Tom Waits - Chocolate Jesus - YouTube
Friday, April 27, 2012
Wednesday, April 25, 2012
Karen Dalton: A Reluctant Voice, Rediscovered : NPR
Karen Dalton: A Reluctant Voice, Rediscovered : NPR
Karen Dalton
Elliott Landy
Karen Dalton died with two studio albums to her name. A collection of her home recordings was recently released.
Karen Dalton's Music
A song from the new collection Green Rocky Road (home recordings from 1962-63):
'Green Rocky Road'
add|purchase music
From the 1971 studio album In My Own Time:
'Katie Cruel' (studio version, 1971)
add|purchase music
Karen Dalton and Richard Tucker
Morris Warman/Courtesy of Delmore Recordings
Karen Dalton and Richard Tucker perform at Gerde's Folk City in New York, pictured on the Sept. 15, 1963, cover of the New York Herald Tribune Sunday magazine.
July 12, 2008 - Karen Dalton's new album, Green Rocky Road, was 45 years in the making.
The folk singer made the record at her cabin in Colorado with nothing but a 12-string guitar, a banjo and her voice. Joe Loop captured the recordings on a reel-to-reel tape deck in 1963.
"I can still see her in my mind, sitting in her rocking chair with that long-neck banjo, rocking back and forth playing," he says.
At the time, Loop owned a coffee shop in Boulder called The Attic. Young singers who were just discovering traditional folk music would stop there on the way from coast to coast — people like David Crosby and John Phillips. Loop says Dalton put most of them to shame.
"She was the real deal," he says. "Karen had been living the life and doing it for some time."
Dalton could sound like Billie Holiday, and she had the striking beauty of a Walker Evans dustbowl portrait. Bob Dylan called her his favorite singer from the Greenwich Village folk scene of the 1960s.
She never enjoyed much commercial success, but her emotional performances and tragic life story continue to attract new fans. Fifteen years after her death, her music has never been more popular.
A Singer's Life
Dalton grew up in Oklahoma, and was married and divorced twice by the time she was 21. In the early '60s, she moved to Greenwich Village, where she crossed paths with Dylan, who occasionally backed her up on harmonica.
Dalton also got married for a third time, to folksinger Richard Tucker. "If you saw her on a stage in a small club and heard her voice, it was just awesome," Tucker says. "My favorite was [when] she did blues, really slow. The slowest blues I ever heard in my life."
It wasn't just Dalton's singing that drew comparisons to Billie Holiday: Her tumultuous personal life also became part of her mythology. Her daughter, Abralyn Baird, says that Dalton lost her two bottom front teeth when she got in the middle of a fight between boyfriends.
"The man she was living with at the time, he came home and found her in bed with my soon-to-be stepfather," Baird says. "Heh and, yeah, a fight ensued. She got punched in the face. She always said when she got that big recording contract and became famous, she was gonna have teeth put in."
But that big recording contract never came through. Dalton was tall and beautiful and certainly looked like a star. But veteran bass player and producer Harvey Brooks says she wasn't interested in playing the music industry's games in an era when musicians had little other choice.
"Karen came from the backwoods of Oklahoma," Brooks says. "She was different. She was very laid-back and reserved. ... There was no fire behind her. By the time the fire came, her personal fire was not up to it."
On Her Own Terms
Dalton did manage to record two albums, with Brooks producing the second one. But he says her personal problems — including a growing reliance on hard drugs and alcohol — made recording them difficult and touring to promote them impossible.
Record companies might have taken Dalton for a rube, but Baird insists her mother was anything but.
"She was very well-read," Baird says. "Our house was always full of books. She knew what was going on in the world, about literature, the whole bit. When people approached her as being the stupid farm girl from Oklahoma, it could really piss her off in a hurry."
And when record executives tried to change her music, Baird says, it made her even angrier.
"She wanted to have her sound," she says. "That's what they told her they wanted to hear, and then she'd get in the studio, and they're like, 'Well, we'll just add a couple tracks to this.' And she's like, 'No.' She'd get furious. My mother was the kind of person who would scream at bank tellers."
But at the same time, Dalton was a reluctant performer, according to cafe owner and recordist Loop. "She had a way of carrying herself and an aura of strength that made it surprising that somebody who had such a strong personality would get in a situation like a recording situation and be really shy and intimidated by the whole thing," he says.
Mysteries Of Revival
She isn't around to resolve that personality contradiction. Dalton died in 1993. And if she gave any recorded interviews, they're nowhere to be found.
The mystery that surrounds her life may be part of the reason for her recent comeback. In the last two years, independent labels have put out three CDs' worth of reissued and previously unreleased material.
Loop says he's not surprised that she's having more success now than she did in her own lifetime.
"Most people they were recording in the late '50s, early '60s were the Weavers and Pete Seeger and Joan Baez," Loop says. "Kind of the Ozzie and Harriet people of the folk-music world. Straight, cleaned up. Karen didn't belong in that world."
