VIDEO: 9:Las Vegas Tango Part One 1/2 by Soft Machine

Hi readers,

This is great - the early days of prog rock with Soft Machine? What do you think?

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VIDEO: The Beatles: The Long and Winding Road

Hi all,

Time for another classic - but this time a remastered version. Enjoy!


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TRIBUTE: John Lennon: Watching The Wheels - Dec. 8: John Lennon Shot, Killed 1980

Cover of John Lennon

Hi all,

Dec. 8: John Lennon Shot, Killed 1980

1980 John Lennon Killed

The Beatles‘ musician John Lennon was shot and killed outside of his New York City apartment on the night of Dec. 8, 1980. Lennon and wife Yoko Ono were returning from the recording studio to their home at The Dakota when 25-year-old crazed fan Mark David Chapman shot him at close range.

Earlier in the day Chapman had been hanging around The Dakota with other fans and asked Lennon for an autograph.

When The Beatles broke up in 1970, John Lennon focused on humanitarian and social activism. After the 1975 birth of his son Sean, John Lennon retreated from public eye to concentrate on his family. John Lennon and Yoko Ono’s 1980 “Double-Fantasy” album was planned to be his comeback in the music scene. Lennon was murdered just weeks after “Double-Fantasy” was released.


Video uploaded to YouTube by gilmem

2000 Mark David Chapman Interview
 
Twenty years after Lennon’s death, Barbara Walters revisited her 1992 interview with Mark David Chapman. This was the killer’s first televised interview.

Chapman was sentenced to 20 years to life for killing Lennon and is serving his time at New York’s Attica Prison. He is one of the many infamous killers said to have carried a copy of J.D. Salinger’s “Catcher in the Rye” with him.

When Barbara Walters asked why he did it, Chapman replied with a straight face, “I thought by killing him, I would acquire his fame.”

The Beatles Continue To Revolutionize Music

Publicity photo of the Beatles with producer George Martin in the studio at Abbey Road. Only John Lennon, George Harrison and Paul McCartney are pictured (Photo credit: Wikipedia)

by Al A' Din

Each decade there comes radical changes in popular culture that define generations. The 70's saw Disco, the 80's saw the rise of hard rock and the 90's saw Grunge.

In the 60's there was one band that defined the music of that decade.

The Beatles took the budding genre of Rock'n'Roll and turned it on it's head, introducing the world to a fresh new sound that saw an evolution throughout their career.

They introduced a new live sound to the pop-rock genre and developed some of the earliest known prog-rock sounds, which saw them create something new and exciting that really drew people to their music.

The band began at a school in London when a young musician by the name of John Lennon was looking to start a music group. Lennon quickly became friends with a young Paul McCartney and the two began to play music together.

A little while later a friend of Lennon's, George Harrison was invited to some watch the group perform a gig. Eventually Harrison auditioned to play lead guitar. After a lot of consideration he joined the group in 1959. As they got booked to play more and more they realized that they were without a steady drummer.

A few of Lennon's art school friends would sit in from time to time, but eventually they brought in a young man by the name of Ringo Starr. The band recorded their first demo together in 1962 at Abby Road Studios in London. 'Love Me Do', 'Please Please Me' were among the first tracks recorded and they eventually became two of the most popular songs of the Beatlemania era.

After residencies in Hamburg and a growing popularity in London it was time for the Beatles to take their act across the pond to the United States. With some of their music having already made it over to the States, it was only a matter of time before their popularity took off.

When they arrived pandemonium is not even an appropriate word to describe the scene. Thousands of fans arrived at the airport along with them and Beatlemania officially began. The next night they made their first nationally televised appearance in front of over 70 million people. The Beatles had arrived in a very, very big way.

From the moment they arrived The Beatles began to change the face of rock music. As their career progressed so did their musical styles, lyrical content and personalities. They evolved a genre over the course of an entire decade.

Pop songs, love songs, progressive rock style instrumentation were all represented. Album after album, hit after hit they built a legacy that has stood the test of time. It was as if they created their own musical revolution that moved millions of people.

BeatleShow! - http://saxetheater.com/beatleshow.html

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NEWS: Jimi Hendrix’s Favorite Guitar Auctioned in London

The Cry of Love (Photo credit: Wikipedia)

by Henne Music: http://www.hennemusic.com

Jimi Hendrix’s favorite guitar was auctioned in London Tuesday, on what would have been the music icon’s 70th birthday.

The Daily Mail reports Jimi’s black Fender Stratocaster - famously played at the Monterey International Pop Festival in 1967 - sold at auction for £205,000 pounds, but with all the fees added on the overall price paid for it was £237,000 (approx $380,000 US).

Hendrix made headlines at Monterey when he performed a wild, 9-song set that concluded with Jimi setting his guitar on fire during the finale of “Wild Thing.”

Jimi played the black Strat for the first 8 songs in the show, but it was so good that he couldn't bring himself to burn it. Instead, he switched it for a lesser model for the final song, which he doused in lighter fluid to mark the end of his set.

The Strat was later given to his record company Anim Limited, where it fell into the hands of James ‘Tappy’ Wright, a manager at the firm.

Mr Wright, 69, from Newcastle, decided to sell it to help fund his retirement in Florida.

To read further, go to: http://www.hennemusic.com/2012/11/jimi-hendrixs-favorite-guitar-auctioned.html

OPINION: The 3 Best Jimi Hendrix Rock Songs of All Time

The Jimi Hendrix Experience performs for Dutch television show Fenklup in 1967 (Photo credit: Wikipedia)

by Joe T Wiseman

The proof of the greatness of the music of Jimi Hendrix and classic rock can be found in any music store where re-releases of albums from the past with the label "digital re-master" drives the collector to purchase this great music - one more time!

I have often been involved in discussions about what songs were the greatest. The question is; which are the 3 best Jimi Hendrix rock songs of all time? Here is my list. I suggest that the top 3 are:

Voodoo Child

I have already written about this song in another article for EzineArticles under the title "The 3 Best American Classic Rock Songs of All Time." it is impossible to write an article on Jimi Hendrix songs without including this on as number one on the list.

The song contains two versions on the album Electric Ladyland. This song is the last song on the album, the shorter version and was released as a single.

All Along the Watchtower

Written by Bob Dylan and released on his John Wesley Harding album, Hendrix was captivated by the possibilities of the song. A phone call to Bob Dylan and permission was granted for Hendrix to record what became one of his greatest songs.

