Late Summer is here, and that must mean it's time for last dips in the pool and snipe hunts in the pucka brush. If you're also taking a Labor Day vacay, Curly and Bear hope you have a great one, and they'll see you again real soon in September, as will Your Host and Jailbait Jones.
Monday, August 25, 2008
Friday, August 22, 2008
1. [Jody Cadence - U.S. Army]
John Henry, Johnny Appleseed, Hiawatha, Bre'r Rabbit. Davy Crockett. Paul Bunyan and Babe the Blue Ox. Stagger Lee. King Washington. Pecos Bill and Widder-maker. Even Uncle Sam. Most of their stories have faded away, the stuff of Disney movies now if remembered at all.
But there's one American legend that's still alive and well in 2000 and 8, his story still told in bars and barracks, pool-halls and whore-houses. His song sung every day by both white boys and black.
Jody. Even if you don't know who he is, you know he's trouble. While you somehow got your sorry ass into the Army, Jody was smart enough to stay home. And now he's sniffin' around your girl.
You can't call her, because Jody's always seems to be on your damn telephone. Your telephone, racking up phone bills to God knows where-all. You get a picture from home in the mail, and that's nice, but wait a second. Who the hell is that leaning up against your Cadillac, your Cadillac, the one that's supposed to be in your garage until you get back?
That would be Jody, and you read, "oh, honey, Jody says it isn't good for a car to be sittin' that long. He says he's keeping it nice and greased up for you."
Yeah, and what the hell else is he keeping nice and greased up?
Jody. Smart-lookin', fast-talkin'. Jody's got your girl.
Jody has had many names, and I suspect that if you traced him back far enough, some of those names would be Trickster, Coyote, and Anansi. But in black oral folklore and music we first hear of him as "Joe the Grinder," grinding being a euphemism for, ah, the sexual act. As time passed, "Joe the" turned into "Joe de" or "Joe D." until the two words eventually merged into "Jody." The "Grinder" part and Jody's last name were more or less dropped from the legend, although in at least one song he's known as "Jody Ryder."
The first known recording of a "Jody song" - more appropriately labeled as a "levee holler" by Alan Lomax - was sung in 19 and 39 by one Irvin "Gar Mouth" Lowry, a prisoner at the State Farm in Arkansas. Until he moved to preying on soldier's wives and girlfriends, Joe the Grinder seemed to have spent a good portion of his time chasing after the women of jailed men. It makes sense. Both soldiers and prisoners have a lot in common - a lack of women, your life dictated by powers outside of your control, and no way to get home... at least legally.
Here's a Theme Time and Dreamtime favorite, Louis Armstrong, doing a song about "Jodie Man." Jodie Man sounds like it's going to be a straight instrumental, but hang in there, and I promise you'll hear some interesting lyrics about our friend Jody.
From 19 and 45, Louis Armstrong and Jodie Man.
During World War II, Jody's legend migrated off the work farm and into the Army, where he became the title character in cadence marching songs, such as the one we heard at the beginning of the show. Jody was almost certainly first introduced into the Army by African-American soldiers, and then had his story picked up by the general service population when the military desegregated.
Woody Guthrie in "Born to Win", says, "The best of marching I saw in my eight months in the army was to the folk words of a folky chant tune that went: "Ain't no use in writin' home/Some joker got your gal an' gone." Woody - probably not the best of soldiers - may have misheard "joker" for "Jody," or the lyrics may have evolved into this variant, but it's definitely another "Jody" call.
In fact, the Jody story became so ingrained in Army lore that by the time I was drafted in the early `70s, all Army cadences were known as "Jodies," as they still are to this very day. And just like Woody, one of the few good memories I have of my time in the Service is marching to a drill Sergeant's rhythmic imperative that I might as well settle down and enjoy Army life, because there was nothing left for me at home - girl, job, and car all taken by Jody.
"Ain't no use in feelin' blue. Jody's got your sister too."
"You're Right!" "You're Right!" we all sang back to the drill instructor.
