Wednesday, October 31, 2012

NEWS: WOMADELAIDE 2013 Line-Up Announcement!

Hugh Masekela
Cover of Hugh Masekela

by WOMADELAIDE: Sounds of the Planet


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


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!


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.
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Sunday, October 28, 2012

Bob Dylan Poetry: True Lies Or Real Fraud?

Bob Dylan at Massey Hall, Toronto, April 18, 1...
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.

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Friday, October 26, 2012

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

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'
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 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.
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Wednesday, October 24, 2012

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

Monday, October 22, 2012

Bob Dylan Hits - The Facts Behind The Legend

English: Bob Dylan performing in Rotterdam, Ju...
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.

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Friday, October 19, 2012

Confessions of a Quit Addict

Turn On, Tune In, Drop Out (Original Movie Sou...
Turn On, Tune In, Drop Out (Original Movie Soundtrack) (Photo credit: Wikipedia)
by Barbara Graham, UTNE Reader:
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).
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Thursday, October 18, 2012

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': (from

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 ...
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?'"
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Monday, October 15, 2012

VIDEO: Johnny Winter: "Be Careful With A Fool" (1970)

Hi readers,

The man live at the Gladsaxe Teen Club in Denamrk in 1970. The lineup is:

Johnny Winter: Guitar/vocal
Uncle John Turner: Drums
Tommy Shannon: Bass

Uploaded to YouTube by MrRoryBlues

Saturday, October 13, 2012

VIDEO: Learning To Fly by Pink Floyd

Hi readers,

This is not from the 1960s but it is a beautiful classic!

Uploaded to YouTube by MattKoz10

Friday, October 12, 2012

VIDEO: Love Street by The Doors

"Love Street" is a 1968 song by The Doors which appears on their album Waiting For The Sun. The song is about the street in Laurel Canyon, California, where Jim Morrison lived with his girlfriend Pamela Courson. Love Street was one of the many songs Jim wrote for Pam.

Uploaded to YouTube by


She lives on Love Street
Lingers long on Love Street
She has a house and garden
I would like to see what happens

She has robes and she has monkeys
Lazy diamond studded flunkies
She has wisdom and knows what to do
She has me and she has you

She has wisdom and knows what to do
She has me and she has you

I see you live on Love Street
There's this store where the creatures meet
I wonder what they do in there
Summer Sunday and a year
I guess I like it fine, so far

She lives on Love Street
Lingers long on Love Street
She has a house and garden
I would like to see what happens

Thursday, October 11, 2012

VIDEO: Procol Harum - A Whiter Shade Of Pale

Hi all,

Here's one of the great classics from 1967, complete with a fascinating video!

Uploaded to YouTube by

Wednesday, October 10, 2012

VIDEO: Autosalvage - Medley: The Great Brain Robbery, Glimpses Of The Next World's World

Hi all,

Here's a fantastic psychedelic rarity from the 1968 LP ''Autosalvage'

Uploaded to YouTube by funkyfreshbro

Friday, October 5, 2012

VIDEO: Soul Kitchen by The Doors

Hi all,

Here's one of my favourites from the 1967 album, The Doors.

Tuesday, October 2, 2012

Beatles Cartoon Debuted 47 Years Ago

by Sterling Whitaker, on

47 years ago today, Sgt. Pepper taught the band to play ...

Actually, that’s not true, but it was 47 years ago - on September 25, 1965 - that ABC first broadcast ‘The Beatles,’ a 30 minute Saturday morning cartoon that became an instant ratings smash for the network.

Several years before they all lived in a yellow submarine (or so the song claimed), the legendary British rockers were first immortalized in animated glory, lending their music - but not their actual speaking voices - to the show.

The series used the music of the Beatles to frame the individual episodes, each of which centered around the completely made-up and fanciful adventures of the lads from Liverpool.

Perhaps best known as the voice of Boris Badenov from ‘Rocky & Bullwinkle,’ actor Paul Frees voiced the characters of John Lennon and George Harrison, while Lance Percival provided the voices of Paul McCartney and Ringo Starr.

Airing from 1965 until 1967 in its original run, and through 1969 in reruns, the show lasted for 39 total episodes that marked the first time an animated series had portrayed real, living people. The series’ executive producer, Al Brodax, and producer George Dunning would also be involved in the production and direction of ‘Yellow Submarine.’

According to the book ‘Beatletoons: The Real Story Behind the Cartoon Beatles,’ the musicians initially hated the show, but later embraced its campy portrayal of the period when they still sported mop tops and suits. “I still get a blast out of watching the Beatles cartoons on TV,” John Lennon said in 1972.

“I always kind of liked [the cartoons]. They were so bad or silly that they were good, if you know what I mean,” George Harrison said in 1999. “And I think the passage of time might make them more fun now.”

‘The Beatles’ series was re-broadcast in 1980 and again in 1987 by MTV, and later by the Disney Channel. Apple Corps, Ltd. purchased the rights to the show in the ’90s, and McFarlane Toys have released a line of Beatles figures based on the animated series.

The series’ official web site states that despite popular demand, Apple has no immediate plans to release the show in official DVD versions, though other DVD versions exist. Widgets