The guitar solo is second to none and the version arranged for Hendrix is the greatest version of what might have been a little known Dylan song. The Hendrix version is one of Rolling Stone magazine's "500 Greatest Songs of all Time."

Dylan, himself, was so dazzled by Hendrix's interpretation of the song that he has subsequently always performed the Hendrix version as opposed to his own original version.

The Star Spangled Banner

Scheduled to be the last performer at the famous Woodstock festival, Jimi had no way of knowing his performance would be to about 150,000 of the 500,000 who attended.

Bad weather and delays ran the concert into the morning of the 4th day and that is when Jimi performed. Fortunately the cameras were rolling and the sounds and images of Hendrix performing the Star Spangled Banner at a festival designed for music and peace resonate today as the greatest single performance of the American national Anthem by any performer in rock history.

It was breathtaking in its reach and power. If anyone can listen, and not hear the "bombs bursting in air," they are not listening to the right version. This iconic version will remain forever, one of the indelible images of Jimi Hendrix as a "guitar god."

Whether or not you agree with my picks, there can be no argument that these are some of the best Jimi Hendrix rock songs of all time. If you like rock songs you might also like to check out Smokin' Joe Wiseman at http://www.smokinjoewiseman.com He has covered traditional folk and rock songs and writes his own. Click here http://www.smokinjoewiseman.com/free_song to download a copy of his latest single for free.

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OPINION: The 3 Best Robert Johnson Traditional Blues Songs of All Time

by Joe T Wiseman

"The Crossroads", where Robert Johnson supposedly sold his soul to the Devil in exchange for mastery of the blues, according to the legend. It is the intersection of U.S. Routes 61 and 49, at Clarksdale, Mississippi, United States (Photo credit: Wikipedia)

The story of the life of Robert Johnson is a great one and has resulted in much speculation about whether he sold his soul to the devil at "the crossroads" and whether he was poisoned by a jealous juke joint owner or whether he died of natural causes.

Commonly referred to as "The King of the Delta Blues" Robert's life is the stuff of legends.

The question is, which are the 3 best traditional blues songs of all time? Here is my list. I suggest that the top 3 are:

Cross Roads Blues

Robert Johnson is considered by some to be the greatest bluesman of all time. This song was inducted into the Grammy Hall of Fame in 1998.

The song, itself, was made famous to today's listeners by Eric Clapton's legendary band Cream when they released the most popular cover in 1968. Cream's version was given the single word title "Crossroads."

In addition, the song is a legend in that Robert Johnson is reported to have sold his soul to the devil for the ability to play the blues. Robert, after "disappearing" for two years, once again reappeared on the delta blues scene of the early twentieth century with "blues licks" and "tunings" previously unheard. As they say, the devil is in the detail and Robert's newly found abilities were attributed to the devil.

Sweet Home Chicago

Released by Robert Johnson in 1936 on his first of two recording sessions this song has been covered by many of today's blues artists including but not limited to "Blues Brothers", "Keb' Mo" and "Eric Clapton."

Written in the 12 bar format, only the chorus has the first and second line the same. This is a departure from the most common 12 bar blues format where the first line of each verse is repeated.

This would not be the last of innovations by Robert. One line has baffled blues enthusiasts where Robert refers to "the land of California, Sweet Home Chicago." However, it may be as simple as the fact that there is a borough of Chicago called California.

Love in Vain Blues

Covered by the Rolling Stones on their Let it Bleed album, the titled was shortened as well to Love in Vain. Purported to be written for Willie Mae Powell, the song was played for her by John Hammond Jr. in his 1991 documentary "The Search for Robert Johnson."

In 2011 the song was inducted into the "Blues Hall of Fame." The Stones incorrectly credited the song to one of Robert's pseudonyms, "Woody Payne." The surname most definitely rhymes with the dominant theme of the song - pain and love, lost.

Whether or not you agree with my picks, there can be no argument that these are some of the best Robert Johnson traditional blues songs of all time.

If you like folk and blues songs you might also like to check out Smokin' Joe Wiseman at http://www.smokinjoewiseman.com He has covered traditional folk and blues songs and writes his own. Click here http://www.smokinjoewiseman.com/free_song to download a copy of his latest single for free.

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BOOK REVIEW: Bob Dylan Chronicles: The Confession Of An Artist

Cover of Chronicles: Volume One

by Johnny Clark

Bob Dylan: Chronicles - Volume 1, is supposed to be the first part of a 3 volume memoir.

Published in 2004, there have been countless rumors about the release of a second volume. The author has just confirmed in a recent interview to Rolling Stone dated September 2012 that he was indeed working on it.

This is the second book written by the songwriter since his experiment with Tarantula (1971), and apart from the following three collections of his drawings Drawn Blank (1994), The Brazil Series (2009) and Man Gave Names To All The Animals (2009).

This first volume of Bob Dylan's Chronicles covers the year he arrived in New York, back in 1961, and the events surrounding two of his albums: New Morning and Oh, Mercy. Therefore, it avoids the times and recordings that turned the man into a legend.

This may be an attempt to reestablish his relationship with journalists on another level, as he explains: "Most people who write about music, they have no idea what it feels like to play it. But with the book I wrote, I thought, 'The people who are writing reviews of this book, man, they know what the hell they're talking about.'

This musician's autobiography is one of the few written by an artist himself, without the help of a journalist, and it's also well written. Up to the point where attacks have been made against the book using the same charges that have targeted his songs recently. Indeed, a lot of sentences from Chronicles seem to be reassembled phrases taken from other books.

But maybe that's why his memoir is so good: it was written like a song, so that the book itself reflects its own subject, and that the form underlines the content.

Furthermore, the book acknowledges the way Bob Dylan built his entire body of work. Charges of plagiarism fall flat the minute you realize what Chronicles is: not the list of events that made B. Dylan famous, but a collection of situations that have inspired the artist. The book actually lays down the foundation of his art, within the form of the work itself.

Because the book is not a biography, but a true chronicle. It's not the account of a person's life but "an extended account [...] of historical events, sometimes including legendary material, presented in chronological order and without authorial interpretation or comment", as defined by the free online dictionary.

Long after Bob Dylan was labeled the "voice of a generation", people keep scrutinizing his lyrics and building up theories, when the guy keeps repeating that he only wants to write songs and play them live. And this book says nothing more ...

Bob Dylan uses the same template for memoir and for his songs, giving the book the coherence and genuine quality that lacks so many other musical autobiographies. This is just another way to say that what matters is the music, and the music only.

