Richie Havens - Handsome Johnny (1966) Richie Havens / Louis Gossett Jr. from: "Mixed Bag" (LP) “Handsome Johnny” / “Sandy” (Single)

Contemporary Folk | Protest Song | Anti-War

JukeHostUK (left click = play) (320kbps)

Personnel: Richie Havens: Vocals / Guitar Howard Collins: Guitar Paul Harris : Keyboards Harvey Brooks: Bass Bill LaVorgna: Drums

Produced by John Court

Recorded: @ RKO Sound Studios (?) in New York City, New York USA on September 20, 1966

Album Released: December, 1966

Verve Folkways Records

Verve Forecast Records (1967) MGM Records (1970) Polydor Records (1993)

Single Released: on August 28, 1970

Verve Forecast Records (UK) MGM Records Records (US)

5:46 PM EDT March 25, 2024:

The Blues Project - "No Time Like The Right Time" From the album   Nuggets - Original Artyfacts from the First Psychedelic Era (1972)

Last song scrobbled from iTunes at Last.fm

Originally Verve Folkways KF 5040, released 1966.

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Richie Havens - Handsome Johnny (1966) Richie Havens / Louis Gossett Jr. from: "Mixed Bag" (LP) “Handsome Johnny” / “Sandy” (Single)

Contemporary Folk | Protest Song | Anti-War

JukeHostUK (left click = play) (320kbps)

Personnel: Richie Havens: Vocals / Guitar Howard Collins: Guitar Paul Harris : Keyboards Harvey Brooks: Bass Bill LaVorgna: Drums

Produced by John Court

Recorded: @ RKO Sound Studios in New York City, New York USA on September 20, 1966

Album Released: December, 1966 Verve Folkways Records Verve Forecast Records (1967) MGM Records (1970) Polydor Records (1993)

Single Released: on August 28, 1970 Verve Forecast Records (UK) MGM Records Records (US)

+++ +++ +++

Louis Gossett Jr. May 27, 1936 – March 29, 2024

Verve/Folkways ad for Laura Nyro’s first album, 1967

Richard Pierce Havens (January 21, 1941 – April 22, 2013) was a singer-songwriter and guitarist. His music encompassed elements of folk, soul, rhythm, and blues. He had an intense and rhythmic guitar style and played soulful covers of pop and folk songs. He was the opening act at Woodstock. He left his hometown, Brooklyn, seeking artistic stimulation in Greenwich Village. His solo performances quickly spread beyond the Village folk music circles. After cutting two records for Douglas Records, he signed on with Bob Dylan's manager, Albert Grossman, and landed a record deal with the Verve Folkways label. Verve released Mixed Bag, which featured tracks such as "Handsome Johnny", "Follow", and a cover of Bob Dylan's "Just Like a Woman". He released his first single, "No Opportunity Necessary". Something Else Again became his first album to hit the Billboard charts, and it pulled Mixed Bag June 1 back onto the charts. By 1969 he had released five albums. Two of those albums were unauthorized "exploitation albums" released by Douglas Records: Electric Havens and Richie Havens Record. #africanhistory365 #africanexcellence https://www.instagram.com/p/CnrPyfAuXl-/?igshid=NGJjMDIxMWI=

Best world and folk music albums of 2022

Best world and folk music albums of 2022

Arooj Aftab: Vulture Prince Verve Arooj Aftab © Valerie Macon/AFP via Getty Images The 2022 version of Arooj Aftab’s album added “Udhero Na”, with shimmering clouds of sitar from Anoushka Shankar, to Vulture Prince’s mixture of Urdu poetry and Sufi dub, all still and intense as the depths of a summer night. Jake Blount: The New Faith Smithsonian Folkways Jake Blount © Tadin Brego In the…

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Deano Williams, Richie Havens, and Daniel Ben Zebulon on-stage at Woodstock (Photo by Doug Lenier. Bethel Woods Collection, a gift of Doug Lenier)

The Woodstock festival had been scheduled to begin on Friday afternoon. Sweetwater was the planned first act. The audience had been streaming onto the festival site for days, in numbers far exceeding expectations, and traffic had already clogged all roads leading to the festival for dozens of miles. Sweetwater and their equipment were stuck in Liberty, normally a 20-minute drive away, but now accessible only by helicopter. Richie and his bandmates, Deano Williams and Daniel Ben Zebulon, had been flown to the festival site in a small helicopter that landed behind the stage. Tim Hardin was also on-site, along with a few other performers. As the start time came and went, Michael Lang pleaded with Hardin to take the stage and open the festival. Hardin adamantly refused, reminding Lang that he was supposed to go on fifth. Lang appealed to Richie, who finally, reluctantly agreed, telling the festival promoter that he would owe him big-time if anyone threw any bottles at him. Richie’s bass player, Eric Oxendine, was still stuck in traffic, but Richie agreed to perform without him.

At approximately 5:15 on Friday afternoon, Richie, Deano, and Daniel walked onto the still unfinished stage, sat down, and began to play their 20-minute set. They opened with “From the Prison” from Richie’s Something Else Again album, with a bit of the Youngbloods’ “Get Together” thrown in for good measure. He followed with “I’m a Stranger Here,” which was one of the demos he recorded before signing with Verve Folkways. He concluded his set with two songs from his debut album, “High Flyin’ Bird” and “I Can’t Make It Anymore.” Still with no act ready to follow Richie, Michael Lang convinced him to do an encore. Richie attempted to play “With a Little Help from My Friends,” the Beatles cover from his newly released 1983 album. He obviously had trouble remembering the lyrics, so he asked the audience to sing along. Later in the festival, Joe Cocker would also perform the song, creating one of the most memorable moments of Woodstock. Richie then redeemed himself with a second encore, a performance of “Handsome Johnny” from Mixed Bag. He returned for a third encore at Michael Lang’s insistence, a medley of the Beatles’ “Strawberry Fields Forever” from his 1983 album and “Hey Jude.”

