th Anniversary Rock and Roll Hall of Fame Concert on HBO. The four hour show featured performances from the two shows at Madison Square Garden. There was a lot of very good music that gave me an number of ideas for the blog.

Jeff Beck, who was a substitute for Eric Clapton, was excellent. Eric had an medical emergency and was unable to play at the last minute. Watching Jeff Beck play made me think about this classic album.

Truth was released in August of 1968. That fall I was a prisoner at the Pottstown School for Wayward Boys. I can remember listening to Truth with Neil Ayer in his room in Upper School. We were listening to a lot of guitar based blues and hard rock at that time. Jimi Hendrix, Cream and later Blind Faith were big on our playlists. This album from Jeff Beck fit nicely with that group.

The players on this album included Jeff Beck (guitar), Rod Stewart (vocals) Micky Waller (drums), and Ronnie Wood (Bass). There were also contributions from Nicky Hopkins, Keith Moon, Jimmy Page and John Paul Jones.

The album features Beck's excellent guitar and Stewart's vocals, which were never better. The track list is an eclectic mix of original songs and some nice covers including Willie Dixon's You Shook Me and I Ain't Superstitious. Here are two of my favorite cuts from the album:

Morning Dew

Beck's Bolero

Truth is available on iTunes and from Amazon.

Just Like Tom Thumb's Blues from Tour 66

2009-11-24T14:54:00.002-06:00

The next song from my archives is Just Like Tom Thumb's Blues from Dylan's World Tour 66. Recorded in Liverpool on May 14, 1966, it was the b-side of the single release of I Want You.

For most Dylan fans, this song was the first hint of the power and the magic of the music from the 66 Tour. Released long before any bootleg, it is a recording filled with the sound of Bob and the band that shocked the audiences across the world in 1966. From all accounts, these shows were so loud that many in the audience were freaked out.

Well before I knew anything about this tour, I was blown away by the sound of Bob playing this song live. Once I got this 45, I played it to death. Listen to the desperation in Bob's voice and the playing of the band as he barks out the famous line in the last verse: I started out on Burgundy, but soon hit the harder stuffffffffff:

Just Like Tom Thumb's Blues

Always one of my favorites from Highway 61 Revisited, this song features Dylan's surreal lyrics at their best. The story of Dylan's characters in Juarez, Mexico is told backed by the excellent playing of the band. This version reveals the power and weariness of that tour.

This particular track was taken from the essential box set of the tour called Genuine Live 66. If you like the music from this part of Bob's amazing career, you should own a copy. It is often available on eBay under the Bob Dylan listings.

Songs from my archives: My Babe by Little Walter

2009-11-18T06:25:00.000-06:00

This post is the start of a weekly series on songs from my archives. I plan to feature music and artists you may not be familiar with. I hope you like what you hear.

The first song is classic Chicago blues from the great Little Walter. My Babe was written by Willie Dixon for Walter in 1955. Recorded with Robert Lockwood, Jr (guitar), Willie Dixon (bass), and Fred Bellow (drums), it features Walter's killer harp and vocals. This version went to number 1 on the R and B charts in March 0f 1955. It was later covered by Elvis Presley, Chuck Berry, The Animals, and many others.

My Babe

Little Walter is considered by blues fans to be one of the best players ever to pick up a harmonica. His unique style and tone came from playing through a microphone and amplifier. He was one of the first to distort his sound in this way. Besides his own records, he can be heard on many of the Chess records of that era.

If you like what you hear, there are several Little Walter collections available. The Best of Little Walter and Little Walter: The Chess 50th Anniversary Collection are on iTunes or Amazon.

Guitar Whispering: Robert Earl Keen

2009-11-11T14:53:00.010-06:00

I really enjoyed this article from The New Yorker about Robert Earl Keen. It is well written and really captures Robert's personality and sly wit. I am happy that the new album, The Rose Hotel, has been very well received by critics and fans. It is nice to see Robert getting the kind of recognition he deserves.

Click here to read full article

Robert has been busy the last two months. After attending the Malta bird hunt and reverse wine tasting with notables such as Tequila Bob and Perry S., he went out on tour with Todd Snider and Bruce Robison. The tour was a departure for Robert. He left the band at home to play solo with these two great songwriters. It was REK unplugged, if you will.

Although I didn't see the show myself, I have gotten several reports. Tony from Freer said the show in Wilmington was excellent. He did wonder why there wasn't a 4th stool on the stage. Wait for the show in Hebbronville, Bump. Scott F*g*n was in the audience at Town Hall in New York with some friends. He said: "The show was good."

After that show, Robert and the band were on Imus in the Morning. They played three songs including The Man Behind the Drums. The music sounded great and Imus was quite enthusiastic.

If you don't own The Rose Hotel, you need to pick it up. It is available on iTunes and from Amazon.

Bob Dylan at Bonnaroo 2004

2009-11-11T11:17:00.005-06:00

I have been flying around a lot in the last few weeks. This has given me a chance to listen to my iPod rather than my satellite radio. I rediscovered this classic bootleg from Bob's performance at the Bonnaroo Music and Arts Festival on July 11, 2004. I got these tracks a while back from BobCat Numero Uno, who is the king of the bootlegs. Thanks for the loan.

The show had a great set list and the recording has good sound for a bootleg. Larry Campbell was still in the band. He does a great job on guitar, particularly the pedal steel on Pancho and Lefty

Bob did two great covers as part of his set. First up was Merle Haggard's Sing Me Back Home, which has always been one of my favorite Haggard songs. Next, Bob took on the classic Townes Van Zandt song that Merle and Willie made famous: Pancho and Lefty.

There has always been a connection in my mind between Bob and Merle. This may be because they are two of the best songwriters touring today or it may be because I have seen Merle open for Bob on two occasions (see my post from Feb 2, 2009). Have a listen to these two tunes:

Sing Me Back Home

Pancho and Lefty

I was also blown away by this song from the 1997 Grammy winning album Time Out of Mind. This is my favorite song from the album and one that Bob doesn't play live very often. I have never been lucky enough to hear it live. Have a listen:

Trying to Get to Heaven

Much has been made of Bob's reduced singing capabilities. On this song, he sounds better than usual. Of course, I am a fan regardless of his singing. It is just good to have him still out there on the Never Ending Tour.

Phillies Baseball, Dock Ellis and LSD

2009-11-01T17:02:00.001-06:00

Although the Yankees have been raining on our parade the last few nights, this lifelong Phillies fan is still very excited about the World Series. It is great to have the Phillies back in the Series after winning it all last year.

All Philadelphia sports fans can be described as long suffering and I can testify to that pain. At the tender age of 12 years old in 1964, I was in 6th grade when the Gene Mauch coached team blew a 6 1/2 game lead with 12 games to go and lost NL pennant on the last day of the season. You talk about painful. At the time, I thought my young life was over.

I still can remember listening on my AM radio to the game that began the slump of all slumps. We were playing the Cincinnati Reds when Chico Ruiz stole home in a 1-0 loss. It was the beginning of the end.

Years later after the Phillies had won the World Series 1980, I ran into Mike Schmidt at a golf event. In front of my good friend George Smith, I launched into a long story to Mike about how the '64 collapse had scared my childhood, but he and the 1980 team had made it up to me. Mike looked a little surprised by all this and afterward all F**ty could say to me was: "What the hell was that all about?"

Until I head the song about Dock Ellis on the latest Todd Snider album, I had forgotten about Dock's amazing feat. On June 12, 1970, thinking that he had the night off, Dock Ellis arrived at the ballpark under the influence of LSD. Much to his surprise, he was actually the starting pitcher. He then proceeded to throw a no-hitter against the San Diego Padres.

As Dock later recounted the night, he wrote:

"I can only remember bits and pieces of the game. I was psyched. I had a feeling of euphoria. I started having a crazy idea in the fourth inning that Richard Nixon was the home plate umpire, and once I thought I was pitching a baseball to Jimi Hendrix, who to me was holding a guitar and swinging it over the plate."

Have a listen to this great song by Todd Snider:

America's Favorite Pastime

GO PHILLIES!

STEALIN': Bootlegs and My Life Part 3

2009-10-28T14:50:00.000-05:00

By the time Stealin' was released in the fall of 1969, bootlegs had come to the suburbs. To purchase my first copy of The Great White Wonder (see post from April 23, 2009), I had to navigate the wilds of downtown Philadelphia. This time, I was able to pick up a copy of Stealin' at my local record store next to the train station in Bryn Mawr. That was very convenient.

My copy, which can be seen in the photo, is an original blue label Har-Kub copy. The funny thing is that I can remember clearly buying it 40 years ago this month. In those long ago days, a trip to the record store after school would sometimes be rewarded with the latest Dylan bootleg. It is hard to describe the excitement that came from each of these new releases. By late 1969, I had played the regular albums to death, so it was a big deal to have some new material to enjoy. In those early days of bootlegs, no one had any idea of the vast amount of Dylan's music that would surface over the next few years.

Stealin' was the next glimpse into Dylan's unreleased catalogue after The Great White Wonder. As you can see from the photo, there was not any improvement in the packaging. The difference was that the sound quality was excellent and the material was very well chosen. Most of the songs were outtakes from the albums that were recorded at the height of Dylan's early creativity. For these reasons, it is thought to be one of the very best of all Dylan bootlegs.

The album kicks off with Can You Please Crawl Out Your Window, which is one of my favorite Dylan tunes from 1965. Even though this song was released as a single, at the time it slipped through the cracks, probably because it was never on an album. This is one of the two different versions from the Highway 61 Revisited sessions. The single version was recorded later with The Band and has the distinctive cowbell percussion and Garth's swirling organ. Have a listen here to the Highway 61 outtake, which is the high spot of Stealin': Can You Please Crawl Out Your Window

Side one continues with two more cuts from the same sessions. There is an alternate version of It Takes a Lot to Laugh and a little throwaway riff, that has been widely bootlegged, called Sitting on a Barb Wire Fence. The rest of the side contains one outtake and two alternate versions from the Bringing It All Back Home sessions: If You Gotta Go, Go Now, She Belongs To Me and Love Minus Zero/No Limit.

Side two begins with another outtake from Bringing It All Back Home: It's All Over Now, Baby Blue, as well as three songs from The Times They Are A-Changin' sessions: The Cough Song, New Orleans Rag and That's All Right, Mama. These are followed by four songs from the 1961 Minneapolis tape, which was featured on The Great White Wonder. They are Hard Times in New York, Stealin', Wade in the Water and Cocaine.

My second favorite cut on the record at the time was That's All Right, Mama. Bob's piano playing on the track is great and it was cool to hear him covering a song that was the first single released by Elvis Presley. In the dark days before Self Portrait, no one knew that Bob would ever record anything other than his own material. Have a listen to this:

That's All Right, Mama

Even after thousands of bootlegs have been released, Stealin' stands out as one of the best of all. If you owned it in those early days, you know why I am writing about it.

Levon Helm: The Man Behind the Drums by Robert Earl Keen

2009-10-07T14:44:00.012-05:00

One of the best songs on The Rose Hotel, which is the great new album from Robert Earl Keen, is his tribute to Levon Helm called The Man Behind the Drums. All of the songs on the album are excellent, but this one has special meaning for me. As anyone who reads this blog can tell, I am a huge fan of The Band (see posts from Sept 20, 2009 and April 14, 2009). It is treat for me to hear Robert singing about my favorite drummer Levon Helm.

The song was written by Robert and his bass player Bill Whitbeck about the night they played at Levon's Midnight Ramble. Hope you enjoy it. Listen here to The Man Behind the Drums

I know a little bit about the origins of this song. In September of 2008, Robert played two dates in New York. The first was in the City and I was lucky to be in attendance that night. The next night, they played in Woodstock as the opening act at Levon's Midnight Ramble. I had planned to go, but changed my mind at the last minute. Robert and his band had a great time that night. They even got to join Levon on stage for the ultimate camp fire sing-a-long The Weight. As you can imagine, I am still regretting not tagging along.

If you like what you hear on this track, check out the rest of the music on The Rose Hotel.

KERN RIVER by Merle Haggard

2009-10-06T14:58:00.007-05:00

As I get ready to head to Malta, Montana for the TBob/Perry S. birding extravaganza, I am thinking about Merle Haggard. There has been a lot of Haggard's music on Outlaw Country this week, which is always a good thing. Also, Rolling Stone had a great article about Merle in the last issue. I encourage you to read it if you are a fan.

Reading the article made me think about the large contribution Merle has made to country music during his long career. The article also reminded me of the colorful life he has led. Haggard has had more lives than your average cat.

In my last post on Merle from Feb 2, 2009, I wrote that one of my all time favorite Haggard songs is Kern River. Imagine my surprise when I read in the article that both Bob Dylan and Dave Alvin agree with me. I'm flying in some pretty good company. This what they both said about one of Merle's classic songs:

"Merle is the voice of another California." Alvin singles out "Kern River" — about a girl drowning in the treacherous waters that separated Bakersfield from the Okie settlements — as one of the great evocations of place and class in the Golden State. "It's amazingly deep and complicated," he says. "I hear a lot of California in those two and a half minutes." Dylan loves "Kern River" too, but for other reasons. "Sometimes you forget about how much natural-born heartbreak there is in a Merle Haggard song, because of all the boomtown oil-well Dust Bowl honky-tonk imagery of his music," he says. "I mean, 'Kern River' is a beautiful lament, but let's not forget it's about his girlfriend dying."

If you are not familiar with this great song, here is another chance to hear it: Kern River

I can assure you there will be plenty of Merle Haggard on the iPod around our Montana camp fire this weekend. Catch you on the flip side.

Judas Meets Jingle Bells: Dylan's Christmas Album

2009-10-05T15:43:00.011-05:00

Before I get to Christmas in the Heart, I want to recite some of my Dylan credentials. I have been buying Bob Dylan albums since August of 1967. I have owned all of his early releases on vinyl, 8 track tapes, cassettes and later on CD. I have played and loved all of his 33 studio albums except for Knocked Out Loaded, Down in the Groove and the two acoustic mistakes Good as I Been to You and World Gone Wrong. I even liked Self Portrait when it was released and still play it to this day. His music has been the background of my life for over 40 years

When it comes to bootleg albums, I probably could have bought a small house or a large car with the money I have spent. It started with the Great White Wonder (see my post from April 23, 2009). Since then, the collection has progressed from reel to reel tapes to vinyl and later to cassettes and CDs. In the early days, I even bought cassettes from the infamous Dylan Garbologist A.J. Weberman. Recently, thanks to the Internet, the great Moe has been the source of many rarities.