Dalton's stormy personal life may have scared away record executives 40 years ago, but it also may be one of the reasons new fans are discovering what many of her peers knew all along.
Ordinary Songs Become Memorable Events
Karen Dalton: Blues from Beyond the Grave
Ruminations on Bridges Burned and Backs Turned
Karen Dalton
Elliott Landy
Karen Dalton died with two studio albums to her name. A collection of her home recordings was recently released.
Karen Dalton's Music
A song from the new collection Green Rocky Road (home recordings from 1962-63):
'Green Rocky Road'
add|purchase music
From the 1971 studio album In My Own Time:
'Katie Cruel' (studio version, 1971)
add|purchase music
Karen Dalton and Richard Tucker
Morris Warman/Courtesy of Delmore Recordings
Karen Dalton and Richard Tucker perform at Gerde's Folk City in New York, pictured on the Sept. 15, 1963, cover of the New York Herald Tribune Sunday magazine.
July 12, 2008 - Karen Dalton's new album, Green Rocky Road, was 45 years in the making.
The folk singer made the record at her cabin in Colorado with nothing but a 12-string guitar, a banjo and her voice. Joe Loop captured the recordings on a reel-to-reel tape deck in 1963.
"I can still see her in my mind, sitting in her rocking chair with that long-neck banjo, rocking back and forth playing," he says.
At the time, Loop owned a coffee shop in Boulder called The Attic. Young singers who were just discovering traditional folk music would stop there on the way from coast to coast — people like David Crosby and John Phillips. Loop says Dalton put most of them to shame.
"She was the real deal," he says. "Karen had been living the life and doing it for some time."
Dalton could sound like Billie Holiday, and she had the striking beauty of a Walker Evans dustbowl portrait. Bob Dylan called her his favorite singer from the Greenwich Village folk scene of the 1960s.
She never enjoyed much commercial success, but her emotional performances and tragic life story continue to attract new fans. Fifteen years after her death, her music has never been more popular.
A Singer's Life
Dalton grew up in Oklahoma, and was married and divorced twice by the time she was 21. In the early '60s, she moved to Greenwich Village, where she crossed paths with Dylan, who occasionally backed her up on harmonica.
Dalton also got married for a third time, to folksinger Richard Tucker. "If you saw her on a stage in a small club and heard her voice, it was just awesome," Tucker says. "My favorite was [when] she did blues, really slow. The slowest blues I ever heard in my life."
It wasn't just Dalton's singing that drew comparisons to Billie Holiday: Her tumultuous personal life also became part of her mythology. Her daughter, Abralyn Baird, says that Dalton lost her two bottom front teeth when she got in the middle of a fight between boyfriends.
"The man she was living with at the time, he came home and found her in bed with my soon-to-be stepfather," Baird says. "Heh and, yeah, a fight ensued. She got punched in the face. She always said when she got that big recording contract and became famous, she was gonna have teeth put in."
But that big recording contract never came through. Dalton was tall and beautiful and certainly looked like a star. But veteran bass player and producer Harvey Brooks says she wasn't interested in playing the music industry's games in an era when musicians had little other choice.
"Karen came from the backwoods of Oklahoma," Brooks says. "She was different. She was very laid-back and reserved. ... There was no fire behind her. By the time the fire came, her personal fire was not up to it."
On Her Own Terms
Dalton did manage to record two albums, with Brooks producing the second one. But he says her personal problems — including a growing reliance on hard drugs and alcohol — made recording them difficult and touring to promote them impossible.
Record companies might have taken Dalton for a rube, but Baird insists her mother was anything but.
"She was very well-read," Baird says. "Our house was always full of books. She knew what was going on in the world, about literature, the whole bit. When people approached her as being the stupid farm girl from Oklahoma, it could really piss her off in a hurry."
And when record executives tried to change her music, Baird says, it made her even angrier.
"She wanted to have her sound," she says. "That's what they told her they wanted to hear, and then she'd get in the studio, and they're like, 'Well, we'll just add a couple tracks to this.' And she's like, 'No.' She'd get furious. My mother was the kind of person who would scream at bank tellers."
But at the same time, Dalton was a reluctant performer, according to cafe owner and recordist Loop. "She had a way of carrying herself and an aura of strength that made it surprising that somebody who had such a strong personality would get in a situation like a recording situation and be really shy and intimidated by the whole thing," he says.
Mysteries Of Revival
She isn't around to resolve that personality contradiction. Dalton died in 1993. And if she gave any recorded interviews, they're nowhere to be found.
The mystery that surrounds her life may be part of the reason for her recent comeback. In the last two years, independent labels have put out three CDs' worth of reissued and previously unreleased material.
Loop says he's not surprised that she's having more success now than she did in her own lifetime.
"Most people they were recording in the late '50s, early '60s were the Weavers and Pete Seeger and Joan Baez," Loop says. "Kind of the Ozzie and Harriet people of the folk-music world. Straight, cleaned up. Karen didn't belong in that world."
