[youtube]CJ8MvnEVCqM[/youtube]

a classic on sticky fingers

Pink Floyd - Us and Them

Pink Floyd - Sorrow (Delicate Sound of Thunder version)

Pink Floyd - Cluster One

Icehouse - Don't Believe Anymore

[youtube]PGwPSPIhohk[/youtube]

[youtube]3z5ef237Uy8[/youtube]

Edited by GloryPerth: 21/8/2013 07:48:33 AM

For me anything the stones released prior to Brian Jones' death is their best. Aftermath (US release features Paint it black IIRC) is my particular favourite but 12 X 5 is fantastic as well.

As for blues, I love Buddy Guy, Steve Ray Vaughn, Screaming Jay Hawkins. Then there aer the staples BB King, Muddy Waters, that bloke who just died who wrote some of the most iconic Blues JJ Cale (not sure on spelling) Chick Berry.

B.B King's more upbeat rendition of 'The Thrill is Gone' from the 70's with Gladys Knight:

[youtube]N7YhuQ8wLS0[/youtube]

+

http://en.wikipedia.org/wiki/Van_morrison

http://en.wikipedia.org/wiki/Joe_Cocker

[youtube]3xJWxPE8G2c[/youtube]

http://en.wikipedia.org/wiki/Ray_Charles

http://en.wikipedia.org/wiki/John_Lee_Hooker

I guess Holiday's music is entering the Blues genre.

http://en.wikipedia.org/wiki/Billie Holiday

[youtube]1zAB-WOpQEI[/youtube]

[youtube]z1hm5fxJEkY[/youtube]

[youtube]S-cbOl96RFM[/youtube]

Edited by GloryPerth: 21/8/2013 09:55:48 PM

Mississippi John Hurt and Leadbelly

[youtube]rOyj4ciJk34[/youtube]

[youtube]a4bXMkWiEhU[/youtube]


Enters Blues genre?

[youtube]0H0yydiX2tU[/youtube]

Not sure about Louis Armstrong, I think I'm getting away from Blues genre though.

Look what I found:

[youtube]1qpM2wSD7BA[/youtube]

[youtube]q4EG8fs3dCs[/youtube]

[youtube]yb9NW4QbGg4[/youtube]

Edited by GloryPerth: 21/8/2013 10:36:21 PM

New Beatles Album Uncovered by Internet Sleuths

In an era when nearly every new album is leaked in one form or another, it should come as little surprise that a forthcoming release of new material from The Beatles was unearthed by some very savvy Internet sleuths.

Apparently set for a November release, Australian-based Beatles blog WogBlog discovered the information thanks to a quietly placed post on the MCA Music – Philippines (MCA is owned by Universal Records, which own the rights to The Beatles catalog) Facebook page a few weeks ago.

The new album, titled “On Air – Live At The BBC Volume 2” is a follow-up to the first volume which was released nearly 20 years ago and topped the charts in the United Kingdom when it came out. The timing of this release makes quite a bit of sense, as The BBC is set to publish a book on the band and its history with the network on Oct. 10, and many expect the two to be sold as a bundle for a discount.

Though the tracklist and other details have yet to be revealed, it has been speculated that these new recordings were the result of the much publicized “Listeners' Archive” campaign that The BBC ran last year, an effort on the part of the network to collect "bootleg" recordings from listeners since it didn't actively archive recordings until the 1970s.

The first volume of the Live At The BBC compilations gave the world 30 songs that had never before been released, and the real question is what sort of similar gems may have been uncovered for this upcoming installment.

http://mashable.com/2013/08/28/new-beatles-album-uncovered/?utm_campaign=Feed%3A+Mashable+%28Mashable%29&utm_cid=Mash-Prod-RSS-Feedburner-All-Partial&utm_medium=feed&utm_source=feedburner

[youtube]wyM4HibS12M[/youtube]

[youtube]XwqMKf7r7Xg[/youtube]

Edited by batfink: 30/8/2013 08:07:16 AM

[youtube]fRr2kf84V2M[/youtube]

Paul McCartney’s New Song Sounds Like the Beatles

By Forrest Wickman | Posted Thursday, Aug. 29, 2013, at 10:49 AM

Paul McCartney’s catchy new song is called “New,” but its sound is mostly old. Of course, considering old for Paul McCartney means the Beatles, that’s not a bad thing. Produced by Mark Ronson—who’s no stranger to ’60s sounds himself (he made his name producing Amy Winehouse)—“New” wouldn’t have sounded out of place on Revolver or Sgt. Pepper’s.


