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DGHS- Live Blues Budy Guy & Junior Wells- New York 1978

Buddy Guy - guitar, vocals
Junior Wells - vocals, harmonica
Kenny Ray - bass
Douglas Fagen - tenor saxophone
Philip Guy - guitar
Merle Perkins - drums

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

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

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

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

Overall, this is a wonderful testament to authentic funky blues delivered by two of the more influential figures in music.

DGHS Show...Lou Reed- Live in Liverpool- 1973

Recorded live at the Empire Theatre in Liverpool, England, Sept. 28th, 1973
9/28/73

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

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


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

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

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

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

Regardless of how the shows on this tour were perceived at the time, something important was clearly going on here. The melding of Reed's unique brand of decadent, literate music with a big arena rock sound would eventually reach the masses in a way the Velvet Underground never could. The strange contrast between Reed's detached, blasé vocals and the hard rocking professionalism of his backup band is the essence of its appeal.

Pink Floyd Live- Oakland Coliseum Arena- 1977 with some band comments at the end.

Roger Waters - bass, vocals
David Gilmour - guitar, vocals
Rick Wright - keyboards, vocals
Nick Mason - drums
Dick Parry - sax, keyboards
Snowy White - guitar, bass

Playlist:

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

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

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

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

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

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

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

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

We'll see on that.

The Police pulled in over a quarter of a Billion (yea.. Billion) dollars last year with their reunion tour with Sting and Copeland hating each other's guts. Imagine what PF could pull in. Half a Billion? I wouldn't be surprised.

Pirate Radio.. the movie

This file is BIG.  Over 600MB.  But, it's a great film on pirate radio and what's it about.  If you give a shit about media and diversity (not to mention your freedoms), you should take the time to download it and watch it.

The Who, Live at the Spectrum in 1973

When the Who still rocked (and wasn't doing late night infomercials for 60's rock collections).

The DGHS Show- CAKE's latest release, well, sort of

B-Sides and rarities collections are often like "Best Of/Greatest Hits" and live albums. They more often than not serve as a stopgap for a variety of situations. In some instances a band is trying to get out of a contract and need to cough up one final album to fulfill their obligations. Other times a band has been snatched away from one label to another and the former is trying to cash in on their departure. And of course there's bands that just manage to crank out a lot of material which for some reason or another never made it onto an album.

Given the nature of a band, B-side/rarity collections can be hit and miss. Thankfully in the case of quirky California outfit Cake, their long standing sense of wit and wistful depravity make their self-released B-Sides and Rarities a sheer joy, not only to diehard fans, but to those who have yet had the pleasure of being exposed to their unique honky-tonk flavorings.

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

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

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

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

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

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

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

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

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

If truth be told, I'd kind of grown tired of Cake's trademark shtick over the course of their past few releases. Even though they'd sort of slipped off my radar, I still appreciated their snickering flash at contemporary standards and unabashed love of classic shit kicking, beer chugging, boot stomping musicality. But if anything has renewed my faith in this outfit at this particular moment in space and time it would have to be this wonderfully fun and loose collection of covers, originals, and live takes. I mean who doesn't want a girl with smooth liquidations? This album might just help you get one step closer to realizing that dream. There you have it. Nah-nah-nah-nah-nah!

DGHS Show- Ray Charles Tribute

One of the great inspirations for musicians the world over and a man we lost only recently after 5 decades of amazing music:  Ray Charles.  Here's my tribute to him.  I put together my favorites and it was over 4 hours.  It took me 2 hours just to cull out enough music to make this a one hour show... so much goodness came from they guy.  One of the Dead Guys out there that I really do wish weren't dead.

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

Playlist files:

      1. Ray Charles - Let's Go Get Stoned (3:02)
      2. Ray Charles - What'd I Say - Parts 1 & 2 (6:29)
      3. Ray Charles - Busted (2:11)
      4. Ray Charles - In The Heat Of The Night (2:37)
      5. Ray Charles - Unchain My Heart (2:53)
      6. Ray Charles - Hit The Road, Jack (2:01)
      7. Ray Charles - I Don't Need No Doctor (2:32)
      8. Ray Charles - Low Society (2:53)
      9. Ray Charles - Sinner's Prayer (3:25)
      10. Ray Charles - Rockhouse, Parts 1 & 2 (3:55)
      11. Ray Charles - Lonely Avenue (2:36)
      12. Ray Charles - Booty Butt (4:14)
      13. Ray Charles - Feel So Bad (3:15)
      14. Ray Charles - Makin' Whoopee (6:20)
      15. Ray Charles - Let The Good Times Roll (2:53)
      16. Ray Charles - Them That Got (2:50)
      17. Ray Charles - Don't Set Me Free (2:39)
      18. Ray Charles - None Of Us Are Free (4:59)

Goodbye

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

elijahblue@gmail.com. 

DGHS Show Van Morrison LIVE at the Bottom Line in NYC late 70's

Van Morrison - lead vocals, guitar, piano, sax
Bobby Tench - guitar, backing vocals
David Hayes - bass
Peter Van Hooks - drums
Pete Bardens - keyboards
Pee Wee Ellis - saxophones
Katie Kissoon - backing vocals
Ann Peacock - backing vocals

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

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

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

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

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

DGHS Show- Michael Bloomfield live in 1969 at the Fillmore West

One of the great white bluesmen of the hippie era.  Michael Bloomfield.

This show was done as an opener for Chuck Berry in 1969 at the Fillmore West and has a stellar lineup of 'friends' playing with Michael.

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

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

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

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

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

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

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

Want more?  Let me know. 

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

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

DGHS - 2nd Live show- The Country Funk-N-Roll show.

The Country FunkNroll show!

God knows what else to call this. 

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

Chat me live at Elijahblue8888 on most IM services.

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

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



Playlist files:

      1. Los Lobos - That Train Don't Stop Here (3:52)
      2. Sonia Dada - I'm Gone (5:18)
      3. Sonia Dada - Zachary (4:12)
      4. Little Feat - Rock And Roll Doctor (2:58)
      5. Little Feat - Eldorado Slim (4:41)
      6. Marc Cohn - Walking in Memphis (4:18)
      7. Soundtrack - Old Habits Are Hard To Break (5:32)
      8. Jimi Hendrix - Power To Love (6:55)
      9. Blues Saraceno - The Shakes (3:36)
      10. Keb' Mo' - Don't Try To Explain (3:58)
      11. Nirvana - Unplugged In New York 11 Oh Me (3:25)
      12. Lou Reed - Sick Of You (3:26)
      13. Temptations - Shakey Ground (3:18)
      14. Frank Zappa - Strictly Genteel (6:36)

DGHS Show- First LIVE show by Elijahblue- recorded 10.10.07- 80's music galore

My first live broadcast!  Created 10.10.07 on the boulder sound (www.thebouldersound.com).

Some technical glitches trying to get the chat clients working, but eventually it came together.

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

Here's the playlist for today 80's focused show:

Playlist files:

      1. Thomas Dolby - She Blinded Me With Science (3:43)
      2. M - Pop Muzik (3:24)
      3. Vapors - Turning Japanese (3:44)
      4. Wall Of Voodoo - Mexican Radio (4:00)
      5. Boomtown Rats - I Dont Like Mondays (3:49)
      6. Buggles - Video Killed The Radio Star (3:29)
      7. Soft Cell - Tainted Love (2:41)
      8. Bauhaus - Ziggy Stardust (3:15)
      9. Blondie - One Way Or Another (3:29)
      10. Tubes - White Punks On Dope (6:44)
      11. Split Enz - I Got You (3:31)
      12. Normal - Warm Leatherette (3:23)
      13. Devo - Freedom Of Choice (3:24)
      14. New Order - Blue Monday -88 (4:07)
      15. Joy Division - Love Will Tear Us Apart (3:27)

email me at elijahblue@gmail.com

podcast at www.clickcaster.com/dghs

chat me at: elijahblue888 on AIM, Yahoo, MSN and GoogleTalk

Live stream at: www.thebouldersound.com

DGHS Show- An American Legend: Arlo Guthrie Favs

Shoot outs to Timothy, Steve, Jen, Dale and Elliott saying thanks for the emails.  Love them emails.  Keeps me pumping out this show.

