10 December 2010


Been listening to this amazing show for the last few weeks. The sound is amazing--just enough break-up to remind you this is vintage. The sound of the guitar blows my mind. "Crazy...twang, twang, twang... Crazy for feeling, so lonely..."

Willie Nelson with Leon Russell 4/1/79 Capitol Theater, Passaic, NJ
source: FM reel master taped by Jerry Moore
lineage: wnew simulcast>10.5" reel @ 7.5 ips, dolby b technics rs-1506>teac an-180>hd-p2 24/96> cd wave>adobe 2.0 16/44>flac reel (ampex) baked, transferred & seeded by Rob Berger

disc one: 59:56
01: dj intro
02: Whiskey River>
03: Stay All Night
04: Funny How Time Slips Away>
05: Crazy
06: Night Life
07: If You've Got The Money I've Got The Time
08: Sweet Memories
09: Bloody Mary Morning
10: Gotta Get Drunk>
11: Shotgun Willie
12: Time Of The Preacher>
13: Blue Eyes Crying In The Rain
14: The Red Headed Stranger
15: Instrumental
16: Heartbreak Hotel
17: Trouble In Mind
18: A Song For You

disc two: 65:07
01: Come In My Kitchen
02: Detour
03: Will The Circle Be Unbroken
04: Amazing Grace
05: Land Of Uncloudy Skies
06: Instrumental
07: One For My Baby And One For The Road
08: Blue Skies
09: Georgia On My Mind
10: All Of Me
11: Stardust
12: Mama Don't Let Your Babies Grow Up To Be Cowboys>
13: Take Back The Weed>
14: Willie & Waylon>
15: Whiskey River>
16: Instrumental encores:
17: Good Hearted Woman
18: Sioux City Sue
19: White Lightning
20: One Night Of Love
21: Truck Drivin' Man>
22: Whiskey River//(outro instrumental missing)
notes: a mandatory download situation


08 December 2010


It’s a bit embarrassing to admit this, but I didn’t discover The Beatles until about ten years ago.

NEVERMIND came out when I was a junior in high school. That album’s release was supposed to have been the shot heard through the Gen X world, but I got into Pearl Jam a whole lot more than I ever did Nirvana. And as far as I was concerned, the kind of music I listened to sprang from seeds like Led Zeppelin and Pink Floyd and Black Sabbath. The Beatles, and the Beach Boys, and Chuck Berry were oldies radio. Background. My mom liked The Beatles. That’s who we were rebelling against.

So yeah, my youthful naivety deprived me of the greatest band I’d ever hear. I don’t have a problem with that, because I believe I found The Beatles exactly when I was supposed to. In my thirties and unsatisfied with the life I’ve been living. The music I loved becoming the background noise I resented so much in high school. My passion to pick up my guitar waned as I felt myself plateauing as a player. Strumming out riffs on my porch swing with a glass of bourbon was relaxation, not the passion it’d once been.

I can’t remember how I got into The Beatles. May have been LET IT BE…NAKED in 2003, or a random Yonder Mountain String Band Beatles’ cover. Must’ve been the LET IT BE, because DON’T LET ME DOWN stands out as the song that changed everything for me. It didn’t sound like The Beatles I knew about--sock hops and cruisin' (without the ‘g’) or whatever. It was like I stumbled upon an entirely new genre.

And when I watched video from the Rooftop Concert, it made me sad to learn the stuff I liked came so close to the end. And even though I went backwards and bought the whole catalog and downloaded concerts and studio outtakes with esoterica like multiple versions of STRAWBERRY FIELDS and THE ESHER DEMOS, I couldn’t help feeling like I was getting to the scene a little too late. Like, if I’d gotten PLEASE, PLEASE ME first I would’ve experienced a rise and fall with each successive album I bought. But as it was, starting at the bottom of the discography only reminded me that no matter what happened, it all comes to a sad, inevitable end. It was like I got to experience the break-up all by myself. I couldn’t ask anybody if they heard rumors, if the band would get back together, if Lennon had fired Allen Klein yet. Because I already knew the Rooftop Concert was the last.

And I knew exactly what was going to happen when I started buying Lennon’s solo albums. The bitter strength and sadness of WORKING CLASS HERO and IMAGINE would only, always, give way to The Lost Weekend, and the birth of Sean and John’s return to the studio in the late 70s. And no matter what happened, no matter in what order I bought his albums, December 8, 1980 would always come rushing up at me.

During the recording of NEVERMIND, Kurt Cobain refused to double-track his vocals. Butch Vig eventually got Kurt to agree by telling him that his hero, John Lennon double-tracked his vocals. I couldn’t hear John in Nirvana way back in 1992. But I hear John when I listen to Nirvana today. I hear John in The Clash, in Radiohead. I hear John almost every time I hear music.


07 December 2010

THE CLASH Bond's International Casino, NYC 1981-05-29

Listening to this show right now-sound is a little tinny and thin, but the energy is crazy. LONDON CALLING is as fast as I've ever heard it. You could tell the band loved their residency in New York. SAFE EUROPEAN HOME is phenomenal. WHITE MAN IN HAMMERSMITH PALAIS is one of the best I've heard.

This is the second of 17 shows the band played. They were scheduled to do 8, but the fire marshals, fearing trouble, changed the capacity of the club. Rather than disappoint fans, The Clash played until all ticket-holders were satisfied.

Disc 1
2.London Calling
3.Safe European Home
4.The Leader
5.Somebody Got Murdered
6.White Man In Ham Palais
7.The Guns Of Brixton
8.This Is Radio Clash (corrupt file missing from sugarmegs stream)
9.The Call Up
10.Complete Control
11.Junco Partner

1.Lightning Strikes
2.Ivan Meets GI Joe
3.Charlie Don't Surf
4.Bank Robber
5.The Magnificent Seven
6.Wrong 'Em Boyo
7.Train In Vain
8.Career Opportunities
10.One More Time
11.Brand New Cadillac
12 Washington Bullets
13.Janie Jones
14.Armagideon Time
15.Police & Thieves
16.I'm So Bored with the USA

Listen to show here :