Over a steady beat on the keys reminiscent of “Penny Lane” or “With a Little Help From My Friends,” McCartney sings the kind of melody only he could have written: Both surprising and immediately familiar, with great vertical leaps. Soon he’s joined by thick harmonies and some horns, before taking a turn into vocal percussion (itself an old trick of McCartney’s) and barbershop-quartet-style a cappella at the end.

“New” is the first single off Macca’s first new album of all-new solo material since 2007’s Memory Almost Full. (Last year’s Kisses on the Bottom was mostly covers.) It’s also called New, and will be out on our side of the pond on Oct. 15. In addition to Ronson, he’ll be working with producers Ethan Johns (Kings of Leon) and Paul Epworth (Adele), plus Giles Martin, son of Beatles producer George Martin. Here’s hoping all those collaborations are this successful.

http://www.slate.com/blogs/browbeat/2013/08/29/paul_mccartney_s_new_single_new_hear_the_catchy_new_song_produced_by_mark.html?

[youtube]J-EX38A1Rlg[/youtube]


Edited by Joffa: 30/8/2013 12:46:50 PM

Beatles' Sgt Pepper album receives platinum sales award 46 years late.

The Beatles album Sgt Pepper's Lonely Hearts Club Band has finally been certified platinum, almost 50 years late.

After a change to the way the British Phonographic Industry (BPI) association awards sales certificates, 13 Beatles albums will receive awards for which they have long been eligible.

Since 1973, the BPI has awarded silver, gold and platinum sales certificates to albums that sell 60,000, 100,000 and 300,000 copies respectively in Britain. But the BPI distributed official notices only to record labels that had requested the awards. Otherwise, big sellers wallowed in
m
Now, whether or not a record label requests a certificate, albums that achieve the sales thresholds will automatically receive their awards.


Sgt Pepper's Lonely Hearts Club Band

Accordingly, The Beatles - as well as artists such as Bob Dylan and Marvin Gaye, whose classic albums have continued to sell in large numbers - have received a slew of overdue sales certificates.

Still, The Beatles will not receive everything they deserve.

Although the BPI began giving out sales certificates in 1974, four years after the Fab Four split, the new awards are being given out based on receipts since 1994.

A record like Sgt Pepper, which has sold about 5.1 million UK copies overall, will not receive its proper designation of 17x platinum. Instead, the LP is officially triple-platinum, based on 900,000 copies moved since 1994.

http://www.scmp.com/news/world/article/1302896/beatles-sgt-pepper-album-receives-platinum-sales-award-46-years-late?