I still have the scrapbook of clippings of all things Dylan that I started in 1968. I have collected as much 66 tour memorabilia as I could get my hands on. My library contains almost every book published on Bob. The walls are covered with vintage photographs by Barry Feinstein, Jerry Schatzberg and many others. It is a veritable shrine to my favorite musician.

Starting with the 1974 tour, I have seen Bob in every major live phase except for the Rolling Thunder Revue and the Christian Tour of 1979. Although I haven't been a crazy BobCat who follows the tour around, I have managed to catch a show on the Never Ending Tour every year since it started. You can read about my recent experiences in posts from August 16, 2008 and July 22, 2009.

I have seen many memorable shows including one in Houston, Texas in 1981 that included Al Kooper on keyboards. Another show in the summer of 1997, just before the release of Time Out of Mind, signaled the beginning of the last great comeback. I have seen a few bad ones as well. A show in Corpus Christi with G.E. Smith in the band, in the low times of the hoodie and mushroom tea, was awesomely bad.

With this as background, you can imagine that I was quite interested when the first rumors of a Christmas album surfaced. Having just been to a live show which made me familiar with the current state of Bob's vocal talents, my first thought was: "Oh No!" This is a disaster waiting to happen. Bob can't sing these songs.

Now that I have heard the audio clips, I am afraid my worst fears have been realized. Bob, what were you thinking? I know this is a for a charitable cause and I salute that, but it is going to be a critical barbecue. When the critics hear the entire album, there is going to be a blood bath.

I can remember the bashing that Self Portrait took when it came out. Bob was King in those days and even Rolling Stone lowered the boom on him over that one. My prediction is that this album is going to make Self Portrait look like Highway 61 Revisited. I love you Bob, but not for Christmas. There isn't enough eggnog in the world to make this record sound good. It Ain't Tree, Babe.

If you want to own a great Christmas album, check out A Christmas Gift for You from Phil Spector buy it. It is the gold standard of Christmas albums.

The Rose Hotel by Robert Earl Keen

2009-09-28T15:00:00.004-05:00

I have been listening to an advance copy of this album for the last month. After many, many spins, I can say with conviction that this is the best album of Robert Earl Keen's celebrated career.

The record really displays Robert's impressive songwriting talent. With each new album, it becomes more apparent that Robert is keeping alive the tradition of great Texas songwriters. The torch has now been passed from Townes Van Zandt, Guy Clark, Willie Nelson and Billy Joe Shaver to Robert Earl Keen. There are very few modern writers who consistently turn out songs of this quality.

These original songs, which include Rose Hotel, Something I Do, Throwin' Rocks, Village Inn and Wireless in Heaven are all good examples of the clever song pictures that come from the mind of REK. A number of different influences are found in his songs. There is a mix of traditional country themes, Robert's twisted humor and a dash of the darkness of Cormac McCarthy combined in his personal view of the world. Robert is able to take common events and turn them into songs that say a lot about the world we inhabit. He is able to avoid the cliches that are found in most modern country songs being written in Nashville these days.

With the release of Farm Fresh Onions in 2003, Robert began to break somewhat with his singer songwriter past. On that album, his band got more involved in the record. Although the more alt-country sound was a little hard and edgy and certainly puzzled some of his frat boy fans at the time, I think the album holds up very well today. His 2005 release What I Really Mean continued this process of growing his music into more of an ensemble sound. Once again, the band played a bigger role on the record. The banjo by Danny Barnes added a lot and was hint of what was coming on The Rose Hotel.

Having been familiar with most of the original songs on the album in earlier acoustic versions, it was exciting to hear them with the backing of the band. If you have seen Robert's live show, you know that the players in his band are very talented. Rich Brotherton (guitar) and Bill Whitbeck (bass) are fans and students of great music and their playing reflects it. Marty Muse has great touch on the steel guitar. Tom Van Schaik always lays down a solid foundation with the drums. Their inspired playing at the live shows has finally been captured on an album.

Here are some of my impressions of the new songs. The album opens with Rose Hotel, which contains some vintage REK story telling. In this song, I see a picture of the hotel along the border in No Country for Old Men. I really like the chorus of Sometimes you run/Sometimes you fall/stall. An insightful Keen comment on the ups and downs of life. There is some nice work from the band, particularly the transition on the break from Rich (lead) to Marty (steel guitar). A good choice to open the disk.

Robert has always great taste when it comes to choosing songs to cover on his albums. His versions of James McMurtry's Levelland and Out Here in the Middle and Dave Alvin's Fourth of July have been high points on previous albums. I know Robert has a great affinity for the work of Townes Van Zandt. It is a treat to hear another Townes' song on one of his albums. Flyin' Shoes really fits his voice and the playing of the band. Bill's bass kicks it off and the band drives the song along. One of my favorites from the Van Zandt song book and well covered here. Compare this cut to the Steve Earle's covers on Townes and Earle's work is exposed for the boring crap that it is. Well done!

Thowin' Rocks sounds like it could have been on Farm Fresh Onions. The song has great keyboards and backup singing. The band really gets into this one. I am looking forward to hearing it live.

I have heard Something I Do several times in the acoustic version. The band adds a lot to these sweet lyrics. A nice example of Robert's whimsical songwriting and great work from the background singer. I especially like when she sings back: He kinda likes doing nothing. I also like the Beatles reference and the accordion at the end.

The Man Behind the Drums. What's not to like about REK singing about Levon Helm? This song was inspired by Robert playing at Levon's Midnight Ramble in Sept of 2008. I was at the show in New York City and had planned to go to The Ramble the next night. Unfortunately, I didn't end up going. That was a bad choice. This is a great song.

Village Inn is a beautiful little song. It is probably the best song ever written about a motel. Another example of Robert's ability to take everyday life and turn it into a song. It has a very pretty melody that reminds me of Road To Nowhere/Carolina on Walking Distance. I love the verse that starts: Midnight thunder storms/Blowing into town/Wind is kicking up/Rain is falling down. It might be my favorite song on the whole disk.

The album closes with a nice piece of REK wit, Wireless in Heaven. Can't have an REK album without a few laughs. After all, this is the man who wrote Merry Christmas from the Family, which is the definitive dysfunctional Christmas song. I love the verse:

The pretty little cashier girl looks up and smiles at me.

She says it is an honor. She knows who I am.

Her Grandpa plays the guitar and he's my biggest fan.

Once again, the band really shines on this cut. Marty rocks on his steel guitar. I really like the country rave up before the last verse.

If you are already a Robert Earl Keen fan, you are going to love this album. If you are not familiar with his music, this is a good place to start. Available on iTunes or from Amazon.

I Shall be Released and Richard Manuel

2009-09-23T13:49:00.001-05:00

I have been overwhelmed by the response to my last post on Richard Manuel. Evidently, there are a lot of music fans who have the same strong feelings for The Band and the singing of Richard Manuel that I do.

Enjoy this clip from the movie of the Festival Express tour. It was a 1970 train tour across Canada that included The Band, The Grateful Dead, Janis Joplin and others. The film is available from Amazon and is worth checking out.

Richard's singing on this song is really beautiful. It is nice to hear him in his prime.

Poor Richard: Thoughts on the Life of Richard Manuel

2009-09-20T14:35:00.000-05:00

The first time I saw The Band live in May of 1969, I was mesmerized by Richard Manuel. At the time, part of the uniqueness of The Band was that there was no lead singer. Although that was true on their records where everyone contributed on vocals except for Garth, when The Band played live it was a different story. Richard was definitely the lead singer.

At the live show, there was a lot to like visually about The Band. My eye keep jumping between Levon looking like a cracker with a scruffy beard behind his vintage drum kit; Robbie with his conservative look and flashy guitar work; Danko rocking forward with the bass blowing out his cheeks; Garth looking like a big old bear behind his Lowrey Festival organ and Richard. For me, the sight of Richard on his piano was the focal point. Some combination of his wild hair, the hawk-like nose, and that wonderful high piercing voice made him the highlight of the stage show. He also sang lead on the two best songs from the show that night: Tears of Rage and I Shall Be Released.

Richard's contribution to the music of The Band was never more evident than on Music From Big Pink. The album opens with Tears of Rage, which he co-wrote with Bob Dylan. Richard's plaintive, soaring vocals on this song were the world's first hint of the distinctive sound of The Band. Never ones to follow convention, The Band choose this mournful ballad to open their first album. It wasn't a song for AM radio.

Three other Manuel songs were included on the record. On We Can Talk, the group's ensemble vocals are on display as the singers take turns and Richard sings: One voice for all/Echoing around the hall. In A Station, which begins with beautiful keyboards, showcases Richard's dreamy lyrics and his falsetto. Lonesome Suzie, a haunting portrait of loneliness, fits Richard's falsetto like a glove. You can feel his own pain in the vocals backed by Robbie's subtle guitar licks and the organ. The album closes with the Dylan classic from the Basement, I Shall Be Released, which Richard makes his own. It is still one of my favorite songs of all time.

Although his songwriting talent was drying up, Richard again played a key role in the music of the next album. Once again, his lead vocals open the album on Across the Great Divide. He also handles the lead on Rockin' Chair, Whispering Pines, and Jawbone, which he co-wrote with Robbie. Each of these songs is well suited to his voice. His unique and wonderful drumming can also be heard on Rag Mama Rag and Jemima Surrender

He also sings lead on the masterpiece of the album King Harvest (Has Surely Come). Richard's vocals combine with Robbie's beautiful guitar to tell this moving story of the American farmer. A wonderful song and perhaps The Band's finest moment on record.

As The Band's fame grew from the success of first two albums, Richard's appetite for booze and drugs was growing as well. The combination of fame and the temptations of the rock and roll lifestyle in Woodstock, began having a major effect on the harmony of the band. By the time The Band started recording Stage Fright, the guys were going in different directions and there was much less of an ensemble feel to the record.

Although Stage Fright was not of the same impossibly high quality as the first two records, it does contain some great music. Richard's contribution of the beautiful Sleeping is certainly one of the high spots of the album. He also sings Whistle Stop and the very appropriate The Shape I'm In, which probably said a lot about his condition at the time. His singing on the ensemble vocals on The Rumor is excellent as well.

Although The Band would continue to make albums and tour until The Last Waltz in November of 1976, Richard's health and fragile mental state began to be more and more of a problem. By 1975, he was reportedly drinking eight bottles of Grand Marnier a day as well as using an assortment of dangerous drugs. He also was involved in a car accident and later a boating accident in Austin, Texas, which forced the cancellation of several dates on their last tour.

Listen to these tracks from a show at the Carter Baron Amphitheatre recorded on July 17, 1976. This show was recorded 4 months before The Last Waltz. Although the music is excellent, it sounds like the weight of the world is on Richard's shoulders when it is his time to sing. It is almost painful to hear his voice strain to hit the notes in these classic Band songs.

KING HARVEST (HAS SURELY COME)

TEARS OF RAGE

I never saw The Band live after the 1974 tour with Dylan. Although they played many great shows through the mid-70's, I'm just as glad I never saw them again. After attending two shows when they were in their prime (The Electric Factory in May 1969 and Tufts University in November 1970), it might have been better for me to stop with those memories. I can still remember vividly sitting on the floor in Cousens Gymnasium as The Band played their hearts out a few feet in front of me. What a night.

The idea of seeing the reconstituted Band playing their greatest hits at down market venues never sat well with me. It just seemed so sad that musicians of this caliber would be reduced to playing that kind of a tour.

Richard's suicide in 1986 at the Winter Park Quality Inn after a show at the Cheek To Cheek Lounge brought this all home to me. It is hard to imagine that this wonderfully talented musician could have fallen to such a low and lonely place. I was shocked when I heard the news.

As The Band's music continues to be enjoyed and analyzed, I think that the appreciation of the contribution of Richard Manuel will only continue to grow. He played a key role in the creation of some of the best music of a generation.

If you do not have the albums mentioned above, you have a hole in your iPod. All are available in remastered format from iTunes and Amazon.

ELLIE GREENWICH 1940-2009

2009-09-11T14:09:00.000-05:00

Ellie Greenwich died on August 26th. She was a very talented songwriter who played a key role in what later became known as the Brill Building Sound.

Named after the building located at 1619 Broadway in New York City, these songs was written by a talented group that included Ellie and Jeff Barry, Doc Pomus and Mort Shuman, Jerry Lieber and Mike Stoller, Carol King and Gerry Goffin, Burt Bacharat and Hall David and Phil Spector.

Collectively they were responsible for much of the music that was played on AM radio in the early 60's. Before the Beatles and the British Invasion in 1964, most of the top ten hits of the day had their songwriting origins in this building.

Ellie wrote or co-wrote her share of 60's hits including Be My Baby (The Ronettes), Da Do Ron Ron (The Crystals), Leader of the Pack (The Shangri-Las) , Christmas (Baby Please Come Home) (Darleen Love), Do Wah Diddy (Manfred Mann) and River Deep, Mountain High (Ike and Tina Turner).

I was a perfect age for this music in the early 60's. I was just getting my feet wet with an AM radio. How lucky to be hearing songs of this quality. One of her songs that I remember well from those days was Be My Baby which went to #2 on the Pop charts for The Ronettes. Produced by Phil Spector, it was one of the early examples of his Wall of Sound. Have a listen:

BE MY BABY

Ellie co-wrote two great hits for the Crystals. One was Da Do Ron Ron which was a big hit at The Hill School and went to #3 on the Billboard Hot 100. Another was Then He Kissed Me which Ellie also wrote with Jeff Barry and Spector.

THEN HE KISSED ME

It is amazing to think that so many classic songs could have come from one group of writers in such a short time period. A lot of talent was on display at a very key time for modern music.

In a curious connection to music that I grew to love later, Al Kooper was also in the mix at the Brill Building at the same time. In fact, he wrote This Diamond Ring which was a #1 hit for Gary Lewis and the Playboys in 1965. Kooper went on to play on Dylan's Highway 61 Revisited sessions and is credited with making up the signature organ riff on Like a Rolling Stone. See my post on Kooper from August 27, 2008.

Ellie Greenwich and all of these songwriters played a very important part in our musical heritage. Check out their songs when you can.