Dalton's stormy personal life may have scared away record executives 40 years ago, but it also may be one of the reasons new fans are discovering what many of her peers knew all along.
Ordinary Songs Become Memorable Events
Karen Dalton: Blues from Beyond the Grave
Ruminations on Bridges Burned and Backs Turned
Karen Dalton: A Reluctant Voice, Rediscovered : NPR
Karen Dalton: A Reluctant Voice, Rediscovered : NPR
collection of her home recordings was recently released.
collection of her home recordings was recently released.
Karen Dalton's Music
A song from the new collection Green Rocky Road (home recordings from 1962-63):
From the 1971 studio album In My Own Time:
Morris Warman/Courtesy of Delmore Recordings Karen Dalton and Richard Tucker perform at Gerde's Folk City in New York, pictured on the Sept. 15, 1963, cover of the New York Herald Tribune Sunday magazine.
July 12, 2008 - Karen Dalton's new album, Green Rocky Road, was 45 years in the making.
The folk singer made the record at her cabin in Colorado with nothing but a 12-string guitar, a banjo and her voice. Joe Loop captured the recordings on a reel-to-reel tape deck in 1963.
"I can still see her in my mind, sitting in her rocking chair with that long-neck banjo, rocking back and forth playing," he says.
At the time, Loop owned a coffee shop in Boulder called The Attic. Young singers who were just discovering traditional folk music would stop there on the way from coast to coast — people like David Crosby and John Phillips. Loop says Dalton put most of them to shame.
"She was the real deal," he says. "Karen had been living the life and doing it for some time."
Dalton could sound like Billie Holiday, and she had the striking beauty of a Walker Evans dustbowl portrait. Bob Dylan called her his favorite singer from the Greenwich Village folk scene of the 1960s.
She never enjoyed much commercial success, but her emotional performances and tragic life story continue to attract new fans. Fifteen years after her death, her music has never been more popular.
A Singer's Life
Dalton grew up in Oklahoma, and was married and divorced twice by the time she was 21. In the early '60s, she moved to Greenwich Village, where she crossed paths with Dylan, who occasionally backed her up on harmonica.
Dalton also got married for a third time, to folksinger Richard Tucker. "If you saw her on a stage in a small club and heard her voice, it was just awesome," Tucker says. "My favorite was [when] she did blues, really slow. The slowest blues I ever heard in my life."
It wasn't just Dalton's singing that drew comparisons to Billie Holiday: Her tumultuous personal life also became part of her mythology. Her daughter, Abralyn Baird, says that Dalton lost her two bottom front teeth when she got in the middle of a fight between boyfriends.
"The man she was living with at the time, he came home and found her in bed with my soon-to-be stepfather," Baird says. "Heh and, yeah, a fight ensued. She got punched in the face. She always said when she got that big recording contract and became famous, she was gonna have teeth put in."
But that big recording contract never came through. Dalton was tall and beautiful and certainly looked like a star. But veteran bass player and producer Harvey Brooks says she wasn't interested in playing the music industry's games in an era when musicians had little other choice.
"Karen came from the backwoods of Oklahoma," Brooks says. "She was different. She was very laid-back and reserved. ... There was no fire behind her. By the time the fire came, her personal fire was not up to it."
On Her Own Terms
Dalton did manage to record two albums, with Brooks producing the second one. But he says her personal problems — including a growing reliance on hard drugs and alcohol — made recording them difficult and touring to promote them impossible.
Record companies might have taken Dalton for a rube, but Baird insists her mother was anything but.
"She was very well-read," Baird says. "Our house was always full of books. She knew what was going on in the world, about literature, the whole bit. When people approached her as being the stupid farm girl from Oklahoma, it could really piss her off in a hurry."
And when record executives tried to change her music, Baird says, it made her even angrier.
"She wanted to have her sound," she says. "That's what they told her they wanted to hear, and then she'd get in the studio, and they're like, 'Well, we'll just add a couple tracks to this.' And she's like, 'No.' She'd get furious. My mother was the kind of person who would scream at bank tellers."
But at the same time, Dalton was a reluctant performer, according to cafe owner and recordist Loop. "She had a way of carrying herself and an aura of strength that made it surprising that somebody who had such a strong personality would get in a situation like a recording situation and be really shy and intimidated by the whole thing," he says.
Mysteries Of Revival
She isn't around to resolve that personality contradiction. Dalton died in 1993. And if she gave any recorded interviews, they're nowhere to be found.
The mystery that surrounds her life may be part of the reason for her recent comeback. In the last two years, independent labels have put out three CDs' worth of reissued and previously unreleased material.
Loop says he's not surprised that she's having more success now than she did in her own lifetime.
"Most people they were recording in the late '50s, early '60s were the Weavers and Pete Seeger and Joan Baez," Loop says. "Kind of the Ozzie and Harriet people of the folk-music world. Straight, cleaned up. Karen didn't belong in that world."