Listen to www.thebouldersound.com.  I think I'm going to start doing this show live at 9pm, Mountain Time on that internet station.  Sat. nights, starting next week the 10th.  I'm likely to announce a chat address so interact with me live and make some suggestions!  Check it out.  www.thebouldersound.com

Oh yea.. thats a radio station you can listen to anytime.  It's what I listen to all day long.  :)

Today:  ARLO hisself.




Playlist files:

      1. Arlo Guthrie - Coming Into Los Angeles (3:07)
      2. Arlo Guthrie - Cooper's Lament (2:49)
      3. Arlo Guthrie - Darkest Hour (4:09)
      4. Arlo Guthrie - Gabriel's Mother's Highway Ballad #16 (5:29)
      5. Arlo Guthrie - Last To Leave (2:35)
      6. Arlo Guthrie - Last Train (3:07)
      7. Arlo Guthrie - Motorcycle (Significance Of The Pickle) Song (6:31)
      8. Arlo Guthrie - Alice's Restaurant Massacree (18:36)

DGHS Show- The 10 worst cover songs EVER

I'm going to start doing my show live every week here:

www.thebouldersound.com

When I figure out a time, I'll let you all know.  It's still going to be a podcast, but if you want to interact with me (I'll have live chat and, MAYBE even a phone number) and help me shape the show with suggestions, we might do that.  We'll see.  :)  Oh yea.. past songs from past show are constantly being streamed if you want a dose of dead guy hippie shit, just click on the player in the middle of the page.

OK.. THIS show:  These are so bad, they're actually entertaining.

I'm not giving you a playlist.  YOU guess.  Who's singing each song.  Email me if you can guess (I give the artist names in the recording, just match em up).

Your prize?  An official shout out that you won on my next show!

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

DGHS Show- Queen's Bohemian Rhapsody Tribute Special!

Several versions of Queens Bohemian Rhapsody.  From classical to semi-rap versions.  Many artists.  One clear vision.

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

James Taylor Live Filmore East Jan 1971

Remeber when James Taylor had hair?

Me to.  This was recorded at the Fill East in NY on Jan 25th, 1971.

James Taylor - guitar, piano, vocals
Danny Kortchmar - guitar
Leland Sklar - bass
Russ Kunkel - drums

Other than being incomplete, one couldn't ask for more from a live vintage James Taylor recording. Not only are the recordings themselves excellent quality, but these two benefit concerts capture Taylor right smack dab in the middle of the Mud Slide Slim and the Blue Horizon LP recording sessions. James mentions that the proceeds from these benefits would be directed toward American Indian related charities. This is 1970, awhile before "Native American" became politically correct.

The set begins solo acoustic. The early show kicks off with "Country Road" from his then chart-topping second album, followed by "Knocking 'Round the Zoo," from the album he recorded for the Beatles' Apple label a few years earlier. Some of the notable rarities of the acoustic portion include a lovely cover of his brother Livingston's tune, "In My Reply" and a slow groove rendition of "Up On The Roof," the big Drifters hit penned by Jerry Goffin and Carole King. Merle Haggard's "Okie From Muskogee" is also given Taylor's laid back treatment to humorous effect.

Following "Carolina In My Mind," Taylor introduces his rhythm section who join him onstage. "Riding On The Railroad" and particularly "Fire And Rain" and "Highway Song," a tune soon to turn up on his brother Alex's album, benefit tremendously from the impeccable backing by Sklar and Kunkel. On the latter song, Taylor switches to piano.

At this point, Danny Kortchmar joins in on acoustic lead guitar and completes the quartet for the rest of the set. They perform Kortchmar's "Machine Gun Kelly" and Taylor's "Hey Mister, That's Me Up On The Jukebox," both destined for his next album, before the tape ran out. The set closer "Steamroller Blues" is missing, as well as any encores.

Introduction 0:21
Country Road 4:54
Knocking 'Round The Zoo 3:19
Okie From Muskogee 3:23
Blossom 2:48
In My Reply 3:38
Sweet Baby James 4:08
Up On The Roof 3:50
Carolina In My Mind 4:54
Riding On A Railroad 3:02
Fire And Rain 4:10
Highway Song 4:19
Lo And Behold 3:22
Machine Gun Kelly 3:45
Hey Mister, That’s Me Up On The Juk...3:56

DGHS- Tribute to The Song KASHMIR by Led Zepplin

KASHMIR in all it's Zep-soaked glory.

Playlist files:

      1. DGHS INTRO COMPLETE2 (1:39)
      2. Led Zeppelin - Kashmir (8:28)
      3. Kevin Gilbert - Kashmir (4:29)
      4. Dread Zeppelin - Kashmir (10:02)
      5. Bond - Kashmir (5:08)
      6. Hayseed Dixie - Hayseed Dixie - Kashmir (5:06)
      7. Londy Symphony Orch. - Kashmir (7:54)
      8. Ofra Haza - Kashmir (4:48)
      9. Ottmar Liebert - Kashmir (7:31)
      10. Robert Plant - Jimmy Page and Robert Plant - Kashmir (Acoustic) (12:27)

DGHS Show.. first US live Led Zepplin Recording off the sound board!

John Bonham - drums
John Paul Jones - bass
Jimmy Page - guitar
Robert Plant - vocals

When Country Joe McDonald sang, "Whoopee! We’re all gonna die!" on the night of January 11, 1969, it wasn’t the Vietnam War that inspired his absurd fatalism - it was the sound of the band he had the misfortune of following.

America knew next to nothing about the wild pack of Rock ‘n Roll Vikings that it had unwittingly allowed within its borders, though their arrival tolled the death knell for Peace and Love and introduced the nation’s kids to the only thing that was left - musical, chemical, and sexual excesses the likes of which no one had ever conceived. Whether or not the stories are true, the unrivaled mythology this band conjured set a brutal precedent for generations of their successors. Fans showed up by the VW Wagon-load with a fear and fervent adoration generally reserved only for dictators of small countries to pay homage to the fathers of the New Rock - Heavy Metal.

This, however, is part of where it all began - four songs taken from their first Bay Area appearances during their first U.S. tour. And a charming bunch of lads they were! Robert Plant engages the crowd in polite conversation while Jimmy Page, all gangly limbs and choir-boy face, clumsily changes a string. Then - they’re off. And there it is...that Sound! Much has been made of Page’s studio black magic over the years, but credit must be given to the group as a whole. Apart from myriad improvisations, they sound just like they do on the records - huge, warm, enveloping bass; wailing, atavistic vocals bordering on obscenity for their sheer ecstasy; drums that sound like a gorilla wrestling a robot in an airplane hangar; and, yes, guitar tone that’ll keep Gibson and Marshall in business as long as they’re willing to make Les Pauls and huge amplifiers.

Widely bootlegged, this performance is presented here directly from the soundboard tapes and in excellent quality. The call and response at the end of "You Shook Me" is unintentionally hilarious and followed by Plant’s band roll call at the beginning of "How Many More Times," perhaps the last time such an introduction was necessary since, following this tour, everybody knew who they were - Page, Plant, Bonham and Jones...Led Zeppelin!

Introduction 1:46
I Can't Quit You Baby 6:05
Dazed And Confused1 3:18
You Shook Me 8:04
How Many More Times 4:14

DGHS Show- If Grateful Dead were played as Jazz

Grateful Dead!  Well, sort of.  The band is called Jazz Is Dead and they play jazz, but they do covers of Grateful Dead songs.  Kick ass.

Morning Dew
Drums & Jam
St. Steven, the Eleven
Blues for Allah
China Cat Sunflower
Terrapin Station
Estimated Prophet

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

DGHS Show- PUNK covers of great rock/pop... get our your safety pins and bongs you punk hippies

Fan of punk?  Fan of rock/pop?  Then this podcast is for you my darling safety pin wearing, eyeliner laden, acid dropping punk hippie friend.

And thanks to all of you who dropped me a line saying you dig the show.  It's what keeps me going.