Texas by Sons of Bill

2009-08-29T14:48:00.002-05:00

Following up on my last post on Sons Of Bill, here is a video of them playing a song called Texas from their first album. I think you can get a idea of the energy of their live show from this clip.

You need to buy the album One Town Away, if you don't have it yet. It is excellent.

SONS OF BILL

2009-08-23T15:00:00.000-05:00

I have been a little lazy about posting in the last month, but I have been listening to some great music. I have been playing what might be the best album of 2009. It is One Town Away by Sons Of Bill

For once, I am not writing about music I heard on Outlaw Country. In fact, I am calling out my favorite DJ Mojo Nixon for not playing this album. I thought Mojo was keeping me up to date on all the best new country music, but I haven't heard one song by Sons Of Bill on his show. What's a matter with you, Mojo? You missed this one big time.

I am also actually writing about new music for a change. This album was released at the end of June and Sons Of Bill are a relatively newly minted band, having been formed in 2005. Don't tell my good wife that I am listening to music that was recorded after 1966, she will fall on the ground like a Saratoga no-step. I want to listen to new music, but I don't often hear any that is worth listening to.

I received the audio files of One Town Away from their management about a month ago (Ah, the glamorous life of a blogger). Since then I have been playing nothing else. It is the best new album I have heard this year or maybe in many years. The sound is fresh and the lyrics are excellent. It is a pleasure to hear a new band with real talent take the southern rock/country genre and kick it into the modern age.

Sons Of Bill are the three Wilson brothers from Virginia. Their father, who is a professor of theology at the University of Virginia, exposed the brothers to roots and country music at an early age. After a series of diverse musical experiences that included heavy metal, college bars and jazz clubs, the boys come together to form Sons Of Bill in 2005. These diverse musical influences mix well together on this record. Sam and James handle vocals and guitars and Abe is on the keyboards. In addition to the brothers, Seth Green is on bass and Brian Caputo is behind the drums.

James wrote most of the songs on the album. In his songwriting, I hear influences of Townes Van Zandt, Robert Earl Keen, Steve Earle, The Band, Jamey Johnson as well as many of the classic country songwriters of the previous generation. Taking simple events in southern life, he paints vivid pictures with these songs. He has listened carefully to classic country songs and used these influences well.

Recorded under the direction of Tom Petty producer Jim Scott, One Town Away blends the bands alt-country/southern roots music with a little bit of Tom Petty guitar based rock and roll. The result is a sound that is modern but also salutes the best of traditional music.

There isn't a bad track on One Town Away. I want to point out some of the musical highlights. The album kicks off with Joey's Arm which addresses life in the modern South and the current meth problem with some insightful lyrics: The South ain't going to rise again/But we are holding out for Jesus/Or so they say on AM radio. The song is different from today's Nashville country music, because it speaks to the dark and dirty side of life not just the usual cliches. Kenny Chesney will not be covering this song anytime soon. It is very well written and played. A good opener for the disk.

JOEY'S ARM

The next song Broken Bottles is a great modern drinking song that contains the catchy lyric:

Hank Williams might have been a love sick drinker

but being a love sick drunk doesn't make you Hank

I like the fact that the band gives a nod to some of the greats of the past. They even mention my favorite Townes Van Zandt in So Much for the Blues.

Rock and Roll mixes the band's Alt- country with some great Petty organ and guitar sound. It is the rocker on the album and the band sounds like they are having a great time playing it. Have a listen:

ROCK AND ROLL

Charleston is more reflective and sounds a bit like a Charlie Robison song to my ear. It is a slower, reflective tune about love and loss that shows off the versatility of the band. It has nice steel guitar playing on it as well.

The Song Is All That Remains reminds me of a Jamey Johnson song. If you have been reading this blog, you know that isn't a bad thing. It is about life on the road for a musician and speaks from the heart. Very mellow and a nice way to close the album.

THE SONG IS ALL THAT REMAINS

From what I have read, Sons Of Bill are a great live act as well. I am looking forward to catching a show when they come to Texas. Do your ears a favor and pick up this album. You will not be disappointed. Available on iTunes and from Amazon. Highly recommended.

When You're Lost in the Rain.....Bob Dylan in Pawtucket

2009-07-22T06:26:00.007-05:00

On a rainy July night, I set off to see Bob Dylan at McCoy Stadium in Pawtucket, Rhode Island. It had been almost a year since I last saw Bob in the luxurious confines of the MGM Theatre at Foxwoods (see my post from August 16), so I was ready for my summer fix of Bob.

In the past, I had been reluctant to go to a show on the ball park tours. I'm not much for general admission gigs. You are either sitting thousands of yards away from the stage and you have to ask your neighbor: "Which one's Bob?" or you are enduring the mosh pit up front. Not my idea of a fun night.

Fortunately, I had Guitar Johnny as my wing man tonight. With him as my backstage ambassador, I had visions of meeting Bob and completing my rock and roll fantasy life. After a very pleasant dinner in the backstage area and a nice visit with a couple of the band members, "Guitar" and I were unsure about our plan. We went up to the back of stage to hear a bit of Johnny Cougar (or whatever he is called these days) and it didn't look like there would be much room there for us when Bob's part of the show began.

The weather was getting worse and I have to confess we were thinking about hitting the road. When we realized that Bob was not coming out of his bus for a stroll around back stage and a personal meet and greet with yours truly, we were really losing interest. Fortunately, we decided to make one more foray through the backstage area. We were hanging around just seeing if we could catch a glimpse Bob before he took the stage.

We did see a few people going up some stairs on the right side of the stage, but didn't think that was in our reach. Suddenly, a security guy was on us and instead of telling us to beat it, he told us go right up those stairs and find a place behind the soundboard. In an instant, we were flying first class.

Up we went and we found ourselves about 25 feet off Bob's side of the stage. After about 5 minutes there was a little commotion to our left and there was Bob with a black suit and white Rolling Thunder style hat standing about 6 feet away.

Bob and the band hit the stage and started into a rocking version of Cat's In The Well with Bob on lead guitar. Next they launched into It Ain't Me, Babe, which was followed by I'll Be Your Baby Tonight. Bob was playing his guitar for all he was worth. We could see Denny looking over at him with a perplexed look trying to follow his lead as they soloed together. Afterwards, Johnny said he thought he was listening to the Allman Brothers with the twin lead guitar sound. Pretty great stuff and Bob had the old chicken scratch working just fine. It made me remember his solos in the old days on Tangled Up In Blue. Chicken Scratch!

I was amazed to see that Bob keep the guitar on for another song. The band started in and after a few notes, Johnny and I looked at each other and said at the same time: "This Wheel's On Fire". One of my favorites from the Basement Tapes and what a treat to hear Bob take those leads. It made my night to hear it.

After a crazy jam version of The Levee's Gonna Break, the music took a little turn for the worse. It may have been our position on the side of the stage, but Bob's organ playing was drowning out every one else in the band. In Johnny's words: "His organ was Gothic." I thought it sometimes sounded like something you would hear at your local skating rink. Nevertheless, Bob was bopping around and laughing with the band between songs. He looked like he was having a good night.

Masters of War and It's Alright, Ma were casualties of this organ sound. The set list then veered to the modern era. It didn't matter, I was a happy man after the first few songs.

As we were driving back on 95 after the show in an absolute monsoon, Johnny was telling me about seeing Dylan and the Band in October of 1965 at the Bushnell Auditorium. Suddenly, we spotted the two tour buses heading down the highway to the next gig. As we passed, I thought about how much I enjoyed the show and how happy I was to hear This Wheel's On Fire. At the same time, I thought about the strange life of Bob Dylan and his Never Ending Tour. I hoped as he rode his bus through the rain and the dark, that he was happy as well. Thank you Bob for a great night.

White Room, Waylon Jennings and Robert Earl Keen

2009-07-09T20:52:00.010-05:00

About a month ago I was driving to the office listening to Outlaw Country on my satellite radio. When I heard Waylon Jennings covering White Room, I almost drove into the bay. I have heard a lot of unusual tunes on that station, but this was way out of the box.

I love the music of Waylon Jennings and I love White Room. I was lucky to hear Cream play it live at the Spectrum in Philadelphia on November 1, 1968. It has always been one of my favorite Cream songs. I never thought I would hear Waylon Jennings play White Room. Two very separate events in my life crashed together when this came out of my radio. It totally blew my mind.

Hearing White Room made me think about the years at Floyd's Hotel. White Room was always our concert shout out. No Free Bird for the hotel staff. It was always White Room or Whipping Post for us. This was a very special song at the time. Listen to Waylon's take on this classic Cream song from an album called Waylon Forever:> WHITE ROOM

In an even stranger coincidence, I found out recently that my good friend Robert Earl Keen opened his show at Bonnaroo with (You guessed it) White Room. When I asked Robert: "What's up with that?" He told me that he and the band decided that they needed a little heavy rock in the set to get the attention of the audience at the big shows.

I have seen the video of the song from Bonnaroo and it is excellent. Rich (guitar) and Bill (bass) are really up to the task on the song and REK does a pretty good job on vocals for a Texas singer songwriter. It is a great version that shows the versatility of Robert Earl Keen and his incredible band.

DAVE ALVIN and the GUILTY WOMEN Fourth of July 4-18-09

2009-07-04T08:45:00.002-05:00

I woke up thinking about this great song that was written by Dave Alvin. Here is a video of him playing it with his new band the Guilty Women. It is one of my favorites Alvin songs. If you haven't heard it already, you should check out his new album called Dave Alvin and the Guilty Women. It is excellent.

I first heard this song on Robert Earl Keen's album Picnic. It is definitely one of Robert's best covers. I always enjoy hearing him play it live. This is what it sounds like:

Forth of July

Hope everyone has a great 4th.

What's Going On by Marvin Gaye

2009-06-24T10:05:00.001-05:00

When this album was released in May of 1971, it was a radical departure from the usual Motown sound. Typical Motown songs were made for AM radio with great hooks and lyrics about love and loss like Come See About Me, The Tears of a Clown, Reach Out I'll Be There or My Girl. With the release of this album, Marvin Gaye got as far away from that sound as Dylan did from folk music when he released Highway 61 Revisited.

Many stories have been written about Berry Gordy's resistance to releasing this album. Fortunately, Marvin Gaye was a star and he was ultimately able to get his way. The music world would be a poorer place without this album.

In the fall of 1971, I was listening to a lot of Dylan (a 65 electric bootleg as well as the rest of the early catalogue), The Band (Stage Fright and the first two albums), and various blues albums. We had a fairly limited play list at Floyd's Hotel at that time.

I can remember going up stairs in Carmichael Hall to the room of a girl we called the Queen of Speed. When I got there, she was listening to a copy of What's Going On. I was familiar with Gaye's earlier Motown music because most of what I knew about music in the '60's came out of an AM radio. This album was completely new to me at the time.

What's Going On had a distinctively different sound from anything I had ever heard on a Motown record. I am not sure of my original reaction to this new sound, but I can tell you now that this has been on of my most favorite albums for the last 35 years. It is a record that was ahead of it's time and still sounds great today.

From the opening of What's Going On, which begins with background chatter, a big alto horn riff and then Gaye's soaring vocal, this was obviously a special album. With a sound that mixes soul, jazz and funk, Gaye sings about the Vietnam war, civil unrest, race and poverty which are common themes today, but were not in 1971 Motown song. Have a listen to the opening track:

What's Going On

Mercy Mercy Me (The Ecology) is another example of Gaye's forward thinking. Who was thinking about this in 1971, let alone singing about it? It is a beautiful song about a subject that was not common at the time.

Mercy Mercy Me (The Ecology)

It is a record that is full of great lyrics backed by the excellent playing of The Funk Brothers who were able to stretch out from the usual Motown constraints. From the song cycle that blends from one track to the next, the sound is a unique combination of jazz and soul. Gaye's singing reflects his passion for the material. It is his masterpiece.

If What's Going On isn't on your iPod, it should be. Available on itunes and from Amazon.

Next Post: Let's Get It On.

Tour 66: Visions Of Johanna

2009-06-15T15:50:00.002-05:00

As I mentioned in my last post, the acoustic versions of the songs that were played in the first set of the 66 Tour were powerful and memorable. Film is from Eat The Document by D. A. Pennebaker

Before Judas: Tour 66 Acoustic Set

2009-06-10T18:57:00.000-05:00

Over the last 30 years, so many articles have been written about the electric portion of the 66 Tour. The hostility of the English fans ("Judas"); the loud sound of the band; the interaction between Dylan and the audience has been well documented in books and on fan sites.

Lost in this literary shuffle is the brilliance of the first set of acoustic Dylan that opened every show. Each night, Bob would face the audience alone with his guitar and harmonica. The genius of these solo sets can be heard on the official release (The Bootleg Series Vol 4) as well as on many bootlegs including the definitive Genuine Live 1966.

Listening to these songs now, I am struck by the complexity of the lyrics in the set list: Fourth Time Around, Visions of Johanna, Desolation Row and Mr Tambourine Man. These are all classic Dylan compositions, that are full of incredible words. Of all the songs in the Dylan catalogue, these have to be some of the most difficult to perform. For Dylan to come out every night and nail these songs is the sign of a artist at the top of his game.

Much has also been written about the pace of the tour, the drugs and the effect of the lifestyle on Dylan. With this in mind, I think it makes these performances even more remarkable. Without the band, there must have been incredible pressure on Dylan to deliver these songs. If you listen to the recordings, you should agree that he passed the audition.

As the tour moved across Australia and Ireland and ultimately ended with seven shows in England and Scotland, Bob usually opened with She Belongs To Me. This was easiest song in terms of the lyrics and was a nice warm up. Next up was Fourth Time Around (appropriate in England because of it's connection to Lennon and Norwegian Wood). With the flow of words in this one, the stakes were getting much higher. Next came Visions of Johnana which always created a spooky air in the hall. You can feel the attention of the audience to this classic Dylan tale of love and loss.

5 and a half minutes of It's All over Now, Baby Blue and over 11 minutes of Desolation Row usually filled the next two slots. Again, these are two songs with a lot of words. The set finished with Just Like A Woman and Mr Tambourine Man. Besides the lyrics in the last song, Bob's harmonica is masterful. Think what any BobCat would give to go back in time and hear that set.

Bootleg Series Vol 4 is available at iTunes and from Amazon. Genuine Live 1966 is available from your local bootlegger. Both are highly recommended.

