The Waterboys perform The Whole Of The Moon at Glastonbury 2015. Never mind the Libertines, MikeScott is the original wandering minstrel poet songwriter, and he has the back catalogue to prove it.Visit the Glastonbury website at http://bbc.co.uk/glastonbury for more videos and photos
Excellent quality Pro-shot broadcast recording of Rory Gallagher on Ohne Filter, recorded live in Baden,Germany on March 30th, 1990. DVD has a total running time of 57 minutes, and quality is about 8/10. Track listing is as follows:
SETLIST:
Continental OP
Don’t Start Me To Talkin’
The Loop
Mean Disposition
Walkin’ Wounded
Wanted Blues
Out On The Western Plain
Messin’ With The Kid
Bullfrog Blues + The Boys Are Back In Town
R.E.M. – Full Concert
Recorded Live: 10/18/1998 – Shoreline Amphitheatre (Mountain View, CA) This is excellent quality and although I wouldn’t call it a great performance, it has some great moments and is an interesting set for several reasons. This was shortly after Bill Berry’s departure and the release of their first post-Berry album Up. They didn’t tour this album so their headliner appearances at these Bridge School benefits was a big deal at the time. Several songs get their live debut here and the core trio is augmented by several notable guest musicians, including Neil Young playing lead guitar on “Country Feedback.”
Michael Stipe – lead vocals
Peter Buck – guitar, mandolin
Mike Mills – bass, vocals
Guests:
Ken Stringfellow – guitar
Scott McCaughey – guitar, keyboards
Joey Woranker – drums, percussion
Neil Young – lead guitar on “Country Feedback”
The Rolling Stones performing “Midnight Rambler”, live at Madison Square Garden, January 2003. The song first appeared 0n the 1969 The RollingStones album ‘Let It Bleed’.
The song is a loose biography of Albert DeSalvo, who confessed to being the Boston Strangler. Keith Richards has called the number “a blues opera” and the quintessential Jagger-Richards song, stating in the 2012 documentary Crossfire Hurricane that “nobody else could have written that song. Watch The Rolling Stonesperform the track live, from the 1969 album Let It Bleed. It was first performed live in Hyde Park in July 1969.
This version features Mick Jagger on vocals, Keith Richards on guitar, Charlie Watts on drums, Ronnie Wood on guitar, Darryl Jones on bass, Chuck Leavell on piano, Lisa Fischer and Bernard Fowler on backing vocals, Blondie Chaplin on backing vocals and percussion, Bobby Keys and Tim Ries on saxophone, Michael Davis and Kent Smith on horns.
Bruce Springsteen and the E.Street Band 10-night stand at Madison Square Garden was supposed to be a victory lap to close out his 1999-2000 reunion tour with the E Street Band. But on June 8, 2000, four days before the first show, the president of the New York City Police Department Patrolmen’s Benevolent Association called for a boycott of Springsteen’s shows because of a new song, “American Skin (41 Shots).”
The song, which had its world premiere in Atlanta on June 4th, was written in response to the February 1999 killing of Amadou Diallo by four New York police officers. Diallo, an immigrant from Guinea, was stopped at the front door of his Bronx apartment building because, the officers said, he resembled a serial rapist. He reached into his jacket pocket to grab his wallet, but the officers thought it was a gun and fired 41 bullets at Diallo, 19 of which struck him. A year later, all four men were acquitted on charges of second-degree murder and reckless endangerment.
As word of the new song spread, PBA President Patrick J. Lynch wrote a letter to the association’s members. “The title seems to suggests that the shooting of Amadou Diallo was a case of racial profiling — which keeps repeating the phrase, ‘Forty-one shots,’ it read. “I consider it an outrage that he would be trying to fatten his wallet by reopening the wounds of this tragic case at a time when police officers and community members are in a healing period.” He also “strongly urge[d]” that officers neither attend the concert nor moonlight as security at any of his shows.
Lynch wasn’t the only one upset. New York Mayor Rudy Giuliani and Police Commissioner Howard Safir alsocondemned Springsteen, while Bob Lucente, the president of the New York chapter of the Fraternal Order of Police, took things a stp further by referring to the singer as a “dirtbag” and a “floating f–.”
But had the police listened to “American Skin (41 Shots)” before making their judgment, they might have realized that Springsteen showed a degree of empathy with the policemen. In the chorus — “Is it a gun? / Is it a knife? / Is it a wallet? / This is your life” — Springsteen acknowledges the difficulty officers face in having to make split-second decisions.
Springsteen played “American Skin (41 Shots)” at all 10 of the Madison Square Garden concerts with a noticeable portion of the crowd booing. One of the performances was released on the Live in New York City album and video the following year (you can watch it above). The song has remained an occasional presence at his concerts, notably on March 23, 2012, in Tampa, only a month after the shooting of Trayvon Martin by George Zimmerman in nearby Sanford, Fla. Following Zimmerman’s acquittal in July 2013, Springsteen dedicated the song to Martin at a show in Limerick, Ireland.