If you like real music like Bob Dylan's music, than you might also check out Frans Schuman. He has recorded his first two albums with just a guitar and a harmonica. Some are folk songs and some have a different feel. But I think you might like it. Click here to download a copy of his latest single for free.

Cheers, Johnny Clark.

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OPINION: The 3 Best Electric Blues Songs of All Time

Cover of Gary Moore

by Joe T Wiseman

The blues is as rich a form of music as any other. Too often music lovers write the blues off as being too sad to listen to.

The truth is that the blues is full of toe tapping energy, the richness of life and often full of humour. The only question is; which are the 3 best electric blues songs of all time? Here is my list. I suggest that the top 3 are:

The Thrill is Gone

B.B. King is known by blues fans everywhere as the "king of the blues." His signature style is immediately recognizable and played on his custom made Gibson ES-355 named "Lucille" after one of his early songs of the same name. "The Thrill is Gone" was written by Roy Hawkins and Rick Darnell, in 1951, but it was B.B. who gave the song its life and energy when he recorded it in June of 1969.

It was the biggest hit of B.B.'s career and topped at number 15 on the Billboard charts. Irregardless of who plays the song, you cannot help but think of "the king" when you listen. B.B. first heard the song when he was a DJ in the 1950's and played the Roy Hawkins version. One thing is certain, the thrill of hearing B.B. play this song will be never gone!

Red House

There is no telling how great Jimi Hendrix would eventually have become. He was arguably one of the greatest guitarists ever and demonstrates his blues roots in this 12 bar classic. The intro and the solo are out of this world in complexity and creativity.

I remember first hearing the intro and being dazzled by its power having no idea it was Hendrix. It was the first time I had ever heard him play the 12 bar blues. The story is the classic blues theme of love and loss as our hero goes home and finds his partner is no longer there. I was amazed to learn that it was originally recorded by the Jimi Hendrix Experience in 1966, long before Jimi became a household name.

Our band immediately picked up the song and we played it on numerous occasions in the Stephenville area. It became a favorite of all who heard it and has remained one of my favorites and will be for a long time.

Still Got the Blues

Gary Moore who died of an alcohol related heart attack at the age of 58 was early on in his career the lead guitarist for groups Skid Row and Thin Lizzy. His greatest mentor and influence was Peter Green of Fleetwood Mac and eventually purchased Green's 1959 Standard Les Paul guitar.

The song "Still Got the Blues" and the album of the same name is arguably the greatest contribution that Moore made to the blues. The solo is enchanting and cannot be played only once. It solidly established Moore's solo career and resoundingly announced his return to the blues.

Whether or not you agree with my picks, there can be no argument that these are some of the best electric blues songs of all time. If you like blues or folk songs you might also like to check out Smokin' Joe Wiseman at http://www.smokinjoewiseman.com He has covered traditional folk songs and writes his own. Click here http://www.smokinjoewiseman.com/free_song to download a copy of his latest single for free.

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Who Killed Rock and Roll? Is Rock and Roll Dead In The Modern Day?

Rock & Roll Is Dead (Photo credit: Wikipedia)

by Alistair Crowley Fiend

Rock and Roll was a musical genre born from the ashes of American Blues with Bill Haley's "Rock Around The Clock" arguably being the first song to establish the genre officially.

Combining the styles of blues, country, gospel, and jazz; rock and roll took flight in the 1950's. Known as the 'white man's' blues; rock and roll soared to popularity with artists such as Elvis Presley, Jerry Lee Lewis, Carl Perkins, Johnny Cash, etc.

With such popularity, came excess, shock, sexual expression and groundbreaking cultural revolutions that cemented the genre as the permanent enemy of parents all over the world.

Yet, today's Rock music seems to not only be best friends with most parents; even worse, it has sort of just become completely irrelevant, repetitious, predictable, and faked. A quick look at the Billboard 200 is all you need to realize that new rock music doesn't sell anymore (with the exception of veteran acts).

Clearly there is a market for the genre considering some of the highest grossing tours are dominated with rock bands like U2, The Rolling Stones, and AC/DC taking the top 3 spots for the last 7 years according to Pollstar's "Top 50 Worldwide Concert Tours".

However, there are no new rock giants to take the mantle from their predecessors. You may be asking yourself "Who killed Rock and Roll?" and the answer is a mixture of the record giants, the fans, and the artists themselves. Furthermore, the more important question is not 'who', but 'when' did Rock and Roll die.

Ellen Goodman stated in a 1980's column, rock ratings: The outrageous edge of rock and roll has shifted its focus from Elvis's pelvis to the saw protruding from Blackie Lawless's codpiece on a WASP album. Rock lyrics have turned from "I can't get no satisfaction" to "I am going to force you at gunpoint to eat me alive."

Personally, I believe the 1980's was the last decade of great Rock music. Shock factor, public reaction, and crazy stage presence was important but the bands had the songs and the music was, although evolved, still very connected to the African American blues roots of the 1950's Rock and Roll.

Arguably, I'd say Rock and Roll died in the early/mid 1990's. The 1990's became festered with politically correct, greasy, yarling grunge rockers who weren't interested in the full Rock star package.

Bands like Nirvana, Pearl Jam, Soundgarden, and the rest of the Seattle movement were not interested in the larger than life rock spectacle (which dated back to the 1950's). Instead they decided to get on stage dressed like the homeless, and their music was a depressing reflection of their 'image'.

The grunge movement was a reaction toward the 1980's Hair Metal explosion. Although Hair Metal started off great, the market became oversaturated with bands both amazing and terrible that the Record industry spat out by the 100's. It was only natural that at the height of Rock music's popularity there would be a steep decline right around the corner.

The fans became sick and tired of the continuous watering down of Hair Metal perpetrated by the record companies and the larger than life attitude/lifestyle of the bands.

Essentially, Grunge was not simply rebelling against Hair Metal, it was rebelling against the heightened, decadent characteristics of Rock and Roll (just like punk rock did to the 70's stadium rock bands).

Rather than gloat about their money, cars, women, and drugs they became pretentious and ashamed to be or act like rock stars. In short, they handed over the larger-than-life attitude over to Rap.

The Grunge philosophy, similarly to that of the Punk Rock of the 1970's was a paradox; self-destructive by nature. Rock and Roll however, was explosive with the aim of a global take over; the more in your face the better.