Uncle Sam Blues
You remember King Records and its eccentric owner, Syd Nathan. Mr. D. likes to play Syd Nathan's recorded rants to his salespeople in-between cuts on Theme Time Radio Hour.
Well, after Syd Nathan, the main man at King was Alphonse Thompson, better known to one and all as Sonny. If you dealt with King as a musician, you were dealing with Sonny Thompson. He was the guy who set up your recording session, booked the musicians, arranged the tunes, even occasionally wrote one, and now and then sat in on a session himself at the piano.
Sonny's recordings aren't easy to find, but well worth the search. Recorded in 19 and 51 on the King label, here's a story about a worried soldier heading for Korea asking Uncle Sam to find something for Jody to do - like dodging bullets - to keep him away from his girl. Sonny Thompson is on the piano, Jesse Edwards is doing the vocals.
Uncle Sam Blues.
3. [Uncle Sam Blues - Sonny Thompson, 1951]
Joe the Grinder
While Jody was torturing serviceman his counterpart, Joe the Grinder, was still alive and well back in the civilian world.
In 19 and 52, Dave Bartholomew was a talent scout for Imperial Records, a New Orleans label. Bartholomew was the person who had brought Fats Domino to Imperial, and he was looking for another discovery. He found Allen Matthews, who sounded like a clone of ClydeMcPhatter, and paired him up with a gospel group looking to move into R&B, The Humming Four.
After running through a variety of names for the new group, including "Fat Man" Matthews and the 4 Kittens, they settled on the much more manly name of The Hawks, which probably better suited the raunchy song they released on the Imperial label in 19 and 54, Joe the Grinder.
4. [Joe the Grinder - The Hawks, 1954]
The Hawks even have a TTRH connection. You may remember Mr. D. talking about "Morgus the Magnificent" way back in the 2006 Halloween episode. Morgus was a New Orleans TV personality who aired old horror movies, kind of a male version of Elvira. Morgus decided to do a cover of a popular novelty single called Flying Saucer and hired The Hawks to provide backing vocals. The group, which had never made much of a stir outside of New Orleans, signed on and that was their last single, as The Outer Spacemen, gamely providing back-up to a guy dressed in a monster costume.
Marv Goldberg's R&B Notebooks
The Old Man From the Mountain
Like their music, black and country legends are closely intertwined, and you'd be as likely to hear mention of Joe the Grinder in an Bakersfield bar as you would on a New Orleans street corner. The Old Man From the Mountain was another one of Merle Haggard's 38 #1 hits, charting in 19 and 74. In The Old Man From the Mountain Merle's warning that Joe the Grinder better be out of his bed by the time he gets back home.
5. [The Old Man From the Mountain - Merle Haggard, 1974]
Merle Haggard's story is so incredible nobody would believe it as a work of fiction. After three stints in jail, Haggard met Lefty Frizzell and decided to try his hand as a musician, eventually building a solid reputation as a local talent in Bakersfield, CA. But Haggard's devil was still riding on his shoulder, and he was arrested for robbing a Bakersfield tavern in 19 and 57 and eventually sentenced to San Quentin for 10 years.
It was in the Big Q that Merle Haggard first saw Johnny Cash and again vowed to turn his life around if he got out alive. In 19 and 60, Merle Haggard was paroled, and though he later said that there were days when he wished he was back in prison, he walked the line and had his first national hit in 19 and 64.
If you're around my age, you probably best remember Merle for the semi-tongue-in-cheek, semi-yahoo Okie from Muskogee, recorded in 1969, when all of us were choosing sides over Vietnam. Whatever your opinion of Merle's politics, it's worth noting that his music has been recorded by artists way on the other side of the political spectrum, including The Grateful Dead and Joan Baez. Good music always transcends politics.
The Jody Golden Age
We're going to be playing a lot of music from the `70s in this episode, and that's because there was something of a Jody Golden Age during that decade, including Johnnie Taylor's monster hit for Stax in 19 and 71, which takes the line from the military cadence as its title. We're going to play two songs back to back: Jody's Got Your Girl and Gone and then an answer song to the Taylor hit, the very funky Jody, Come Back and Get Your Shoes by Bobby Newsome.