Finally, exhausted and at a loss to remember any additional songs, Richie Havens began playing a guitar groove. The word “freedom” came to his mind, and he began singing. He added a few lines from the traditional song, “Motherless Child,” and a new song, an anthem for the Woodstock festival, was created live on stage. The song, "Freedom" was immortalized in the Oscar-winning 1970 documentary film, Woodstock, and the film’s soundtrack album and became a staple of Richie’s performances the rest of his career. Richie told the story many times about having to go to the theater and watch the movie to learn the song he had extemporaneously written on the Woodstock stage. Woodstock was a defining moment for Richie Havens, and he would reference his performance at the festival for the rest of his career.

—Wade Lawrence & Scott Parker

episode 33: men i loved when i was 22, part one

set 1:

Fred Neil -- Send Me Somebody to Love -- Sessions (Capitol, 1968)

The Holy Modal Rounders -- Long John -- The Holy Modal Rounders (Prestige Folklore, 1964)

John Martyn -- Over the Hill -- Solid Air (Island, 1973)

Leonard Cohen -- Winter Lady -- Songs of Leonard Cohen (Columbia, 1967)

Bert Jansch -- Your Love is Strong -- Bert Jansch (Transatlantic, 1965)

Bob Dylan -- Boots of Spanish Leather -- The Times They Are A-Changin’ (Columbia, 1964)

set 2:

The Incredible String Band -- The Eyes of Fate -- The 5000 Spirits or the Layers of the Onion (Elektra, 1966)

Townes Van Zandt -- Rake -- Delta Momma Blues (Poppy, 1971)

Nick Drake -- River Man -- Five Leaves Left (Island, 1969)

Donovan -- Guinevere -- Sunshine Superman (Epic, 1966)

Davy Graham -- Black is the Color of My True Love’s Hair -- Folks, Blues & Beyond (Decca, 1965)

set 3:

Jackson C. Frank -- Milk and Honey -- Jackson C. Frank (Columbia, 1965)

Pearls Before Swine -- Another Time -- One Nation Underground (ESP Disk, 1967)

Chris Thompson -- Where is My Wild Rose -- Chris Thompson (The Village Thing, 1973)

Dave Van Ronk -- Song of the Wandering Aengus -- No Dirty Names (Verve Folkways, 1966)

Cyril Tawney -- The Grey Funnel Line -- In Port (Argo, 1972)