Grunge was always meant to be anti-mainstream/anti-establishment but its eventual success led to it hypocritically becoming the mainstream music of the early/mid 1990's. Grunge had become a product, and just like punk rock it was short lived (pun intended. too soon?); its end marked by the 1994 suicide of Kurt Kobain.

Although Grunge is dead, the aftermath of its influence is unfortunately alive and well. Yarling is the quintessential staple of modern alternative rock acts such as Nickelback. Every popular modern rock band seems to be suffering from the formulistic influence of their Grunge predecessors.

Although this is considered new/modern rock there is hardly anything new about it seeing as the style has been dragged on for the better part of 15+ years. It comes as no surprise to see the success of modern rock bands slowly dissipating as the general public gets their Rock star fix from the veteran classic rock bands or even rap (which seems to have more of an excessive rock attitude than the modern rock bands).

If Rock and Roll wants to make a comeback it needs to go back to the basics. The veteran bands are proof that there is still demand for stadium rock. Only time will tell if the artists can fill that demand.

Read More Controversial Articles At: http://LeatherRebelOnline.Blogspot.com

http://LeatherRebel.com Your Guide To Classic Metal and Hard Rock!

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Paul Simon: Graceland

Cover of Graceland

by Dominic A Pearce

The years leading up to 1986 and the release of Graceland had left Simon reeling from a tepid public response to his previous album, 1983's Heart and Bones.

Simon himself had gone a long way in emancipating himself from the idea that he could solely be considered as a supporting artist but he had still struggled to reach the heights that he and Garfunkel had more than a decade before.

With his solo career under threat from edging towards lukewarm Simon needed inspiration.

Inspiration eventually arrived in the form of a Boyoyo Boys cassette entitled Gumboots, a song, as well as a dance (something or other to do with dancing in Wellington boots) that originated from the townships of Africa.

Simon fell in love with Gumboots' style taking major influences from it as well as African music and culture as a whole and sought to create an amalgamation of these new styles, that intrigued him so much, and the pop sensibilities that he was known for himself.

The result of these influences coming together was Graceland, a fantastically jubilant record that peaked at #1 in the UK and has drawn accolades from Q Magazine, Rolling Stone, Channel 4 and Time Magazine over its 22 year lifespan.

Graceland begins with The Boy In The Bubble's frenetic accordion introduction that is quickly joined by funky-pop bass, melodies, harmonies and too much quaint (or queer) instrumentation to list.

The Boy In The Bubble then continues in this way and offers a perfect example of Simon's trademark vocals, a sort of yearning hopefulness, uplifting yet cynical, superbly complementing the story telling ability of the lyrics that showcase Simon's cleverly delivered disgust at the differences and hypocrisies between the 1st world and the abhorrent conditions of the 3rd.

Another personal favourite is the track I Know What I Know, a sublime blend of influences, instrumentation and story.

After a delightful guitar romp for an intro Simon sings about meeting a girl, going with the flow and, effectively, lying so as to not ruin his chances ("Who am I, to blow against the wind?"). The real joy of the song however, reveals itself as the spastic genius of the chorus. Warm lyrics, whooping, hollering and some indescribable backing vocals, it is just a jubilant and elated moment of an already buoyant song.

The next track Diamonds On The Soles Of Her Shoes is the first track to fully make use of Ladysmith Black Mambazo, a male choral group from South Africa who sing in the style of the South African Zulus.

The group introduces the track with their deep, deep vocal harmonies as Simon sings his melody over the backdrop. A stunning introduction, the song then segues into a bouncing pop gem until the group rejoins Simon for the climax to the song.

After Diamonds On The Soles Of Her Shoes finishes the most instantly recognizable track begins with its unmistakable riff and works its way towards the famous chorus of "I can call you Betty, and Betty when you call me, you can call me Al".

There have been numerous interpretations of You Can Call Me Al's cryptic lyrics ranging from Simon and his wife at the time, Carrie Fisher (Princess Leia), mistakenly being called Al and Betty at a party they attended to the slightly more meaningful allusion that Betty is the Betty Ford Clinic and Al is short for alcoholic and the whole song is about a drunk, Simon or otherwise.

Regardless of its meaning (find your own if you need to) the song is nothing short of stunning, punctuated by Ladysmith Black Mambazo throughout, the track also has an opportunity to fit in the phattist bass solo ever recorded, whilst still making time for a great coda full of blaring horns and brilliant harmonies (make sure you check out the video as well, it's got Chevy Chase in it).

So, is Graceland in the top 100 albums of all time, as the polls and lists suggest? Should it be ranked higher than that even? I'd like to think so. Maybe it's the music, maybe the lyrics and maybe the sentiment that I enjoy most or maybe it's just that Graceland plays like a celebration, of its influences and life in general.

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VIDEO: God by John Lennon

Hi all,

Love this one by John Lennon!

From the creator of the video (henriquebissoli): An original video I created of John Lennon's song God from the Plastic Ono Band album. It features scenes from the movie "Imagine", footage shot the night he was killed, quotes, and photos from the internet.

Uploaded onto YouTube by henriquebissoli

VIDEO: Hocus Pocus by Focus, Live '73

Hi readers,

Dutch prog-rockers Focus giving a breathtaking performance on NBC´s Midnight Special.


Uploaded to YouTube by loerez

Thijs van Leer - Vox, Flute, Organ
Jan Akkerman - Guitar (-god!)
Bert Ruiter - Bass
Pierre van der Linden - Drums

Announced by the lovely Gladys Knight

VIDEO: Mountain: Live on the King Biscuit Flower Hour

Hi all,

Here's a great example of good honest rock n' roll by a very under-rated band of the period.

Uploaded to YouTube by TOM HAM

1 You Better Believe It 0:00
2 Theme for an Imaginary Western 6:58
3 Never in My Life 11:56
4 Jingle Bells 16:25
5 Get Out of My Life Woman 18:50
6 Mississippi Queen 25:07
7 It's for You 32:01
8 Nantucket Sleighride 39:40
9 Roll Over Beethoven 50:30
10 Whole Lotta Shakin' Going On 52:20
11 Bonus Interview 54:52

VIDEO: 21st Century Schizoid Man by King Crimson

Hi all,

Anyone for a classic?

Uploaded to YouTube by gauchounesp

VIDEO: Buddy Guy in 1969 with Jack Bruce and Buddy Miles

Hi all,

A rare treat with Buddy Guy performing a classic with a magical rhythm section of Jack Bruce and Buddy Miles. Enjoy: from http://solo-blues.blogspot.com/. Buddy plays "Mary Had A Little Lamb" and "My Time After Awhile", straight from his album "A Man And The Blues", with his British friends.