Edited by Joffa: 4/9/2013 10:55:31 PM

Lennon reveals 'torture' of Beatles' final album

06 SEP 2013

0
NEW YORK (AFP)

Recording their 12th and last studio album was nothing short of "torture" for The Beatles, said John Lennon in a tape-recorded interview coming up for auction this month.
The Fab Four had just completed "Let It Be" in 1969, but had yet to break up, when Lennon and wife Yoko Ono sat down in Toronto with radio DJ and Village Voice critic Howard Smith for an hour-long interview.
"We were going through hell. We often do. It's torture every time we produce anything," Lennon revealed.
"The Beatles haven't got any magic you haven't got. We suffer like hell anytime we make anything, and we got each other to contend with. Imagine working with the Beatles, it's tough," he said.
"There's just tension. It's tense every time the red light (in the recording studio) goes on."
Released in May 1970, and ranked by Rolling Stone magazine as one of the 500 greatest albums of all time, "Let It Be" was largely recorded in London in 1969 to complement a film of the same name.
Its title track and "The Long and Winding Road" endure as two of the Beatles' most memorable songs.
But for Lennon, who was murdered in New York in 1980, "Let It Be" was a "strange album" that reflected the friction that had grown between himself and band mates Paul McCartney, George Harrison and Ringo Starr.
"We never really finished it. We didn't really want to do it. Paul was hustling for us to do it. It's the Beatles with their suits off," he said.
New Hampshire auction house RR Auction said the hour-long interview over two audio tape reels had lain forgotten for nearly four decades in a crate at the rear of Smith's loft in New York.
"It's a frank and honest interview from one of the most revered musicians and activists of all time," RR Auction vice president Bobby Livingston said on Thursday.
The recording is among more than 100 Beatles-related items folded into a larger "Marvels of Modern Music" memorabilia auction that runs from September 19 through September 26 online at www.rrauction.com.
It has an initial minimum bid listed at $300, but Livingston estimated it could sell for between $5,000 and $10,000.
An excerpt of the interview is at www.youtube.com/watch?v=fbJEM2mQsns.
Lennon interview

http://www.afp.com/en/news/topstories/lennon-reveals-torture-beatles-final-album?

Song Facts: The Beatles — "I Am The Walrus"
Posted 09/05/2013 at 12:53pm | by Christopher Scapelliti

No song in the Beatles' catalog features as many literary and social references in its lyrics as "I Am the Walrus."

In writing it, John Lennon drew inspiration from Lewis Carroll's Alice in Wonderland (the walrus), a playground nursery rhyme that he and his pals sang as children (the line beginning with "yellow matter custard") and the traditional song "Marching to Pretoria" (whose lyric "I'm with you and you're with me and we are all together" Lennon mimics in the opening lines).

Along the way he namechecks the Hare Krishna movement, which was then growing in popularity, the Beatles' own "Lucy in the Sky" and Edgar Allen Poe. By this point, Lennon was aware that his increasingly obscure lyrics were becoming the subject of interpretation, and he relished the idea of tossing his listeners a few red herrings.

Beatles biographer Hunter Davies, who was present during one of the writing sessions for the song, recalls Lennon saying, "Let the fuckers work that one out!"

The Beatles recorded the basic track over 16 takes on September 5 in Abbey Road Studio One. (It was the first Beatles song to be recorded after the death of their longtime manager, Brian Epstein, on August 27.) According to Paul McCartney, Lennon then instructed producer George Martin on how he wanted him to score the song, singing most of the parts to Martin, who arranged them for violins, cellos, horns, clarinet and 16-piece choir. The orchestration was recorded on September 27 in Studio One.

But the song wasn't quite finished yet. Two nights later, Martin began the mono mixing sessions for the song. Lennon, clearly intent on being involved at every stage of the track's development, sat in to oversee the work.

During one of the two mono mixes of the song completed that evening, a live radio feed was patched into the mixing board at Lennon's request, so that he could add random sounds to the recording as he flicked through stations up and down the dial. Eventually, he brought the dial to rest on a live presentation of Shakespeare's Tragedy of King Lear, where it remained for the duration of the mix.

Lennon was so pleased with the result that he had Martin splice together a master version using roughly the first half of the mix without the radio broadcast and the last half of the other. The splice occurs just before the line "Sitting in an English garden."

The finished recording demonstrates not only Lennon's genius but also his incredible luck — the lines from Shakespeare are a spine-tingling addition to the track and help make "I Am the Walrus" one of the most spectacular productions in the Beatles' catalog.

http://www.guitarworld.com/song-facts-beatles-i-am-walrus?

I know I'm about a week late to comment but I quite like Paul's "New" song. Really catchy and reminds me of some of his stuff from around Revolver. Hopefully the "New" album will be a good one.

[youtube]DiXjbI3kRus[/youtube]

they need to bring back more christmas specials:lol:

Yeah I liked it also, can't wait for the album

New Beatles 'Live at the BBC Volume 2' set due Nov. 11

By Randy Lewis
September 12, 2013, 3:38 p.m.

Beatles fans will soon have access to another batch of the recordings the Fab Four made for airing by the BBC from 1962 to 1965 with the Nov. 11 release of “The Beatles: On Air – Live at the BBC Volume 2.”