Dalton's stormy personal life may have scared away record executives 40 years ago, but it also may be one of the reasons new fans are discovering what many of her peers knew all along.
The folk singer made the record at her cabin in Colorado with nothing but a 12-string guitar, a banjo and her voice. Joe Loop captured the recordings on a reel-to-reel tape deck in 1963.
"I can still see her in my mind, sitting in her rocking chair with that long-neck banjo, rocking back and forth playing," he says.
At the time, Loop owned a coffee shop in Boulder called The Attic. Young singers who were just discovering traditional folk music would stop there on the way from coast to coast — people like David Crosby and John Phillips. Loop says Dalton put most of them to shame.
"She was the real deal," he says. "Karen had been living the life and doing it for some time."
Dalton could sound like Billie Holiday, and she had the striking beauty of a Walker Evans dustbowl portrait. Bob Dylan called her his favorite singer from the Greenwich Village folk scene of the 1960s.
She never enjoyed much commercial success, but her emotional performances and tragic life story continue to attract new fans. Fifteen years after her death, her music has never been more popular.
A Singer's Life
Dalton grew up in Oklahoma, and was married and divorced twice by the time she was 21. In the early '60s, she moved to Greenwich Village, where she crossed paths with Dylan, who occasionally backed her up on harmonica.
Dalton also got married for a third time, to folksinger Richard Tucker. "If you saw her on a stage in a small club and heard her voice, it was just awesome," Tucker says. "My favorite was [when] she did blues, really slow. The slowest blues I ever heard in my life."
It wasn't just Dalton's singing that drew comparisons to Billie Holiday: Her tumultuous personal life also became part of her mythology. Her daughter, Abralyn Baird, says that Dalton lost her two bottom front teeth when she got in the middle of a fight between boyfriends.
"The man she was living with at the time, he came home and found her in bed with my soon-to-be stepfather," Baird says. "Heh and, yeah, a fight ensued. She got punched in the face. She always said when she got that big recording contract and became famous, she was gonna have teeth put in."
But that big recording contract never came through. Dalton was tall and beautiful and certainly looked like a star. But veteran bass player and producer Harvey Brooks says she wasn't interested in playing the music industry's games in an era when musicians had little other choice.
"Karen came from the backwoods of Oklahoma," Brooks says. "She was different. She was very laid-back and reserved. ... There was no fire behind her. By the time the fire came, her personal fire was not up to it."
On Her Own Terms
Dalton did manage to record two albums, with Brooks producing the second one. But he says her personal problems — including a growing reliance on hard drugs and alcohol — made recording them difficult and touring to promote them impossible.
Record companies might have taken Dalton for a rube, but Baird insists her mother was anything but.
"She was very well-read," Baird says. "Our house was always full of books. She knew what was going on in the world, about literature, the whole bit. When people approached her as being the stupid farm girl from Oklahoma, it could really piss her off in a hurry."
And when record executives tried to change her music, Baird says, it made her even angrier.
"She wanted to have her sound," she says. "That's what they told her they wanted to hear, and then she'd get in the studio, and they're like, 'Well, we'll just add a couple tracks to this.' And she's like, 'No.' She'd get furious. My mother was the kind of person who would scream at bank tellers."
But at the same time, Dalton was a reluctant performer, according to cafe owner and recordist Loop. "She had a way of carrying herself and an aura of strength that made it surprising that somebody who had such a strong personality would get in a situation like a recording situation and be really shy and intimidated by the whole thing," he says.
Mysteries Of Revival
She isn't around to resolve that personality contradiction. Dalton died in 1993. And if she gave any recorded interviews, they're nowhere to be found.
The mystery that surrounds her life may be part of the reason for her recent comeback. In the last two years, independent labels have put out three CDs' worth of reissued and previously unreleased material.
Loop says he's not surprised that she's having more success now than she did in her own lifetime.
"Most people they were recording in the late '50s, early '60s were the Weavers and Pete Seeger and Joan Baez," Loop says. "Kind of the Ozzie and Harriet people of the folk-music world. Straight, cleaned up. Karen didn't belong in that world."
Dalton's stormy personal life may have scared away record executives 40 years ago, but it also may be one of the reasons new fans are discovering what many of her peers knew all along.
Related NPR Stories
Faithfull
English pop singer Marianne Faithfull with her pet Dalmatian, 1964. Photograph: John Pratt/Getty Images
Marianne faithfull - Sister morphine
Marianne faithfull - Sister morphine - YouTube
ploaded by argolikoslibrary on Jun 26, 2010
u
ploaded by argolikoslibrary on Jun 26, 2010
Marianne Evelyn Faithfull, Baroness Sacher-Masoch (born 29 December 1946) is an award winning English singer, songwriter and actress whose career has spanned over four decades. Her early work in pop and rock music in the 1960s was overshadowed by her struggle with drug abuse in the 1970s. During the first two thirds of that decade, and with little notice, she produced only two studio albums.