"I will stand on Bob Dylan's coffee table..." Steve Earle and Townes Van Zandt

2009-06-07T15:23:00.000-05:00

Steve Earle loves the music of Townes Van Zandt and so do I (see my post from June 19, 2008). Earle once said: "Townes Van Zandt is the best songwriter in the whole world and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that." I'm not sure I would go that far, but Townes did write some great songs.

Townes, who died in 1997 at age 52, did not leave behind a large body of work. Compared to someone as prolific as Dylan, his output was quite modest. He never wrote a song that you could dance to (well, maybe by yourself). His lyrics usually describe the sadder and darker side of life, yet he wrote many classic songs that pass the test of time. Pancho and Lefty, To Live Is To Fly, Flying Shoes, Snowing On Raton, Tecumseh Valley and If I Needed You are just a few of his great songs that demonstrate the songwriting genius of Townes Van Zandt. It is a shame that his work is not getting more recognition at this time. Perhaps this record will help.

Earle has just released a CD called Townes which is his tribute to Van Zandt. I have been playing it for the last week. Earle's voice and guitar do a nice job capturing the stark intensity of Van Zandt's lyrics.

I was listening to Steve's show on Outlaw Country called Hardcore Troubadour this morning. He was talking a lot about the record and his relationship with Townes. Steve is very passionate about this project and it shows in the music.

The disk begins with Pancho and Lefty which is the most recognizable song in the Van Zandt songbook and my personal favorite. Steve's growl of a voice sounds at home on this tune. It is too bad he didn't bring in Merle Haggard on the "Lefty" verses. It is a great version nevertheless.

He also covers To Live Is To Fly, No Place To Fall and Mr Mudd And Mr. Gold. The latter has Justin Townes Earle on vocals as well. All of these songs are high spots in the Van Zandt song book.

This CD is a good start for anyone who is not familiar with the great songs of Townes Van Zandt. I recommend it highly. If you really want to experience the talent of Townes Van Zandt, you need to hear the originals. There are several collections that are available on iTunes and from Amazon.

The Knickerbocker Cafe Grand Opening Weekend

2009-05-29T17:31:00.004-05:00

Last weekend was the grand opening of The Knickerbocker Cafe in Westerly, Rhode Island. Three nights of great music, dancing, food and more than a few cocktails marked the rebirth of this historic venue.

Everybody on the Knick team worked very hard to get ready for this event. The place looked fantastic and a sell out crowd enjoyed the shows.

Saturday night was a blues review featuring Guitar Johnny Nicholas, Duke Robillard, Greg Piccolo and Sugar Ray Norcia. Joining Johnny on the bandstand from Texas were Joel Guzman on accordion, piano and B-3 organ and the incomparable Al Gomez on trumpet. Guitar Johnny was in rare form that night. Beside acting as the MC, his singing and tasty guitar work lit up the room. A great night of blues.

It was a treat to see Duke and Greg back on the stage at the Knick, where the Roomful of Blues made so much history years ago. When Duke and Sugar Ray traded verses on Honey Hush, I was taken back to the night I saw Big Joe Turner play the Knick backed by Roomful. That was a memorable night and I was lucky to be present in The Alcove for both shows.

On Sunday night, Delbert McClinton brought his brand of Texas roadhouse music to Westerly. Backed by a band of young guns, Delbert showed a sold out crowd what real country music is suppose to sound like. You don't hear music like that coming out of Nashville these days. I guarantee Rascal Flatts and Taylor Swift will not be playing the Knick. Not even on Sh*T Night.

Besides the locals, there were some real Delbert fans in the house, including a couple that drove from Pittsburgh for the show. I think everyone enjoyed the show. I know I did.

Be sure to catch James Montgomery and J. Geils tonight. It will be another great night of blues at the Knick. I have known James since The Maniac introduced him to the Floyd's Hotel crew in the '70's. He is an energetic player who always puts on a good show.

See you there.

Jason and the Scorchers - Absolutely Sweet Marie

2009-05-28T00:13:00.001-05:00

The quality of the video isn't that great, but you can get a feel for how well Jason covers this classic Dylan song.

Absolutely Sweet Marie by Jason and the Scorchers

2009-05-22T09:37:00.000-05:00

I have been working on a post about Jason and the Scorchers for over a week. When I heard their cover of Absolutely Sweet Marie on Outlaw Country yesterday, I knew it was time to get back to the keyboard.

In 1983, I heard one of my favorite Dylan songs on an album by a Nashville band called Jason and the Scorchers. I was completely blown away by their version. It is not easy to take on a Dylan song from Blonde on Blonde. Those songs are so definitive that most covers sounds like wedding band material. After hearing Sweet Marie, I bought the album and I was not disappointed with the rest of the cuts.

Formed in 1981, Jason and the Scorchers were a Nashville based band that pioneered the punk/country sound that predated all of the alt-country bands. Led by Jason Ringenberg, their energetic live shows and inventive covers of rock and country classics made them popular with critics and country music fans. They released Fever in 1983 and Lost and Found in 1985. These are now available on a a single CD.

Besides the Dylan song, they play a great cover of Hank Sr's Lost Highway, which sounds like Hank on steroids. Several original songs by Ringenberg also deserve mentioning. Harvest Moon, Hot Nights in Georgia, and Pray For Me Mama are well written and and show off the energy and style of the band.

Unfortunately, the band was probably a little ahead of their time and they broke up in 1990. If you like your country with a little harder edge, I would recommend this CD. It is available on iTunes and from Amazon.

Muddy Waters on The Anerican Folk and Blues Festival

2009-05-12T08:43:00.002-05:00

As I mentioned in my last post, this is a great cut of Muddy and Sonny Boy Williamson, with Willie Dixon on bass and Otis Spann on piano doing Got My Mojo Workin'. Notice the style of the players and the especially the conk on Muddy. Also, check out the audience in the last shots.

All three DVDs of The American Folk and Blues Festival are full of classic performances like this one. Available from Amazon.

The American Folk Blues Festival 1962-1966

2009-05-07T13:22:00.011-05:00

After almost a week, I have finally gotten rid of the mint julep flu. Trust me, it is much more deadly than anything you can catch from a pig. The Derby is a hard road, but it is still the best day of the year.

About two years ago, Guitar Johnny Nicholas turned me on to this series of three videos called The American Folk Blues Festival 1962-1966. If you like the blues, you will enjoy these fantastic DVDs of great American blues artists performing in their heyday.

From 1962 to 1969, a group of top American blues musicians toured Europe. I have written in this blog about British musicians being interested in American blues and roots music. Seeing our best blues players on these tours had a huge influence on the musicians of that day. In the forward to the first volume, Bill Wyman writes: "Things would have been a whole lot different in Britain without the American Folk Blues Festivals; they proved to be a rich legacy for musicians throughout Europe."

This footage, which were unreleased for over 40 years, captures these musicians live in front of a German audience. Wait until you see what a German blues audience looked like in the early '60's. The sound is excellent and the black and white cinematography is wonderful.

The highlight of volume one is Muddy Waters playing Got My Mojo Working with Sonny Boy Williamson on harmonica. Muddy is impeccably turned out in a suit and his hair in a huge conk is perfect. Rounding out the band on this cut is Willie Dixon on bass and Otis Spann on piano.

Other songs on the first volume include Otis Rush singing I Can't Quite You Baby, Junior Wells doing his classic Hoodoo Man Blues, and Sonny Boy playing Nine Below Zero. All of the songs showcase the class and talent of these great artists.

On the next two volumes, you can see T-Bone Walker doing Don't Throw Your Love on Me so Strong, as well as several songs from Willie Dixon, Howlin' Wolf and Magic Sam. There are also great performances from Big Joe Turner, Buddy Guy, Lighting Hopkins, Big Mama Thornton and John Lee Hooker.

These DVDs are a rare opportunity to see great blues musicians in their prime. Available from Amazon.

Kentucky Derby, Larry Redmon and Mint Juleps

2009-04-23T18:16:00.016-05:00

The first Saturday in May is the best day of the year. It is better than Christmas, birthday, golf weekend or the first day of quail season. If you have to ask what happens on the first Saturday in May.....hit delete now.

The Kentucky Derby is one of the premier sporting event in the world. For 135 years, the race has showcased top equine athletes at Churchill Downs, which is one of the great race tracks in the country. In addition to the horse racing, the Derby is a great spectacle of people watching. On Saturday, over 100,000 people from all walks of life will be at the track. There will be movie stars, rock stars, racing fans, show ponies and drunken college kids in the infield who might not even watch the race. There is a very wide range of fashion on display at the event.

I was lucky to be introduced to Derby in 1983 by a true gentleman and good friend from Louisville, Bill Blodgett. It was a great start on a lifetime of Derby experiences, because Bill has a true love for the Derby and everything that goes with it. Bill had access to a great box and the best parties in Louisville. He showed me the ropes of Derby, included how to "sweeten" a mint julep from a hip flask of bourbon. Over 25 years later, I am looking forward to seeing him at the track on Saturday.

In 1987, I joined the Walmac Derby posse. Since this group is based in Lexington, the Derby schedule is slightly different. It might seem strange to do the Derby from another city (Check with Perry S on this), but it does open up some other social events. When the Madden Party was still in existence, it was the only way to go. I could tell you more about the Madden Party, but this is a family blog. Seriously, it was a huge charity party on the night before Derby every year. Held at Hamburg Place Farm, the party was an extravagant event that included interesting costumes and usually some kind of nudity. Many lasting friendships were made under those big tents.

Part of our Derby routine is going to see Larry Redmon play on Thursday night. I have seen Larry at many places over the years, but recently he has been playing at his own club called Redmon's in downtown Lexington. If you have never heard Larry, you are missing a great live act.

Before a crowd of rowdy college kids with only an acoustic guitar, he holds court. Drawing on a lifetime in the Bluegrass and a love of real country music, he puts together a set that includes original songs like Garth Brooks Ain't Playing Here Tonight, Last Kiss, Another Blue Grass Morning, and Propane. The later is my personal favorite. Sung to the tune of Cocaine, it is a comic tale of white trash country life that includes the memorable lines: When your hands are hot/And your cousin's not/Propane. Redmon's show is a celebration of the music of the American South and it is damn good. He plays real country music and calls bullsh*t on what Nashville is putting out these days.

In the live show, Larry also covers a number of classic songs by John Prine, Chuck Berry, John Fogerty, Steve Earle and David Allan Coe. Every night ends with the unfurling of the confederate flag and a rousing version of Dixie that morphs into Sweet Home Alabama. I hope to see you there on Thursday night.

Being a wine and vodka drinker, I don't drink bourbon during the rest of the year. I guess I am scared if I drink any of that dirty water, I might end up on the ground or dancing that old Saratoga no-step. Mint juleps at the Derby are a different thing. I don't know what they put in those drinks, but they taste good and do enhance the whole Derby experience. I am looking forward to have more than one this weekend.

The Great White Wonder: Bootlegs and My Life Part 2

2009-04-23T16:11:00.000-05:00

As we get ready for the release of Bob's 33rd studio album next week, I am thinking about all of the great music Bob has produced over the years. There are many classic official albums as well as so many great songs that would never have seen the light of day without the bootleg industry.

This has all become very commonplace today. Bob plays a live show and within a week or two, you can buy it on a bootleg CD. Ah, the modern world.

This was not always the case. Before September 1969, the only unofficial Dylan material I had ever heard was on the tape featured in a post from March 16th. During the summer of 1969, word filtered out through Rolling Stone that a bootleg album of unreleased Dylan material had been released in California. In September, I went to a record store in downtown Philadelphia and came home with a copy of The Great White Wonder.

It is hard today to describe my excitement at the time to own a double album of Dylan music that was all new to my ears. After playing all the official albums to death over the previous years, it was a big event to have some new Dylan material.

The four sides of the double album were filled with a curious collection of Dylan material. Two sides contained songs from the legendary 1961 Minneapolis Hotel Tape. There was also a sampling of mid-60's outtakes and of course the seven songs from the Basement Tapes.

Although at the time it was a treat to have any new Dylan material, the real joy of the record for me came from the seven tracks from the Basement Tapes that were found on the end of side two and all of side four. These were:

Mighty Quinn (Take 1)
This Wheel's On Fire
I Shall Be Released
Open the Door, Homer (Take 1)
Too Much of Nothing (Take 2)
Nothing Was Delivered (Take 1)
Tears of Rage (Take 2)

First, it was a real improvement to have a few of the songs from the Basement Tapes on vinyl. It was a little easier than cranking up a reel to reel tape machine. Besides that, the highlight was to hear Dylan's version of Tears of Rage. Since it was released as the opening track on the classic Band album Music From Big Pink, Tears of Rage has always been one of my favorite Dylan songs. The fact that it was written with Richard Manuel, who met such a tragic end, makes the the sadness and emotion of the song that much more poignant to me. It is a beautiful song:

TEARS OF RAGE

The Great White Wonder made an impressive debut as the first of many bootleg albums. I am proud to still have my original copy.

ONE YEAR

2009-04-22T09:19:00.003-05:00

This is my 91st post since I started writing my blog a year ago today. Since I started tracking in June, the blog has had almost 27,000 hits from 77 different countries, including Egypt, Nepal, Bolivia and Saudi Arabia. I am amazed by the international interest in American country and roots music.

There are thousands of blogs out there, so finding an audience hasn't been easy. I have benefited from links at Expecting Rain, Setting the Woods on Fire and Robert Earl Keen. com, which are all great websites. My thanks to Karl, Paul and Robert for their help.

Thanks to everyone who has taken time to read the blog and especially those who have written comments and gotten involved in the process. I hope everyone has enjoyed the reading as much as I have enjoyed the writing. As long as I can get people to listen to good music, I guess I will keep it going a little while longer.

With that in mind, here is one of my favorite songs by Robert Earl Keen. It comes from his album A Bigger Piece of Sky, which you should buy if you don't own it already.

PAINT THE TOWN BEIGE

Riding My Thumb to Mexico by Johnny Rodriquez

2009-04-18T09:43:00.005-05:00

Riding My Thumb To Mexico was on my satellite radio yesterday. As I drove down the road, I thought about hearing Robert Earl Keen play it live. At that time, I was not familiar with this original version by Johnny Rodriquez. In fact, I'm not sure then I even knew who wrote the song. Now I know it was a number 1 country hit for Rodriquez in 1973 .