My ‘sweetest’ Favorite 2019

もはやただのメモ！だけど、今年もやっぱりやっておこう。 ということで、2019年のスウィートな音楽をずらりと。 画像はアルバム・LP・EPのみの分をコレクションしてみました。 去年書いた「過去最高のスピードで世界中の音楽が聴けるようになった」のは、今年も継続中。 ただ、画面の中で自動的にレコメンドされるよりも、周りの友達に「これよかったよ〜」とか、「これ好きそう」とか教えてもらう方が、断然、うれしい。 ジャンルは相変わらずいろいろだけど、ジャズ的な要素が増えた気がする。（dublab.jpの影響か、原雅明さんの影響かしら、どうかしら） あと、今年はアルバム通して聴く機会が多かった、というか、その方がフィットしてた。もともとCDを買っていたときの感覚に戻ったようで、なんだかしみじみしちゃう。 そして、11月あたりからじんわりとミニマルハウス〜テクノに惹かれ中。シンプルがゆえに、好みを見つけるのがむずかしい、でも楽しい。新しい境地。 DJ MIXはほとんど聴かなかったなぁ。音楽の聴き方って、1年の間にこんなにも変わるものなのね。 dublab.jpでラジオ番組をはじめたことも大きいかな。 ありがとう、グッドバイ2019年。 2020年は、審美眼を磨きつつ、軽快に。生身の肌で感じたい。 *アルファベット順です *今年リリース以外のものも多くあります *Vanessa Paradis、Marlene Dietrichは常時アイコンなのではぶきます ＊ - My ‘sweetest’ Favorite 2019 - ▽▼▽ ALBUM / LP / EP ▽▼▽ AFK & Bludwork / Loyalty N Service [100% Silk] Akira Rabelais / CXVI [Boomkat Editions] Alexis Le-Tan & Jess present / Space Oddities [Permanent Vacation] Amazondotcom / Mirror River [SUBREAL] Ambien Baby / En Transito [FATi Records] Ana Roxanne / ~~~ [Leaving Records] Anna Homler ‎/ Deliquium In C [Präsens Editionen] Archie Shepp, Jasper Van't Hof ‎/ Mama Rose [SteepleChase] Bartosz Kruczynski, Poly Chain / Pulses [Into The Light Records] Basil Kirchin / I Start Counting [Trunk Records] Basil Kirchin / Primitive London [Trunk Records] Black Boboi / Agate [BINDIVIDUAL] C.Tappin / Ashes to Ashes [Melting Pot Music] Charlie Haden & Pat Metheny / Beyond The Missouri Sky [Verve Records] Chihei Hatakeyama(畠山地平) / Void XIX [White Paddy Mountain] Chocolate Lips / Chocolate Lips [Sony Music] Derric Gobourne Jr. / Supremacy [P-Vine Records] Deweekend / Deweekend [OutOfStock] Dome / Dome 2 [Editions Mego] Eberhard Weber / Encore [ECM Records] Eleventeen Eston / Delta Horizon [Growing Bin Records] Emahoy Tsegué-Maryam Guèbrou / Ethiopiques, Vol. 21 [Buda Musique] Eric Serra ‎/ Le Grand Bleu (Bande Originale Du Film) [Virgin] G.S. Schray / First Appearance [Last Resort] Giovanni Guidi / Avec Le Temps [ECM Records] h hunt / Playing Piano for Dad [Tasty Morsels] Helena Deland ‎– Altogether Unaccompanied Vol. III [Luminelle Recordings] Holdie Gawn｜Micawber ‎/ Gleech Huis｜Parsec Telemetry [Sylphe] infinite bisous / Period [Tasty Morsels] Ion Ludwig / A Better Future To Long [Metereze] J!N /pink stm & wite ptl [Hizz] JAB / Erg Herbe [Shelter Press] Jacqueline Humbert & David Rosenboom / Daytime Viewing [Unseen Worlds] Jai Paul / Do You Love Her Now｜He [XL Recordings] jan and naomi / Fracture [cutting edge] Jan Jelinek / Loop-Finding-Jazz-Records [~scape] Jeff Majors / Yoka Boka (For Us All) [Invisible City Editions] Joao Gilberto / Amoroso [Warner Bros. Records] Joe Tossini and Friends / Lady of Mine [Joe Tossini Music] Joseph Shabason / Anne, EP [Western Vinyl] Juan Hidalgo / Rrose Sélavy [Discos Transgénero] Kali Malone / The Sacrificial Code [iDEAL Recordings] Khotin / Beautiful You [Ghostly International] Kit Sebastian / Mantra Moderne [Mr Bongo] Leech / Data Horde [Peak Oil] Leonardo Marques / Early Bird [180g x Disk Union] Leonore Boulanger / Practice Chanter [Le Saule] Les Yeux Orange / Ghost Dog [Good Plus] Lifted / 2 [PAN] Liv.e / ::hoopdreams:: [Not On Label] Lloyd Miller / A Lifetime In Oriental Jazz [Jazzman] Loren Connors / Evangeline [Recital] Loving / Lately In Another Time [Last Gang Records] Lucas Arruda / Onda Nova [Favorite Recordings] Lunz / Lunz 3 [Curious Music] Mary Lattimore / Hundreds Of Days [Ghostly International] Mega Bog / Dolphine [Paradise Of Bachelors] Meitei(冥丁) / Komachi [Métron Records] melodiesinfonie / A Journey to You [JAKARTA] Molinaro / What The Future Was [Apron Records] Nadia Reid / Preservation [Basin Rock] Neu Balance / In My Life, I've Loved Them All [Budget Cuts] Nia Andrews / No Place Is Safe [rings] Nico Rico / Primitive Thinking EP [Not On Label] Nina Keith / MARANASATI 19111 [Grind Select] Nitai Hershkovits / Lemon the Moon [AGATE / Inpartmaint] Normal Brain / Lady Maid [Vanity Records] Olsen / Dream Operator [100%Silk] Operating Theatre / Miss Mauger [Allchival] Pejzaż / Pejzaż Remiksy [The Very Polish Cut-Outs] Powder / Powder In Space [Beats In Space Records] Priori & RAMZi / Jumanjí [FATi Records] Profit Prison ‎/ Six Strange Passions [Avant!] RAMZi / Multiquest Niveau 1: Camouflé [FATi Records] Regularfantasy /Sunsets & Sublets [Total Stasis] Repetentes 2008 / Galaxia Fini [Superconscious Records] Repetentes 2008 / Gelo Gerônimo [Gop Tun] RIP Swirl / 9TEEN90 [Public Possession] Robert Minden Ensemble / Long Journey Home [Otter Bay Recordings] Robert Minden Ensemble / The Boy Who Wanted To Talk To Whales [Otter Bay Recordings] Robert Minden Ensemble / Whisper in My Ear [Otter Bay Recordings] Robert Wyatt / Shleep [Domino] Rupert Clervaux / After Masterpieces [Whities] Santilli / Surface [Into The Light Records] Sarah Davachi / Pale Bloom [W.25th] Sebastian Gandera / Le Raccourci [Efficient Space] Simone De Kunovich / Mondo Nuovo Vol. 1 [Superconscious Records] Sipprell / I Could Be Loved [Sipprell] Sonia Sanchez / Full Moon Of Sonia [VIA International Artists] Sonny Sharrock / Black Woman [Vortex Records] Soundwalk Collective / What We Leave Behind | Jean-Luc Godard Archives [mAtter] Sparrows / Berries [flau] St. Joseph / Player Nr. 1 EP [Dokutoku Records] Stephen Steinbrink ‎/ Utopia Teased [Western Vinyl/Melodic Records] Takayuki Shiraishi / Missing Link [Studio Mule] Tamaryn / Dreaming The Dark [Dero Arcade] Teebs / Anicca [Brainfeeder] Teiji Ito / Music For Maya [Tzadik] The Caretaker / An empty bliss beyond this World [History Always Favours The Winners] Tim Hecker / Anoyo [Kranky] Tujiko Noriko / Kuro(OST) [PAN] Unknown Mobile / Daucile Moon [Pacific Rhythm] Vanishing Twin / The Age of Immunology [Fire Records] Various ‎/ I Am The Center (Private Issue New Age Music In America, 1950-1990) [Light In The Attic] Various / Visible & Invisible Persons Distributed In Space [Numero Group] Various / Wys! V&a Ep [WYS! Recordings] Various / زمان يا سكر = Zamaan Ya Sukkar - Exotic Love Songs And Instrumentals From The Egyptian 60’s [Radio Martiko] Various Artists / 4 Down [Deek Recordings] Various Artists / Turkish Hamam House Disco [Arsivplak] Viola Klein / A Passport And A Visa Stamped By The Holy Ghost [Meakusma] Violet / Togetherness [Togetherness] Voices In Latin / Voices In Latin [Morgan] Wilson Tanner / II [Efficient Space] Yasuaki Shimizu / Music For Commercials [Crammed Discs] Yohuna / Mirroring [fear of missing out records] Yoshiharu Takeda / Aspiration [METANESOS Records] Yoshinori Hayashi / γ [Smalltown Supersound] Zenit / Straight Ahead [P-Vine Records] 元ちとせ / 元唄 幽玄 ～元ちとせ 奄美シマ唄REMIX～ (Remixes) [Au(g)tunes] 孔雀眼 JADE EYES / 渴望 [香港商黑市音樂股份有限公司台灣分公司] ∞σ / DG Hadi [Hizz] ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლ / ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლのʅ͡͡͡͡͡͡͡͡͡͡͡(ƟӨ)ʃ͡͡͡͡͡͡͡͡͡͡ ꐑ(ཀ ඊູ ఠీੂ೧ູ࿃ूੂ✧ළඕั࿃ूੂ࿃ूੂੂ࿃ूੂළඕั✧ı̴̴̡ ̡̡͡|̲̲̲͡ ̲̲̲͡͡π̲̲͡͡ ɵੂ≢࿃ूੂ೧ູఠీੂ ඊູཀ ꐑ(ʅ͡͡͡͡͡͡͡͡͡͡͡(ƟӨ)ʃ͡͡͡͡͡͡͡͡͡͡ [༈೧ູ≢)ꐑʅ(Ɵↂↂ. l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡| ̲̲͡ π̲̲͡͡.̸̸̨̨ ఠీੂ)༼ू༈೧ູ࿃ूੂ༽(ଳծູ l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡| ̲̲͡ π̲̲͡͡ ɵੂ≢)_̴ı ̡͌ ̲|̡̡̡ ̡ ̴̡ı̴̡̡ ̡͌l̡̡̡ꐑ*:･✧(ཽ๑ඕัළඕั)ꐑʅ(Ɵↂ๑)✧*:･ı̴̴̡ ̡̡͡| ̲̲͡ π̲̲͡͡.̸̸̨̨ ఠీੂ)༼ू༈೧ູʅ(ƟӨ)ʃ ꐑ(ཀ ඊູ ఠీੂ)༼ू༈೧ູ࿃ूੂ༽(ଳծູɵੂ≢ↂ. l̡̡̡ ̡͌l̡*̡̡ ̴̡.]