6. [Jody's Got Your Girl and Gone Johnnie Taylor, 1971]
7. [Jody, Come Back and Get Your Shoes, Bobby Newsome, 1971]
Jody's Got Your Girl and Gone may hold the all-time record for spawning answer songs. Just to name a few: Jean Knight's Don't Talk About Jody, I Finally Caught Up With Jody by Big Joe Hamilton, Bobby Patterson's Right On, Jody, and Sam and Dave's Jody Ryder Got Killed, which is one of the few songs to name Jody's last name.
This next song is from 19 and 70, so it's too early to be a response to Jody's Got Your Girl and Gone, but You've Been Gone Too Long is still something of an answer song to the eternal question about how Jody got your girl.
8. [You've Been Gone Too Long, Ann Sexton, 1970]
Ann Sexton is a lady you probably haven't heard of unless you were caught up in the great Northern Soul Craze. Not to be confused with the poet, who spelled her first name with an "e," our Ann Sexton recorded a string of soul records for the Nashville-based Seventy-7 label during the `70s.
Like a lot of artists, Ann Sexton never really struck it big, and she retired from music in the late `70s. But after being encouraged by a co-worker, Ann took to the stage again in Europe after a 30-year absence, and now says she intends to keep performing as "long as she's alive." Right on, Ann.
Trackin' Down Jody
Now here's a group and a song and even a label I can't tell you much about. I couldn't even track down its release date. Obviously recorded sometime in the `70s - dig that crazy Theme from Shaft wah-wah guitar - for the tiny Austin, Texas A.C.R. soul label, Trackin' Down Jody sounds like it was meant for a blaxploitation movie that never got made.
9. [Trackin' Down Jody - Darker Shades Ltd., 197?]
As far as I can tell, it's the only cut that Darker Shades Ltd. ever recorded, and may be the only record that the A.C.R. label ever released.
You may have thought that the music cut off a little bit abruptly, and you'd be right to think so. Trackin' Down Jody was too long to fit on one side of a 45, and was released as Parts 1 and 2 on the A and B sides. Unfortunately, Part 2, which I'll betcha was one long funk groove, seems to be lost in the mists of history. But we still have Part 1 of Trackin' Down Jody, and you just heard it.
Texas Soul Recordings
Run, Jody, Run
10. [Run, Jody, Run - Jimmy Coe, 1953]
We went all the way back to 19 and 53 for Run, Jody Run, cut by Jimmy Coe and His Gay Cats of Rhythm for the States label. Jimmy wasn't quite sure who Jody was, telling an interviewer, "Jody's like an Army guy who's hanging out at the girl's house and he has to run," but he still played a mean saxophone.
Jimmy Coe liked to tell the story that the first time he ever soloed on the alto sax, Charlie Parker was in the audience. After the set, Jimmy introduced himself to Parker and asked him what he thought about his number. "Sorry," Parker said. "I fell asleep and missed it."
The Jimmy Coe Discography
Joe Grind and Jody Man
While Jody was busy dodging the draft in the good ol' U.S. of A., Joe the Grinder's itchy feet had him taken him down Jamaica way, where he shortened his name to "Joe Grind" and became a well-known figure in the shanty towns and dance halls. Here's a band called The Aggrolites, who have been a backing band for both reggae superstar Derrick Morgan, and for Prince Buster, and who released their debut album in 2003. From that album, Dirty Reggae, here's Joe Grind.
11. [Joe Grind - The Aggrolites]
Jody Man and Finis
If you can remember that far back, we started our Jody episode with Louis Armstrong's Jodie Man, and we're closing out tonight's show with another Jody Man that Slim Harpo recorded for the Excello label.