The new set, a companion to the 1994 release of “Live at the BBC,” will consist of 63 tracks on 2 CDs, including 37 previously unreleased song performances and 23 unreleased tracks with conversation and in-studio banter by the Beatles.

“There’s a lot of energy and spirit,” Paul McCartney said in a statement. “We are going for it, not holding back at all, trying to put in the best performance of our lifetimes.”

PHOTOS: 'The Early Beatles Collection'

Added Ringo Starr: “You tend to forget that we were a working band…. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them.”

In all, the BBC broadcast about 275 unique performances by the band from March 1962 to June 1965. In addition to the group’s steady schedule of recording and live performances, it made for a packed performance itinerary.

“Everything was done instantly,” George Harrison once recalled. “But before that, we used to drive 200 miles in an old van down the M1 [highway], come into London, try and find the BBC and then set up and do the program. Then we’d probably drive back to Newcastle for a gig in the evening!”

RELATED: Best albums of 2013 so far | Randall Roberts

“On Air — Live at the BBC Volume 2” also will be issued on vinyl, and in conjunction with the release of the new set, the original “Live at the BBC” album is being reissued in remastered form, also on Nov. 11. Full details at www.thebeatles.com.

http://www.latimes.com/entertainment/music/posts/la-et-ms-beatles-live-bbc-album-volume-2-20130912,0,1181331.story?

'The Wild, The Innocent & The E Street Shuffle' turns 40

Bruce Springsteen's second record landed on shelves exactly 40 years ago today and while it failed to launch the singer to stardom, it set the ethos for "Born to Run", the album that would.

By Matt Carney Modified: September 11, 2013 at 3:17 pm • Published: September 11, 2013
Near the end of last year I spent a whole column on Japandroids’ “Celebration Rock”, an album of wild, romantic impulses exhorting youth and recklessness as virtues in equal measure. Its hard-living characters are mostly reductive; burnouts cast as heroes hollering nonsense like “adrenaline nightshift” because that kind of thing is really fun. It wasn’t the best record I heard in 2012 but it was sure as hell my favorite.

That “Celebration Rock” ethos of young love striving for immortality in the mundane is near and dear to the heart and history of rock and roll, and nobody cast it in a more vivid, fantastic light than Bruce Springsteen, whose second album “The Wild, The Innocent & The E Street Shuffle” hit shelves precisely 40 years ago this week.

“The Wild”’s legacy is a curious one. You’d be hard-pressed to find anybody arguing that it’s Springsteen’s best or most widely influential record, or even that it’s the most pivotal one in his canon — and absolutely nobody then or now would recommend it or any of his albums ahead of seeing the E Street Band in person— and yet it’s the most romantic, mythic and impulsive: His wannabe-Dylan poet chucking a bottle of wine at the stars. Where most would see some losers twiddling joysticks in an arcade a 23-year-old Bruce has the gall to say he’s “bangin’ them pleasure machines” on “4th of July, Asbury Park (Sandy)”. “The Wild” is where he and the band nailed the ethos of “Born to Run”, the album that thrust him into the level of fame he still occupies nearly four decades later.

By 1973 Springsteen’s hero Bob Dylan was 33 and longhaired men from across the pond in bands with names like Slade, Deep Purple and Thin Lizzy were hitting on the rock charts with sleazier, heavier fare. His work was nearly a decade away from incorporating politics and David Bowie and Elton John were defining the glamorous and mysterious sides of rock stardom. The thought of an earnest, naïve kid from Jersey hardly revved anybody’s engines. Springsteen’s debut “Greetings from Asbury Park, N.J.” yielded Columbia Records just 25,000 sales that year, prompting the company to cut the marketing budget for his next record, set for a September release, in half. Coupled with Columbia firing Springsteen’s strongest ally Clive Davis, the setbacks were too great for all the world’s wildcat rhymes and mythic nonsense to overcome, according to biographer Clinton Heylin.