Playlist files:

      1. DGHS INTRO COMPLETE2 (1:39)
      2. Punk Covers - Nofx - I Want You To Want Me (2:59)
      3. punk covers - Blink 182 - Rare - Seasons in the Sun (2:29)
      4. Black Flag - Louie Louie(Punk Covers) (1:24)
      5. Less Than Jake - Punk Covers - (Grease) - Summer Nights (1:08)
      6. Punk Covers-Bad Religion - Tainted Love (2:28)
      7. Less Then Jake - I Would Walk 500 Miles (Punk Covers) (4:06)
      8. Me First and the Gimme Gimmes- Leaving on a Jet Plane(Punk Covers ) (2:32)
      9. New Found Glory - I Love Rock And Roll (punk covers) (2:54)
      10. Oldies - Punk & Ska Covers - Walking On Sunshine (3:26)
      11. Punk & Ska Covers - No Doubt - Come On Eileen (4:08)
      12. punk cover - Punk covers - I Can See Clearly Now (2:15)
      13. MxPx - Brown Eyed Girl (3:17)
      14. punk covers - goldfinger - is she really going out with him (3:08)
      15. Punk Covers - Less Than Jake- Were Not Gonna Take It (cover) (1:42)
      16. punk covers - pennywise - mrs robinson (3:43)
      17. Punk Covers - Real Big Fish - Take on Me (2:46)
      18. punk covers - wizo - girls just wanna have fun (2:45)
      19. Punk Covers- Social Distortion - Ring Of Fire (Johnny Cash cover) (3:51)
      20. Punk covers Soundgarden - Come Together (Beatles Cover - Rare!) (5:51)
      21. Punk Ska Covers - NOFX - Turning Japanese  (3:31)
      22. punk ska covers - screeching weasel - you are my sunshine (3:25)
      23. Punk Ska Covers - Somewhere Over the Rainbow (1:31)

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

DGHS Show Every Frank Zappa Guitar Solo every released

I can't help myself.  Some days, Frank Zappa Guitar solo's are the only thing that calm me down.  Soooo.. here you have it.. ALL of my Zappa guitar solo's in one nice neat and very long podcast (2:13:30).  Oh yea... this playlist is in the wrong order, but the right songs.  Frank would liked that.

See if you can match them up!  Come on all you zappa fans, a REAL fan could do it.  To check yourself, listen to the end of the podcast where I give the names of each song in the right order.

Playlist files:

      1. DGHS INTRO COMPLETE2 (1:39)
      2. Zappa Frank - For Duane (3:24)
      3. Frank Zappa - Jim & Tammy's Upper Room (3:11)
      4. Zappa Frank - Too Ugly For Show Business (4:20)
      5. Zappa Frank - Goa (4:51)
      6. Zappa Frank - Watermelon In Easter Hay (4:02)
      7. Frank Zappa - That's Not Really Reggae (3:16)
      8. Zappa Frank - Things That Look Like Meat (6:54)
      9. Zappa Frank - Do Not Pass Go (3:37)
      10. Zappa Frank - Variations On Sinister #3 (5:15)
      11. Frank Zappa - Orrin Hatch On Skis (2:12)
      12. Zappa Frank - Outside Now (Original Solo) (5:28)
      13. Frank Zappa - Once Again, Without The Net (3:43)
      14. Zappa Frank - Winos Do Not March (3:14)
      15. Frank Zappa - But Who Was Fulcanelli (2:48)
      16. Frank Zappa - When No One Was No One (4:49)
      17. Frank Zappa - Were We Ever Really Safe In Sa (2:49)
      18. Zappa Frank - Systems Of Edges (5:32)
      19. Zappa Frank - Republicans (5:07)
      20. Frank Zappa - Which One Is It? (3:04)
      21. Frank Zappa - Sunrise Redeemer (3:58)
      22. Zappa Frank - That's Not Really A Shuffle (4:24)
      23. Zappa Frank - That Ol' G Minor Thing Again (5:02)
      24. Frank Zappa - Hotel Atlanta Incidentals (2:44)
      25. Zappa Frank - Swans- What Swans- (4:23)
      26. Frank Zappa - Move It Or Park It (5:43)
      27. Frank Zappa - Chalk Pie (4:52)
      28. Zappa Frank - It Ain't Necessarily The Saint (5:14)
      29. Zappa Frank - Canadian Customs (3:35)
      30. Zappa Frank - Do Not Try This At Home (3:50)
      31. Frank Zappa - Sexual Harassment In The Workp (3:42)
      32. Frank Zappa - In-a-gadda-stravinsky (2:49)
      33. Zappa Frank - Is That All There Is- (4:08)

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

DGHS Show.. Joe Jackson Inspired tunes

Ever wonder what motivates a musician to play the way they play?  For awhile back in the 80's, I was a big Joe Jackson fan.  This is one of those guys who posesses a restless musical imagination that has found him straddling musical genres unapologetically, disinclined to pick one style and stick to it.  Think: Chameleon.  I asked myself, what inspired this guy?  What inspires any musician?  Interestingly, most of them will be happy to tell you , just ask.  Here's a list of what Joe Jackson says is some of his favorite music, along with some of Joe's music, just for good measure:

Mandrake by Chrisopher Blue

Paper and Iron (notes and Coins) by XTC

Piper (live) by Phish

Trooper McCue by Disco Biscuits

Five Guys Named Moe by Joe Jackson

Dance With A Dolly by Louis Prima & His Gleeby Rhythm Orchestra

No, Not Much by King Pleasure

Between the lines by The Flamin' Groovies

Get That Girl by Joe Jackson

Walking Out On Love by Paul Collins' Beat

Love I Can't Wait by The Sponsors

Aperitif by Seldon Plan

Look Sharp (live) by Joe Jackson

Aspirations by Sueshe

Cherub by Honeydogs

Here comes the man with the Jive by Stuff Smith

Email me with your comments (or just comment here on ClickCaster).  I'm at elijahblue@gmail.com

www.clickcaster.com/dghs

DGHS Show- Some of my favorite Prog/Pop Rock

 

 

Sound Chaser by Yes

 

 First things first. It's unlikely that this remaster will convert anyone who rejected Relayer in the past. Even more than its predecessor, the sprawling Tales from Topographic Oceans, Relayer was the sound of a band that built its reputation on vast, ambitious ideas, facing up to the fact that it had completely run out of them -- and the so-ponderous intro to "The Gates of Delirium" remains the most disappointing opening that any Yes album has ever endured. How sad that they didn't forget the final mix and go with the studio runthrough instead. Closing the three bonus tracks that pack out the 2003 remaster of Relayer, a full-length blast through that side-long disappointment packs a sparkle and energy that the released version absolutely lacks. The guitars and keyboards shimmer, Anderson's vocal is alive with enthusiasm, and there's a dynamism to the rhythms that simply echoes through your head. Elsewhere among these remasters, the alternate versions of familiar songs have offered little more than a rough blueprint of subsequent majesties. This time, the outtake is the best thing in sight, with the closing "Soon" section standing among the finest Yes recordings of all. "Soon" reappears again among the bonus tracks, in the form of a tight little single edit; "Sound Chaser," too, made it onto 45, and it's intriguing to hear its original nine minutes cut down to just over three, dominated by guitar lines and a loping rhythm that wouldn't have been out of place on a Led Zeppelin album. The "cha-cha-cha" chorus is still annoying, though, and the bulk of the remastered Relayer will doubtless languish unplayed in your CD collection. For that astonishing reappraisal of "Gates of Delirium," however, it's worth the cost of admission. ~ Dave Thompson, All Music Guide

 

 

Terrapin Station by The Grateful Dead

 

It is generally agreed that the Grateful Dead's late-'70s studio releases left even the most enthusiastic Deadheads longing for something more. The theory is that the band's momentum is best experienced during the ebb and flow of a live performance rather than the somewhat clinical tedium of a recording studio. Terrapin Station marks several milestones for the Grateful Dead: it was the band's first studio album in two years, as well as their return to a major label -- in this case Arista Records. More significant however is the use of an outside (read: non-Grateful Dead) producer. This was only the second time in which the Dead did not seize complete control. And the first time in a decade that they would relinquish their production reigns. They chose Keith Olsen -- a former member of the '60s garage rock band Music Machine -- whose production roster also included other Bay Area notables including the Sons of Champlin and Santana. Musically, Terrapin Station offers a few choice glimpses of the band doing what it does best. While the most prominent example is the album's extended title suite, there are a few others such as the cover of the Rev. Gary Davis gospel-blues "Samson and Delilah" and a resurrection of the Martha & the Vandellas hit "Dancin' in the Streets." The latter tune was originally performed by the Dead in their mid-'60s repertoire. What was once a garage rock and psychedelic reading has evolved into a 4/4-time, brass-influenced disco arrangement. Luckily, their extended versions during concert performances were infinitely more tolerable. Parties interested in examining the contrast between the studio and live performance versions of Terrapin Station material should seek the archival concert release Dick's Picks, Vol. 3. This two-disc set not only captures the band exactly two months and two days prior to the release of Terrapin Station, it also features stellar performances of every track from the album sans the up-tempo rocker "Passenger." ~ Lindsay Planer, All Music Guide