Hop Along performing live in the KEXP studio. Recorded May 29, 2015.
Songs:
Texas Funeral
The Knock
Waitress
Tibetan Pop Stars
Powerful Man
Sister Cities
Hop Along has often been dubbed Philadelphia’s best kept secret. But for much longer? I really Don’t think so, with a superb collection of songs the new album should see them as rising stars.
Get Disowned, Hop Along’s first full-band album which they self-released in 2012, came out of seemingly nowhere to be one of the most staggeringly perfect records of the year. Ten songs that were as catchy as they were strange. The Philly four-piece can pull off this amazing trick where they make a lyric instantly stick in your head without needing to tether it to a traditional verse-chorus-verse structure.
Part of what makes Hop Along’s sound so unique is the brother-sister anti-chemistry of drummer Mark Quinlan and guitarist/singer Frances Quinlan. Mark, who grew up pounding away for heavier hardcore bands, and Frances, a student of the Jeff Magnum style of make-it-weird-until-it-works songwriting, meet somewhere in the middle. Sometimes they’ll bring things down to a hushed whisper, before pushing levels beyond breaking points, and weave the two extremes together at break-neck paces. And it’s all glued together with Frances’ inimitable voice—raggedy and raw, with a wild, untameable streak. Never duplicating, always unpredictable.
As a result of their musically mutated DNA, Hop Along could hold their own alongside just about anyone. And they have. They’ve been jammed onto bills with everyone from The Thermals to Fucked Up to Paint It Black.
Naturally, the “secret” of Hop Along has gradually gotten out over the last few years and by the time they were ready to work on their follow-up sophomore album, Painted Shut, they had a long line of industry suitors, out of which, Omaha indie staple Saddle Creek Records emerged victorious. If the album’s first single, “Waitress” is any indicator, Saddle Creek got a steal.
“Waitress” is everything that makes Hop Along great, distilled down into three and a half minutes. Frances’ idiosyncratic lyricism is on full display and as each minute of the track passes, the band seems intent on upping their own intensity, crescendoing until the song hits a tipping point. And then it just ends. A perfect way to tease an album.
This is all a long-winded way of saying this: There is no one out there like Hop Along. Not even close. And Painted Shut might just end up being the best album of the year.
This superb 3 Disc Boxed Set, with a run time of just over 4 hours, captures the entire show broadcast that legendary night more than 40 years ago. Capturing the group almost fully recovered from the deaths of Duane Allman and Berry Oakley, and with a little help from their friends, they deliver one of their most outstanding performances ever. By the end of 1973, the Allman Brothers Band were the most popular touring band in America.
They drew crowds like few others, on a par with those attracted by the Grateful Dead. So it goes without saying, that when the two groups were on the same bill, pandemonium often ensued. A legendary event at the Watkins Glen Grand Prix Racecourse on July 28, 1973, when the Allmans, the Dead and The Band drew an estimated 600,000 people – at the time the largest outdoor rock concert ever – illustrates this point to. Thus, given their status at the time, when the Allman Brothers chose to play New Year’s Eve in the Bay Area at Bill Grahams Cow Palace, it was a benediction indeed they quite simply could have played anywhere they damn wanted. And there was a paradox – wasn’t San Francisco’s New Year’s Eve slot by now the exclusive property of the Grateful Dead? This dilemma however was somewhat addressed, live to an FM radio audience sometime after midnight, when Jerry Garcia and Bill Kreutzmann joined the Allman Brothers Band onstage. At the time, Garcia’s appearance seemed to cement a synergistic relationship between the two bands that became enshrined in rock history. At the same time, it turned out to be the end of an era not just for the two bands, but for a certain aura in post-60s rock, none of which seemed obvious at the time.