But for every studio session the band seemed to play 10 shows, winning over fans by the score with their perilously tight rhythms and high-octane, no-frills showmanship. Columbia pressured Springsteen for a single, so he responded by heightening the drama of these performances and badmouthed Irwin Siegelstein (then the head of NBC Television while also running Columbia), who eventually sponsored the studio time needed to cut the record in exchange for a moratorium on his public whining.

The result was 47 minutes of vibrant characters and loose, shifty, joyful music drawing from traditional Italian and Spanish styles, as well as free jazz. The melodies squiggle and mutate in stark contrast to the big, steady mid-tempo ones the band would later favor on bigger releases like "Born in the U.S.A.". There’s also an intense focus on texture, best evident in the hyperactive lite-funk guitars that run crazy on opener “The E Street Shuffle”. And five of the seven songs here stretch well beyond five minutes in length, which is probably why I never heard any of them on the classic rock radio I was tuned to growing up.

“The Wild” transformed a trashy New Jersey shore setting into an mythic wonderland the same way “Astral Weeks” did for forests in Belfast five years earlier. But it didn’t sell well -which further irked Columbia and almost smothered “Born to Run” in its cradle- and isn’t without its imperfections. Many of the transitions are clumsy and forced, and Springsteen’s voice wasn’t yet the bellowing, enormous instrument that “Backstreets” and stadium shows would eventually require.

But the feel was there, and just enough to tantalize those looking for a new American rock star. “Rosalita (Come Out Tonight)” is still one of the most exhilarating songs the band would ever compose (though for a real thrill the version on the five-disc “Live 1975-85” compilation is embedded below) and compared to the life-and-death drama of later songs like “Jungleland” its characters face refreshingly low stakes.


“The Wild, The Innocent & The E Street Shuffle” meant a lot to me as a teenager (and still does), as it was the first time I filled in the rock radio rotation with deep cuts. Maybe I choose to see more in it than most, but then again, there’s a whole mess of myth here to see.

http://newsok.com/the-wild-the-innocent-the-e-street-shuffle-turns-40/article/3881684/?page=1

Edited by Joffa: 13/9/2013 09:59:29 PM

Forgotten Bands: Archive Mirror pictures of bands from years gone by, and where they are now

6 Sep 2013 16:38
Success and fortune at the peak of their stardom, but do you remember these forgotten bands?

The Who, Rolling Stones, Led Zeppelin, and The Beatles were and still are hugely successful and popular bands of their time. But what happened to the bands that had similar successes and have become all but distant memories?

Straight from the archives of the Daily Mirror’s photographic library Mirrorpix, four bands that had great success in reaching the heady heights of national and international stardom. But the question is do you remember them? Let us know your memories of these bands or others that have long been forgotten.

The Searchers
Part of the famous ‘Merseybeat’ scene that produced acts such as Gerry and the Pacemakers and The Hollies, The Searchers were the second band from Liverpool to have a hit song in America after The Beatles.

The Searchers had notable successes in the early ‘60’s with singles such as ‘Sweets for My Sweet’, ‘Don't Throw Your Love Away’ and their number one hit, and arguably their most famous - ‘Needles and Pins’.

Following on from the height of their success, The Searchers continue to tour to this day with a lineup that still includes founding band member John McNally.

Yes
Progressive Rock band Yes, hit the heights of their success when classically trained Rick Wakeman joined the band in 1971. The album ‘Fragile’ was produced in under two months, and according to the bands website was “partly out of a need to get a new album out to help pay for all of Wakeman’s equipment.” Following the success of ‘Fragile’, their fifth album ‘Close To The Edge’ in 1972 would see Yes have top 5 entries in both the UK and US album charts.

The band has gone through many changes to their lineup, but continue to record and play to fans around the world. In the last month, politicians in the United States have called for Yes to be inducted into the Rock and Roll Hall of Fame, cementing their importance within Rock music history and so maybe not all that forgotten…!

The Sweet
First seen as a ‘bubblegum’ act with their single ‘Funny Funny’, The Sweet’s style slowly changed into a hard rock act similar to that of The Who. They had notable success during the 1970’s, and it was their single ‘Block Buster!’ which gained the group’s first UK number one. The group went on to make two “acclaimed’ albums and managed to achieve a number three US chart hit with the single ‘Fox on the Run’ in 1975, this would become the band’s biggest selling single worldwide.