With a little Spanish guitar beginning and some tasty steel guitar behind Johnny's vocal, it is a very nice tune. Give it a listen:

RIDING MY THUMB TO MEXICO

Johnny Rodriquez was the first breakout Mexican country artist. Born in Sabinal Texas in 1951, Johnny was the youngest of 10 children. After some troubled teen years, he was discovered by Tom T. Hall and Bobby Bare. They encouraged him to go to Nashville. According to the legend, he arrived there in 1971 was $14 in his pocket and an old guitar. He joined Hall's band and began writing songs.

It didn't take long for him to become famous. In 1973, he had two number one country hits with You Always Come Back and Riding My Thumb. In 1975, I Just Can't Get Her Out of My Mind, Just Get Up and Close the Door and Love Put a Song in my Heart went to number one as well.

Rodriquez has released 26 albums and had 45 singles that made the charts. He was inducted into the Texas Country Music Hall of Fame in 2007.

The Basement Tape (Safety Master): Bootlegs and My Life Part 5

2009-04-14T08:27:00.004-05:00

On Sunday afternoon I was writing a post about the Great White Wonder when I got an email from my friendly bootlegger about a new release of the the Basement Tapes called The Safety Master. Listening to this new version made me skip forward in my series on bootlegs to write immediately about the Basement Tapes.

In the history of bootlegs, there is no more important music than these songs that were recorded in 1967 by Bob Dylan and The Band in Woodstock, NY. The timing was perfect. Dylan was hiding out in Woodstock after the 66 World Tour and his motorcycle accident. The Band was getting ready to record their classic Music From Big Pink. In the meantime, there were songs being written and music being played that would have a major influence on the music world for years to come.

The existence of this tape was first revealed in a front page article in the June 22, 1968 issue of Rolling Stone. Written by editor Jann Wenner, the headline reported: "Dylan's Basement Tape Should Be Released." My first exposure came in early 1969 when seven of the songs were on the tape that I describe in my post from March 16th. Later, five of the same songs plus I Shall Be Released and Open the Door Homer were included on the Great White Wonder, which was the record that began the bootleg era when it was released in 1969.

Over the last 40 years, I have listened to these songs a million times. I have owned them on cassette tapes, on the very underwhelming official Robbie Robertson/Columbia Records 1975 version, and more recently on the excellent three disk CD A Tree With Roots. You might wonder why I need another copy of the same songs. After some very close listening, I can say that this new CD is a real improvement in fidelity and worth picking up.

It is hard to accurately describe the power and influence of these songs which were recorded over 40 years ago. I will not try to write about the global musical significance of these songs. Greil Marcus has done that in his excellent book Invisible Republic: Bob Dylan's Basement Tapes. Another book by Sid Griffin called Million Dollar Bash recreates the history of the sessions and the songs in great detail. I will leave most of the commentary to the experts.

All I can add is that these sessions were recorded under the best possible creative circumstances. Completely removed from the pressure of the studio or the influence of music industry executives, Dylan and The Band, who were at the peak of their creativity, recorded a body of work that shines today. These songs are among my favorites of the entire Dylan song book. Tears of Rage, I Shall Be Released and This Wheel's On Fire are beautiful songs and these early recordings are the definitive versions.

If I were trapped on that proverbial desert island with one CD, it would be the Basement Tapes. My apologies to Merle, Hank, REK, and Chris, but this is the one I would never get tired of. Here are two of my favorite tracks:

I SHALL BE RELEASED
THIS WHEEL'S ON FIRE

BEECHWOOD 4-5789 by The Marvelettes

2009-04-12T12:36:00.008-05:00

In the days before the Beatles hit the radio, one of my favorite songs was Beechwood 4-5789 by The Marvelettes. It was a big hit on AM radio in the summer of 1962. Co-written by Marvin Gaye, who also played drums on the track, the song got to number 17 on the pop charts that summer.

BEECHWOOD 4-5789

Although The Supremes and Martha and the Vandellas ultimately had more success, it was The Marvelettes in 1961 who had the first number one hit with Please Mr. Postman. They got the ball rolling for the Motown girl groups.

In an interesting connection, The Beatles recorded Please Mr. Postman on their album With The Beatles. With John Lennon on lead vocals, the boys from Liverpool did a pretty good job on their version:

PLEASE MR. POSTMAN

In the next couple of years, The Marvelettes had hits with Too Many Fish in the Sea (#25 in 1964), Don't Mess With Bill (#7 in 1966), The Hunter Gets Captured by the Game (#13 in 1967) and My Baby Must Be a Magician (#17 in 1968). These are all very good examples of the Motown sound of that era. In fact, I prefer these songs to many of Motown's bigger hits by the Supremes and other groups.

DON'T MESS WITH BILL
TOO MANY FISH IN THE SEA

The Very Best of The Marvelettes is available on iTunes and from Amazon.

TODD SNIDER

2009-04-10T16:15:00.004-05:00

Writing the April 4th post about humorous country songs made me think about Todd Snider. I was not familiar with Todd or his music until I heard him on XM Satellite Radio about 5 years ago. As I was driving into Hebbronville one morning, he was live in the studio playing and talking. I really liked what I heard that day.

He really got my attention when he played Beer Run. If you are not familiar with the song, it is one of the funniest tunes you will ever hear. Snider totally captures the essence of the Robert Earl Keen fan with very humorous results. Give it a listen:

BEER RUN

When I got back to Corpus, I asked local music fan Scott F*g*n if he had ever heard of Todd Snider. "He is very good," was the reply from Scott. I immediately bought Near Truths and Hotel Rooms Live, which is a great live CD. It captures all the cleverness of his songwriting and his rapport with a live audience. I recommend it highly if you are not familiar with Todd's work. It is available at iTunes and from Amazon.

KRIS KRISTOFFERSON

2009-04-06T09:17:00.003-05:00

Starting in the 1960's, Rolling Stone was like the bible to most music fans. Every issue reported on the music and artists that became my musical education. In those dark days before the internet, Rolling Stone was the only good source of information about music and 60's culture.

As the years went on, I began to feel less connected as a reader. The new music they covered did not interest me and the Bush bashing, anti-republican editorial stance got pretty old. The switch to the new format seemed like the last straw and I don't think I have read an issue in quite a while.

Yesterday at the airport, I saw that the current issue featured an article on Kris Kristofferson. As I have mentioned on this this blog many times, I have always been a huge fan of his songwriting, so I decided to buy it. The article, written by Ethan Hawke, is a very well written tribute to one of the best songwriters who has ever lived. Anyone who likes Kristofferson and his music should read it. Kris has lived a very colorful, amazing life which is captured nicely in this article.

The article begins with an exchange between Kris and Toby Keith backstage at the tribute concert for Willie Nelson's 70th birthday in 2003. If you have been reading my blog, you know I can't stand anything about Toby Keith or his music. In my world, if Kris represents everything that is honest and good about country music, then Toby represents everything that is wrong with the music coming out of Nashville today.

As reported in this Rolling Stone, Toby starts mouthing off to Kris backstage before the show. With the whole music world within earshot, Kris cuts him to the bone. You need to read the article for this alone.

After his exchange with Keith, Kris says: "You know what Waylon Jennings said about guys like him? They're doin to country music what pantyhose did to finger-fuckin."

Hayes Carll - "She Left Me For Jesus"

2009-04-04T17:21:00.001-05:00

She Left Me For Jesus by Hayes Carll

2009-04-04T12:02:00.003-05:00

Most classic country songs are sad songs. They are written about the darker side of life: drinking, cheating, losing, lying and being in jail. I am thinking about Hank Williams songs like I'm So Lonesome I Could Cry and Your Cheatin' Heart or Merle Haggard songs like I Am a Lonesome Fugitive and Kern River or Townes Van Zandt songs like Tecumseh Valley. None of these will put a smile on your face.

Occasionally, there are funny songs that are well written enough to be an exception. I'm not talking about the Nashville crap you hear Kenny Chesney, Toby Keith or Big and Rich singing on the radio, but songs that are humorous and still display some songwriting craft. Some examples from the past would be Merry Christmas From the Family and Copenhagen by Robert Earl Keen, Beer Run and Doublewide Blues by Todd Snider, the classic Okie From Muskogee by Merle Haggard and almost anything by David Allen Coe. These songs are funny without being an insult to your intelligence.

I heard a song recently called She Left Me For Jesus that really knocked me out. It is on the CD Trouble In Mind by Hayes Carll. I have been warming up to Carll's music since I heard his 2005 release Little Rock. That CD included a pretty good song called Down The Road Tonight, which got decent airplay on satellite radio. I like it because the song sounds like a modern version of Subterranean Homesick Blues. Hayes certainly studied his Dylan to cram that many words into one song.

I finally picked up his latest CD called Trouble In Mind, which has also gotten pretty good reviews. It was on many best of lists for 2008. Playing through Trouble In Mind, I was initially a little underwhelmed. The songs are good and the band is good, but there was nothing that really reached out and grabbed me. Nothing, until I got to the last cut on the CD. She Left Me For Jesus has got to the funniest song I have heard in a very long time. See what you think:

She Left Me For Jesus

George Valentine Smith III 1950-2009

2009-03-29T12:56:00.005-05:00

Last Wednesday night as we were driving home from a dinner to celebrate my birthday, I got the news that one of my oldest friends George Smith had died. Although George had been sick for quite a while, it was still a shock to lose such a close friend.

George was many different things to many people, but to everyone who know him he was the man who made us laugh. No one had a better sense of humor than George Smith. This humor and his kindness touched many people in the world. With this post, I will share a few of my memories of George.

I was not around for the early years of George's amazing life story, so I will leave it to others to fill in the blanks correctly. I have heard all of those stories many times: The Trial at Jiskoots, his cross country trip which included an Indian and an arrest in Oklahoma City, the trip to Europe with the Tiernan family when Fatty challenged some locals and ended up hiding under a car while Michael got his nose broken, his brief career at Oglethorpe University that ended at a hotel in Atlanta with George in the hands of the professional gamblers. These are classic Fatty tales that are better told by others and I will defer to their versions of the early years of the legend.

By the late '60's, I began to know George a little bit. I can remember spying on the famous '60's party at the beach club and seeing Fatty dancing in a cage. I can also remember Watch Hill's first rock band Ponce de Leon and the Young Ones. I hope you don't have to ask who was Ponce.

In the early '70's, George had just finished his higher education at the University of B. Altman and was working for his father at GVS Country Store. Suddenly, the two year difference between George and my age group in Watch Hill didn't seem to make much difference. Fatty started hanging with us when he realized that we had certain things in common that his older crowd didn't. In an oft-repeated story, a couple of us went to Peter Calder's house looking for George. When Calder opened the front door, he yelled: "You kids get out of here. George Smith doesn't smoke dope any more." Whatever.

After that summer, GVS became a frequent weekend visitor at Floyd's Hotel in Boston. He was always good for a couple of bags of groceries and a fun time. Fun, if you didn't mind him playing Born in Chicago full blast at 8 in the morning.

When I returned to Philadelphia after college, George took me under his wing. In those days, GVS had a little more life experience than I did. Soon, he introduced me to the Fatty way of life. His apartment served as a club house for many of us who didn't have any other place to hang out. I will never forget the Christmas tree at the house on Berkley Road that was still up in July.

In those summers, we made the long weekend commute from Philadelphia to Watch Hill in Fatty's orange 914 with the dual headphones. I'm not sure how we survived that ride. Each Friday we would go directly from Philadelphia to the bar at the Ocean House and retrace our path on Sunday afternoon. I didn't get much done at the office on Mondays.

George was always passionate about the game of golf whether at Gulf Mills, Misquamicut or Mid Ocean. Relying on his patented Fatty Fade and a lot of golfer's aide, he worked his handicap down to what some said was the worst 7 handicap in the country. Nevertheless, Gussie and the then boy wonder Bakewell Griffin won the 1977 Shinkle Bowl on the 20th hole with a hooded five iron and the birdie putt heard around the world. It was the first victory in the tournament for the our generation and we celebrated like rock stars at the China Village later that night. George went on to mentor Bakewell on and off the course and as his caddie helped him win several club championships.

George's money games with George Kirkpatrick and the "Snicker Set" were legendary at that time and caused Big Daddy, with his hand slapping at his side, to beg Kirko: "Don't play The Kid for nickels." In later years, the Fatty Open became a famous spring stop on the East Coast golf circuit. His tournament reflected George's love for his friends, good fun and the game of golf.

Later when George's ship came in, whatever money he didn't spend renovating the house on Araquat Road (I will never forget the television rising from the floor in the living room), he used to enter his yachting phase. Starting with the first Baabyliner, every year the boats got progressively bigger. Now George was able to create the Fatty lifestyle on the water. Whether at the dock in Watch Hill in the summer or at the Delray Yacht Club in the winter, he was living his dream. We all remember the after parties at the Plimpton Dock, the tales of pirate's booty and the cry of "He's not going to make it."

Unfortunately, as the years went on George began to make some really bad choices. It seemed that he was never as comfortable in his own skin as he should have been. Although we all loved him for what he was, he thought he needed to be something bigger. This led to decisions that turned out badly for him. It is a tragic story, but one that has been repeated many times in the past and will be again in the future.

I am honored to have been one of the 6 people in the world that could call him "Fatty". I will miss you Gussie.

Trap Door by T-Bone Burnett

2009-03-20T16:02:00.003-05:00

When I first moved to South Texas in the fall of 1982, I was listening to this EP by T-Bone Burnett. I'm not sure where I came across it. Perhaps there was a review in Rolling Stone, or maybe it was his connection to Dylan and the Rolling Thunder Revue. Whatever the reason, Trap Door got a lot of play that fall and winter. As I remember, I even recorded it on a cassette tape, so I could play it in the truck as well.

After the playing in the Rolling Thunder Revue, T-Bone formed the Alpha Band which recorded two albums. I have to confess that I am not familiar with either album.

In 1982, he went into the studio with former Dylan sidemen David Mansfield (guitar), Steven Soles (vocals) and David Kempner (drums). The result was this 6 song EP that contains an intriguing meld of folk and pop music. The lyrics are clever, the rhythms are compelling and each song contains a hook that stays in your mind. Here is the track list:

Hold on Tight
Diamonds Are a Girl's Best Friend
I Wish You Could Have Seen Her Dance
A Ridiculous Man
Poetry
Trap Door

Born in 1948, T-Bone was raised in Fort Worth, where he made records starting in the mid-60's. In the 1970's, he relocated to Los Angeles and hooked up with Bob Dylan for the Rolling Thunder Revue. Since then, T-Bone has released 8 solo albums, plus a greatest hits collection called Twenty Twenty The Essential T Bone Burnett which came out in 2006. He is a very talented and prolific singer and songwriter.