After a long commercial absence, she returned late in 1979 with the landmark album, Broken English. Faithfull's subsequent solo work, often critically acclaimed, has at times been overshadowed by her personal history.
From 1966 to 1970, she had a highly-publicised romantic relationship with Rolling Stones' lead singer, Mick Jagger. Several of the group's best-known songs were inspired by Faithfull, such as Wild Horses. She wrote Sister Morphine which features on their Sticky Fingers album.
After a long commercial absence, she returned late in 1979 with the landmark album, Broken English. Faithfull's subsequent solo work, often critically acclaimed, has at times been overshadowed by her personal history.
From 1966 to 1970, she had a highly-publicised romantic relationship with Rolling Stones' lead singer, Mick Jagger. Several of the group's best-known songs were inspired by Faithfull, such as Wild Horses. She wrote Sister Morphine which features on their Sticky Fingers album.
MARIANNE FAITHFULL & DAVID BOWIE - I GOT YOU, BABE (1973) - YouTube
MARIANNE FAITHFULL & DAVID BOWIE - I GOT YOU, BABE (1973) - YouTube
ed by topvideoseu on Feb 18, 2011
MARIANNE FAITHFULL & DAVID BOWIE - I GOT YOU, BABE (1973) videoclip original
ed by topvideoseu on Feb 18, 2011
MARIANNE FAITHFULL & DAVID BOWIE - I GOT YOU, BABE (1973) videoclip original
Tuesday, April 24, 2012
Karen Dalton - Something on your mind - YouTube
Karen Dalton - Something on your mind - YouTube
Uploaded by soultana73 on Mar 16, 2011
Uploaded by soultana73 on Mar 16, 2011
Karen Dalton - Something is on your mind
Album: In my own mind (1971)
Movie: Zwartboek
Yesterday any way you made it was just fine,
So you turned your days into night-time,
Didn't you know, you can't make it without ever even trying?
And something's on your mind, isn't it
Let these times show you that you're breaking up the lines,
Leaving all your dreams too far behind,
Didn't you see, you can't make it without ever even trying?
And something's on your mind.
Maybe another day you'll want to feel another way, you can't stop crying,
You haven't got a thing to say, you feel you want to run away
There's no use trying, anyway.
I've seen the writing on the wall,
Who cannot maintain will always fall,
Well, you know, you can't make it without ever even trying.
And something's on your mind, isn't it
Tell the truth now, isn't it
And something's on your mind, isn't it
Album: In my own mind (1971)
Movie: Zwartboek
Yesterday any way you made it was just fine,
So you turned your days into night-time,
Didn't you know, you can't make it without ever even trying?
And something's on your mind, isn't it
Let these times show you that you're breaking up the lines,
Leaving all your dreams too far behind,
Didn't you see, you can't make it without ever even trying?
And something's on your mind.
Maybe another day you'll want to feel another way, you can't stop crying,
You haven't got a thing to say, you feel you want to run away
There's no use trying, anyway.
I've seen the writing on the wall,
Who cannot maintain will always fall,
Well, you know, you can't make it without ever even trying.
And something's on your mind, isn't it
Tell the truth now, isn't it
And something's on your mind, isn't it
Karen Dalton, It Hurts Me Too - YouTube
Karen Dalton, It Hurts Me Too - YouTube
Uploaded by ResidentClinton on Dec 1, 2006
Greenwich Village folk singer (and big Dylan influence) Karen Dalton performing her version of "It Hurts Me Too", originally made popular by Elmore James. From a French documentary filmed in NYC, 1969.
This footage and more is now available as the bonus DVD that comes with some Karen Dalton reissue CDs. Highly recommended are the lost live recordings of Karen Dalton (also including the DVD) form Delmore Recordings: http://delmorerecordings.com/?page_id=3
This footage and more is now available as the bonus DVD that comes with some Karen Dalton reissue CDs. Highly recommended are the lost live recordings of Karen Dalton (also including the DVD) form Delmore Recordings: http://delmorerecordings.com/?page_id=3
Tuesday, April 17, 2012
Ono’s Experimental MS Drug Cuts Brain Lesions, Study Shows - Businessweek
Ono’s Experimental MS Drug Cuts Brain Lesions, Study Shows - Businessweek
Patients who took the ONO-4641 tablet were found to have as many as 92 percent fewer brain lesions, compared with a group that took a placebo, according to the study released today.
Side effects from the once-a-day oral administration of the drug over a 26 week period appeared to be dose-related and included a slower heartbeat, blood pressure changes and liver enzyme elevation.
The findings from the preliminary study move the drug a step closer to expanding the range of treatments for the debilitating condition that affects more than 2 million people worldwide. If approved, patients will have another treatment taken orally, in addition to Novartis AG (NOVN)’s Gilenya, the world’s first pill for MS.
The treatment will compete with therapies including Teva’s Copaxone, which generated $3.9 billion for the company in 2011, and Biogen’s Avonex, which sold $2.7 billion.