▽▼▽ SONG ▽▼▽ Akis / New Age Rising (Part VIII) [Into The Light Records] Anatolian Weapons / Ofiodaimon (Tolouse Low Trax vs Anatolian Weapons Remix) [Beats In Space Records] Anna Karina / Pierrot Le Fou-Jamais Je Ne T'Ai Dit Que Je T'Aimerai Toujours (いつまでも愛するとは言わなかった) [Barclay] Baba Stiltz / Showtime [XL Recordings] Bartosz Kruczyński / Pastoral Sequences [Growing Bin Records] Beatrice Dillon / Workaround Two [PAN] Bee Gees / How Deep Is Your Love [RSO] Bell Biv DeVoe ‎/ Poison [MCA Records] Betonkust, Palmbomen II / Rejected Demo Tape [Dekmantel] Blue Gas / Shadows From Nowhere [Archeo / Best Record] Bobby Hutcherson / Tranquillity [Blue Note] Bohren & und Club of Gore - Karin [[PIAS] Recordings] Cécile McLorin Salvant / One Step Ahead [Mack Avenue Records] Cigarettes After Sex / Heavenly [Partisan Records] Cleaners From Venus / Corridor of Dreams [Man At The Off Licence] De Beren Gieren / Broensgebuzze 8.2 [Sdban Ultra] Dolphins Into The Future & Lieven Marten Moana / Lava (Long Version) [Edições Cn] DOS / Need U [Nerang Recordings] Dove, Le Makeup / Angel Diaries [Pure Voyage] Duval Timothy / DYE [NTS Radio] Eliza Dickson, Braxton Cook, Lauren Desberg / Gold [Tokyo Dawn Records] Emilie Levienaise-Farrouch / End Scene [130701 (FatCat Records)] Empress Of / When I’m With Him (Perfume Genius Cover) [Terrible Records] Fafá de Belém / Aconteceu Você [Som Livre] Gary Burton / Las Vegas Tango [Atlantic] Hanne Mjøen / Sounds Good To Me [Spinnin' Deep] Haruomi Hosono (細野晴臣) / 薔薇と野獣(New ver.) [Speedstar] Jay Som / Superbike [Lucky Number] John Cameron / Half-Forgotten Daydreams [KPM Music] John McLaughlin, Mahavishnu Orchestra / You Know, You Know [Columbia] Joni Mitchell / Shine [Hear Music] Karen Gwyer / Ian on Fire [Don't Be Afraid] Kelsey Lu / I’m Not In Love [Columbia] Klein Zage / Womanhood (DJ Python Remix) [Orphan Records] Kllo - Back To You [PLANCHA] Laurie Anderson, Tenzin Choegyal, Jesse Paris Smith / Lotus Born, No Need to Fear [Smithsonian Folkways] Laurie Spiegel / The Unquestioned Answer [Unseen Worlds] Leon Vynehall / I, Cavallo [Ninja Tune] Lucrecia Dalt / Tar (Jan Jelinek Remix) [Rvng Intl.] mabanua / Call on Me feat. Chara (Knxwledge Remix) [Lawson Entertainment] Madeline Kenney / Nick of Time [Not On Label] Marc Johnson, Eliane Elias / Swept Away [ECM Records] Marcella Bella / Nell'aria [CBS] Mary Lou Williams / It Ain’t Necessarily So [Jazzman] Matthew Halsall, The Gondwana Orchestra, Josephine Oniyama / Into Forever (feat. Josephine Oniyama) [Gondwana Records] Mehmet Aslan / Beat Two Chase [Highlife] Mehmet Aslan / Lobster Is Coincidence [Planisphere Music] Men I Trust / I Hope to Be Around [Men i Trust] Michael Andrews / I’m Not Following You [Everloving] millennium parade / Plankton [PERIMETRON] Murlo / Ferment (Yamaneko’s Flashback) [Coil Records] Noname / Self [Not On Label] Nusrat Fateh Ali Khan / Mustt Mustt (Massive Attack Remix) [‎Real World Records] O Terno / volta e meia [Risco] Octo Octa / I Need You [Technicolour] Ralph Tresvant / Sensitivity [MCA Records] Ratna Das / Rajuan Bulan [Rice Records] Roberto Musci / The Advent of Rose + Croix [Les Disques Victo] Ronald Langestraat / Lowdown [South of North] Salami Rose Joe Louis / Nostalgic Montage [Brainfeeder] Simon Hinter / Makros [Purveyor Underground] SKRS / Dub Shoulda Known [Ancient Monarchy] Smoke Trees / Man in the Moon [Urban Waves Records] Steve Hauschildt ‎/ Strands [Kranky] Tash Sultana / Salvation [Mom + Pop] Tei Shi / Even If It Hurts (feat. Blood Orange) [Downtown] The Golden Filter / Autonomy [4GN3S] Tyme./Tatsuya Yamada / Catch A Fire [astrollage] Unknown Mortal Orchestra / Hanoi 6 [Jagjaguwar] Will Saul / Room 9 [Aus Music] WONK / Sweeter, More Bitter [EPISTROPH] Yo La Tengo / Eight Candles [Verve Forecast] ギターウルフ / バッテラ惑星 [GuitarWolf Records] ちあきなおみ / 泣かせるぜ [TEICHIKU ENTERTAINMENT] んoon / Gum [Flake Sounds] 近田春夫 / 超冗談だから [Victor Entertainment] 佐藤千亜妃 / Lovin' You [EMI Records] 小沢健二 / 彗星 [Universal Music] 大貫妙子 / タンタンの冒険 [Dear Heart] 中原理恵 / ヒーローはあなた [CBS/Sony] 優河 / June [P-Vine Records] (Sandy) Alex G / So [Lucky Number] ▽▼▽ DJ / LIVE ▽▼▽ Sapphire Slows at SUPER DOMMUNE [28 Nov] Nia Andrews at Blue Note Tokyo [31 Oct] Julianna Barwick / Mary Lattimore / DJ Shhhhh at Shibuya WWW ［1 Jul］ Meakusma X dublab.jp at Shimokitazawa Cage LỒNG VÀ QUÁN [28 Apr] 東京楽所第12回定期公演「奉祝の雅楽」 at サントリーホール［2 Feb］ 12月25日のdublab.jpの番組《In Every Second Dream》内で、一部楽曲をON AIRしたのでそちらも是非◎ アーカイヴはこちらから↓