Uploaded to YouTube by mercydee

The Best Bob Dylan Lyrics - And Why

Cover of Highway 61 Revisited

by Johnny Clark

Bob Dylan has always been considered as a great writer, some have "raised" him to the status of a poet, and his lyrics are literally scrutinized.

Even though I think we shouldn't separate his words from his music and take his songs as a whole, nobody can deny that some of his lines stand on their own.

Let's get a look at the best Bob Dylan Lyrics and select those that are truly outstanding:

• "Oh God said to Abraham, "Kill me a son" / Abe says, "Man, you must be puttin' me on" / God say, "No." Abe say, "What?" / God say, "You can do what you want Abe, but / the next time you see me comin' you better run"", from "Highway 61 Revisited". This is a classic form of lyric used by B. Dylan during the first period of his work of art. It's highly influenced by the talking blues form that he takes here a step further with this very rhythmic dialogue.


• "He not busy being born is busy dying" from "It's Alright Ma (I'm Only Bleeding)". One of the greatest Dylan one liners, the reality of its content acts like ice water in your veins as this verse is sharp as a double edged knife, with no handle: there is no doubt that the singer-songwriter who is constantly reinventing himself follows this guideline.


• "I wish that for just one time / You could stand inside my shoes / You'd know what a drag it is / To see you" from "Positively 4th Street". A perfect example of Mr. Dylan's sarcastic side. The construction of the sentence makes the reader start to feel empathy for the narrator and the burden of being in his shoes before the punch line comes stripping the latter of his victim's clothes.


• "If you ever go to Austin / Fort Worth or San Antone / Find the Barrooms I got lost in / And send my memories home." From "If You Ever Go To Houston". You can see with this one how important the form of a verse can be. This line could make it to the top only for having "lost in" to rhyme with "Austin". Just add to this the content's power that clearly depicts the desperation and nostalgia of a world that no longer exists.


• "I'm going to raise me an army / Some tough sons of bitches / I'll recruit my army / From the orphanages" from "Thunder On the Mountain". Another great rhyme: "bitches" /" orphanages" even though it is a false one. This proves that Bob Dylan doesn't use random rhymes and that the sense can be underlined with style so that the reader doesn't miss the thunder pounding on the Mountain.

While it is true that a lot of great songs have very simple lyrics, Bob Dylan is an artist that makes it obvious that good lyrics clearly add value to a song.

If you like Bob Dylan and want to expand your horizon than you might also check out Frans Schuman. His first two albums are made of guitar and harmonica only tracks with interesting lyrics that I think you might like. Click here to download a copy of his latest single for free.

Cheers, Johnny Clark.

Article Source: http://EzineArticles.com/?expert=Johnny_Clark
http://EzineArticles.com/?The-Best-Bob-Dylan-Lyrics---And-Why&id=7352149

OPINION: This Is The Best Bob Dylan Album, Period

Cover of World Gone Wrong

by Johnny Clark

So, Bob Dylan is the greatest singer songwriter of all time.

He is a poet, a protest singer, the voice of a generation, a painter, a legend. He has sold millions of records, received several awards and continues to release great albums very frequently while touring constantly since 1988.

But which record can be considered as the best bob Dylan album?

This is a difficult question considering the fact that he has released 35 studio albums to date, most of which are considered to be great and that even his weirdest records have sold relatively well.

The singer-songwriter's work can be classified into 3 categories:

• The great albums (the first and last ones): Bob Dylan (1962), The Freewheelin' Bob Dylan (1963), The Times They Are a-Changin' (1964), Another Side of Bob Dylan (1964), Bringing It All Back Home (1965), Highway 61 Revisited (1965), Blonde on Blonde (1966), John Wesley Harding (1967), Nashville Skyline (1969), Good as I Been to You (1992), World Gone Wrong (1993), Time Out of Mind (1997) Love and Theft (2001), Modern Times (2006), Together Through Life (2009), Christmas in the Heart (2009), Tempest (2012).


• The seventies: Self Portrait (1970), New Morning (1970), Pat Garrett & Billy the Kid (1973), Dylan (1973), Planet Waves (1974), Blood on the Tracks ( 1975), The Basement Tapes (1975), Desire (1976), Street Legal (1978), Slow Train Coming (1979).


• The eighties: Saved (1980), Shot of Love (1981), Infidels (1983), Empire Burlesque (1985), Knocked Out Loaded (1986), Down in the Groove (1988), Oh Mercy (1989), Under the Red Sky ( 1990).

We could select nominees: his first nine albums, obviously, his most personal album: Blood on the Tracks, his first Christian album: Slow Train Coming, Desire, his most sincere effort: World Gone Wrong, his resurrection album Time Out of Mind, Together Through Life and his latest album: Tempest.

Or sidestep the question and select a greatest hits album.

But the answer is blowing elsewhere. As the singer songwriter said himself, his albums are just recordings of songs at a given time and his real work of art comes to life onstage, where he reshapes his songs constantly. But a live album would only be another recording of songs at another given time.

The correct answer is to be found in the reason why B. Dylan has such a devoted following and why people keep continuing to buy tickets and records. He is a great artist because he keeps reinventing himself restlessly. And his best album is his next.

Bob Dylan is an artist that is always on the move and never repeats himself. This is the key to his longevity and the reason of his success to this day.

If you like Bob Dylan than you might also check out Frans Schuman. His first two albums are guitar and harmonica only tracks. Some are folk songs and some have a different feel. But I think you might like it.

Click here to download a copy of his latest single for free.

Cheers, Johnny Clark.

Article Source: http://EzineArticles.com/?expert=Johnny_Clark
http://EzineArticles.com/?This-Is-The-Best-Bob-Dylan-Album,-Period&id=7351008

VIDEO: Angel by Jimi Hendrix

Hi all,

Another Hendrix classic!


Uploaded by ImShopRat25

NEWS: WOMADELAIDE 2013 Line-Up Announcement!

Cover of Hugh Masekela

by WOMADELAIDE: Sounds of the Planet

SECOND LINE UP ANNOUNCEMENT!