The research is scheduled for presentation at the American Academy of Neurology meeting in New Orleans, April 21 to April 28.
Ono Pharmaceutical, based in Osaka, Japan, funded the research.
Bloomberg News
Ono’s Experimental MS Drug Cuts Brain Lesions, Study Shows
An experimental drug to treat multiple sclerosis developed by Ono Pharmaceutical Co. (4528) reduced the number of lesions in the brain, a study to be presented at the American Academy of Neurology showed.
Patients who took the ONO-4641 tablet were found to have as many as 92 percent fewer brain lesions, compared with a group that took a placebo, according to the study released today.
Side effects from the once-a-day oral administration of the drug over a 26 week period appeared to be dose-related and included a slower heartbeat, blood pressure changes and liver enzyme elevation.
The findings from the preliminary study move the drug a step closer to expanding the range of treatments for the debilitating condition that affects more than 2 million people worldwide. If approved, patients will have another treatment taken orally, in addition to Novartis AG (NOVN)’s Gilenya, the world’s first pill for MS.
The treatment will compete with therapies including Teva’s Copaxone, which generated $3.9 billion for the company in 2011, and Biogen’s Avonex, which sold $2.7 billion.
The research is scheduled for presentation at the American Academy of Neurology meeting in New Orleans, April 21 to April 28.
Ono Pharmaceutical, based in Osaka, Japan, funded the research.
Seven Ages of Rock Part 1 of 7 - Birth of Rock - YouTube
Seven Ages of Rock Part 1 of 7 - Birth of Rock - YouTube
Uploaded by masstarvation on Nov 26, 2011
http://swtordominance.com/discount/swtortube.php
Subscribe so i'll have reason to upload the other videos.
Fair Use only. No intention to infringe any copyright as i own the videos myself as part of a video collection.
Watch how Jimi Hendrix started the rock revolution during the 60's by changing the way blues music is played. Eric Clapton, Jeff Beck, The Rolling Stones, Jagger, The Who and all the 60's great are here in this epic Seven Ages of Rock Video
THIS IS THE HISTORY OF ROCK THAT WE HAVE LOST, NOW WATCH IT !
http://swtordominance.com/
Subscribe so i'll have reason to upload the other videos.
Fair Use only. No intention to infringe any copyright as i own the videos myself as part of a video collection.
Watch how Jimi Hendrix started the rock revolution during the 60's by changing the way blues music is played. Eric Clapton, Jeff Beck, The Rolling Stones, Jagger, The Who and all the 60's great are here in this epic Seven Ages of Rock Video
THIS IS THE HISTORY OF ROCK THAT WE HAVE LOST, NOW WATCH IT !
http://swtordominance.com/
Led Zeppelin Rock And Roll and Black Dog Live HD - YouTube
Led Zeppelin Rock And Roll and Black Dog Live HD - YouTube
Black Dog is a song that the name slipped my mind....
Black Dog is a song that the name slipped my mind....
Santana ~ Black Magic Woman with sensational belly dancer - YouTube
Santana ~ Black Magic Woman with sensational belly dancer - YouTube
ploaded by exactimages on Dec 14, 2010
To see the ORIGINAL video AND soundtrack click:
http://www.youtube.com/watch?v=ccMho_mbeQc
Santana plays Black Magic Woman while Alla Kushnir (Liela) dances a beautiful and mezmerizing belly dance. Filmed at thre City festival in Nikolaev, Ukraine 2006, she was Miss Belly Dance of Europe 2008, winner of Ukranian Belly Dance Championship 2007 and 2008 and runner up in a few others. "Black Magic Woman" is a song written by Peter Green that first appeared as a Fleetwood Mac single in various countries in 1968, subsequently appearing on the 1969 Fleetwood Mac compilation albums English Rose (US) and The Pious Bird of Good Omen (UK). It became a classic hit by Santana and sung by Gregg Rolie in 1970, reaching #4 in the U.S. and Canadian charts, after appearing on their Abraxas album, becoming more closely associated with Santana than Fleetwood Mac.
Carlos Santana -- Guitar, Vocals, Producer
José "Chepito" Areas -- Percussion, Conga, Timbales
David Brown -- Bass, Engineer
Mike Carabello -- Percussion, Conga
Alberto Gianquinto -- Piano
Gregg Rolie - Keyboards, Vocals
Rico Reyes -- Percussion
Steven Saphore -- Tabla
Michael Shrieve - drums
Category:
Music
Tags:
Santana
Black Magic Woman
Abraxas
Carlos Santana
Alla Kushnir
Belly Dancer
Belly Dancing
Fleetwood Mac
License:
Standard YouTube License
Artist: Santana
As Seen On: As Seen On: Getbig Bodybuilding, ...