Frontman Brian Connolly sadly left the group in 1979 and as stated on the band’s website “[Brian’s] well documented alcoholism damaged his health during the gruelling tour schedules of the USA and things were never the same after his departure”

A nationwide tour alongside fellow rockers Slade is planned for later this year.

Bros
Formed by Craig Logan and twin brothers Matt and Luke Goss, Bros were hugely successful in the late 80’s and early 90’s- with a total of eleven top 40 singles and three top 20 albums.

The release of their first album ‘Push’ (which went 4-times-Platinum in the UK in 1988), followed the release of their massive single ‘When Will I Be Famous’.

In 1989 Logan left to pursue a successful career in music management and the Goss brothers toured alone releasing further albums, before finally splitting in 1992. After the split Matt Goss began a solo career and enjoyed more chart success.

A Bros reunion was on the cards in 2008 but they have yet to release any more music as a band.

Check out all the latest News, Sport & Celeb gossip at Mirror.co.uk http://www.mirror.co.uk/lifestyle/going-out/music/classic-mirror-archive-pictures-old-2256255#ixzz2emC1pOuU

Woody Guthrie to be honoured by hometown after decades as black sheep

Plans to rebuild 'communist' folk singer's home under way as part of tourism push by Okemah, Oklahoma

Associated Press in Okemah, Oklahoma
theguardian.com, Sunday 15 September 2013 04.21 AEST

When Woody Guthrie's dilapidated boyhood home was ordered torn down in the late 1970s, the demolition reflected the strained relationship between conservative Oklahoma and the native son who became famous for his folk singing and leftist politics.

Those tensions persisted for more than a generation, but attitudes about Guthrie have slowly softened. Now developers, working with the blessing of Guthrie's relatives, have announced plans to rebuild his 1860s-era boyhood home in Okemah, a time-worn town of 3,300 people that is desperately seeking tourism dollars.

"If you were to put a Mount Rushmore of American music here in the midwest, the first two artists on it would be Hank Williams and Woody Guthrie," said Johnny Buschardt, a spokesman for the project. "Without Woody, there wouldn't be a Bob Dylan or a Bruce Springsteen."

Best known for the song This Land is Your Land, Guthrie came of age during the Great Depression and later embraced left-wing politics, including some tenets of communism. By weaving social issues into his music, he reimagined folk songs as platforms for protest, starting a creative tradition carried on by scores of other top artists. In hundreds of folk songs and ballads, Guthrie's lyrics celebrated American workers, lamented the woes of the poor and advocated for civil rights.

Although revered as one of the best songwriters in American history, he was rarely acknowledged, let alone honored, by his home state, even decades after his death. Some of his early songs, released as the Dust Bowl Ballads, depicted the plight of migrant workers who traveled from Oklahoma to California in the 30s. Guthrie died in 1967 at age 55 in New York, from complications from Huntington's disease, a genetic neurological disorder.

"When I was going to school, it was almost like his name wasn't supposed to be mentioned. And when it was brought up in class, the teacher would change the subject," recalls resident Ric Denney, whose family has roots in the town dating to the 20s.

It took more than 30 years, but Okemah now celebrates Guthrie with an annual music festival that draws thousands of people from around the world. Tributes, such as a mural of Guthrie strumming his guitar on a downtown building, are commonplace. Other parts of Oklahoma are honoring him, too: in April, a 12,000-square-foot museum showcasing his life's work opened to much fanfare in downtown Tulsa. A community park across the street from the museum is called Guthrie Green.

The estimated $500,000 reconstruction of Guthrie's childhood home will use original planks salvaged from the run-down property, called London House, which was purchased by a prominent local businessman named Earl Walker in the early 60s.

Walker hoped he could eventually win support from town leaders to restore, arguing that it would promote Okemah, which lies about 60 miles south of Tulsa. Instead, they ordered him to tear it down, declaring the property a public nuisance because it had become a place for teenagers to smoke and winos to pass out. Walker complied, but he saved the lumber for when his neighbors would recognize Guthrie's importance to the town. The bundle of preserved wood eventually ended up at the Okfuskee County History Center.