Besides his own records, he has been a producer for other artists like Elvis Costello, Counting Crows, K.D. Lang, The Wallflowers, Alison Krauss and Robert Plant. He also produced the brilliant How Will The Wolf Survive for Los Lobos (see post from December 7). In 2002, he won four grammy awards for the music from the movie O Brother Where Art Thou? More recently, he was the executive music producer for the Johnny Cash film Walk The Line.

Unfortunately, Trap Door never made the transition from vinyl to CD. Unless you still have that turntable handy, this could be a problem. You can find some of the Trap Door songs on Twenty Twenty. It is available on iTunes and from Amazon.

Bob Dylan One Too Many Mornings (Live 1966)

2009-03-20T15:50:00.002-05:00

Video of One Too Many Mornings from Eat The Document. Check out Robbie's guitar solo that starts at 2:00. Also, Bob singing through his hands on the last verse beginning at 2:37.

Beautiful photography of a great song from the 66 Tour. If you haven't seen all of this movie, you need watch it as soon as possible. It is the definitive record of the legendary 66 Tour.

One Too Many Mornings: Bootlegs and My Life Part 1

2009-03-16T09:32:00.008-05:00

In January of 1969, a bootleg was a football play or illegal alcohol. At the time, no one knew that there was a huge body of Dylan music out there just waiting to be heard. Those were the dark days before The Great White Wonder changed our musical lives forever.

That winter, I was attending school in Pottstown, PA. A friend who had been in New York for the weekend made a tape of a Scott Muni show on WNEW and brought it back to school for me. Muni was the gravelly voiced DJ who was a pioneer of the radio format that became known as progressive rock radio.

My friend gave me this magical tape that contained 11 Dylan songs. Some of the songs I had heard before in different versions, but most of them were new to my ear. Here is the song list as written on the tape box now over 40 years old:

The Mighty Quinn
Tears of Rage
Nothing Was Delivered
One Too Many Mornings
You Ain't Going Nowhere
Wheel's On Fire
Tiny Montgomery
Like a Rolling Stone
Too Much of Nothing
I'll Keep It With Mine
Can You Please Crawl Out Your Window?

At the time, I didn't know anything about the origins of these songs, but I knew I liked what I was hearing. Looking at this song list now, we know that the tape was a mixture of Basement demos, live 66 Tour cuts and two other outtakes. Today, as we await the release of Dylan's 46th studio album, it is hard to remember that Bob then had only released 8 studio albums. Product was slim in those days. I had played each of those first albums over and over until the grooves wore out. I knew every song by heart and had analyzed them all to death. Even though John Wesley Harding had just been released, a tape with 11 new songs was a really big deal.

The song that really stuck out when I first listened to the tape was One Too Many Mornings. I was very familiar with the song, because it was one of my favorites on The Times They are a-Changin'. To hear it go from a gentle folk song to this rocket fueled version from the 66 Tour was quite a shock.

From the first swell of the Garth's organ mixing with Manuel's piano that leads to Bob's tortured vocal, this is a song that has grown up. When it gets to Robbie's solo, you are hearing the essence of the 66 Tour and some of the best work of that Mathematical Guitar Genius. I also love the Band's backup vocals as they shout: "Beeehind" at the end of every verse. Great music and the first hint of what was to come from the 66 Tour.

This tape was a real "ear opener" at the time. I will continue this trip down bootleg memory lane with the next post on The Great White Wonder.

I have just seen the future of country music and his name is JAMEY JOHNSON

2009-03-12T21:12:00.009-05:00

In 1974, Jon Landau saw 25 year old Bruce Springsteen play at the Harvard Square Theatre. Afterward in an often quoted article in the Real Paper, he wrote: " I saw rock and roll's future and it's name is Bruce Springsteen."

Well, tonight I saw the future of country music and his name is Jamey Johnson. I just came back from the Hard Rock Casino in Hollywood, Florida where I saw Jamey open for Willie Nelson.

If you are reading this blog, you know that I have gone crazy for Johnson's music. When I first heard him in early December, I was immediately impressed with his songwriting. His songs have a real connection back to the best work of Waylon Jennings and Merle Haggard.

Seeing him live tonight only confirmed what I have been saying. Besides being one of the best songwriters working in Nashville today, he has the stage presence of a super star. Johnson is a big man and he is riveting on stage. All of his songs sound great live. Listening to him sing, I thought I was hearing Waylon Jennings before he snorted his voice away.

His band is outstanding. The keyboards were good. The steel player was terrific and the rhythm section was rock solid. The lead guitar doesn't look like any country player I have ever seen, but he played some tasty guitar. He also sang some nice harmony with Jamey.

In a 30 minute set, he hit most of the high spots from That Lonesome Song. He opened with High Cost of Living which has to be one of the best country songs every written about the dark side of drugs. Check out these lyrics:

That southern baptist parking lot

Was where I'd go to smoke my pot

Sit there in my pickup truck and pray

And staring at that giant cross

Just reminds me that I was lost

And it never seemed to point the way

I tell you the high cost of living ain't nothing like the cost of living high

He also played Mary Go Round, In Color, Mowin Down The Roses as well as my favorite Place Out On the Ocean. Each song was tasteful executed by the band and well sung by Johnson. The crowd got pretty excited by the end of the set. I think there were a few people like myself who were there specifically to see Jamey.

At the risk of having Texas lightning strike me dead, I have to confess that I didn't even stay for Willie's set. I was so happy after seeing Jamey play for 30 minutes, I gave my ticket away and went to the house.

If you don't own That Lonesome Song, you are missing the best country album released in a very long time. Available on iTunes and from Amazon. Buy it, please.

Sir Douglas Quintet - She's About A Mover

2009-02-25T08:04:00.001-06:00

Check out this clip from Hullabaloo and you will see Sir Doug and the band remade as a British invasion band (see my previous post). Is this a freak show or what? Is that Trini Lopez introducing them? I think it is.

Big Joe Turner and the Alcove Groupies

2009-02-24T07:50:00.011-06:00

As I am getting ready for the opening of the Knickerbocker Cafe in Westerly, Rhode Island this Saturday, I keep thinking about all the great music I heard there in the old days. When the Roomful of Blues held court every Sunday night in the 1970's, there was nothing better than hanging in the alcove, drinking a beer and listening to great Kansas City rhythm and blues.

I can still picture Duke Robillard in that cream colored suit playing his Gibson guitar with Greg Piccolo and the horns behind him. At that time, the cover versions of songs by the great Big Joe Turner were the best part of the show. Shake Rattle and Roll, Honey Hush and Switchin' in the Kitchen were the tunes that got the dance floor jumping and the alcove groupies bopping.

Those nights at the Knick with The Roomful introduced me to the music of Big Joe Turner. He became a standard on the turntable at Floyd's Hotel. Turner's music was pretty different than what most people were listening to at that time, but we loved it.

Big Joe Turner, who was known as The Boss of the Blues because of his ample girth, was born in Kansas City in 1911. His first interest in music came from singing in church. After his father died when he was 4 years old, he began singing on street corners and by age fourteen he was singing in bars around Kansas City. In 1936, he was playing in New York with boogie woogie pianist Pete Johnson when they were discovered by legendary talent scout and producer, John Hammond. He got them a gig at Cafe Society, which really expanded their audience.

Through the 1940's, Joe played clubs in New York and toured with various big bands including Duke Ellington. In 1954, he was signed to Atlantic records and recorded his break out hit Shake Rattle and Roll. This classic blues song crossed over to the pop charts and helped launch the rock and roll craze when it was covered by Bill Haley and the Comets. Check out the lyrics in Big Joe's original version:

Get outa that bed, wash your face and hands

Well, you get in that kitchen and make some noise with those pots and pans

Way you wear those dresses, the sun comes shining through

Way your wear those dresses, the sun comes shining through

I can't believe my eyes, all that mess belongs to you

Turner was a great fit at Atlantic Records. Working with Jerry Wexler (see my post from August 17), Big Joe recorded many classic songs including some written by Doc Pomus (see my post from September 18). My favorite of the Pomus covers is Boogie Woogie Country Girl, which Bob Dylan covered on the Pomus tribute album. It is a classic bit of rhythm and blues. Turner's massive voice and the big band behind him made for some great music.

I was lucky to see Big Joe play at the Knickerbocker one night in the early '80's. He was quite old at that point and weighed well over 300 lbs. He sang sitting on a stool in front of the band. Even then, he had a huge voice and it was special treat to see a legend in person. The alcove was rocking that night. After almost every song, Joe would yell out: "Let's have a hand for this band The Houseful of Blues". There was laughter in the alcove.

If you don't have any Big Joe Turner on your playlist, you are missing one of the great ones. Recommended albums include Big Joe Turner: The Rhythm and Blues Years and Big Joe Rides Again. This begins with Switchin' in the Kitchen, which is my favorite Turner track and one of the best Kansas City style tunes ever recorded. Both are available on iTunes and from Amazon.

Hope to see you at the Knick on Saturday night.

DOUG SAHM

2009-02-19T19:46:00.010-06:00

My introduction to the music of Doug Sahm came from Doug Sahm and Band. Living at Floyd's Hotel in early 1973, I was starved for any new music from Bob Dylan. It had been a long time since New Morning was released in 1970. When I read about Bob's appearance on this album by Doug Sahm, I was a buyer.

Although I didn't know it at the time, Sir Doug already had a long and colorful history as a Texas musician. Born in San Antonio in 1942, Sahm was a child prodigy, who played on the radio at 5 years old. He even shared the stage with Hank Williams Sr in 1952.

In the 1965, Sahm and his friend Augie Meyers formed the Sir Douglas Quintet, which had a top twenty hit with She's About a Mover. Even though some of the players in the band were Mexican and they had a decidedly Tex-Mex sound, Sahm's record company remade them as a British invasion band to capitalize on the hot trend of the day. Whatever the story, Doug and this band had a unique sound and made some great music. They even patented the cheap Mexican organ sound heard on She's About a Mover and other Sahm songs.

Doug Sahm and the Band was recorded in 1972 at Muscle Shoals studio under the direction of legendary producer Jerry Wexler (see my post from August 17). Wexler brought together Doug, Bob Dylan, David Bromberg, Dr. John, and Flaco Jimenez for the session. Although not a commercial success at the time, the record has been mentioned as one of Wexler's favorites in several articles. Listening to it today, I can see why.

The record kicks off with Doug's take on Is Anybody Goin to San Antone, which was a number 1 hit for Charlie Pride. With the fiddle playing the roll of a percussion instrument, Doug and the band turn this into an appealing romp. It has a loose, modern country sound and and you can tell the musicians are having a great time. Listen for the steel guitar taking on the fiddle parts later in the song.

Later on the disk, you get Bob Dylan stepping up for vocals on his original composition Wallflower. Bob's pipes sound a little rusty from hanging around in Woodstock, but it still was a treat to hear him sing some new material.

On the rest of the album, Sahm shows his versitilty by covering some great country songs as well as some blues standards. He does a good job on Willie Nelson's Me and Paul and on the western standard Faded Love. The band also works up some energy on great blues tunes like Dealer's Blues, Blues Stay Away from Me and Papa Ain't Salty.

I was lucky to see Sahm live at Ferdie's, a beer joint north of San Antonio, in May of 1986. It was a wedding celebration for a good friend who was a fan and long time friend of Doug's. The party (what I remember of it) was rocking and the music was great. I got to talk to Doug and Augie during one of the breaks. I asked Doug about Bob Dylan. He said: "He's a weird cat." Right after the break, the band launched into a blistering version of Just Like Tom Thumb's Blues. My night was made.

If you don't have this classic album on your playlist, you need to add it. Available on iTunes and from Amazon.

Skeeter Davis -- The End Of The World

2009-02-19T19:40:00.001-06:00

As mentioned in the last post, this is a great '60's country song. The video is worth watching just to see Skeeter's hair. Look out for the ceiling fan!

SKEETER DAVIS

2009-02-09T15:10:00.005-06:00

I watched part of the Grammy show on Sunday night. I will spare you most of my usual rant, but I have to say there is nothing I like about watching Carrie Underwear try to sing. Even worse is watching those two teen nitwits sitting on stools singing about being 15 years old. I hate sh*t like that. The only good part of the show was Sir Paul rocking out. He was the best of the live music by far. How about that face lift? Get the name of his surgeon.

Speaking of Sir Paul and that band he started (If you think I'm talking about Wings, press delete now), I have been thinking about a great song that was released in the year before the British Invasion. That song is The End of the World by Skeeter Davis.

Early in 1963, The End of the World was all over the radio. In fact, it got to number 2 on both the country and pop charts. Although I didn't know it at the time, that was unusual for a country singer like Skeeter. In those days there wasn't a lot of crossover between those two types of music. Patsy Cline and Brenda Lee were able to do it, but it was rare event.

Mary Francis Penick (Skeeter Davis) was born in Dry Ridge, Kentucky in 1931. She had some early success as part of a country duo with Betty Jack Davis called The Davis Sisters. In 1953, they had a number 1 country hit with I Forgot More Than You'll Ever Know, which was even covered by Bob Dylan on his 1970 disaster Self Portrait. Shortly after the release of the record, the Davis Sisters were involved in a car accident that killed Betty Jack and left Skeeter seriously injured.

From there, Skeeter worked with Chet Adkins and RCA Records and recorded several solo records that made the country charts. Her biggest hit and signature song was The End of the World. It is a great song of teen love and loss that sounds as good today as it did 46 years ago.

Skeeter had an active music career for many years. She wrote several country hits and recorded many songs including several with Bobby Bare. She even recorded an album called Skeeter Davis Sings Buddy Holly.

The End of the World is available from iTunes. Add it to your playlist.

BIG CITY

2009-02-08T20:41:00.001-06:00

I have returned from my Steakhouse tour of America. In four nights, I ate at five different steak restaurants. (The Palm, Smith and Wollensky, Morton’s, Fleming’s, and Sullivan’s) Thank God for Vytorin and pass the salad.