The second line up announcement for WOMADelaide 2013 is here! Joining The Cat Empire, Hugh Masekela, Jimmy Cliff and The Herd are:

• Soweto Gospel Choir
• Antibalas
• The Tallest Man on Earth
• Amparo Sanchez
• Tuba Skinny
• Moriarty
• The Correspondents
• Abigail Washburn & Kai Welch
• Ayarkhaan
• Jordi Savall
• LAU
• Zoe Keating
• Manjiri Kelkar
• Sudha Ragunathan
• Savoy Family Cajun Band
• Nidi D'Arac
• Mara! & Martenitsa Choir
• Hugo Mendez
• Mari Boine
• Psarantonis
• Seth Lakeman
• Shunsuke Kimura & Etsuro Ono
• Christine Salem
• Dhafer Youssef

To see the line up so far CLICK HERE

Another 40 groups or so will be announced on 22 November when the whole line up is revealed!

EARLY BIRD TICKETS ENDING THIS WEEK Early Bird discounted tickets close this Wednesday 31 October so be sure to get in quick and save on your 2013 festival pass! CLICK HERE for information and to purchase tickets.

CONGRATULATIONS TO COOPERS WOMADelaide would like to extend a big congratulations to our beer sponsor Coopers for winning a host of awards at the 19th annual Australian Liquor Industry Awards (ALIA) event in Sydney.The family-owned brewer won 7 out of 11 nominated awards and received high commendations in three other categories. Congratulation Coopers and we look forward to seeing you at the festival again in 2013!

STALLHOLDER APPLICATIONS CLOSE THIS WEEK

This is your last chance to apply for a stall at WOMADelaide 2013. Applications for Charity, Catering and Retails stalls close this Friday 2 November. For more information and the apply online CLICK HERE.

Bob Dylan Poetry: True Lies Or Real Fraud?

Bob Dylan at Massey Hall, Toronto, April 18, 1980 - Photo by Jean-Luc Ourlin (Photo credit: Wikipedia)

by Johnny Clark

Is Bob Dylan a poet or a songwriter?

While the artist born Robert Allen Zimmerman changed his name to Bob Dylan in reference to Dylan Thomas, many argue that whereas a poem stands up by itself, a song can only come to life when the lyrics are sung.

Moreover, one way or the other, is he a true artist? From the very beginning, the human being has always been under the influence. Of his surrounding, of various kinds of products, of his own story and/or of History. And this is mostly true for artists. Let's see if there is such an object as the Bob Dylan poetry and outline some major facts.

1. "Yippee! I'm a poet, and I know it. Hope I don't blow it". While it is obvious that B. Dylan was influenced by Woody Guthrie on the songwriting side, it is also evident, since they have become friends, that he knew the works of beat poet Allen Ginsberg. But if you dig further, you will find such names as French poets Arthur Rimbaud, Paul Verlaine, Charles Baudelaire (whose Fleurs du Mal offers lots of oxymoron, a figure of speech often used by Dylan) but also William Shakespeare, John Milton, William Butler Yeats or T.S. Eliot.

2. An extended study of his poetry has led some to suspect more than just influences but cases of plagiarism. In Working Man Blues #2, Bob Dylan writes "In the dark I hear the night birds call, I can hear a lover's breath. I'll sleep in the kitchen with my feet in the hall, Sleep is like a temporary death". These lines may seem very familiar to anyone who came across Henry Timrod's Two Portraits which contains the following verse: "Which, ere they feel a lover's breath, Lie in a temporary death".

Mr. Dylan has indeed confessed reading civil war material prior to releasing the album Modern Times, some of which might have been from contemporary poet H. Timrod. As to whether this is plagiarism, he has answered the question in a recent interview ...

3. What nobody can deny is that Bob Dylan, who started covering/rewriting talking blues, masters the poetic form and has made a trademark of his by underlining the meters of his lyrics through his notorious phrasing. All of which emphasize the rhythm of his songs which we have described below for It's All Over Now, Baby Blue.

HIGH-way is for GAM-blers, better USE your sense
TAKE what you have GA-thered from co-IN-cidence
[Rhythm: DAH-dah-dah-dah DAH-dah-dah-dah DAH-dah-dah]
The EM-pty-handed PAIN-ter from your STREETS
Is DRAW-ing crazy PAT-terns on your SHEETS
[Rhythm: Dah -DAH-dah-dah-dah DAH-dah-dah-dah DAH]

The point is that Bob Dylan is a master at playing with his art form and whatever you might think about his inspiration, the question is would you ever have heard about Henry Timrod without Modern Times?

And how would you ever hear about Frans Schuman without B. Dylan? His first two albums are made of guitar and harmonica only tracks. Some are folk songs and some have a different feel. But I think you might like it.

Click here to download a copy of his latest single for free.

Cheers, Johnny Clark.

Article Source: http://EzineArticles.com/?expert=Johnny_Clark
http://EzineArticles.com/?Bob-Dylan-Poetry:-True-Lies-Or-Real-Fraud?&id=7341293

NEWS: Pete Townshend on the Future of the Who: Guitarist Opens Up About His Troubled Childhood, Writing New Material and More

by Patrick Doyle, in Rolling Stone: http://www.rollingstone.com/music/news/pete-townshend-talks-about-his-life-and-music-in-revealing-conversation-20121010?utm_source=dailynewsletter&utm_medium=email&utm_campaign=newsletter

 

Hundreds of die-hard Who fans lined up outside Barnes & Noble at New York's Union Square last night for a revealing conversation between Pete Townshend and Rolling Stone's editor and publisher Jann S. Wenner to celebrate Townshend's new book, Who I Am: A Memoir. 

 

The Who performing at the Rotterdam Ahoy' (Wikipedia)

The 45-minute interview spanned Townshend's epic life, with the guitarist discussing everything from how his troubled, abusive childhood influenced the Who's darker music to his difficulty continuing the Who without Keith Moon and John Entwistle. 

 

"It ended in a good place," he said of his personal struggles. "I'm alive, I'm happy, I'm healthy and I'm good at what I do and I find it easier." 

Wenner famously interviewed Townshend in Rolling Stone in 1968, when the guitarist opened up about the concept of Tommy. Their shared history was clear; at one point, Wenner recalled the two watching the Stones record Let It Bleed in London. Townshend said he started writing Who I Am in 1997, but pulled the plug after his publisher wasn't satisfied with a draft.

"They wanted the sex, drugs and rock & roll book and I didn't want to do that," he said. "I came back to it in 2005, put it down again and I looked at my watch and said 'I'm 66, I've got to get it finished!'" Townshend's goal, he said, was "to write about the way the postwar period in the U.K. set up the conditions which was exactly right for us to discover our music."