 

 

 

Driving the last spike by Genesis

 

The second CD culled from the We Can't Dance tour, The Way We Walk Volume Two: The Longs was designed to draw interest from Genesis' older fans, featuring the more progressive material from their shows. However, no music here outside of the "Old Medley" predates 1983, and while the band continued to write decent longer material through 1991's We Can't Dance, those songs were nowhere near as eclectic and experimental as the group's earlier work. That said, both "Domino" and "Home by the Sea" sound tighter and more powerful than on their already solid studio versions. And while the unfortunate "Old Medley" leaves the heart out of the band's earlier material, "Driving the Last Spike" and "Fading Lights" sound great live and are less polished than the studio versions on We Can't Dance. In the end, the album is fine way to catch up on the group's post-progressive days for those who do not want to deal with the pop songs that dominate their later records. ~ Geoff Orens, All Music Guide

 

 

Whistle while you work by NRBQ

 

I swear, anyone with more than one Dave Matthews CD should be slapped and forced to listen to NRBQ. These guys are God's gift to pop music - maybe more kids would actually play music if they could hear NRBQ instead of Eminem. Whistle While You Work is a whimsical poppy tune (featured here), Captain Lou Albano is a total rip, and RC Cola and a Moon Pie is one of the best pop songs in history. This is a rare treat ... two discs of music that just can't compete with the excess and the slick production of Limp Biscuit and Brittney Spears. And Amen to that!

 

 

 

Duck Duck Goose by Frank Zappa

 

The story behind the creation of this collection is almost as legendary as the man who created it. Suffice to say, it was originally intended as a 4-disc vinyl release, ran into some complications, and was delayed by a mere 20 years. These complications resulted in Frank Zappa's suing a VERY LARGE RECORD COMPANY for about 3 million, the material being released across about 5 albums (three of them against his wishes), and, in an act of revolt, Frank's broadcasting of the album in its entirety on LA's KROQ, during which he actually encouraged listeners to record it.

Until RYCODISC's CD version came out around '96, the only way a person could hear the album as Frank had intended was if one could get ahold of the recording of this famous broadcast. Had it been released when it was supposed to, Lther would have qualified as the ultimate work of this sorely-missed musical innovator. Zappa's wildly diverse compositional capabilities are represented more comprehensively here than on any release; from live rock performances to symphonic and chamber works, from dialogue snippets to tape-manipulated musique concrete, this is the full spectrum of pre-digital FZ at the peak of his powers. Nobody could touch this man in the 70s.

 

As many of the songs were a bit new and rough at the time of these recordings, Frank produced more polished and extended versions in the later albums "Zappa in New York" and "Sheik Yerbouti", so his reticence to release this collection during his lifetime is certainly understandable. However, if you have not yet heard "Studio Tan", "Sleep Dirt" and/or "Orchestral Favorites", you can get them all in one tidy remastered package (without the annoying vocals that were added on "Sleep Dirt") and enjoy them in one seriously eclectic listening.

 

I'm a firm believer in cheating with Desert Island Picks, by choosing box sets. If I had the choice of one Zappa release to sustain me in isolation, I would not have to think for very long, because Lther has it all. The ultimate FZ representation, hands down.

 

 

The Journey/Recollection (Live) by Rick Wakeman

 

 Journey to the Center of the Earth is one of progressive rock's crowning achievements. With the help of the London Symphony Orchestra and the English Chamber Choir, Wakeman turns this classic Jules Verne tale into an exciting and suspenseful instrumental narrative. The story is told by David Hemmings in between the use of Wakeman's keyboards, especially the powerful Hammond organ and the innovative Moog synthesizer, and when coupled with the prestigious sound of the orchestra, creates the album's fairytale-like climate. Recorded at London's Royal Festival Hall, the tale of a group of explorers who wander into the fantastic living world that exists in the Earth's core is told musically through Wakeman's synthesized theatrics and enriched by the haunting vocals of a chamber choir. Broken into four parts, the album's most riveting piece entitled "The Battle" involves Wakeman's most furious synthesized attack, churning and swirling the keyboards into a mass instrumental hysteria. With both "The Journey" and "The Forest," it's the effective use of the strings and percussion section of the London Symphony Orchestra that causes the elements of fantasy and myth to emerge from the album's depths. The gorgeous voice of Ashley Holt is effectively prominent, and some interesting guitar work via Mike Egan arises occasionally but meritoriously in amongst the keyboard fervor. The whole of Journey to the Center of the Earth still stands as one of the most interesting conglomerations of orchestral and synthesized music, and it is truly one of Wakeman's most flamboyant projects.

DGHS- The FAME show- Many interations of the song by David Bowie

 

All I can say, over and over and over is FAME!  By David Bowie.

 

EB

www.clickcaster.com/dghs

elijahblue@gmail.com 

DGHS- The Halloween Special! My very first...

BONUS.. Halloween show!  Cause I felt like it, and I didn't do one last year (yea.. this show is over a year old!  Started last September).  This is a pretty odd collection.  A couple of things you might recognize, but most of it is from the deep vaults.  Some funny, some distrubing, all of it great stuff.

 

Playlist files:

1. Halloween Sounds - TWIGHLIGHT ZONE Theme (0:56)
2. Movie Trailer - The Mind of Mr. Soanes (0:57)
3. Bob Mcfadden & Dor - I Dig You Baby (2:23)
4. Albert DeSalvo - Strangler In The Night (2:03)
5. Kenny & The Fiends - House on haunted hill (1:46)
6. Rosengarden and Kraus - Satan Takes a Holiday (2:38)
7. Groovie Goolies - Goolie Garden (2:47)
8. Movie Trailer - Graveyard Tramps (0:30)
9. Hap Palmer - Haunted House (2:50)
10. Sounds of Terror! - Burned at the Stake (2:07)
11. Billy DeMarcus - Drac's Back (2:51)
12. The Creatures - Mostly Ghostly (2:18)
13. Marty Manning and His Orchestra - Night On Bald Mountain (2:18)
14. Mann Drake - Vampire's Ball (2:29)
15. Louise Heubner - Intro - Orgies, A Tool Of Witchcraft (5:08)
16. The Ghosts - Unload (1:00)
17. Buddy Morrow and His Orchestra - The Raven (3:31)
18. Ted Cassidy - The Lurch (2:07)
19. Glen Ryle - Wolf Gal (2:18)
20. The Detergents - Igor's Cellar (3:02)
21. The Hamburger Brothers - Omar The Vampire (3:44)
22. Tyrone A' Saurus & his Cro-Magnons - The Monster Twist (2:39)
23. Movie Trailer - Dr. Jeckyl and Sister Hyde (0:31)
24. The Zanies - The Mad Scientist (1:51)
25. Sounds of Terror! - The Exorcism (2:21)
26. Ralph Marterie & his Marlboro Men - Alfred Hitchcock Presents (2:34)
27. Al Zanino - The Vampire Speaks (3:15)

 

DGHS Last one... LIVE 60's, 70's and one 80's from the great venues

The last of 3 shows showcasing live songs from greats 60's and 70's artists.  I cheated a little on this one with Jerry doing a show in 87 (what the hell and he IS dead, after all).

 

BB KIng doing How Blue Can You Get at Winterland in December, 1968

Boz Scaggs doing We Can Make it at the Paramount Theatre Marsh of 1974

 

Jerry Garcia Band doing Tangled Up In Blue at the Lunt-Fontanne Theatre Oct of 1987

 

Mountain doing Don't Look Around at the Fillmore East Dec. of 1970

 

Sons Of Champlin doing Pappa Can Play at Winterland Dec. of 1972

 

The Band doing Up On Cripple Creek at Watkins Glen July of 1973 

 

Chicago Transit Authority doing I'm A Man at the Filmore West Nov 1968

 

Led Zepplin doing Communication Breakdown at the Filmore West April of 1969

 

Pink Floyd doing Have a Cigar at the Oakland Coliseum May 1977

 

Edgar Winter's White Trash doing Tobacco Road Jam at the Fillmore East June of 1971

 

 

DGHS- More Live Never before heard 60's and 70's music

yet more!!!  you're not gonna find this stuff on any late night collection folks.  This is straight from the board.