Slim's not all that well-remembered these days, but if you're a fan of The Rolling Stones, The Yardbirds, Pink Floyd, The Doors, or Nick Cave and The Bad Seeds, the chances are you've heard of Slim Harpo. Slim passed in 1970, a few days after his 46th birthday. Jody Man was released by Excello a year after his death in 19 and 71.
12. [Jody Man - Slim Harpo]
Given the state of the world today, the chances are good - or bad, I guess, that Jody songs will still be sung far into our future.
As far as I can tell, it hasn't happened yet, but given the increasing role of women in the military, it's probably only matter of time until we'll hear the lament on some foot-track, or on some off-base juke-box...
It kinda makes you wonder whether Jody picked that name on purpose.
Sources: Outside of the links noted above, I commend your attention to WFMU's Beware of the Blog, where you can find much of the music I played in this episode. Soul Trivia and the Soul Detroit Forum also provided valuable information.
Thanks for listening to the Dreamtime podcast. Show notes, sources, and tonight's script can be found on the Dreamtime blog, dreamtimepodcast.com.
Some house-keeping to take care of before we wind up. We wanted to pass on our congratulations to Kevin R., the Dreamtime winner of the tickets to the New American Music Festival. Kevin wrote up a great trip report for us, and you can find that on the Dreamtime blog, too.
If you haven't heard the news, Dreamtime is now airing on Wednesdays on Tangled Up in Bob, at dylanradio.com. It's a great way to catch up on our old shows. Go check out the site at dylanradio.com, all Bob Dylan, all the time. I think you'll like what you hear.
Thanks to everyone for your emails and comments on the past few shows. Much appreciated. Jailbait, Curly, Bear and I all want to pass on our thanks to everyone who's used Dreamtime as their starting point for their Amazon purchases. It's much appreciated by all of us. If you're heading back to school, or know someone who is, and are planning on buying your school books or supplies through Amazon, please start your shopping through Dreamtime.
And finally, the Dreamtime team is on its semi-annual late Summer vacay for the next couple of weeks, and I suspect when we get back Mr. D. will have announced the return of Theme Time Radio Hour too. Hope you're looking forward to Season 3 as much as we are, and we'll be back with another Dreamtime real soon.
You've been listening to the Dreamtime podcast – occasional commentary on Bob Dylan's Theme Time Radio Hour. Dreamtime is researched and written by Fred Bals and is a Not Associated With production. As the name says, we're not associated with XM Radio, Bob Dylan, or much of anything else.
Some of the music on Dreamtime is provided via the Podsafe Music Network. Check it out at music.podshow.com.
Remember that the Dreamtime team loves to get email. You can write us at firstname.lastname@example.org
The Dreamtime top cats are Curly Lasagna and Shaggy Bear. Our announcers are the notorious honky-tonkin' sisters, Jailbait and Joyride.
Until next time, dream well.
Tuesday, August 19, 2008
The winner of our New American Music Festival giveaway, Kevin R., was kind enough to send us a trip and concert report, and even a few pix of Mr. D., who closed out the show on August 9th. Thanks, Kevin!
Kevin here, the winner of Dreamtime's NAMU Festival tickets giveaway.
Have to say we had a spectacular weekend in Pittsburgh. The weather was gorgeous and comfortable (a rarity for August), and the Festival itself was pretty well put together. This festival was put together by American Eagle, and as they were the main sponsor, your tickets for the show also came with a supplementary ticket redeemable for a Festival t-shirt and water bottle. On the grounds of the main concert area, near the gates, there were water coolers that you could fill up your bottle at throughout the event. This sort of foresight -- aiding the concertgoer instead of gouging them for necessities -- was much appreciated by this concertgoer, and it's a practice that should be considered by any major music festival.
This was a 2-day concert with two stages chockful of bands ranging from groups we hadn't heard of (French Horn Rebellion, The Depreciation Guild) to bigger acts like Gnarls Barkley, Spoon, The Raconteurs, and Bob Dylan and His Band. The concert site was Pittsburgh's South Side Works, which happens to be where American Eagle's headquarters are located.