Today, all that remains of London House are a few blocks of sandstone foundation mostly obscured by tall weeds. A faded sign warns visitors against stealing the stones. London House is to be rebuilt on the lot, and project organizers want to make it look as much as possible like it did when Guthrie lived there.

At the historical center, boardmember Ron Gott is eager for work to finally begin after years of indifference or opposition from town leaders.

"In the early 1970s and 80s, Woody was still a bad name among some residents," Gott said. "You had some old-timers here in Okemah who were just against Woody, but there's maybe a handful still alive." The town is "coming around," he added. "Most people understand [the home is] a draw, something that is part of history."

Leann Priest, who has lived in Okemah since she was 14 and owns a house near the Guthrie parcel, said the ranks of those who despised the songwriter are thinning dramatically.

"There are still people in town that still believe he was a communist," said Priest, who grew up listening to her dad and uncle sing Guthrie songs. "I don't think he was. He was a man who stood up for everybody."

Linda Knebel, who has lived here for 22 years, said Guthrie "did a big thing for Okemah" and openly honoring him is the best way to return the favor. "It was the old codgers who said that" about Guthrie, Knebel said. "I'm glad those thoughts are going away."

Organizers hope to raise money through donations and an October benefit concert in Tulsa, by singer Kris Kristofferson, among other events. Construction is scheduled to end in May.

Kansas-based project coordinator Dan Riedemann, who owns a company that restores celebrity properties, said the undertaking will preserve Oklahoma's music royalty for future generations. "He's their Elvis Presley, and this is their Graceland," he said in a recent interview.

Guthrie's family members have also praised the plan. His granddaughter, Annie Hays Guthrie, who travels to Okemah every year, said she feels like a part of her has "come home".

http://www.theguardian.com/world/2013/sep/14/woody-guthrie-home-rebuilt-oklahoma?

George Harrison's son remakes Beatles' 'For You Blue'

"For You Blue" by Dhani Harrison
Rating:StarStarStarStarStar
September 16, 2013
Dhani Harrison's resemblance to his father, Beatle George Harrison, was never more evident in a new version of “For You Blue” that was released on iTunes in the U.S. and the UK Sept. 16 for charity. Proceeds go to the Material World Foundation, the Harrison family charity, which is currently focused on helping create awareness for the Christopher & Dana Reeve Foundation and its mission to cure spinal cord injury.

The new version of the song, originally written by his father for the Beatles' “Let It Be” album, is also seen in a commercial for the Gap and in another video on YouTube in which Harrison talks about redoing the song.

“I really got into guitar when I was about eight., and then it was just … it was on. My dad, he kind of taught me chords and let me go,” he says in the video. “I love the blues and I really got into Robert Johnson, Leadbelly. My dad always said, 'If you can't play a 12-bar blues, then you're no use to anyone.”

Harrison strums a little more and then says, “And that's kind of why I chose this one because it's in the same vein of every blues song that's ever been made. It was his take on that when he was .. probably younger than I am now.”

“I don't usually sing stuff that's my dad's because the voices have a similar cadence,” explaining why he used a different guitar for the song to get a different tone to it. “Let's have a little different acoustic feel to it.”

The full version, however, sounds enough like George Harrison's original Beatles version to be startling. We think it's a beautiful version and a beautiful tribute.

http://www.examiner.com/review/george-harrison-s-son-remakes-beatles-for-you-blue-for-charity?

time for some really old 70's hip hop to think of what it was in this song, to what it is now is incredible.

the very definition of old skoool!:cool:

[youtube]5ZDUEilS5M4&list=FLuVhQJ9bi6WTnv6BbI5eYWw[/youtube]

Edited by switters: 20/9/2013 09:07:26 PM

[youtube]Er8PN385PEA[/youtube]

to think this song came out in 1963 is incredible. Reminds me of the Sonics has that really early punk sound.