愛を込めてxxx DJ Emerald

The Blues Project - Catch the Wind (1967) Donovan Leitch Donovan Cover from: "Live at the Cafe Au Go Go"

Personnel: Steve Katz: Lead Vocals / Rhythm Guitar Danny Kalb: Lead Guitar Al Kooper: Organ Andy Kulberg: Bass Roy Blumenfeld: Drums

*** ***

Donovan - Catch the Wind (1965): https://tmblr.co/ZoHQpk2QC-F3w

8:51 AM EST January 6, 2024:

The Blues Project - "No Time Like The Right Time" From the album   Nuggets - Original Artyfacts from the First Psychedelic Era (1972)

Last song scrobbled from iTunes at Last.fm

Originally Verve Folkways KF 5040, released 1966.

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tune into wlur at 8pm tonight to hear this week's show live or catch up with last week's show below!

no love for ned on wlur – october 15th, 2021 from 8-10pm

artist // track // album // label the runaways // rock 'n roll // the runaways // mercury rabbit // gone gone gone // gone 7" // rough skies the shadracks // plastic lives // the shadracks // damaged goods upper wilds // love song #3 // venus // thrill jockey cochonne // asking for a friend // emergency ep // sorry state prison affair // encerrado contigo (en la prisión) // split 7" w/ research reactor corp. // under the gun vera ellen // you! // it's your birthday // flying nun honey radar // consult the napkin // split 7" w/ violent change // chunklet fastbacks // another thing coming // now is the time // no threes boyracer // more of you // more of you digital single // shambotic julia shapiro // someone // zorked // suicide squeeze * sault // fear // nine // forever living originals thurston moore featuring bobby gillespie // heroin // i’ll be your mirror- a tribute to the velvet underground and nico // verve * ashley shadow featuring bonnie 'prince' billy // don’t slow me down // only the end // felte * doc watson and gaither carlton // he's coming to us dead // doc watson and gaither carlton // smithsonian folkways mountain man // holy father // made the harbor (deluxe edition) // psychic hotline patrick shiroishi, chris jusell, chaz prymek and matthew sage // suzushii kaze // natsukashii // cached media bevel // strange vessel // angler senses // astral editions luke stewart and jarvis earnshaw quartet // kenopsia // luke stewart and jarvis earnshaw quartet // no quarter phil ranelin // infinite expressions // infinite expressions // org music jim marks // rhythm is accenting time // touch your feelings // Nicole dos santos // city of mirrors // city of mirrors // international anthem bobby valentín // bad breath // it's a good, good feeling- the latin soul of fania records (the singles) compilation // craft samm henshaw // grow // untidy soul // dorm seven snoh aalegra // i didn't mean to fall in love // ugh, those feels again // artium blu // mr. blu(e) // the color blu(e) // dirty science orion sun // concrete // getaway ep // mom + pop pond // toast // nine // spinning top * holy hive // golden crown // holy hive // big crown skirts // dayspell // great big wild oak // double double whammy tears to go // patronizing self-help // patronizing self-help // i need some company josephine network // me and my boys // music is easy // dig! kero kero bonito // fish bowl (frankie cosmos remix) // bonito retakes (remixes) - ep // (self-released)

* denotes music on wlur’s playlist

I love a good cover song but due to the strict guidelines I created for this project, most of my collection of cover albums won’t be seeing the light of day as they tend to be compilations rather than traditional albums. This is a great disservice to the masterful arrangements found on  “Folkways: A Vision Shared - A Tribute to Woodie Guthrie and Leadbelly,” and “The Duran Duran Tribute Album,” but it also saves me from listening to “Rock Music: A Tribute to Weezer,” and basically all of the “Punk Goes [insert genre here],” disasterpieces. 

But as luck would have it, this past week, I ended up listening to three cover albums, all very different in tone and style, and it got me thinking about what makes a good cover and, furthermore, what makes a good cover album.

The first was from the kings of the punk cover: Me First and the Gimme Gimmes. These arrangements are simplistic in nature (figure out the power chords and speed up the damn thing) but Me First, every now and then, has the ability to transcend the anarchic destruction or satirical rendering of the original track that plagues most attempts and present something that feels both reverent and original. The tempo and distortion can breathe new life into old tracks and on “Have A Ball,” songs like “One Tin Soldier” and “I Am An Island” are given this treatment. But 12 tracks are a lot, even for an album clocking in at under 30 minutes and most of the other tracks either fall victim to the punk cover curse or come off apathetic. 

And then there’s “Version,” Mark Ronson’s Motown-ing of acts such as Radiohead, Britney Spears, and Ryan Adams. Like the punk cover, there is also a formula for this treatment: give it a funky beat, toss in some horns, and record it to tape. For much of the album, it works: “Stop Me,” “Apply Some Pressure,” and the magnificent “Valerie,” possess earnestness and heart, that while perhaps present in the original, are entirely novel in Ronson’s reimagining. But there is also a sheen of self-gratification present in these tracks. The majority of the songs stem from the mid-aughts and, sonically, are aged backwards: “now” doesn’t sound as good as “then.” If you only hear one or two tracks out of context this criticism is far less present than if you listen to the entirety of the album. While the punks might not care, Ronson wants the listener to know that he thinks he can do it better.