Late in the program on Saturday, August 9th, festival curator Anthony Kiedis spoke briefly to the crowd about getting to pick what he referred to as his dream lineup. This seemed like it was going to be a big deal in Pittsburgh - such a wide range of acts under one banner hadn't been seen here since the touring days of Lollapalooza. As an ex-Burgher myself, I was a bit dubious about this festival's ability to carry it off at said location, which really isn't a concert venue but more a public square type of place. That being said, I was wholly impressed at the Festival's organization and facilities, and would definitely attend a future version of this event.
Mr. D arrived onstage after 9pm on Saturday night, the Festival's second day, to close it all down. We knew he had to be done around 11pm, as it seemed there were curfews negotiated with the South Side's residents and businesses.
The band came, and they came to play - most of the crowd were ecstatic as they recognized the opening number, "Rainy Day Women #12 & 35". Bob stood at his keyboard the whole set, and the band were tight as always. Having seen a few dates of the Never-Ending Tour in the last decade, it once again was tremendous fun playing "name that tune" with our friends as each number started up in an unfamiliar fashion. Personal highlight for me was "Summer Days," as it was a glorious one that night, and it happened to be my birthday to boot. While this wasn't a full-length set, the band did leave the stage after closing with "Ballad of a Thin Man." The time had ticked slightly past 11 at this point, and the stage lights went down.
Stage lighting came back up as the band reassembled. Then that CRACK of the snare that the world recognizes as the start of "Like A Rolling Stone" burst forth as Bob's giant logo banner fluttered down from the rafters. The audience members hoping against hope for an encore got one of the best songs of the night. All told, the band was hot and Mr. D's voice was a little bit croaky this evening... but the entire experience made for a fantastic night.
Thanks very much to Dreamtime and the New American Music Union for making this weekend possible. For more info and Festival highlights, check out the videos at the NAMU site:
Monday, August 18, 2008
And of course, as one of the Driftin' Cowboys, Helms was featured on over 100 Hank Williams recordings, including 10 of the 11 Hank Williams #1 hits. Helms played with Williams on his last recording session in late 19 and 52, a session that eventually produced Kaw-Liga, Take These Chains From My Heart, and Your Cheatin’ Heart.
Helms was the last of the Driftin' Cowboys, and was working up until his death. In fact, according to his obituary in the New York Times, at the time of his death Helms was working with Vince Gill on an album of uncompleted Hank Williams songs. Emphasis mine, as I suspect that this is the so-called "Briefcase Songs" album that we discussed back in Episode 48 - That Fateful Day: The Lost Songs of Hank Williams. and adds Vince Gill to the roster of artists thought to be on that album, including Norah Jones, Jack White, Willie Nelson and Bob Dylan.
The full NY Times obituary on Helms can be found here and is well worth the read. Our title is taken from the phrase Helms used in concert to introduce a medley of Hank Williams' tunes... "Now, close your eyes and think of Hank."
I keep on meaning to do a Dreamtime on Pandora, the "internet radio station," that is much, much more than an internet radio station, but if I'm going to do a show featuring Pandora, it looks like I better move fast.
According to various reports, including this one at TechCruch, and its companion Washington Post piece, Pandora, which has seemed at the brink of collapse for the past year, may finally be looking at the end.
Why is a company that has a listening audience of 1 million a day, attracts an average 40,000 new listeners a day, and has one of the most popular iPhone applications available in the iTunes store on the brink of shutting its doors?
Thank SoundExchange, brought to you by those wonderful people at the RIAA, who are nominally charged with collecting royalties on behalf of the artists for all work broadcast over the internet or satellite radio. I say "nominally," as many artists say they've never seen a dime from the millions that SoundExchange has reportedly collected, and many artists don't want SoundExchange doing anything on their behalf. But SoundExchange trucks on nonetheless.
Consider this: Unlike what you might have thought, traditional over-the-airwaves radio stations pay not a dime for the music they play, although SoundExchange is trying to change that too.