 

the Allman Brothers Band- Come and Go Blues at Watkins Glen July 29th, 1973

Tower of Power- Back On The Streets Again at the Fillmore West July 4th, 1971

John Mayall- Sleeping By Her Side at The Turning Point (Fillmore East) on July 12th, 1969

Electric Flag- Drivin' Wheel at the Carousel Ballroom on April 21st, 1968

Erma Franklin with Electric Flag- Chain of Fools at the Carousel Ballroom on April 21st, 1968

Grootna- I Can't Get No Nookie at the Fillmore West on July 1st, 1971 (and you thought Nookie was a new word)

Steppenwolf- Born to be Wild at the Fillmore West on Augest 8th, 1968

BB King- A Whole Lotta Lovin at the Fillmore East on June 19th, 1971

Muddy Waters- Hurricane at the Fillmore Auditorium on October 2nd, 1966

Copperhead- Spin Span at Winterland on April 30th, 1972

Laura Nyro- Gibsom Street at the Fillmore East on May 30th, 1971

 

elijahblue@gmail.com 

DGHS Show- Live 60's and 70's hippie shit music from 'the lost venues'

Ran across some great unreleased live stuff from several of the now (mostly) defunct venues that were famous in the 60's and 70's.  I think I'll get several shows from this source over the coming months.  Drop some purple haze, sit back and enjoy.

 

 

Playlist

Creedence Clearwater Revival- Lodi (at the Fillmore West on July 4th, 1971).

Steppenwolf- Tighten up your Wig (at the fillmore West on August 27th, 1968)

The Band, Neil Young and Bob Dylan- The Weight (at Kezar Stadium on March 23rd, 1975)

The Staple Singers- A Hard Rain's A-Gonna Fall (at the Fillmore Auditorium on April 19th, 1968)

Jeff Beck Group- You Shook Me/Let Me Love You (at the Fillmore West on July 24th, 1968)

Bob Marley & The Wailers- Wake Up and Live (at the Oakland Auditorium on Nov 30th 1979)

Van Morrison- Into The Mystic (at the Fillmore West on April 26th, 1970)

Frank Zappa and the Mothers of Invention- Call Any Vegetable (at the Fillmore West on November 11th, 1970)

Boz Scaggs- Make My Light Shine (at the Fillmore West on June 30th, 1971)

Bruce Springsteen- Candy's Room (at Winterland on December 15th, 1978)

Funky Kings- Slow Dancing (at The Boarding House on November 11th, 1975)

 

As usual, I love them thar emails.  Let me know you're out there:

 

elijahblue@gmail.com 

DGHS- The Stevie Ray Tribute #2 (some hot live SVR and some just hot)

Most towns have statues honoring statesmen, great authors, city founders and philanthropists. Austin has a statue of blues man Stevie Ray Vaughan. The legendary Austin guitarist died in 1990 at age 35, leaving behind five albums under his own name (yea.. only five..) and several more albums on which he played as a sideman. These albums have been reissued in various ways and combinations since his death. His albums still sell well, his voice still vibrates with heartfelt blues almost daily on radio stations, his guitar blazing and wailing.

One of the five albums Stevie Ray Vaughan made was Family Style, made with his older brother Jimmie Vaughan. "Tick Tock" from this album became a poignant hit, released just as Stevie Ray died in a helicopter crash. The Vaughan brothers showed their licks Austin style in such numbers as "Hard to Be," and "Good Texan."

SRV's album The Sky is Crying was remastered as a 24 CT gold disc in 1998. It contains such greats as "Little Wing" and "Wham."

Stevie Ray Vaughan and Double Trouble Live at Carnegie Hall stands as a monument to Stevie Ray and to the players he worked with and imitated.

At age eight Stevie Ray began playing guitar. He learned by sneaking into big brother Jimmie's room and playing his guitars when Jimmie wasn't there. Stevie Ray is quoted as saying that it didn't take him long after he first picked up a guitar to realize that playing guitar was what he wanted to do with his life. He started his playing in Dallas, but in 1972 he dropped out of school and moved to Austin to drink in the vital blues scene there.

 

Not long after, he saw Albert King perform live, which was to have a great influence on his life and music.

 

Here's how Stevie recalled that night: "By the time I got to Albert's gig, there were only about 75 people left in the place. I ended up standing on a table right beside the stage, just staring at him throughout the whole set. Partway through the show he took his mic stand and walked over to where I was standing, planted it, and just stood there and sang and played to me the rest of the night. He didn't know me from Adam. I was just this skinny little kid, 98 pounds soaking wet. I guess I must've yelled, "Right!" or something. And when he finished playing, he walked over to me, handed me his guitar and shook my hand. I was stunned. I'll never forget it." Within a few years Stevie and Albert King were on the stage at Antone's together.

 

Couldn't Stand the Weather, Soul to Soul, and Texas Flood with Stevie Ray Vaughan and Double Trouble contains 28 songs and would be a comprehensive way to start a SRV collection. Inside you'll hear the strat burning texture to the rhythm guitar parts on "Pride And Joy" and "I'm Crying," two Vaughan originals, which established the thick-toned Texas shuffle as an SRV trademark.

 

Books about Stevie Ray Vaughan are described in MusicAustin and the Written Word. You can find his albums on amazon.com.

 

Playlist 

Voodo Chile (Slight Return)

Manic Depression

I'm Leavin' You (commit a crime)

Dirty Pool (solo) 

Little Wind, Third Stone From The Sun

Cold Shot

Rude Mood

Testify 

Riviera Paradise

 

Kick ass wherever you are Stevie, we miss you.

EB

elijahblue@gmail.com

www.clickcaster.com/dghs 

DGHS Show- 80's Hits Stripped

Every song was a certifiable hit back in the 1980s--the kind that MTV played incessantly (back when MTV actually played videos). Granted, superstars like Madonna, Prince, and Duran Duran are nowhere to be found, but this 15-track line-up of Brits, Yanks, and Aussies is a pretty accurate representation of an era. Twenty plus years have passed since then and times have changed, but the tunes haven't. Not much, at any rate.

 

The majority of these acoustic interpretations may be slower or quieter than before, but they're hardly radical reinventions. ("No One Is to Blame," "Rebel Yell," and "These Dreams" were all recorded live.) Take Rick Springfield's "Jesse's Girl," for example. It sounds much the same as ever; the original Dr. McDreamy has simply sprinkled a little twang around the edges. The versions that deviate most include Berlin's "Metro," which speeds things up to fine effect, Tommy Tutone's "867-5309/Jenny," which sounds rougher and more rugged than the gold single, and Billy Squier's "Stroke," which makes a surprisingly successful segue from pop-metal to Delta blues. Then there are the voices, most of which (Colin Hay and Tommy Heath aside) sound as youthful as ever. On "Missing You," for instance, John Waite channels his twentysomething self with ease, while on "Our Lips Are Sealed," the Go-Go's Jane Wiedlin sounds downright girlish. Bottom line: If you liked these songs in the first place, you'll like 'em in the second.

 

Playlist:

 

1. Berlin - The Metro (3:52)
2. Rick Springfield - Jessie's Girl (3:17)
3. Colin Hay (Men At Work) - Down Under (3:33)
4. The Outfield - Your Love (2:34)
5. Howard Jones - No One Is To Blame (4:21)
6. Billy Idol - Rebel Yell (5:30)
7. The Motels - Only The Lonley (3:26)
8. Tommy Tutone - 867-5309/Jenny(4:12)
9. John Waite - Missing You (3:49)
10. Heart - These Dreams (5:27)
11. Thomas Dolby - She Blinded Me (3:53)
12. Naked Eyes - Promises, Promise (2:59)
13. Asia - Heat Of The Moment (3:59)
14. Jane Wiedlin (The Go-Gos) - Our Lips Are Sealed (2:42)
15. Billy Squier - The Stroke (4:38)

DGHS Mashup Show #2..second attempt

Apparently, that last one was bad (corrupt file?)  So, let's see how this one works.

DGHS- the Everclear show

One of my favorite rock bands.  Underappreciated in many ways. Everclear out of Portland, OR.

 

Send me some email.  Love hearing from you all. 