And then there’s “Hope,” which is a cover album of songs by the band who wrote those songs in the first place. Manchester Orchestra’s “Cope” is a barrage of straightforward, smart, aurally engaging rock and roll and “Hope,” is basically “Cope” acoustic. I used to salivate at acoustic renderings: the original “Punk Goes Acoustic,” is the one exception to the previously mentioned shit-shows of “Punk Goes...” albums. But as I grew older, I started to hear “stripped-down” as code for “I need some money.” So I approached “Hope” with great trepidation and for the most part, my initial concerns were validated. But then “Every Stone” stripped nearly everything away and brought forth a haunting beauty that is masked by the wall of sound in the original. And I became a little less cynical about why a band might want to take a stab at reimagining their compositions. 

“Every Stone,” in many ways, presents the perfect reason to cover a song: the artist hears something imbedded in the original work that they want to bring to the surface. This is remarkably evident in Johnny Cash’s version of “Hurt,” or Jeff Buckley’s “Hallelujah,” or even The Ataris’ “Boys of Summer” (@ me bro). And while both Me First and Ronson have their examples, it’s hard to string together an entire album’s worth of material that reaches this level. 

“The Duran Duran Tribute Album” does it but unfortunately it’s not a stop on this journey. 

Here are some Spotify links to the tracks referenced:

One Tin Soldier I Am A Rock Stop Me Apply Some Pressure Valerie Every Stone (Cope Version) Every Stone (Hope Version)

What I listened to last week:

Top 100 contenders in bold.

Marianne Faithful - Vagabond Ways

Grizzly Bear - Veckatimest

Archers of Loaf - Vee Vee

The Hives - Veni Vidi Vicious

Mark Ronson - Version

Dillinger Four - Versus God

The Verve Pipe - The Verve Pipe

The Promise Ring - Very Emergency: A far cry from “Nothing Feels Good,” but Tracks 2-5 are fucking stellar.

Thrice - Vheissu

Panic! At The Disco - Vices & Virtues

Pinehurst Kids - Viewmaster

The Verve Pipe - Villains: Like most people, I bought this album because of “The Freshman.” But perhaps unlike most people, I’m really glad I did. “The Freshman,” may, in fact, be my least favorite track on the album.

Depeche Mode - Violator

Neko Case & Her Boyfriends - The Virginian

Onelinedrawing - Visitor

Pearl Jam - Vitalogy

Viva Death - Viva Death

Coldplay - Viva La Vida or Death and All of His Friends: This was a track or two away from landing a contender spot and, while remembered for its title track (or, rather, the first half of the title), it should be remembered for Violet Hill and Lovers in Japan/Reign in Love.

Matchbook Romance - Voices

Jay-Z - Vol. 2: Hard Knock Life: I don’t get it.

Slipknot - Vol. 3: The Subliminal Verses

Jay-Z - Vol. 3... Life and Times of S. Carter: I still don’t get it.

Gatsby’s American Dream - Volcano

Volcano, I’m Still Excited!! - Volcano, I’m Still Excited!!: This is Mark Duplass’s band (you know, the guy from The League and Creep) and they sound like Rivers Cuomo had a younger brother who also wanted desperately to be cool but in an entirely different way than Rivers. It’s absolutely worth your time.

cky - Volume 1

She & Him - Volume 1

She & Him - Volume 2

D’Angelo - Voodoo

Pearl Jam - Vs

Catch Up Albums (Albums I missed or purchased/acquired since beginning the quest):

2 Chainz - B.O.A.T.S. II#METIME

Rainer Maria - Catastrophe Keeps Up Together

Mercury Rev - Deserter’s Songs

The Dictators - Go Girl Crazy!

Me First & The Gimme Gimmes - Have A Ball

Manchester Orchestra - Hope

LCD Soundsystem - LCD Soundsystem

Propaghandi - Today’s Empires, Tomorrow’s Ashes

Albums listened to in total: 1,884

Richard Pierce Havens (January 21, 1941 – April 22, 2013) was a singer-songwriter and guitarist. His music encompassed elements of folk, soul, rhythm, and blues. He had an intense and rhythmic guitar style and played soulful covers of pop and folk songs. He was the opening act at Woodstock. He left his hometown, Brooklyn, seeking artistic stimulation in Greenwich Village. His solo performances quickly spread beyond the Village folk music circles. After cutting two records for Douglas Records, he signed on with Bob Dylan's manager, Albert Grossman, and landed a record deal with the Verve Folkways label. Verve released Mixed Bag, which featured tracks such as "Handsome Johnny", "Follow", and a cover of Bob Dylan's "Just Like a Woman". He released his first single, "No Opportunity Necessary". Something Else Again became his first album to hit the Billboard charts, and it pulled Mixed Bag June 1back onto the charts. By 1969 he had released five albums. Two of those albums were unauthorized "exploitation albums" released by Douglas Records: Electric Havens and Richie Havens Record. #africanhistory365 #africanexcellence https://www.instagram.com/p/CY_dmzHrmAD2ZqfCl5MR7tA4aBCq5VLZTKdOM40/?utm_medium=tumblr