Satellite radio such as the newly renamed Sirius XM Radio pays around a royalty rate of 1.6 cents per hour per listener - at that rate, XM pays around $38,000 in royalties for each TTRH aired. That's an estimate, based on published reports that TTRH has a listening audience of around 2 million. The actual royalty figure is probably lower, as I doubt whether anyone is still collecting royalties on some of the music TTRH plays. In any case, the same music played on Pandora for an hour will cost the company almost double the satellite radio rate - an estimated 2.9 cents per hour per listener. Pandora estimates that rate will cost them over $17 million a year, or about 70 percent of their annual revenues. Which is way too much to pay out for the start-up to survive.
Although not coming right out and saying it, Pandora CEO Tim Westergren is hinting that the time may be at at hand where Pandora literally pulls the plug, and shuts down. And that would be a shame. While Pandora isn't perfect by any means, I've been a fan since its launch and recently fell in love with it again thanks to its new mini-application for the iPhone and iPod Touch.
Pandora, for those of you who don't know it, allows listeners to create their own "radio stations" which you can listen to through your computer, or now through an iPhone, and if you have a docking station for your iPhone, through your stereo or media center. One of Pandora's quirks - again due to music licensing restrictions - is that you can't build a specific playlist or request a particular piece of music. You give Pandora an artist like Bob Dylan, or a song like Mississippi, and it goes out and creates a playlist based on music similar to your selections. Eventually you'll probably even get Dylan's version of Mississippi, but Pandora's strength - as well as its weakness - is through offering songs and artists that have something in common with your requests. It's a great way of discovering music you've never heard before.
As I said, Pandora is not perfect, and can be quite quirky in its music offerings. I've always had this suspicion that the algorithm occasionally tosses in something that you'll almost certainly hate, just to ensure that you're paying attention.. However, if Pandora coughs up a particular piece of music that you really dislike, you have the option - within limits - to get it off your playlists.
Over the last couple of years, I've been building various Theme Time playlists in Pandora, using the artists and music from shows stretching all the way from Weather to Cold as my templates. An example of the results can be heard by clicking on the image above.
Some of the music on my TTRH stations is pretty good, if not quite as good as what Our Host might pick. And some of the music is exceedingly strange, such as my Mother station, as one might expect from a playlist that includes stuff from LL Cool J, the Rolling Stones, Merle Haggard, and Ruth Brown. The Drinking one is pretty weird too.
As Michael Arrington notes in his TechCrunch article, what entities such as the RIAA, SoundExchange, and the record labels don't seem to get is, "Recorded music is nothing but marketing material to drive awareness of an artist" Period. The end.
Pandora and other internet radio entities, satellite radio, traditional radio all should be considered valuable marketing and advertising tools, not another revenue stream to try to shore up the music industry's failing business model. In fact, I think a strong case could be made that the various record labels should be paying Pandora, et al for promoting their music. And yes, I know what I'm talking about is payola, but you know what, that's not necessarily a bad thing. What's wrong with a, "this hour of music was presented by Sony, Arista..." NPR-like announcement at the beginning of each hour of Pandora? Good music will still rise to the top. Crappy music will sink. Play enough crap and you'll be out of business, no matter how much payola you're taking.
But that makes too much sense.
Tuesday, August 12, 2008
A couple of show notes before we get started. As one of the Moscow Rules states, "Technology will always let you down." I had an equipment melt-down about 10 minutes before I was scheduled to call Maria, and ended up jury-rigging a last-minute Rube Goldberg recording system in order to capture the interview. I was left with the option of either capturing Maria's voice clearly, or my own, and of course decided for the former. You can tell how badly the recording sounded on my end towards the close of the interview. So, in any case, Maria wasn't indulging in a monologue, but was responding to my questions, which I edited out, but which I think you can figure out from the context of her answers.
Maria also notes in the interview that there should be a free download of a song that had to be left off Yes, We Can! on the Telarc site. As of the the time of this podcast's release, which should be around August 12, 2008, the song had not yet been posted on telarc.com. I'll put a post and a link on the Dreamtime blog when the song becomes available.