 

Elijahblue@gmail.com

www.clickcaster.com/dghs

 

 Playlist files:

1. Everclear - Santa Monica (3:11)
2. Everclear - Song From An American Movie Pt 1 (1:39)
3. Everclear - Song From An American Movie Pt 2 (4:52)
4. Everclear - Everything To Everyone (3:20)
5. Everclear - I Will Buy You A New Life (3:58)
6. Everclear - White Men In The Black Suits (3:32)
7. Everclear - Why I Don't Believe In God (4:17)
8. Everclear - El Distorto De Melodica (3:07)
9. Everclear - Am Radio (3:56)
10. Everclear - Here We Go Again (4:10)
11. Everclear - Learning How To Smile (3:50)
12. Everclear - Now That It's Over (3:49)
13. Everclear - Otis Redding (3:56)
14. Everclear - Wonderful (5:01)
15. Everclear - Out Of My Depth (4:32)
16. Everclear - Chrysanthemum (1:38)
17. Everclear - Volvo Driving Soccer Mom (3:13)

If scientists strived to merge crunchy, hook-heavy pop-rock-punk and the super-shiniest production techniques this side of Smashing Pumpkins, the result would probably sound exactly like Everclear's Songs from an American Movie, Vol. 2: Good Time for a Bad Attitude. It's a hit-or-miss outing. On the one hand, it's a step up from the tepid Songs from an American Movie, Vol. 1, and it takes the boys back to the loose but mighty muscularity that made Sparkle and Fade such a delight. Art Alexakis and company take some chances, like the funky groove of "Babytalk" and the ballad to bombast and back again of "Out of My Depth." On the minus side, the production is so slick that there's no friction, and rock music without friction is like, well, like large chunks of this Attitude. Definitely a mixed bag from Everclear.

 

Wikipedia on Everclear

Everclear is a rock band formed in Portland, Oregon, USA, in 1992. For most of its existence, Everclear consisted of Art Alexakis (b. 12 April 1962, Los Angeles, California, USA; vocals, guitar), Craig Montoya (b. 14 September 1970; bass, vocals) and Greg Eklund (b. 18 April 1970; drums). Eklund replaced original drummer Scott Cuthbert in 1994. Montoya and Eklund departed the band in 2003, but Alexakis has continued performing as Everclear with a new lineup.



Early years

Art Alexakis suffered through a troubled youth, beginning with his father walking out when Alexakis was a child. Financial hardships pushed his family into the slums of Los Angeles, where Alexakis fell to the lure of heavy drug use. During his teenage years, Alexakis was shuttled around the country between various family members (including a brief period in Houston living with his father's new family), but the drug addiction persisted. Eventually, Alexakis suffered a near-fatal cocaine overdose, which finally pushed him to clean up.

In the late 1980s, Alexakis played in a short-lived rock band in Los Angeles called Shakin' Brave, where he began to hone his songwriting skills. Frustrated by the inattention of the L.A. music scene, Art relocated to San Francisco, where he fell into the then-burgeoning cow-punk scene.

Art founded a label called Shindig Records, which attempted to document the SF cow-punk scene. He began recording material of his own for a solo album, but it eventually evolved into a group project called Colorfinger. While involved with Colorfinger, Art wrote several songs which would later become Everclear classics, including "The Twistinside", "Heartspark Dollarsign", and "Why I Don't Believe in God".

In a single month in 1992, Shindig failed (when its distributor went bankrupt), Colorfinger broke up, and Art learned that his girlfriend was pregnant. Seeking a change of location, Art and his girlfriend moved to her hometown, Portland, Oregon. There, he placed an ad in local music weekly The Rocket, which earned two responses: bass player Craig Montoya and drummer Scott Cuthbert.

The new band began recording in a friend's basement, essentially bartering for recording time with musical gear and whatever limited funds they could scrounge up. The sessions culminated in two releases: the Nervous & Weird EP and the band's first full-length release World of Noise, both released by Portland's Tim/Kerr Records in 1993. Frustrated by Tim/Kerr's limited resources, Alexakis hired independent promoters to help push the album. Eventually, it became obvious that Everclear needed to find a bigger player to help them reach their audience.

The Capitol years

The band spent much of 1994 seeking out a major label deal. After a modest bidding war, they were signed to Capitol Records by Gary Gersh, who was responsible for signing Nirvana, Sonic Youth, and Counting Crows to DGC Records. Just prior to their signing, Everclear parted ways with drummer Cuthbert, citing personality conflicts, and brought in former Jollymon drummer Greg Eklund. In May of 1995, the band released their first album for the label, Sparkle and Fade.

Initially, the album didn't find an audience. First single "Heroin Girl" received some modest airplay via MTV's 120 Minutes, but was generally missed by the mainstream. However, near the end of 1995, second single "Santa Monica" found a strong audience via the burgeoning alternative radio format, which eventually carried over to mainstream success. The album subsequently was certified platinum. However, two ensuing singles, "Heartspark Dollarsign" and "You Make Me Feel Like a Whore", failed to find a wide audience, and the band ended 1996 fast at work on their third album.

As Sparkle and Fade reached its audience, Everclear had to endure consistent comparisons to Nirvana, particularly given the album's subject matter and drug references. Following a show with the Foo Fighters at the end of 1995, Dave Grohl told MTV News that he genuinely didn't think that Everclear sounded like Nirvana, noting that Bush sounded more like Nirvana than any other band.

By the end of 1996, the band had nearly completed the album, which they planned to release under the title Pure White Evil. Alexakis, however, was dissatisfied with the results, and decided to work on more songs for the effort, including "One Hit Wonder" and the eventual title-track to the album, So Much for the Afterglow.

So Much for the Afterglow was released in October of 1997. The first two singles from the album, "Everything to Everyone" and "I Will Buy You a New Life" performed modestly, but helped begin a slow build for the album. The band completed a US tour at the end of the year, and started 1998 with a tour of Australia.

The Australian tour, however, was an unexpected disaster. At a show in Wollongong, someone threw a shoe at Alexakis, knocking loose a few of his teeth. Two nights later in Melbourne, someone threw a lit explosive on stage, which exploded and burned a stagehand. Tensions erupted backstage, with touring guitarist Steve Birch refusing to continue, and Montoya getting into a heated argument with Alexakis. In interviews for VH-1's Behind the Music, the band related that they nearly broke up that night. The band decided to cancel the remainder of their tour following a final show on the Gold Coast, during which Alexakis was hit with a shoe (while the crowd was singing him "Happy Birthday") and Montoya's acoustic bass guitar was stolen. Montoya declined to join the band for the ensuing tour of the United Kingdom, with then-bass-tech David LoPrinzi filling in. To date, Everclear has not returned to Australia.

Following an extensive tour of the United States with Marcy Playground and Fastball, the band released Afterglow's third single, "Father of Mine". The song catapulted the album and the band to mainstream success. The song's autobiographical tale of a child coping from an abandoning father was easily related to amongst a nation of those experiencing the same loss.

Afterglow provided the band their only Grammy nomination to date, a Best Rock Instrumental nod in 1998 for "El Distorto de Melodica". Later that year, the band won Billboard's Modern Rock Band of the Year Award. Though Afterglow never charted higher than #33 on the Billboard album chart, the album reached double-platinum status at the end of the year.

Following the success of So Much for the Afterglow, Alexakis decided to step back from the Everclear sound and record a solo album of more pop-influenced songs, and brought in Everclear touring musicians David LoPrinzi, Brian Lehfeldt, and James Beaton to perform on the recordings. Unhappy with the results of the initial sessions, Alexakis decided to bring in Montoya and Eklund and transform the effort into an Everclear album. The results were released as Songs from an American Movie, Vol. 1: Learning How to Smile in July of 2000. The album yielded the band's most successful single, "Wonderful", and eventually reached platinum status.

Rather than tour for the release, the band arranged with their label to release a second album in 2000. Alexakis believed he had enough of a catalog of unreleased songs at the ready, and was eager to show the opposing sides of Everclear's sound. However, delays in the mixing process of Learning How to Smile had pushed its initial April release to July, limiting the amount of recording time for the follow-up in order to meet Capitol's demands of an end-of-the-year release.

Proclaimed as a "return to rock", Songs from an American Movie, Vol. 2: Good Time for a Bad Attitude was released just four months after Vol. 1 in November of 2000. Unfortunately, the promotional push for Vol. 2 while still in the throes of supporting Vol 1 confused much of the music-buying public. Learning How to Smile's second single "AM Radio" was released barely weeks before the release of Vol. 2, leaving some stores to mistakenly label the song as the first single from Vol. 2. The confusion was amplified by the band's decision to accept an opening slot for Matchbox 20 in the months after the release of Vol. 2, a somewhat awkward billing for a band who was trying to support a hard rock album.