The Blues Project - Projections

The band name implies the blues, and that form of music was certainly part of The Blues Project’s repertoire, but their eclecticism was apparent in everything they did. Projections was their second album, and the first one created in a recording studio. By this time they had received some national attention from their first album, a live one that lead to some touring around the U.S. Their first time in a studio lasted all of three days. While the tracks they produced included songs that they had been playing, new songs were written by band members that ended up on the album. None of these songs were blues numbers, but rather drew from folk, jazz, rock, R&B and pop elements; even a touch of classical. Steve Katz, who played guitar, harmonica and sang, wrote his first ever composition for Projections. Intended to be called September Fifth, it ended up on the album as Steve’s Song due to some confusion between the label and the band’s manager, Jeff Chase. It is a folk-pop composition which has an extended minute and half intro featuring Andy Kulberg’s flute playing plus Roy Blumenfeld’s underpinning on drums, which also comes off with a classical feel to it as well. Al Kooper wrote the other two original numbers. The album’s closing track, Fly Away, was apparently about Kooper’s failed marriage, but ends the record in somewhat of a light and flowing manner. It was his jazzy composition, Flute Thing, that got a lot of attention. This again featured Andy Kulberg on flute, with good counterpoint from Kooper’s organ playing, and the suitable percussion work of Roy Blumenfeld. The uniqueness of this piece made it an “underground” favorite among the growing number of “experienced” music listeners. In a 2015 interview with Frank Mastropolo for Ultimate Classic Rock, Roy Blumenfeld said “The lead-up to the song Flute Thing, that became the Muzak to a lot of folks' acid trips out there on the West Coast. It was, so to speak, their metaphoric elevator.” Both sides of Projections open energetically with blues/gospel songs arranged and sung by Al Kooper. Blind Willie Johnson’s (Lord) I Can’t Keep From Crying starts the album off, first implying it is the blues, but moving at a frenetic pace, it quickly goes psychedelic; the band propelling it to a high crescendo as lead guitarist Danny Kalb brings it to a close. Wake Me, Shake Me comes from a traditional gospel song, but it too builds into high energy. It was a song the band liked to improvise on and was often the closer for their performances. The band’s energy level alternatively rose and fell with the four numbers on side one. After Steve’s Song came the Chuck Berry rocker, You Can’t Catch Me. One of the band’s first big gigs was opening for and then backing up Berry. Kooper said, “That one had a really cool kind of groove to it that we got into. Danny (Kalb) did a real sterling job of knockin' that one out of the park when he would do it.”. Finishing side one, it was all Kalb in this slow-paced tribute to Muddy Waters, playing his Slow Train Running. Al Kooper said of it, “We started playing it and as we became a better band it became a better arrangement. And there were amazing things in it. It was a really great arrangement. It's nothing like the Muddy Waters version.” Even though the recording was nearly eleven and a half minutes long, it stayed powerful and moving right to the end. Kooper goes on to say, “What's really funny is on the version that's on the album, Danny's string went out of tune and as part of the arrangement he tuned it back up. It was fabulous, we didn't have to stop. Normally you would stop. But he made it part of the arrangement. That was a great moment.” Danny Kalb added, “We were up there in the studio and there's magic in the air. We were right before the end and I hit one bad note, but I quickly made the bad note into a good note in a quarter of a second. And the thing comes together and ends right and we've got a masterpiece.” No credit to the engineers, who were setting up for the next artist, Eric Burdon, to come into the studio, according to Steve Katz. The Blues Project had an opportunity to be on a bill with Muddy Waters and they played Two Trains Running. Reflecting on this, Danny Kalb said that when he later saw Waters leaving the club, “So right before Muddy opened the door to go, I went up to Muddy Waters and I said to him, "Mr. Waters - well, what did you think?" And I knew at that point that he knew what I was asking him. And he said to me, "You really got to me." If I had died then, it would have been enough.” Another slow blues number on the album was Caress Me Baby by Jimmy Reed, which The Blues Project also put there own spin on, with Danny doing lead vocal and guitar once again. Another folk-pop song rounded out the album, Cheryl’s Going Home by Bob Lind. Lind had released the hit song, Elusive Butterfly, and that song was the B-side of the single. Kalb says of it, “That was a song by another composer, Bob Lind, I just listened to recently. The Blues Project version is excellent, Bob Lind's version is excellent, it's the best of both worlds.” In the 2015 interview with Mastropolo, Kalb, Katz and Kooper all had derogatory comments about their experience with the record label. Kalb: “Unfortunately, the record company just wanted to make a few bucks. They were not interested in the artists, and on the back of Projections, one of the great albums of the '60s, I don't think our names are on it. That's criminal.”, and “I think that the way the Blues Project has been either forgotten or dissed is disgraceful. We were one of the most exciting bands in the period. We took big chances, spiritually and musically”. Katz: “I have to say that our record company was really awful. There were things like that that were missed. From changing the name of my song, from not giving us enough studio time, not putting our names on it. There were just a lot of mistakes. There always were with Verve Folkways.” Kooper: “We never saw the cover until it was in the store, and all stuff like that. We had zero control. We never heard the mixes 'till it was in the store.” Despite that the album did moderately well on the Billboard Top 200, hitting No.52. With a producer like Tom Wilson, who had already worked with Boy Dylan, Simon and Garfunkel, The Velvet Underground and The Mothers of Invention, it was too bad that he and The Blues Project weren’t given a reasonable opportunity in the studio, and to have their say about the finished product before it was released. With all that, they still managed to create a tour de force.