ploaded by exactimages on Dec 14, 2010
To see the ORIGINAL video AND soundtrack click:
http://www.youtube.com/watch?v=ccMho_mbeQc
Santana plays Black Magic Woman while Alla Kushnir (Liela) dances a beautiful and mezmerizing belly dance. Filmed at thre City festival in Nikolaev, Ukraine 2006, she was Miss Belly Dance of Europe 2008, winner of Ukranian Belly Dance Championship 2007 and 2008 and runner up in a few others. "Black Magic Woman" is a song written by Peter Green that first appeared as a Fleetwood Mac single in various countries in 1968, subsequently appearing on the 1969 Fleetwood Mac compilation albums English Rose (US) and The Pious Bird of Good Omen (UK). It became a classic hit by Santana and sung by Gregg Rolie in 1970, reaching #4 in the U.S. and Canadian charts, after appearing on their Abraxas album, becoming more closely associated with Santana than Fleetwood Mac.
Carlos Santana -- Guitar, Vocals, Producer
José "Chepito" Areas -- Percussion, Conga, Timbales
David Brown -- Bass, Engineer
Mike Carabello -- Percussion, Conga
Alberto Gianquinto -- Piano
Gregg Rolie - Keyboards, Vocals
Rico Reyes -- Percussion
Steven Saphore -- Tabla
Michael Shrieve - drums
Category:
Music
Tags:
Santana
Black Magic Woman
Abraxas
Carlos Santana
Alla Kushnir
Belly Dancer
Belly Dancing
Fleetwood Mac
License:
Standard YouTube License
Artist: Santana
As Seen On: As Seen On: Getbig Bodybuilding, ...
Easy Rider - Wasn't Born To Follow (The Byrds) - YouTube
Easy Rider - Wasn't Born To Follow (The Byrds) - YouTube
loaded by SophyaAgain on May 30, 2010
Easy Rider, 1969
Written by Peter Fonda, Dennis Hopper, and Terry Southern
Produced by Fonda.
Directed by Hopper.
Song by The Byrds
Wasn't Born to Follow (Carole King/Gerry Goffin)
loaded by SophyaAgain on May 30, 2010
Easy Rider, 1969
Written by Peter Fonda, Dennis Hopper, and Terry Southern
Produced by Fonda.
Directed by Hopper.
Song by The Byrds
Wasn't Born to Follow (Carole King/Gerry Goffin)
Grateful Dead ☮ The Weight (Easy Rider) - YouTube
Grateful Dead ☮ The Weight (Easy Rider) - YouTube
ploaded by chasefukuoka61 on May 30, 2010
Tribute to Dennis Hopper with "The Weight" performed by the Grateful Dead, and movie scenes from Easy Rider....
ploaded by chasefukuoka61 on May 30, 2010
Tribute to Dennis Hopper with "The Weight" performed by the Grateful Dead, and movie scenes from Easy Rider....
Tom Waits - Warm Beer Cold Women - YouTube
Tom Waits - Warm Beer Cold Women - YouTube
loaded by Chelseacf on Oct 30, 2007
June 1976 Denmark DR TV Studios
loaded by Chelseacf on Oct 30, 2007
June 1976 Denmark DR TV Studios
Tom Waits: The Piano Has Been Drinking -1977 - YouTube
Tom Waits: The Piano Has Been Drinking -1977 - YouTube
Uploaded by MrRainDogss on Feb 22, 2010
by the rain blogs http://guerrillaradio.iobloggo.com/
☆ ★☆ ★☆ ★☆ ★☆ ★☆ ★☆ ★☆ ★☆
Rain dogs are on Facebook: http://www.facebook.com/pages/Vittorio-Arrigoni/290463280451?ref=search&s...
Tom Waits The Piano Has Been Drinking Lyrics
The piano has been drinking
My necktie is asleep
And the combo went back to New York
The jukebox has to take a leak
And the carpet needs a haircut
And the spotlight looks like a prison break
Cause the telephone's out of cigarettes
And the balcony's on the make
And the piano has been drinking
The piano has been drinking...
And the menus are all freezing
And the lightman's blind in one eye
And he can't see out of the other
And the piano-tuner's got a hearing aid
And he showed up with his mother
And the piano has been drinking
The piano has been drinking
Cause the bouncer is a Sumo wrestler
Cream puff casper milk toast
And the owner is a mental midget
With the I.Q. of a fencepost
Cause the piano has been drinking
The piano has been drinking...
And you can't find your waitress
With a Geiger counter
And she hates you and your friends
And you just can't get served
Without her
And the box-office is drooling
And the bar stools are on fire
And the newspapers were fooling
And the ash-trays have retired
The piano has been drinking
The piano has been drinking
The piano has been drinking
Not me, not me, not me, not me, not me
THE PIANO HAS BEEN DRINKING, NOT ME: http://guerrillaradio.iobloggo.com/
Uploaded by MrRainDogss on Feb 22, 2010
by the rain blogs http://guerrillaradio.iobloggo.com/
☆ ★☆ ★☆ ★☆ ★☆ ★☆ ★☆ ★☆ ★☆
Rain dogs are on Facebook: http://www.facebook.com/pages/Vittorio-Arrigoni/290463280451?ref=search&s...