This 2CD set FM broadcast captures TOM PETTY ‘s complete 1993 Homecoming concert, his first show in hometown GAINESVILLE, FLORIDA for 20 years Following the breakup of Mudcrutch in 1975, Tom Petty and former band-mates Benmont Tench and Mike Campbell, joined up with some other Gainesville musicians, bassist Ron Blair and drummer Stan Lynch, to become Tom Petty and the Heartbreakers, in 1976. But, even then, success was not immediate, and they had many struggles ahead. When their first album was released in November 1976, it initially received little attention, selling only a few thousand copies over the `initial months. They released two singles, ‘Breakdown’ and ‘American Girl’, and both failed to chart in the US. Apparently, potential punters were confused; they looked like a new wave band (the album cover photo especially), but the music was pure rock n’ roll with a definite 60’s throwback style. Fortunately, however, the UK seemed to ‘get it’, and they became popular there, with the album climbing to #24 on the British charts. Slowly, after news of their success in Britain, the album began picking up interest in the US, finally entering the Billboard charts almost a full year after its initial release. ‘Breakdown’ was re-released too, and this time made it into the top 40. Back in Gainesville, the community was very supportive and proud of Petty’s success. However, by the late 80’s, there was also some growing resentment, that Tom Petty had forsaken his hometown, that now that he had made it big, he rarely came back to his local fans and his roots there. Thus, the show presented here, from 1993, represented his homecoming to Gainesville, his first major concert there since packing up his van and leaving with Mudcrutch, almost 20 years before. This show was just prior to the release of his greatest hits album and while he was in the process of moving to a new label. The greatest hits album also included 2 new recently recorded songs ; ‘Mary Jane’s Last Dance’ and a cover of Thunderclap Newman’s ‘Something in the Air’, both of which are included in this show. And the show was broadcast on the radio nationwide, in superb FM quality. So, here is Tom Petty’s triumphant, yet somewhat overdue, return to Gainesville. Although some of the circulating FM versions of the show are shortened substantially, this is the full show in all its glory.
Bruce Springsteen – Freehold at Summerville Theatre in Summerville, Boston MA on February 19, 2003
Growin’ Up. I’m not gonna do that again. But uh, [chuckles], Growin’ Up was uh, that was pretty, pretty straight ahead, that was just sort of the youth that I imagined for myself that I probably didn’t really have, except on occasion, you know. It was just one of those things once again just sort of a, an imagined youth I suppose, you know? But it, it, it caught something in it, maybe it was just a sense of fun, fun I was having with the words and, and uh, uh, the freeness I was having with language at the time just made me feel young, right? When you back to those songs they still feel fresh, you know? And those are the ones I always thought, would say, “Man, I didn’t listen to that record for long time after I made it,” you know. And I thought like I’d used up all the words and that was it, I wouldn’t ever, [chuckles] I was done now. But uh, uh, that whole song once again, that one line, from Growin’ Up was uh, “key to the universe, find the key to the engine of an old parked car.” That was the line for me that, that, that, that, that made the song a success It meant that if you try hard enough, you can find it anywhere, you know. If you’re, if you’re willful enough, you can find it anywhere. And so that was, that was that song. That was a song I wrote when I was about 22 years old, now I am going right to a song covering the same territory that I wrote when I was about 50 [chuckles]. And uh… this is the same, the same territory that, that song covered with about 30 years extra, you know. Let’s see what I have, see how I did, alright, let’s see, alright. I was going back to my, my Catholic school when they were… they needed help, they’re building uh… uh… they had a building project that was going on and I, I felt I’d held a grudge long enough, you know what I mean [chuckles – cheers] Now I was gonna, I was gonna let it go. So uh… so I said “alright,” and I went back and I played in the school gym and uh… and all the nuns and the, and the priests where there, and there was even a couple of them that came back from wherever they go when they’re done to that night, you know, and everything was pretty merry, but uh… I wrote this song for dedication, for, to cover the things that were wrong. Here we go.
Sendelica are PETE BINGHAM: GUITARS, GLENDA PESCADO: BASS, LEE RELFE: SAXES, LORD SEALAND: KEYBOARDS AND THEREMIN, MEURIG GRIFFITHS: DRUMS
the new album from SENDELICA ‘Live At The 7TH Psychedelic Network Festival the album is now available for order
2LP / DVD BOX SET….. 2CD / DVD BOX SET…. 2LP ON PURPLE VINYL….. 2LP ON BLACK VINYL…. 2CD….. DOWNLOAD…
Look at that bloody album cover. With artwork like that, you’d think you would know exactly what you’re getting into, but Sendelica have plenty of curveballs and knucklers for your psychedelic taste buds. Yes, there are massive guitar riffs worthy of a thousand soaked panties, but Sendelica gets super cerebral and adds elements of jazz and world music to their gurgling rock cauldron to send you spiraling into the clouds. Saxophones, funked out bass lines, noise elements…you name it, Sendelica mixes it in.
MEGA RARE, LIMITED EDITION OF 75 COPIES, BOX SET. 2LP ON VIOLET COLOURED VINYL + EXCLUSIVE LIVE DVD OF THE SHOW (PIC DISC IN CARD SLEEVE), PLUS T-SHIRT, SET OF POSTCARDS, BADGE, HAND NUMBERED CERTIFICATE WITH FREE DOWNLOAD CODE, AND BEER SWEETS!!. COMES HOUSED IN A CARD BOX WHICH IS STICKERED, HAND NUMBERED, AND SIGNED. VERY, VERY COOL ITEM. RELEASED ON SUNHAIR RECORDS. RELEASE DATE AUGUST 14
Includes unlimited streaming of SENDELICA LIVE FROM THE 7TH PSYCHEDELIC NETWORK FESTIVAL 2014 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.