That guy in the grey suit looks a little familiar!
Thursday, 27 July 2017
Saturday, 11 April 2015
Monday, 28 July 2014
“The penis doesn’t care about race, creed, and colour. The penis wants to get to its homeland. It wants to go home.”
1. Do Right
2. The Operative
3. Digital Rasta
4. Spies In The Wires
5. Theme From Earthshaker
6. James Brown
8. Blue Heat
Sunday, 27 July 2014
One of the favorite stories told regarding Lousiana State University is the one of the day Stacie ”Stormy” Laurence, a New Orleans stripper, came on campus (March 4, 1948).
She arrived at noon and started her stripping dance before the Huey P. Long Field House, as more than thirty students looked on.
That's when the trouble occurred.
The students, enraged by her show, stormed the stripper, throwing her into the lake.
They turned over her van and destroyed all the band equipment as the band members fled.
Student Body President Gillis Long tried to quiet the crowd, but the mob prevailed.
Poor Stormy picked up a number of injuries in the fracas!
From the Lousiana State University Yearbook
Images by Edward Clark
"A panoramic vision of Bob Dylan, his music, his shifting place in American culture, from multiple angles. In fact, reading Sean Wilentz’ Bob Dylan in America is as thrilling and surprising as listening to a great Dylan song."
"All the American connections that Wilentz draws to explain the appearance of Dylan’s music are fascinating, particularly at the outset the connection to Aaron Copland. The writing is strong, the thinking is strong – the book is dense and strong everywhere you look."
As we rode through the canyons through the devilish cold, I was thinking about Isis how she thought I was so reckless.
A cover of a track from Bob's great 'Desire' LP from 1976; the occult-laden hymn to Osiris that is 'Isis'.
Yap, Johnny Gillis - who's referred to himself in some interview I've seen as Dylan's son! - together with the chick who was allegedly his ex-wife (also claimed for years by Johnny to be his sister) apply the White Stripes 'formula' to the song here.
All of which turns out pretty good. Improves the original, if anything.
Johnny and the missus/sister performed this live on a number of occasions, but never released an official version.
This one's from a studio demo.
Parquet Courts perfected their guitar clang on 2013's Light Up Gold – if all they wanted to do was make the exact same album again, most of us would have been delighted. But these Brooklyn dudes go even deeper on Sunbathing Animal. They've outgrown the Pavement comparisons – these songs make you wonder if you're hearing early Wire jam with Creedence while Thurston Moore brews the tea. Austin Brown and Andrew Savage trade off deadpan vocals, mostly about arty girls, stretching out for fantastic guitar rambles like "Instant Disassembly."
Best in show: "Raw Milk," a sweetly demented love ballad to a dog-walker.
-- by Rob Sheffield rollingstone.com
In the female prison there are seventy women and I wish it was with them that I did dwell.
Bobby O'Dylan (a wandering Jew of the lost Dooblin tribe!) gives his brogue a run out with a rare, and rather fine, cover of the seminal and powerful "The Auld Triangle" - from the legendary much bootlegged 'Basement Tapes' where the track is wrongly named "The Banks of the Royal Canal."
On the legendary Basement Tape reels - recorded by Bob and The Band in the summer of 1967 at Big Pink in West Saugerties, NY - Garth Hudson of the Band titled this song "The Banks of the Royal Canal" and all subsequent versions of the Basement Tape bootleg have referred to it by this incorrect title.
In any event, the beautiful slowed down and lyrical rendition by Bob and the boys has endured for four decades.
"The Auld Triangle" is a masterpiece of modern songwriting. A song that seems to exist out of time.
A song that rings out in a thousand Irish bars nightly! A song that must've been rattled out by a millionsingers down the years! Best of all though in the definitive version by Luke Kelly & The Dubliners.
"The Auld Triangle" is a tale of hard days in the slammer, set in Mountjoy Prison (aka "The Joy"), an establishment of British colonial legacy located in the parish of Phibsboro (on the north side of Dublin) and situated right on the banks of the Royal Canal.
The auld (i.e "old") triangle in the title refers to the large metal triangle which was beaten daily in The Joy to waken the inmates ("The Auld Triangle goes Jingle Jangle") early in the morning. It was, in earlier times, also rung to announce the last march of the latest "Dead Man Walking" before his impending death/murder.
It's still a cloudy issue as to who the real creator was!
The song was claimed to have been written by the famous Irish novelist and playwright (and professional drinker!) Brendan Behan for his 1954 play "The Quare Fellow", the first occasion the song was publicly performed. However, many sources suggest that the song had actually been written by his brother Dominic Behan!
Brendan, though, had spent time interred in Mountjoy. In 1942, during the timeframe leading to the IRA's Northern Campaign, Behan was tried for the attempted murder of two Irish police detectives. The assassinations were to take place in Dublin while at a commemoration ceremony for Wolfe Tone, the father of Irish Republicanism. Sentenced to fourteen years in prison, he was incarcerated in Mountjoy Prison. - these experiences being later recounted in his book "Confessions of an Irish Rebel."
Released under a general amnesty for IRA prisoners and internees in 1946, Behan's activist career was over by the age of twenty-three.