Urgent Message from Mother: Gather the Women, Save the World, Jean Shinoda Bolen
Yes We Can! Maria Muldaur
Heart of Mine: Love Songs of Bob Dylan Maria Muldaur
Naughty, Bawdy and Blue Maria Muldaur
Maria's Web site and her page at Telarc.
and upcoming gigs...
*22 Crest Theater, Sacramento, CA - Benefit For Francis House featuring Holly Near & Tracy Nelson
*23 & 24 Yoshi's, Oakland, CA - CD Release Event with Special Guests Holly Near & Linda Tillery
*06 142 Throckmorton, Mill Valley, CA
*17 The Upstage, Port Townsend, WA
*18 The Yale, Vancouver, BC, Canada
*19 SALMAN Classic Theatre, Salmon Arm, BC, Canada
*20 Burn Care For Kids Benefit, Flames Central, Calgary, Canada
*23 & 24 Dakota Jazz Club, Minneapolis, MN
*26 The Washington, Burlington, IA
*27 The Livery, Benton Harbor, MI
*28 Nighttown, Cleveland, OH
*29 Sportsmen's Tavern, Buffalo, NY
*1 Pepper Jack's, Hamilton, ON, Canada
* 2 The Night Eagle Cafe, Binghamton, NY
* 3 Center For The Arts, Natick, MA
* 4 Barnstormer's Theatre, Tamworth, NH
* 5 The Town Crier, Pawling, NY
* 7 Hugh's Room, Toronto, Canada
* 8 Sydenham St. Church, Kingston, ON, Canada
*10 Colonial Theatre, Bethlehem, NH
*11 Common Fence Music, Portsmouth, RI
*12 One Longfellow Square, Portland, ME
*13 Slates, Hallowell, ME
*16 Puck, Doylestown, PA
*17 Outpost In The Burbs, Montclair, NJ
*18 Avalon Theater, Easton, MD
*20 Gravity Lounge, Charlottesville, VA
*15 The Red Barn, Los Osos, CA
*16 SOHO, Santa Barbara, CA
*06 My Pecan Farm, El Paso Texas - Festival w/Buddy Guy & Taj Mahal /Benefit Concert For Food Bank
Visit the Dreamtime Store
Monday, August 11, 2008
He will be missed.
I'm getting of the age where hearing the phrase "a musical legend/icon/giant/etc. has passed away" as a network news teaser fills me with dread, wondering who it is this time.
The clip is from the great film, Wattstax, which I heartily commend to your attention. Besides Hayes and the very young Jesse Jackson, there are appearances by the Staple Singers, an equally young Richard Pryor, Rufus Thomas doing an incredible Funky Chicken, Albert King, The Bar-Kays and many more Stax artists. As a musical document you may find the many incomplete sets in Wattstax frustrating. On the other hand, it's probably the best video document of what Watts was like in the early `70s. I know. I was there, teaching on 101st Street.
I didn't make it to Woodstock. But I made it to Wattstax, and spent one of the best days in my life, 36 years ago come this August 20th, one of the few white faces in a sea of black faces, not scared, not even nervous, just boogeyin' to the music along with 10,000 other people.
Monday, August 04, 2008
via the XM Radio XMX station guide:
"While Bob Dylan is off searching for new Dreams, Themes and Schemes – your suggestions are welcome at email@example.com – XM is playing back some of our favorites from the first two seasons of Dylan's XM Exclusive show in alphabetical order.If one is looking for, ahem, tell-tale signs on when TTRH Season 3 will begin, the list of shows may hold a clue. We're currently at "P" - for "President's Day" and "Party" which will play this Wednesday, August 6th. Shows continue to " W" and Y" - "Walking" and "Youth and Age" (one presumes this last is the "Young and Old" show from Season 2) to be broadcast on September 3rd.
It's Theme Time A to Y. Why 'Y'? No 'Z' theme in the catalogue. Yet."
So what happens on Wednesday, September 10th, hmmmmm?