From the Archives: Pete Townshend: The Rolling Stone Interview, Part One

But the project forced Townshend to confront the darker side of his childhood. Onstage, he described a period between ages four and six when his parents sent him to stay with his grandmother, who he described as "very Victorian, dominating, bullying and screwy with no moral basis." Townshend visited his mother while working the book, who helped him recall memories he had shut out.

"I wanted to be angry, but it was exactly the opposite," he said. "She filled me in on these two years and I started to see why so much of my writing is so dark, why so much of my cold presence on the stage appeared to be angry, rage ... what I discovered in the book is all of this stuff made me who I am. It was great because it had tempered me and done something in the way I process everything I see around me and come across creatively. The audience loved what I did because they too each had their own shit."
 

Wenner also asked Townshend what he thought about other recent rock autobiographies. He praised Dylan's Chronicles, calling it "poetic," but thought less of Keith Richards' Life and Eric Clapton's Clapton. "I got about halfway through [Life] and I started to find myself thinking 'I know all this,'" he said. 

 

Discussing Clapton, Townshend said, "I don't know that Eric does himself a great service. He's such a good friend and I think he makes himself look too uncomplicated. I think he's a lot deeper, a lot darker, a lot more interesting than he portrays himself." 
Townshend also acknowledged that Roger Daltrey has been the one pushing the band to take risks lately, adding that he's given the singer control of production and onstage video for the band's upcoming Quadrophenia tour. "He's working on a new dramatic scenario for it, working on a new video, trying to find a way to be comfortable being the narrator," he said.

From the Archives: Pete Townshend: The Rolling Stone Interview, Part Two

Townshend also opened up about the difficulty he's faced continuing the band after John Entwistle's death in 2002. "We feel the ghosts of Keith and John," Townshend said. 

"The second phase of the Who in a sense was really when we started to tour again around the year 2000, 2001. We were still able to evoke the sound, particularly with Zak Starkey. Now it's much more difficult even though Zak's there. John's sound was very big and rich and organic. When John died, there was a hole in the sound onstage and I was able to grow into that and find space. And I have to say as a guitar player, I prefer working without John. But as a member of the Who creating the incredible, powerful, driving, visceral sound, he's gone. I can't really do that again." 

At one point, Wenner asked Townshend why he hasn't made a solo album in 20 years. "I write lots of music, I record lots of music. I probably write a song every couple of days," he said. "I have a very big archive of unfinished material."

Currently, Townshend is working on the musical project Floss, which he said he is about two-thirds finished, which he described as "a story with music, characters, a Aristotelian plot line very different from what I've done in the past ... the thesis is we're all terrified. We're living in terror, we're living in anxiety, discomfort and the fear that we have is for the future, the fear for our children's future, we're worried about the planet, we're worried about terrorism, being able to sustain life as we love it, we're afraid we can't guarantee peace."

Townshend said he loves Lady Gaga and constantly listens to music. "I just kind of surf Spotify and last.fm and iTunes and stick it on my iPhone. I listen to a lot of new music." He added that he predicted digital downloads "back in 1985 and before that in 1971. I knew there the digital revolution would change the way art happens and is made and is sold and we're not finished yet." 

The conversation was followed by a brief acoustic performance, with Townshend playing soulful renditions of "Drowned" from Quadrophenia and "Won't Get Fooled Again" from Who's Next.

Related

• From the Archives: Pete Townshend: The Rolling Stone Interview, Part One
• From the Archives: Pete Townshend: The Rolling Stone Interview, Part One
• Book Review: Pete Townshend's 'Who I Am' Could Be the Most Conflicted Rock Memoir of All Time
• Pete Townshend Dishes on Mick Jagger, Jimi Hendrix and Keith Moon in New Memoir
• The Who Announce 36-Date 'Quadrophenia' Tour

VIDEO: All Along the Watchtower by The Jimi Hendrix Experience

Hi all,

A classic! No more needs to be said. The Video is set to photos of Jimi!


Uploaded to YouTube by Roxanne Werbicki

Bob Dylan Hits - The Facts Behind The Legend

Bob Dylan performing in Rotterdam (Wikipedia)

by Johnny Clark

Everyone will agree that Bob Dylan has become more than just one of the greatest American musicians of all time but succeeded to reach the status of a true legend during his lifetime.

He has changed the course of popular music to the point where there is now a time before and a time after Bob Dylan in contemporary music history.

While I am one of his millions of followers that will defend the fact that he is the best singer-songwriter of all time, when the question of "what songs are actual Bob Dylan hits" was raised at a friend's party late last Saturday night, everyone was pretty confident they had the answers.

His #1 hits would have to be: Mr. Tambourine Man, Knocking On Heaven's Door and Like A Rolling Stone.
Well I did some research a little while after and came up with these more or less surprising facts ... and let's get this straight right away: I will only be talking here about songs written and interpreted by Bob Dylan, and my research is limited to the US top 100 chart.

1) The first fact I discovered is that the greatest singer-songwriter of all time never actually reached the number one spot, ever. But our assumptions as to which songs are Bob Dylan's ultimate hits were part right.

His top song, peaking at #2, is indeed Like A Rolling Stone (which stayed 12 weeks in the charts while the other song he has that ranked similarly but lasted only 10 weeks is Rainy Day Women #12 and 35). Knockin' On Heaven's Door is his 5th greatest hit peaking at only #12 while Mr. Tambourine Man never made the top 100 chart.

2) Besides the above mentioned Like A Rolling Stone and Rainy Day Women #12 and 35 that both ranked at #2, Bob Dylan has only two other songs that made the top 10 which are: Lay Lady Lay (peaked at #7 and stayed 14 weeks in the chart) and Positively 4th Street (also reached #7 but only lasted 9 weeks).

3) Bob Dylan's most hit-loaded album is unsurprisingly Blonde on Blonde, considered by many as his masterpiece, with the following tracks besides Rainy Day Women #12 and 35: I Want You, Just Like A Woman, and Leopard-Skin Pill-Box Hat (respectively reaching #20, 33 and 81).

Second comes Nashville Skyline with 3 songs making the top 100 which are, apart from Lay Lady Lay: Tonight I'll Be Staying Here With You reaching number 50 and I Threw It All Away taking the last spot on Bob Dylan's greatest hits list at #85. His third album with the most hits is Desire with singles Hurricane (Part I) (#33) and Mozambique (#54).