As reported in my last post, I ended up my run at a birthday celebration in Kansas City. The party was fun and the music by Robert Earl Keen and the band was excellent. Robert played his usual high energy set and the crowd was very receptive.

An additional treat was the band that followed Robert for a short set of Merle Haggard favorites. I think they were called Bill Whitbeck and the Strangers, but I’m not really sure. All I know is they nailed Merle Haggard. Bill’s vocals were Haggard like and my favorite man of steel, Marty Muse, had all the right licks for the songs. Even the rhythm guitar player was pretty good. These guys might have a future.

MERLE HAGGARD

2009-02-02T18:28:00.008-06:00

Getting ready for Saturday's big 50th birthday celebration for Perry S, I am thinking about hearing Robert Earl Keen and his band live, drinking some whiskey and maybe even dancing the Saratoga no-step and falling down on my ass. Perry is a big fan of country music and Merle Haggard. A while back he suggested that I write a post about Haggard. This is it.

Merle Haggard is one of the most prolific, talented country stars of all time. Haggard and his band The Strangers, along with Buck Owens, popularized a type of country music known as the Bakersfield Sound. It is a sound that has always been a little harder edged than the normal polished Nashville country music. This may reflect Haggard's rough and tumble upbringing that included several stints in jail. He was actually in the audience at San Quentin when Johnny Cash preformed those legendary shows.

Between 1966 and 1987, Haggard recorded 40 number one hit songs, many of these are enduring classics. There would be a big hole in the country songbook without songs like I Am A Lonesome Fugitive, Mama Tried, Working Man's Blues, Okie From Muskogee, Big City and Kern River to name just a few. Although over 70 years old, he continues to tour with his great band The Strangers.

I have been a fan of Haggard since I moved to Texas in the late '70's. Although I knew a few Haggard songs (we weren't listening to much country at Floyd's Hotel) before that time, I got a lot more interested in Haggard's music when I first heard his classic 1982 duet with Willie Nelson on Poncho and Lefty. From there, I became an even bigger fan after I played a cassette of his 1985 release Kern River to death. I love a sad country song and there are few song that are sadder than Kern River. Have a listen, but keep the hankie close at hand.

I have been very lucky to see Merle and The Strangers live several times in my life. The first was in 1994 in Corpus Christi at an outdoor show at Johnny Land. It was a beautiful night under the Texas stars. There was a dance floor up front and Merle and the band sounded great. Another show later that year at Rockefeller's in Houston was not as successful. Merle must have gotten over served before the show and was not at his best that night.

More recently, I have seen him twice as the opening act on The Never Ending Tour. Seeing Dylan and Haggard in one night should be illegal. Hearing both of them sing on the same bill, was a testimony to the aging of Haggard's voice. Unlike Bob, he can still sing like a bird. At the Beacon Theatre in New York he even played Kern River, which almost brought me to tears.

KERN RIVER

At a show in San Antonio with Guitar Johnny working his backstage magic, I got to meet Merle (see photo above), which was a great honor. I went to the show hoping to meet Dylan (good luck), but getting to spend some time with Merle more than made up for it. He was super friendly and we had a nice time before the show.

If you do not have a lot of Haggard tunes on your ipod, you are missing some great music. Merle Haggard 40 #1 Hits is available from Amazon and would be a good place to start. From iTunes you can pick up either Hag-The Best of Merle Haggard or Merle Haggard: 20 Greatest Hits. Check him out.

Bob Dylan's Grammy speech about Buddy Holly

2009-02-02T18:23:00.002-06:00

Sitting here on the eve of the 50th anniversary of "The Day the Music Died", I am thinking about Dylan at the Grammys talking about seeing Buddy Holly in Duluth two days before he died. Here is the clip. Enjoy.

Bob Dylan and Buddy Holly

2009-01-26T18:15:00.010-06:00

As we approach the 50 year anniversary of The Day the Music Died, I have been thinking about the connection between Bob Dylan and Buddy Holly. As most music fans know, The Day the Music Died refers to the early morning hours of February 3, 1959 when Buddy Holly, Ritchie Valens and the Big Bopper were killed in a plane crash after the show at the Surf Ballroom in Clear Lake, Iowa.

Clear Lake was a stop on what was called the Winter Dance Party, which was a 24 day tour of the Midwest headlined by Buddy Holly, Ritchie Valens and Dion and the Belmonts. Holly, who was tired of riding the bus and anxious to get to the next stop to do some laundry, chartered a single engine plane which crashed in a corn field shortly after take off.

In an stroke of good fortune for him, Waylan Jennings, who was playing bass in Holly's band, gave his seat at the last minute to the Big Bopper. Waylon lived to have a very successful country music career. He later immortalized himself by writing the lyric: "Waylon, Willie and the boys" in the song Luckenbach, Texas (Back to the Basics of Love).

As reported in several Dylan biographies, a young Bob Dylan saw Holly at the Deluth Armory two nights before the show in Clear Lake. It has been written that Dylan was not only inspired by the show, but actually thought that Holly made eye contact with him.

In another coincidence, Bobby Vee, who was a 15 year old singer from Fargo at the time, filled in the next night in Moorehead, Minnesota for the fallen headliners. Dylan using the pseudonym, Elston Gunn, may have played piano that night. Vee was well received and went on to a successful career. He even topped the charts in 1961 with Take Good Care of my Baby. Dylan did not stay with the band because they couldn't afford a piano for him to play.

Many people might think of Bob as a pure folk singer in the early 60's, but he had history and aspirations as a rock and roller as well. In Hibbing, Dylan formed several rock and roll bands before he came to New York in January of 1961. He began his career as a Jerry Lee Lewis like piano basher in a band called The Chords.

Even after arriving in New York and adopting his Woody Guthrie persona Dylan had not lost his taste for rock and roll. His first single was Mixed Up Confusion which had more to do with Buddy Holly than Woody G.

I have always loved the music of Buddy Holly. When I moved into a condo in Philadelphia in 1979, the movie The Buddy Holly Story had just made it to HBO. Cable television was pretty new in those days and there wasn't much selection. I think I watched Gary Busey playing Buddy every night for about 6 months. It was especially good entertainment after a few quick pops with CP at the Happy Rooster.

Bob Dylan Accidentally Like a Martyr Boston 2002

2009-01-23T13:28:00.001-06:00

Althought the camera work isn't much, this is a nice version of Bob's take on the classic Zevon song. Notice Larry Campbell's excellent guitar on the break and Bob's Gumby imitation at the same time.

Accidentally Like A Martyr

2009-01-21T22:34:00.005-06:00

It is a beautiful winter day in South Texas and I am sitting outside listening to Warren Zevon. Anyone who reads this blog knows that when it comes to music, I am all about the lyrics. In my world, all great songs have one thing in common: they have great words. If it wasn't for my love of the lyrics, I would just listen to Booker T. & the MG's all day long. (see my post from October 25)

When it comes to lyrics, Warren Zevon has written some of the great songs of the last 30 years. He is best known for some of his bigger, louder songs like Werewolves of London, I'll Sleep When I'm Dead, Poor Poor Pitiful Me, Lawyers, Guns and Money. I like all of these songs, but I am more impressed with his slower more subtle material. My greatest hits of Zevon list has the following near the top:

Accidentally Like a Martyr
Desperados Under the Eves
The French Inhaler
Mutineer

In my opinion, Zevon does his best work when he cranks down the volume and addresses the sad and dark side of life. He has a real talent for capturing the dark underbelly of our society Whether it is the washed up Hollywood starlet and the phonies in the Hollywood bar in French Inhaler or the image of the crucified thieves in Desperados, Zevon has a keen eye and his lyrics reflect it.

Accidentally Like A Martyr has some wonderful words. I'm not the only one who thinks so. Bob Dylan not only covered it during the 2002 version of the Never Ending Tour, he also used a line from the song for the title of Time Out of Mind, his Grammy winning album from 1997. Check out these words:

The phone don't ring

And the sun refused to shine

Never thought I'd have to pay so dearly

For what was already mine

For such a long, long time

We made mad love

Shadow love

Random love

And abandoned love

Accidentally like a martyr

The hurt gets worse and the heart gets harder

The days slide by

Should have done, should have done, we all sigh

Never thought I'd ever be so lonely

After such a long, long time

Time out of mind

We made mad love

Shadow love

Random love

And abandoned love

Accidentally like a martyr

The hurt gets worse and the heart gets harder

A very beautiful song that needs to be on your playlist. Available on iTunes and from Amazon. While you are at it, you should pick up the greatest hits compilation Genius: The Best of Warren Zevon. It is available from Amazon, but not on iTunes.

The Harder They Come- Jimmy Cliff

2009-01-20T22:42:00.001-06:00

Check out this clip from the movie.

The Harder They Come

2009-01-14T19:14:00.004-06:00

On the suggestion of BobCat Numero Uno, I am writing about The Harder They Come. I saw this movie in early 1974 at a late night showing in Harvard Square. This was at the beginning of the midnight movie phenomenon that later became very popular because of Rocky Horror Picture Show. I can't remember the name of the theatre, but it was up the street from Harvard Square. Floyd Foose and I ventured in from Floyd's Hotel to see this show.

At the time, Reggae music was pretty unknown in this country. This movie and the subsequent popularity of the soundtrack album did a lot to expose the American public to this kind of music. It was the beginning of a long fascination with reggae music, ganja and the island culture of Jamaica.

Jimmy Cliff plays the lead in the movie. The plot is loosely based on the story of Rhyging who was a famous Jamaican criminal. In the movie, Jimmy plays a poor reggae singer who tries to make it in the music business, but turns to a life of crime in the marijuana trade instead. It is a very entertaining low budget action movie.

More importantly, the soundtrack is filled with great reggae music. Cliff contributes several original songs including You Can Get It If You Really Want, The Harder They Come, Sitting in Limbo and the Many Rivers To Cross. All of these songs showcase Cliff's soulful singing style as well as the great beat of reggae music.

In addition, Toots and The Maytalls sing Pressure Drop and The Melodians contribute Rivers of Babylon.The record also includes 007 (Shanty Town) by Desmond Decker, which is one of my favorites.

The songs on this album cover the whole spectrum of reggae music of the time. Highlights include Cliff's anthem to hope, You Can Get It If You Really Try as well as his great Many Rivers to Cross. All of these songs give you the feel of the Kingston's poverty, but also of the hope that is contained in the music.

In 1976, I was lucky to see Jimmy Cliff play at Princeton University. It was a very memorable show. I have been listening to The Harder They Come soundtrack for over 35 years. If you don't have it, you should add it to your playlist. Available on iTunes and from Amazon.

OBVIOUSLY 5 BELIEVERS

2009-01-14T14:20:00.006-06:00

On my way to the office this morning, I was listening to Outlaw Country on my satellite radio. The first song I heard was Bob Dylan's Obviously 5 Believers. Now some people might think: What is Dylan doing on Outlaw Country? It makes perfect sense to me. Bob has always been an outlaw and he has played country music for a long time (see my post from Jan 4).

In fact, if it wasn't for Bob, most modern country songs would sound like Mell Tillis wrote them. Without Dylan, there are no country songs by Townes Van Zandt, Kris Kristofferson, Robert Earl Keen or a host of others. Many a would-be country song writer would be asking: "Would you like fries with that order?"

Obviously 5 Believers is the last cut before the Sad-Eyed Lay of the Lowlands epic on the fourth side of the classic double album Blonde on Blonde. It is one of the hardest rocking songs on the album.

The guitar talent of that mathematical genius Robbie Robertson is well demonstrated on this song. From the opening slash of Robbie's guitar, this song is propelled along by the excellent Nashville rhythm section of Kenny Buttrey on drums and Joe South on bass. If any song on the album gives a hint of what was to come on the 66 World Tour, it is Obviously 5 Believers.

Hearing this song got my day off to a great start. If it is not on your playlist, it should be. Available on iTunes and from Amazon.

I Threw It All Away on The Johnny Cash Show

2009-01-07T17:57:00.002-06:00

When Bob appeared on The Johnny Cash Show on June 7, 1969, he had only performed once in public since the '66 Tour. I love the country crooner voice, hair and look. He even seems a little nervous to my eye. Check out the guitar held high move at the end of the song.

I remember being very excited to see Bob on television. This show was aired two months after the release of Nashville Skyline. See my previous post on this classic Dylan album.

IS IT ROLLING BOB?

2009-01-04T14:40:00.004-06:00

On Christmas night I was sitting next to the tree drinking some vino listening to Nashville Skyline. This was a really big album for me when it was released in 1969. I was absolutely crazy for Dylan at the time and it had been 16 months since John Wesley Harding. I can remember being very excited to have a new Bob record in my life.

Coming after the deep symbolism and biblical content of many of the ballads on John Wesley Harding, this album was dismissed at the time by some as 30 minutes of country fluff. Concerned with the lyrics that were light as air, critics missed the artistry of the music and the playing on the record.

In the 60's, Dylan always had the best backing available on his albums. Whether it was Mike Bloomfield on Highway 61 Revisited or the best Nashville had to offer on Blonde On Blonde, John Wesley Harding and this album, Bob's songs were always helped along by the talent of the players at the session.

From the first notes of the blues/country piano on To Be Alone With You, the band of Norman Blake and Charlie Daniels (guitar), Pete Drake (steel guitar), Bob Wilson (piano), Charlie McCoy (bass), and Kenny Buttrey (drums) are in top form. Listen to Pete Drake's gorgeous steel guitar on Lay Lady Lay. Other than the playing of Don Helms on those Hank Williams classics, these opening steel licks may be the most famous in the history of the instrument. In the 60's, Drake was the man for steel guitar in Nashville. His playing on this album showcases his enormous talent.

On Tell Me That It Isn't True, Drake's steel accents blend nicely with the lead guitar. The piano again takes the lead at the beginning of Tonight I'll Be Staying With You, but it is the steel guitar that builds the sound at the end of the break. The rhythm section of McCoy and Buttrey puts a solid base under every cut on the album.

As I listened the other night, I thought this album may not be getting the recognition it deserves. Dust off your copy or head over to iTunes and give it another spin. When you do, listen carefully to the band. They can really play.

JAMEY JOHNSON - High Cost Of Livin'

2008-12-31T15:18:00.001-06:00

Check out this video and you will see what I am talking about. This guy is the real thing. The band is awesome as well.