By the late spring of 2001, both albums had stalled. Capitol attempted a final push by re-releasing Learning How to Smile with "Out of My Depth" and "Rock Star" from Good Time for a Bad Attitude as bonus tracks. A cover of Van Morrison's "Brown Eyed Girl" received some modest airplay as a result, but couldn't help revive the momentum. A tour of the United Kingdom for what would have been the band's first extensive tour of the country since 1998 was cancelled shortly before its start.

That summer, the band decided to license "Rock Star" to the movie of the same name. Fortune seemed to finally be turning around for the band, as the promotional push behind the movie helped the song find an audience at radio and VH-1. However, the push ended following the events of September 11th.

The band regrouped a year later to record their sixth album, Slow Motion Daydream, released in March of 2003. Both band and label were excited about the effort prior to its release. Everything looked positive until Alexakis and Capitol came to odds over the album's first single. Capitol was thrilled about one of the last songs added to the album, a somewhat 9/11-influenced "The New York Times". Alexakis, however, had previewed a tongue-in-cheek ode to Republican suburbanite housewives, "Volvo Driving Soccer Mom", during a solo tour in 2002, and had received a fair amount of media attention. Capitol eventually relented to Alexakis' demands and released the song and video, but didn't put much effort into the song and album's promotion. "The New York Times" was released shortly thereafter as the second single with even less support from the label, and the album stalled after selling 100,000 copies.

At the end of the tour support for Slow Motion Daydream in August of 2003, Montoya and Eklund decided that it was time to move on, and departed the band to pursue other interests. The following summer, Everclear ended its relationship with Capitol Records. Capitol compiled a Greatest Hits album reflecting the band's tenure at the label, titled Ten Years Gone: The Best of Everclear 1994-2004, which was released in October of 2004.

Montoya and Eklund post-Everclear

After leaving Everclear, Craig Montoya formed a new band Tri-Polar with Sweaty Nipples members Scotty Heard and Brian Lehfeldt. After completing the recording of their debut album, Scotty Heard left the band for personal reasons. Heard was then replaced by former Red Sector guitarist Kevin Hahn. The band's self-titled debut album was released on May 27, 2005. The band spent several months on hiatus in late 2005 and early 2006, but recently reformed, including former guitarist Scotty Heard. Montoya has decided to pass bass guitar duties to new bass player Eric Helzer (from Drumattica) and focus on singing. The band has dates set for the West Coast starting in June 2006.

During the last couple of years in Everclear, Greg Eklund quietly recorded demos of his own material in his garage. In 2004, Eklund formed The Oohlas with his brother Mark and female vocalist Ollie Tamale. After self-releasing an EP of their first seven demos, the band entered the studio in late 2005 to record their debut album. The completed album, Best Stop Pop, will be released on September 26, 2006, on Stolen Transmission, an imprint of Island Records.

The new Everclear

After a solo tour in the fall of 2003, Alexakis decided to continue with Everclear, organizing a new band that made its debut in March of 2004. The new lineup consisted of bass player Sam Hudson, guitarist Dave French, and drummer Eric Bretl. In the summer of 2004, the band added keyboard player Josh Crawley, and swapped Bretl for former Everclear drum tech Brett Snyder. The new lineup released its first recording, a cover of Woody Guthrie's "This Land Is Your Land", that summer. A self-released EP of performances recorded for XM Satellite Radio called Closure was given out at shows in the fall of 2004.

Free of a major label, Alexakis spent the ensuing year and a half slowly recording material for a new Everclear release. He admitted that the time after the breakup of the original lineup served as a "wake up call", during which he suffered his third divorce and filed for bankruptcy. The new band is currently signed to Eleven Seven Music. Alexakis announced a new album will be released on September 12, 2006, titled Welcome to the Drama Club. The album's first single "Hater" is currently streaming on the band's MySpace page [1], with an accompanying video available on iFilm [2].

Keith Olbermann Delivers One Hell Of a Commentary on Rumsfeld

Keith Olbermann Delivers One Hell Of a Commentary on Rumsfeld

 

I'm not very political.  But I'm getting damned tired of the US's current president and his cronies.  Keith Olbermann does himself, and all journalists with a backbone (of which there are very few left) justice with this commentary. 

 

This is a man calling it like he see's it, and he has very clear vision.

DGHS- Tom Waits "I'd rather have a bottle in front of me than a frontal lobotomy."

Ahh Tom Waits.  You love him or you hate him.

 

Personally, I love him.

 

Elijahblue@gmail.com

www.clickcaster.com/dghs

 

Playlist files:

1. Tom Waits - Step Right Up (5:43)
2. Tom Waits - The Piano Has Been Drinking (N (3:40)
3. Tom Waits - Diamonds & Gold (2:32)
4. Tom Waits - Johnsburg, Illinois (1:33)
5. 09 - Tom Waits - Starving In The Belly Of The Whale (3:42)
6. Tom Waits - Innocent When You Dream (Bar R (4:16)
7. Tom Waits - Big In Japan (4:05)
8. Tom Waits - Spare Parts II And Closing (5:13)- (moved this to last)
9. Tom Waits - the Ocean Doesn't Want Me (1:51)
10. Tom Waits - I Wish I Was In New Orleans (I (4:53)
11. Tom Waits - Swordfishtrombone (3:08)
12. 02 - Tom Waits - Everything Goes To Hell (3:46)
13. Tom Waits - Burma-shave (6:33)
14. Tom Waits - (Intro) (0:41)
15. Tom Waits - Big Joe And Phantom 309 (6:28)

 

From that trusty source (never ever wrong!): Wikipedia.

 

Thomas Alan Waits (born December 7, 1949) is an American singer-songwriter, composer, and actor.

Waits has a distinctive voice, described by the MusicHound Rock Album Guide as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months and then taken outside and run over with a car." With this trademark growl, as well as his experimental tendencies and a love of pre-rock Americana styles such as blues, jazz, and Vaudeville, Waits has built up a distinctive musical persona.

Lyrically, Waits's songs are known for atmospheric portrayals of bizarre, seedy characters and places, although he has also shown a penchant for more conventional and touching ballads. He has a cult following and has influenced subsequent songwriters, despite having little radio or music video support. His songs are best known to the general public in the form of cover versions by more visible artists, such as Tori Amos, Spanky & Our Gang, the Eagles, Bob Seger, The Ramones, Elvis Costello, Johnny Cash, Bruce Springsteen, and Rod Stewart. Possibly the most famous of the covers were "Jersey Girl", performed by Bruce Springsteen, and "Downtown Train", performed by Rod Stewart. Although Waits's albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries.

Waits has also worked as a composer for movies and musical plays and as a supporting actor in films, including Short Cuts, The Two Jakes, "Queen's Logic", The Fisher King, Mystery Men, Bram Stoker's Dracula, Coffee and Cigarettes, Night on Earth, At Play in the Fields of the Lord, Ironweed and Domino. He also had a starring role in the film Down By Law.