While it is clear that there are not so many actual Bob Dylan hits and that the man is not one of the best selling artist of all time he remains the greatest proof that a real artist can have a huge success and still stand above such figures.

If you like Bob Dylan than you might also check out Frans Schuman. His first two albums are made of harmonica and guitar only tracks. Some are folk songs and some have a different feel. But I think you might like it. Click here to download a copy of his latest single for free.

Cheers, Johnny Clark.

Article Source: http://EzineArticles.com/?expert=Johnny_Clark
http://EzineArticles.com/?Bob-Dylan-Hits---The-Facts-Behind-The-Legend&id=7323857

Confessions of a Quit Addict

Turn On, Tune In, Drop Out (Original Movie Soundtrack) (Photo credit: Wikipedia)

by Barbara Graham, UTNE Reader: http://www.utne.com

 

By the time I heard Timothy Leary chant “Turn on, tune in, drop out” from the stage of New York’s Fillmore East, I had already quit college. 

 

The year was 1967, and Leary’s battle cry was for me more a confirmation of what I already believed than a call to action.

 

I had never been much good at doing things that didn’t arouse my passion. 

 

Even when I was a young girl, it was obvious that I had been born without the stick-to-it, nose-to-the-grindstone gene. 

 

I was stubborn, tenacious in my devotion to the people and things I loved, disdainful of everything else. There was no in-between. 

 

In high school I got straight A’s in English and flunked math. When it came time for college, I enrolled at NYU because it was the only way I could think of to live in Greenwich Village and get my parents to pick up the tab. But I rarely made it to classes and dropped out one month into my sophomore year.

That was the first time I felt the rush of quitting, the instant high of cutting loose, the biochemical buzz of burning my bridges. The charge had to do not with leaving college for something else, but with leaving, period - the pure act of making the break.

Suddenly it seemed possible to reinvent myself, to discard my old life like last year’s outfit and step into a new one - free from the responsibilities and relationships that had dragged me down. I got an unlisted telephone number and warned my parents to stay away. “When one jumps over the edge, one is bound to land somewhere,” wrote D.H. Lawrence, and for a long time this was my mantra.

It didn’t take long for me to find a collaborator, a master of disappearing acts who made me look like a rookie. Brian was ready to morph one life into the next on the turn of a dime. I became his loyal apprentice and during the summer of 1968, shortly after Bobby Kennedy and Martin Luther King Jr., were gunned down, we sold everything we owned and quit our jobs, our friends, our apartment, the urban jungle, America and the blight of Vietnam, and fled to Europe.

But our new life didn’t quite match our dreams: As winter neared, we found ourselves living in a rusty old van on the outskirts of Rome, hungry and cold and hard up for cash. From there, we boarded a freighter for Puerto Rico - which turned out not to be the nirvana we’d imagined, either - especially after the little episode with customs officials over a speck of hashish.

Still, a pattern had been set: living in one place, dreaming of another, working at odd jobs (mine included secretary, salesgirl, cocktail waitress, draft counselor, nude model, warehouse clerk, candle maker), earning just enough money to get us to the next destination.

We crisscrossed the United States, went north to British Columbia, and lived in every conceivable sort of dwelling from tenements and tents to farmhouses and plywood shacks. Sometimes I’d grow attached to a place and plant a garden, thinking that this time things would work out and we’d stay forever - or at least long enough to see the flowers bloom.

But something always went wrong: It rained too much (British Columbia), the cost of living was too high (Colorado), the air wasn’t pure enough (Southern California), or we couldn’t find work that was meaningful, not to mention lucrative enough (everywhere).

Read more: http://www.utne.com/Mind-Body/Confessions-Quit-Addict-Starting-Over.aspx#ixzz29i39tgLJ

BOOK REVIEW: Pete Townshend Dishes on Mick Jagger, Jimi Hendrix in New Memoir

Highlights from Rolling Stone's excerpt of the blunt and fearless 'Who I Am': http://preview.tinyurl.com/94wtugd (from www.rollingstone.com)

A recent issue of Rolling Stone (September 28th), features an exclusive excerpt from Pete Townshend's new memoir, Who I Am, which traces his life from the formation of the Who in 1962 through their historic headlining slot at Woodstock seven years later.

English: 1967 - The Who - Pete Townshend (and Keith Moon in the rear). The boys backstage before their gig in Ludwigshafen, Germany. (Photo credit: Wikipedia)

In addition to many other revelations, Townshend writes that he was concerned his co-manager Kit Lambert was having an affair with Mick Jagger.

"I felt a little jealous," Townshend writes. "Mick is the only man I've ever seriously wanted to fuck. He was wearing loose pajama-style pants without underwear; as he leaned back I couldn't help noticing the outline of his ample cock lying against the inside of his leg. From then on, I encouraged the band to arrange our 'equipment' for maximum effect, especially onstage or in photographs."

Other highlights from the excerpt:

Townshend writes about the first time he met Keith Moon:

"As soon as he began to play we knew we'd found our missing link. Roger tried to befriend Keith, but Keith kept his distance. He also seemed to see Roger's success pulling girls at our gigs as a challenge. They sometimes chased the same girls in these early days, and it was never clear to me who was winning ... Keith's main pal in the band became John [Entwistle]. They were hysterically funny together and shared an apartment for a while. Roger and I got the impression they did almost everything together, including having sex with girls. It must have been mayhem."

"My Generation" was written while the Who were on tour in Holland and Scandinavia in 1965.

"I produced several sets of lyrics and three very different demos," Townshend writes. "The feeling that began to settle in me was not so much resentment towards those Establishment types all around my flat in Belgravia, but fear that their disease might be contagious. What was their disease? It was actually more a matter of class than age. Most of the rich kids around me were striving to be corporate executives of the future - not rebelling against anything. I associated their values with stasis, and therefore with death."

Backstage at the Monterey Pop Festival, Jimi Hendrix and Townshend couldn't agree on which act should close out the show. Hendrix eventually got the slot after a coin toss. At the airport the next day Townshend ripped into the Who's publicist over the matter.

"Jimi got wind of our little spat in the airport lobby and started giving me the evil eye," writes Townshend. "I walked over to him and explained that there were no personal issues involved. He just rolled his head around - he seemed pretty high. Wanting to keep the peace, I said I had watched his performance and loved it, and when we got home, would he let me have a piece of the guitar he had broken? He leaned back and looked at me sarcastically: 'What, and do you want me to autograph it for you?'"