Grateful Dead songwriter hits the road for rare tour

By Randall Mikkelsen
BOSTON, Sept 16 | Mon Sep 16, 2013 6:00am EDT

(Reuters) - Grateful Dead lyricist Robert Hunter has dusted off his guitar, practiced five hours a day and polished a repertoire for his first live-performance tour in nearly a decade.

Hunter's way with words has earned him a place in the American idiom. "What a long strange trip it's been," from the 1970 Grateful Dead hit "Truckin'," has become a widely used description of life's serendipities.

It has also earned him enduring songwriting partnerships with Jerry Garcia, Bob Dylan and others. Although best known as a non-performing member of the Grateful Dead, he occasionally takes the stage, mostly as a soloist.

"When you get on stage, then you really see if you've got it or not," Hunter said in a telephone interview. "There's nothing even remotely like it, especially being a soloist. All of the arrows are pointing in towards you and out towards the audience."

Hunter, 72, will start a solo U.S. tour Sept. 26 in Huntington, New York, after recovering from a spinal infection, with a larger tour possible in the spring. A drying up of royalties as free music flourishes on the Internet, reflections on his illness and a desire to perform all contributed to the decision to hit the road.

"Has publishing gone belly-up? It certainly has," he said in a rare interview. "But I wouldn't be doing it if the pleasure of doing it weren't foremost."

In the interview, Hunter talked about the upcoming tour, his post-Dead collaborations, his experiences in secret CIA testing of psychedelic drugs, and his last conversation with Garcia before the Grateful Dead frontman died in 1995.

"He said,'I just wanted to tell you that your songs never stuck in my throat,' which makes me wonder if he knew he was just about ready to take the long walk. He didn't voice things that way. He wasn't Mr. Compliments or anything like that."

The songs in the shows, which will be in mid-sized theaters, will include Grateful Dead tunes Hunter wrote with Garcia over nearly three decades and some later work. Among the more than 100 songs they penned together are "Touch of Grey," "Ripple" and "Casey Jones."

Speaking of his audience, he said: "I know what they come for, what they're paying for, and they will get it. Plenty of Hunter-Garcia tunes, which do weather well."

Has been practicing for three months to rebuild his extensive repertoire. "I feel like I got all the guitar playing I ever had back, plus a good deal more. Of course it doesn't stack up to a real guitar player like Jerry or anything like that, but it's good for me," he said.

DYLAN AND NASHVILLE

Since Garcia's death, Hunter has collaborated extensively with Nashville songwriter Jim Lauderdale. He has also worked a few times with Dylan, and the New Riders of the Purple Sage, Los Lobos and others.

His lyrics, long characterized by a folksy mysticism, now tend to carry more of Nashville's country flavor, he said.

He is guarded about Dylan. "I think he is a mysterious force majeure (superior force). We all have a Bob Dylan in our heads somewhere. He managed to be that guy. It can't be easy, you know," he said.

"The fact that he worked with me is almost typical of the absolutely unforeseeable stuff the guy decides to do. He just called up one day and said, 'How about it?' And he gave me a bunch of titles he wanted to work with and we just got to work."

Hunter's lyrics provided a psychedelic aura that aided the Grateful Dead rise to fame. But years before the band's music helped fuel writer Ken Kesey's LSD "Acid Tests" parties in the 1960s, Hunter and Kesey were subjects in the CIA's MKUltra program to test psychedelic drugs as mind-control agents.

He said he did not learn until much later that the CIA ran the program, which was made public in 1975.

"I couldn't figure out why they were paying me to take these psychedelics. What they wanted to do was to check if I was more hypnotizable when I was on them," he said. "It was hard to pay attention to what the hell they were talking about, much less be hypnotized."

When the experiment ended, Hunter said, it was a hard experience to relate to.

"It was the first time I had had any of this stuff, and the drugs in themselves were rather spectacular. Nobody had had my experiences, and it was at least two years before those drugs started getting out on the street. It was like a secret club of one." (Editing by Patricia Reaney and Philip Barbara)

http://www.reuters.com/article/2013/09/16/music-roberthunter-idUSL2N0GV1V520130916?rpc=401&feedType=RSS&feedName=rbssTechMediaTelecomNews&rpc=401

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