I suppose in buying this album I basically thought I was getting a “blues” record. I had heard some of the music from The Blues Project’s  Live at Cafe Au Go Go when I was at the home of a friend of mine, Kenny Wardell, and so was familiar with their name. Kenny, who was older than me went on to become a radio personality at stations in Sacramento and the Bay Area, including KFOG back in the ‘90s. That record was mostly blues, but there were a few folk-pop songs on it as well. When I finally got around to it, I mail ordered Projections, and along with the first Grateful Dead album, made this the first time had personally purchased multiple albums and used mail order to buy them. My mom had been doing so for quite some time through Columbia and RCA record clubs. All I remember is that it was some company in New York City.  By the time I purchased Projections, Verve Folkways had changed to Verve Forecast, but my album was apparently in the midst of that change. The back cover said Verve Forecast and a slightly off-kilter Verve Forecast sticker had been applied to the front cover, but the end panel still had Verve Folkways on it. The record itself says Verve Forecast. Considering some of the concerns the band had about their treatment by the label, this was of little consequence. I had heard rumblings about the song Flute Thing before I got the album. I may have even heard it, but once I got the album I began to really appreciate it, even if I wasn’t using LSD. It was the first piece of music I ever recalled hearing that featured flute, except perhaps its’ role in Tchaikovsky’s Peter and the Wolf suite. The rest of the record grew on me very quickly. I've learned a lot about the blues since I got this record, and I still appreciate the way these Greenwich Village Jewish white guys played it. Of course it wasn't all blues, what with the jazzy Flute Thing, and songs that were pop and folk based, R&B and rock and roll, plus some gospel to spice things up. I hadn’t thought of it as having anything psychedelic to it, but it turns out indeed it did. Both I Can’t Keep From Crying and Flute Thing fit that bill. Projections was my introduction to “long songs”, something that attracted me to future albums at times. At a total length of over fifty minutes, it was likely the longest album I had heard of up to that time. I had a few records that topped out at nearly half that long. The two songs on the album that were long, Caress Me Baby at 7:12 and Two Trains Running at 11:20, were both slow-burn favorites of mine. I have a special memory regarding Caress Me Baby. As time went by as a young man I always thought it would be a cool slow dance song. In 1968 my best friend and I decided to DJ a New Year’s Eve dance for an organization we belonged to. Another friend’s dad loaned us his great home sound system and we alternated as DJ throughout the evening. Not long before that event I met a an attractive young lady and invited her to be my date. She hung out with me while I spun discs and we partied and danced while John did the honors. By request he finally gave me the opportunity to dance with my pretty date to Caress Me Baby. Soon the young lady was my girlfriend, and four years later to the day, she became my wife. Thank you Blues Project, and thank you John. Can’t Catch Me was the first Chuck Berry composed song I ever had, and it too is a favorite of mine. Overall, the eclectic variety of the music, weaving in and out of fast and slow, jarring and relaxing, bluesy and folksy, worked well for me. It is still one of my favorite all time albums. It was ironic to see band members complain that their names weren’t on the album. Somehow I managed,  back in the day, to figure out who they were. Perhaps I read something in the SF Chronicle. By that time changes started occurring, such as Al Kooper leaving, forming Blood Sweat and Tears along with Steve Katz, and eventually recording Super Session with Mike Bloomfield and Stephen Stills. Turns out not long after I got the album Kooper left the band, but I didn’t learn that until later. Eventually he went on to produce Lynyrd Skynryd’s first three albums. I didn’t hear of the band Seatrain until quite some time later, but as it turns out the roots of that band tied in directly with the demise of The Blues Project. Andy Kulberg and Roy Blumenfeld had formed Seatrain with four other musicians in 1968, after one more Blue Project album had been issued. When they released their first album on the same label, Verve Forecast, the label insisted it be under the name Blues Project. Essentially this was the first Seatrain album, but the next year they officially released their “first” Seatrain album, Sea Train on A&M Records. The band was formed in Marin County, CA. Ironically Roy Blumenfeld, a New Yorker, eventually ended up living in Marin County. I became aware of this when I went to Don Quixote’s International Music Hall in Felton, CA in 2011 to see the Joe Cohen band with Greg Douglass, Bruce Barthol and Roy on drums. I had never ever thought I’d meet up with a member of The Blues Project, but I’ve seen Roy several times since as well.

The formation of the band came about after a compilation album called The Blues Project was released by Electra Records in 1964. Danny Kalb was paid $75 for recording two songs on that album. With the British Invasion, things began to change musically. Kalb changed from acoustic to electric guitar and in early 1965 formed the Danny Kalb Quartet, which included rhythm guitarist Artie Traum, bassist Andy Kulberg and drummer Roy Blumanthal. Steve Katz replaced Traum soon after, when Artie went to Europe for the summer. After adding singer Tommy Flanders the group became The Blues Project. They auditioned for Columbia Records who summarily declined to sign the band. Al Kooper had been hired by Columbia’s Tom Wilson to play keyboards as a session musician at the time of the audition. Kulberg and Blumenthal had worked with Kooper during the recording of another compilation album put together by Electra and was invited to join The Blues Project. Meanwhile producer Tom Wilson left Columbia and went to Verve/Folkways, then signing The Blues Project to that label. This soon lead to the first album project for the band. In November ’65 and January ’66 the live recording was done. By the time of its’ release Tommy Flanders had left the band, thus he was only in a few of the tracks. That release occurred quickly after the last recording was done, the album coming out that very January. It had some reasonable success and the band ended up touring to support it. That April they received rave reviews after their appearance at The Fillmore in San Francisco. The recording of the next album, Projections, took place in the fall and was released in November. By spring of ’67 Kooper left and the band completed their next album, Live at Town Hall without him. That album was not all it seemed to be. There was only one actual Town Hall live cut, while other cuts were from other venue live performances, plus recording outtakes using canned applause. The album did contain the band’s only charting single, Al Kooper’s No Time Like the Right Time. It has been called one of the "great hit singles that never were”. Kooper left after a disagreement with Danny Kalb about Al wanting to add a horn section. Kalb then disappeared for a few months after a bad acid trio, but he resurfaced in time to play with the band at Monterey Pop. It was said that he was in a deeply depressed state just prior to that event. Not long after that Katz left the band followed by Kalb. This lead to the Planned Obsolescence album that was in reality the new band Seatrain. With a modified lineup  (including Kalb and Blumenfeld, plus Flanders on the 1972 album) three Blues Project albums were released in 1971-73, the final one being called The Original Blues Project Reunion In Central Park, which included Kooper, but not Tommy Flanders.

Jeff Tamarkin sums it up well in his 2018 review of The Blues Project in Best Classic Bands, “Sadly, the band is not well known today among younger rock fans, but many who were around at the time still cherish their small but potent output, particularly the one studio set that encapsulated everything that made the Blues Project a great ’60s band.” I firmly believe they were a great band for any time period, and that there is still time for younger generations to know and appreciate their music.

https://en.wikipedia.org/wiki/The_Blues_Project

https://en.wikipedia.org/wiki/Projections_(The_Blues_Project_album)

https://bestclassicbands.com/blues-project-projections-6-20-18/

https://www.allmusic.com/artist/the-blues-project-mn0000041899/biography

https://www.allmusic.com/album/projections-mw0000202605

https://ultimateclassicrock.com/blues-project-projections/

http://www.theblues-thatjazz.com/en/blues/796-bluesproject/24626-the-blues-project-projections-1966.html

https://www.discogs.com/artist/252489-The-Blues-Project

Flute Song Live at Monterey Pop https://www.youtube.com/watch?v=1oIE95Ro9Ms

https://www.youtube.com/playlist?list=PLCCF5F612C7F6E73F

LP20