HAPPY NEW YEAR!

That Lonesome Song by Jamey Johnson

2008-12-29T16:10:00.006-06:00

Stop the presses. I have found the country album of the year. It is That Lonesome Song by Jamey Johnson. As much as I hate to admit that anything good could come out of Nashville, this album has and it is the real deal.

I first heard the song, Between Jennings and Jones, from this album on Outlaw Country, but it got lost in my mental shuffle. Last week, I saw That Lonesome Song on a best of 2008 list and decided to check it out. After a two days of constant play, I can say with conviction that this is the best country album of 2008.

Johnson is originally from Montgomery, Alabama. Since moving to Nashville in 2000, he has become a successful songwriter. He co-wrote Give It Away which was a number one hit for George Strait in 2006. He also co-wrote several songs for Trace Adkins, including two that made the charts in 2007.

The album shows off his strong songwriting ability. These songs are dark, but they are good. Original songs like High Cost of Living, Mary Go Round, That Lonesome Song and In Color tell stories about real people, which is a contrast to what passes for songwriting in Nashville today. These songs are heartfelt and express emotions that are missing from most of Nashville's current product. Taylor Swift and Rascal Flatts listen hard. This is real country.

Johnson obviously has great respect for Waylon Jennings. Both of his Waylon covers, especially a superb version of Dreaming My Dreams, which comes from the Jennings' album of the same name, are on the mark. In fact, he sounds a lot like Waylon on these two and that's a good thing. Mary Go Round has a nice Merle Haggard feel to it. Women reminds me of a song by country swing master, Dale Watson.

I don't know anything about the band on the album, but they sound great. There is a lot of steel guitar on the record. All of the backing fits behind these great songs.

If you like country music, you have to own this album. Available on iTunes and from Amazon.

Robert Earl Keen

2008-12-28T16:44:00.008-06:00

I saw Robert Earl Keen and his band last night. They played their annual Christmas show in Corpus Christi to a sold out crowd at Brewster Street Ice House. Robert was in fine voice and the band was cooking. My Christmas wouldn't be complete without hearing Merry Christmas to the Family live.

Last night, I was particularly impressed with the playing of Marty Muse on steel guitar. I don't know if it was the sound from the exclusive VIP seating at the venue, but the steel was up front in the mix and it added a lot on many of the songs. Marty's playing is always tasty, but he seemed particularly inspired last night

Highlights of the show included Robert's version of Flyin' Shoes, which is one of my favorite Townes Van Zandt songs. Robert covered Snowin' On Raton, another Townes' classic, on his album Gravitational Forces. I think he has a real feel for Van Zandt material and should consider recording Flyin' Shoes as well.

Robert also played his great interpretation of Tangled Up In Blue. I know the band likes Bob and I always like to hear them play this song. The crowd responded enthusiastically to this Dylan classic.

In addition to many of his well known songs, Robert also played a couple of his new songs, which were well received by the crowd. I am looking forward to hearing them on the new album soon.

Robert is playing several dates before the end of the year. If you have the chance, you should catch a show:

House of Blues Houston Dec 28
House of Blues Dallas Dec 29
Bass Hall Ft Worth Dec 30
Gruene Hall New Braunfels Dec 31

Good Year For The Roses by Elvis Costello

2008-12-26T18:38:00.001-06:00

A great video of my favorite cut on Almost Blue. Not sure aboue those little kids. What's that all about???

ALMOST BLUE by ELVIS COSTELLO

2008-12-23T17:03:00.007-06:00

I have written in the past about the history of American music fans learning about our own music through the recordings of English artists. This certainly was the case for me in the '60's with a lot of blues and roots music. Later, Elvis Costello and Almost Blue was a bridge to a bigger interest in country music.

In the fall of 1982, I had just moved to Hebbronville. At that time, I was listening to two albums that reflected my usual taste in music. They were Trap Door by T-Bone Burnett and Nebraska by Bruce Springsteen.

Although we listened to some country music at Floyd's Hotel and The Den, I wasn't a big fan yet. Anything I knew about country music came from wearing out a copy of Hank Williams' 40 Greatest Hits. I read that Dylan was a fan of Williams, so it seemed like a good idea to check Hank out. 40 Greatest Hits was worth owning for the picture on the cover of Hank in that Nudie Suit.

Living in deep South Texas, I was starting to play more country music. I first got into Hank Jr. Next, I discovered the great album, Poncho and Lefty, which was the beginning of a long love affair with the music of Van Zandt, Haggard and Nelson.

The other album that was featured in my regular rotation at the ranch was Almost Blue. I had been a huge Costello fan since the release of his first album My Aim is True in 1978. To my ear, he was the best thing to come out of the English punk/new wave movement of the 1970's. I am particularly fond of his anthem to everything Motown: Get Happy! It still sounds terrific today.

Costello recorded Almost Blue in Nashville under the direction of legendary producer Billy Sherrill. At the time, there was some criticism of a English punk rocker coming to Nashville to cover these classic country songs. I disagree. Although Costello's versions may not be any better than the originals, his singing is good and the band plays well.

The best thing about this album for me was that it opened the door to the music of all these great country artists. Hearing these cover songs, I immediately got intrigued with searching out the original versions.

I started listening to George Jones (A Good Year for the Roses), Merle Haggard (Tonight the Bottle Let Me Down), Patsy Cline (Sweet Dreams) and Gram Parsons (I'm Your Toy). This album was like a big Christmas present waiting to be unwrapped. If you are looking for an introduction to country music, Almost Blue is a good start.

It is available on iTunes and from Amazon.

A Christmas Gift For You From Phil Spector

2008-12-20T16:44:00.004-06:00

Since most popular Christmas songs were written about a hundred years ago, it stands to reason that there are very few good rock and roll Christmas songs. Nevertheless, there are a few rockers worth including in your holiday playlist.

In Philadelphia, all the FM radio stations celebrate Christmas by playing Bruce Springsteen's version of Santa Claus is Comin' to Town about a million times. Starting right after Thanksgiving, you will hear those sleigh bells and that rocking version of this tune from the mighty E Street Band. In that part of the world, it isn't Christmas without the Boss and Clarence Clemons (The Big Man) doing their Yuletide musical thing.

Robert Earl Keen's Merry Christmas from the Family is the South Texas holiday standard. Presenting the ultimate musical description of trailer trash Christmas rituals, it is a song that is remarkable for the inclusion of the word Tampax as well as REK's rhyming boy friend with Mexican. A great holiday tune that showcases Robert's sly wit.

Besides these two, the best collection of rocking Christmas songs can be found on this album from Phil Spector. Using his classic Wall of Sound along with his stable of girl groups and singers like Darleen Love, The Ronettes, The Crystals, and Bob B. Soxx, Spector has recorded the ultimate Christmas album. The album has a huge sound and these tunes really rock.

Check out these versions of Christmas classics like White Christmas (Darleen Love), Santa Claus is Comin' to Town (The Crystals), and Frosty the Snowman (The Ronettes). Put these on and you will be rocking around the Christmas tree.

All are available on iTunes and from Amazon. Merry Christmas.

ROY BUCHANAN

2008-12-19T18:43:00.007-06:00

A good friend from Dallas was at the ranch last week. We were comparing notes on live shows we saw in the good old days. He mentioned seeing Roy Buchanan in Washington DC back in the '70's.

This conversation made me realize that I had completely lost track of the music of one of the best and most underrated guitarist to ever play the blues. Although Roy Buchanan, his 1972 debut album on Polydor, was in the regular rotation on the turntable at Floyd's Hotel in the early '70's, I never owned it since vinyl. After downloading it from iTunes this week, I have been blown away by how good it sounds today.

In the 70's, Roy had all the good buzz. A "musician's musician", his playing was admired by John Lennon, Eric Clapton, Merle Haggard and Jeff Beck to name a few. It is part of his legend that he was invited to join the Rolling Stones, but turned them down. His great playing built up a loyal following, but not widespread fame or recognition.

Buchanan was born in California in 1939. He initially played steel guitar, but switched to guitar in the 1950's. In 1960, he joined Ronnie Hawkins as his lead guitar. He was later replaced in the band by that mathematical guitar genius, Robbie Robertson, who may have learned a lot from Roy.

Buchanan is known for the distinctive tone he was able to coax out of his trademark 1953 Telecaster. His talent is on full display on this album. It opens with his gorgeous take on Sweet Dreams. His guitar soars like no other on this beautiful instrumental version of a country classic. It is followed by Haggard's I Am a Lonesome Fugitive, which was my first taste of Merle's music. When Buchanan gets to the break on this song, it is some of the best guitar you will ever hear. The album also includes his masterpiece The Messiah Will Come Again. His guitar soars again on this instrumental work out. Every song on this album is great.

Like many musician of that era, his appetite for alcohol and drugs began taking it's toll. In August of 1988, Buchanan was arrested for public intoxication. Later that night he was found hanging in his cell at the Fairfax County jail. His death was ruled a suicide. A brilliant career cut short.

If you like guitar, this album is a must for your playlist. Available on iTunes and from Amazon.

Christmas Suggestions 2008

2008-12-15T13:03:00.005-06:00

Blues: My favorite music released in 2008:

Asking For Flowers by Kathleen Edwards. As mentioned in my post from May 21, Kathleen is a very talented singer songwriter from Canada. Asking for Flowers is her third album and it is a good one. Anyone on your list who likes Lucinda Williams would enjoy this CD.
Just Us Kids by James McMurtry. As covered in my post of May 30, this is a terrific new album from one of the best songwriters working today. On this new disk, McMurtry spins his unusual tales of modern life with a quick wit and a cynical eye. A good choice for any rock and roll fan on your list. Another idea is his 2002 masterpiece Saint Mary of the Woods, which includes the high spot, Choctaw Bingo. It is sweet tune about family and vacations.
The Unreleased Recordings Hank Williams. I just got my hands on this recently and it is incredible. For anyone who has gotten confused by today's Nashville, this is wha real country music sounds like. The words are honest and the backing is great. Somebody please send a copy to Rascal Flatts.
Pretty World by Sam Baker. Although this was actually released in 2007, I only started listening to it this year. A remarkable effort from an under rated Austin musician. See my post from September 9 for more details.

Booze: I have been drinking a lot of good wine lately. What else are you going to do while watching the sky fall? Much of what I drink comes from Karen Williams and Davis Stevens at Acme Fine Wines in St Hellena California. As I mentioned in my post on April 27, they have a real talent for finding great California wines that are made in small quantities. I have never been disappointed by any of their recomendations. Check them out at acmefinewines.com.

Books: I have read a lot of fiction this year as usual. Most of it has been good entertainment, but not remarkable. Here are a few exceptions:

A Most Wanted Man by John le Carre. As reported in my post on November 11, this is another great effort from the master of the spy genre, Le Carre. It is excellent.
The Garden of Last Days by Andre Dubus. When I wrote about this book in a post on June 12, I took a lot of heat from some of my readers. I guess a book about strippers and terrorists doesn't have universal appeal. I stand by my recommendation. It is a very intriguing novel.
The Finder by Colin Harrison. Harrison has written several novels in the last 10 years that I have enjoyed very much. He has a good eye for descriptions and his characters are well turned out. I still think that Afterburn, which was released published in 2000, is his best effort, but The Finder is quite good as well.
Lush Life by Richard Price. Although it is a little hard to follow at first, Lush Life has some great moments. Price is certainly one of our best American authors writing today.

Bobs: I have been wanting to write a post about Dylan's Tell Tale Signs, but I haven't gotten to it yet. Naturally, any new look into Bob's unreleased catalogue is a joyful occasion for all of the faithful BobCats. This might be a tricky Christmas gift, because any real fan will have a copy already. It would be a good present for some one who should be a bigger fan. It contains some great outtakes from his recent albums.

How Will the Wolf Survive? by Los Lobos

2008-12-07T11:39:00.008-06:00

The 1980's were tough times for roots music. Can you remember the music on the radio in those years? Here are some of the big hits from 1980-1984: Call Me (Debbie Harry), Bette Davis Eyes (Kim Carnes), Jessie's Girl (Rick Springfield), Maniac (Michael Sembello), Karma Chameleon (Boy George). Not exactly a list of enduring hits that you will be playing for your children.

Even Bob Dylan was in a bit of a creative funk at the time. After releasing Infidels in 1983, he went into the worst slump of his career when he released Knocked Out Loaded and Down in the Groove. Those two frisbees made Self Portrait look good. It would be 1989 before Bob rebounded with the excellent Oh Mercy.

In 1984, I had been living in Hebbronville for two years. As part of my transition to life in South Texas, I was listening to a lot of country music. After falling in love with his duet with Willie Nelson on Poncho and Lefty, I began digging deeper into Merle Haggard's catalogue. I had also discovered Hank Jr and was listening to a lot of his music.

There was one new album released in 1984 that really fit my ear. It was How Will the Wolf Survive? by Los Lobos. Combining tradition Mexican music and a modern Tex-Mex sound with good old rock and roll, this album was unlike anything on the radio. Produced by T-Bone Burnett, it was the major label debut of the band from Los Angeles that has gone on to recorded many fine albums.

Listening to this album today, I can't believe how good it sounds. The first cut, Don't Worry Baby, sounds like Howlin Wolf backed by the Doug Sahm's old band. It's blues. It's Tex-Mex. It's good. The album also contains several sweet gentle tracks like A Matter of Time, a brilliant song about immigration and it's effect on families, and the short instrumental, Lil' King of Everything. The band really rocks on The Breakdown and I Got Loaded. My favorite cut is Will the Wolf Survive. It captures the sound and talent of the band perfectly.

In December of 1990, I was lucky to see Los Lobos play in Houston at the Tower Theatre. They were the opening act for Steve Earl. Earle, who was also a favorite of mine at the time, was battling demons that night and he was terrible. Los Lobos were really on fire and they blew Earle's drug and booze fueled bullshit away. It was a memorable set that really showed the talent of the players in the band.

I can remember leaving the concert being astounded by the playing of David Hidalgo. He played all kinds of guitars and also had great stage presence. I said that night: "That guy is the Mexican Eric Clapton."

How Will the Wolf Survive should be on your playlist. It is available on iTunes and from Amazon.

Atlantic City- Levon Helm- Merlefest 2008

2008-12-03T22:22:00.001-06:00

Not as good as the version with The Band, but it still is a nice cut. Glad Levon is still out there playing.