Waits was named at #90 on VH1's Top 100 Greatest Artists of Rock & Roll.^[1]

 

Discography

Major releases

Year	Title	Special Info
1973	Closing Time
1974	Heart of Saturday Night
1975	Nighthawks at the Diner	recorded "live" in the studio over two nights for small audiences
1976	Small Change
1977	Foreign Affairs
1978	Blue Valentine
1980	Heartattack and Vine
1982	One From the Heart	Movie Soundtrack
1983	Swordfishtrombones
1985	Rain Dogs
1987	Franks Wild Years	Collaboration with Benoît Christie
1988	Big Time	Live CD, movie, video release
1992	Night on Earth	Movie soundtrack
1992	Bone Machine	Won a Grammy Award for Best Alternative Music Album
1993	The Black Rider	Collaboration with Wm. S. Burroughs
1999	Mule Variations	Won a Grammy Award for Best Contemporary Folk Album
2002	Blood Money
2002	Alice
2004	Real Gone

 

Collections

• 1983 Anthology of Tom Waits (Elektra)
• 1984 The Asylum Years
• 1991 The Early Years, Volume One
• 1993 The Early Years, Volume Two
• 1998 Beautiful Maladies: The Island Years
• 2001 Used Songs, 1973-1980
• 2006 Orphans: Brawlers, Bawlers & Bastards

 

DGHS- Redneck Pink Floyd.. The Wall

 

Playlist files:

1. Luther Wright & The Wrongs - In The Flesh (2:42)
2. Luther Wright & The Wrongs - Another Brick In The Wall (4:01)
3. Luther Wright & The Wrongs - Happiest Days Of Our Lives (1:03)
4. Luther Wright & The Wrongs - Goodbye Blue Sky (2:05)
5. Luther Wright & The Wrongs - Empty Spaces (1:46)
6. Luther Wright & The Wrongs - Young Lust (3:56)
7. Luther Wright & The Wrongs - One Of My Turns (2:23)
8. Luther Wright & The Wrongs - Don't Leave Me Now (1:55)
9. Luther Wright & The Wrongs - Goodbye Blue Sky (2:05) (opps... a repeat, sorry)
10. Luther Wright & The Wrongs - Hey You (3:02)
11. Luther Wright & The Wrongs - Comfortably Numb (3:39)
12. Luther Wright & The Wrongs - In The Flesh (2:42)
13. Luther Wright & The Wrongs - Run Like Hell (2:55)

 

I'm hoping this is a stab at redneck humor, personally.  This isn't the complete album.  They actually did record an alternative country version of every cut on The Wall, but I thought this selection got the idea across pretty well.

 

Elijahblue@gmail.com

www.clickcaster.com/dghs 

DGHS- Dub Side Of The Moon-- that's right, Pink Floyd with dreadlocks

Talk about high concept: this project features the house band of noted New York reggae label Easy Star covering Pink Floyd’s Dark Side of the Moon in the same sequence and in recognizable but reggae fashion. Here, the All Stars turn Floyd’s strangely surreal world even stranger and more surreal, adorning the English band’s dark psychedelic music with slow reggae beats and head-spinning dub-style production that is both inspired and effective. "Money" opens with the sound of bong hits and coughing instead of the cash register, then grooves to a reggae beat as guitar and organ churn out the classic riff--there’s even the signatory sax break in the middle. The group hits it just right on "Great Gig In The Sky," retaining the soaring gospel voice, while the remake of the chiming bells on "Time" reveals a bit of irreverent humor. Tearing away at the alienation of the original, this infusion of new personality makes it all work, elevating the album’s concept from the half-baked to visionary.

Playlist files:

      1. Easy Star All-stars - Breathe (3:52)
      2. Easy Star All-stars - On The Run (3:23)
      3. Easy Star All-stars - Time [With Corey Harris & Ranking Joe) (6:58)
      4. Easy Star All-stars - Time Version (3:38)
      5. Easy Star All-stars - The Great Gig In The Sky [With Kirsty Rock] (4:25)
      6. Easy Star All-stars - Great Dub In The Sky (4:21)
      7. Easy Star All-stars - Money [With Gary 'nesta' Pine & Dollarman] (6:26)
      8. Easy Star All-stars - Us And Them [With Frankie Paul) (7:55)
      9. Easy Star All-stars - Any Colour You Like (3:38)
      10. Easy Star All-stars - Brain Damage [With Dr. Israel] (4:07)
      11. Easy Star All-stars - Eclipse [With The Meditations] (1:52)

 

elijahblue@gmail.com

www.clickcaster.com/dghs 

DGHS- RadioDread... Radiohead with dreadlocks

     
I think, but I can't verify, that this is a pre-release.  i.e. this isn't available to buy yet.  But hey.. it's close (read below).

 

Elijahblue@gmail.com

www.clickcaster.com/dghs

 

DUB SIDE OF THE MOON SEQUEL SET FOR FALL 2006 RELEASE

Radiohead’s OK Computer to get complete reggae treatment

Thursday, December 15, 2005 –After several years of intense speculation from fans as to whether the Easy Star All-Stars--the musical collective behind 2003’s underground hit, DUB SIDE OF THE MOON--would ever take on another reggae interpretation of a classic album, Easy Star Records announced the upcoming release of RADIODREAD, A Complete Reggae Version of Radiohead’s OK COMPUTER.

“ It was always the number one question we’d get asked in interviews, on tour, at parties, wherever,” says Easy Star CEO Eric Smith. “But while everyone had suggestions on what album we should do, from The Wall to London Calling to Thriller, it was not at all easy to find a release that had the right combination of music, concept, fan loyalty, and translatability to make it a worthy follow up. “

During this two year long process, producer Michael G and his Easy Star partners Smith and Lem Oppenheimer, kept coming back to one record, which eventually became the album they chose: OK Computer. Says Michael G: “Conceptually and thematically we knew the album was a solid candidate; but we just weren’t sure whether the arrangements could work. On one hand, OK Computer has elements that are perfect—strong melodies, intense dynamics and trippy soundscapes; on the other, it has complex time signatures, chord changes and things that typically aren’t found in reggae. The more we looked at it, the more we realized that this was an album we had to do.”

Michael G spent several months working on arrangements, at the end of which all three Easy Star founders felt they had not only a great sequel on their hands, but a record that could be even stronger and more nuanced than Dub Side of the Moon. Basic tracks were recorded in September and October, followed by overdubs and vocals with guest artists. Already completed are performances by Horace Andy, Morgan Heritage, Frankie Paul, and Kirsty Rock, with more big names to hit the studio in the coming month.

Since its debut in February 2003, Dub Side of the Moon has sparked a cultural zeitgeist, spending over two years on Billboard’s Reggae Charts, selling over 85,000 copies worldwide (and counting), and spawning a live show that has been steadily playing to festivals, theatres and clubs for over two years.

Radiodread is scheduled for a September 2006 worldwide release, following a live DVD of the Dub Side of the Moon show that is in the final stages of production. That DVD was filmed at the State Theatre in Falls Church, Virginia, in September 2005. It will include animation, backstage footage, and bonus songs from the band’s original set.

The release of the DVD, along with extensive touring for The Easy Star-All Stars, including tours of Europe and South America, are a perfect set up for the much anticipated new album. “We’re just as excited as everyone else to see what this ends up sounding like after we finish mixing it,” says Oppenheimer. “So far, we have been amazed at how well it’s been working. After listening to what Michael G and the band has done with the songs, it almost sounds like they were meant to be written for reggae.”


1. Airbag featuring Horace Andy     
2. Paranoid Android featuring Kirsty Rock     
3. Subterranean Homesick Alien featuring Junior Jazz     
4. Exit Music (For A Film) featuring Sugar Minnot     
5. Let Down featuring Toots & The Maytals     
6. Karma Police featuring Citizen Cope
7. Fitter Happier featuring Menny More     
8. Electioneering featuring Morgan Heritage     
9. Climbing Up The Walls featuring Tamar-kali     
10. No Surprises featuring The Meditations         
11. Lucky featuring Frankie Paul     
12. The Tourist featuring Israel Vibration - Skelly Vibe     
13. Exit Music (For A Dub)     
14. An Airbag Saved My Dub     

DGHS- Some of Elijah Blues Favorite Music.. random stuff

Some of my favorite songs.  Just a random collection with some hints on shows to come.

 

elijahblue@gmail.com

www.clickcaster.com/dghs

 

Playlist files:

      1. Sonia Dada - Goodnight (4:38)
      2. Keb' Mo' - Don't Try To Explain (3:58)
      3. Little Feat - Rock 'n' Roll Doctor (2:59)
      4. Commitments Soundtrack - Too Many Fish In The Sea (2:45)
      5. Easy Star All-Stars - Brain Damage [feat Dr. Israel] (4:07)
      6. Luther Wright and the Wrongs - Young Lust (3:56)
      7. Derek & The Dominos - Keep On Growing (6:22)
      8. Leon Redbone - My Melancholy Baby (3:10)
      9. Van Morrison - Into The Mystic (3:30)
      10. Marc Cohn - Walking In Memphis (4:18)
      11. Frank Zappa - Bobby Brown Goes Down [Remix] (2:43)
      12. Easy Star All-Stars - Paranoid Android f/Kirsty Rock (6:30)
      13. Roy Buchanan - After Hours (6:15)
      14. Nilsson - Joy (3:43)

The DGHS SOUL Show

Yes.. it's true.. some of white folk have soul.  At lease, we can aspire to it.