Tom Waits The Piano Has Been Drinking Lyrics
The piano has been drinking
My necktie is asleep
And the combo went back to New York
The jukebox has to take a leak
And the carpet needs a haircut
And the spotlight looks like a prison break
Cause the telephone's out of cigarettes
And the balcony's on the make
And the piano has been drinking
The piano has been drinking...
And the menus are all freezing
And the lightman's blind in one eye
And he can't see out of the other
And the piano-tuner's got a hearing aid
And he showed up with his mother
And the piano has been drinking
The piano has been drinking
Cause the bouncer is a Sumo wrestler
Cream puff casper milk toast
And the owner is a mental midget
With the I.Q. of a fencepost
Cause the piano has been drinking
The piano has been drinking...
And you can't find your waitress
With a Geiger counter
And she hates you and your friends
And you just can't get served
Without her
And the box-office is drooling
And the bar stools are on fire
And the newspapers were fooling
And the ash-trays have retired
The piano has been drinking
The piano has been drinking
The piano has been drinking
Not me, not me, not me, not me, not me
THE PIANO HAS BEEN DRINKING, NOT ME: http://guerrillaradio.iobloggo.com/
Tuesday, April 10, 2012
Kate Bush Mark Radcliffe Interview 2011BBC (Full Interview) - YouTube
Kate Bush Mark Radcliffe Interview 2011 (Full Interview) - YouTube
loaded by louiegray050696 on May 18, 2011
This is a deluxe hour-long interview that Kate Bush did with Mark Radcliffe, featuring several songs from her new album 'Director's Cut'. If you haven't already heard the Radio 4 and the other Radio 2 interview she did then you can check them out as I have posted them. So all that's left to say now is.......ENJOY!
loaded by louiegray050696 on May 18, 2011
This is a deluxe hour-long interview that Kate Bush did with Mark Radcliffe, featuring several songs from her new album 'Director's Cut'. If you haven't already heard the Radio 4 and the other Radio 2 interview she did then you can check them out as I have posted them. So all that's left to say now is.......ENJOY!
Chaka Khan - Live
Chaka Khan - Live [Full DVD] - YouTube
ploaded by JazzBluesLive on Mar 10, 2011
ploaded by JazzBluesLive on Mar 10, 2011
Whether she is bending a note, perfectly soaring above or below a melody, sliding into a peerless funk groove or reaching out to us with aching clarity, there is perfection and precision to the music of Chaka Khan. Chaka Kahn has established the benchmark for female vocalists, easily crossing the borders between rhythm and blues, jazz, pop, fusion and funk to become the premier vocalists of our time. She can legitimately lay claim to the term the signature diva. This remarkable live performance is from the peak of her career in the mid-80s. It includes the songs We Can Work It Out, I Know You, Melody Still Lingers On, Any Old Sunday, and more.
Category:
I Can't Quit You Baby - YouTube
I Can't Quit You Baby - YouTube
Willie Dixon was born in Vicksburg, MS on July 1, 1915. Dixon is renown as an accomplished songwriter and dedicated bluesman who stands out as not less than sensational. So many of Willie Dixon's music compositions became other popular recording artists hit records it remains unprecedented. Dixon wrote songs that made groups like Muddy Waters, Cream, Chuck Berry, Little Walter, The Yardbirds and Rolling Stones tremendous successes to mention only but a few. "You Shook Me" & "I Can't Quit You Baby" by Willie Dixon became a monster smash for the group Led Zeppelin in 1970 when they released an LP with their version of "I Can't Quit You Baby". Dixon later recieved money damages from Zeppelin in 1987 for closely following the masterful lyrics of "You Need Love" releasing their version of the song as "Whole Lotta Love". I Am The Blues - Sony Music Entertainment/Columbia 1993.
Willie Dixon - I Am The Blues
Willie Dixon - I Am The Blues [Full DVD] - YouTube
loaded by JazzBluesLive on Mar 10, 2011
loaded by JazzBluesLive on Mar 10, 2011
Willie Dixon is the man who changed the style of the blues.
As a songwriter and producer, the man was a genius.
If you wanted a hit song, you went to Willie Dixon. Played it like he said play it, and sing it like he said sing it, and you damn near always had a hit.
Willie Dixon taught bass players how to rock n roll. Listen to him on Chuck Berrys Chess recordings of Rock and Roll Music, and Reelin and Rockin. He took big band music and Mississippi blues and melded them into something new, opening the door for Motown and others to walk in and take it even further. Features 8 super tracks, biography, image gallery and much more.
As a songwriter and producer, the man was a genius.
If you wanted a hit song, you went to Willie Dixon. Played it like he said play it, and sing it like he said sing it, and you damn near always had a hit.
Willie Dixon taught bass players how to rock n roll. Listen to him on Chuck Berrys Chess recordings of Rock and Roll Music, and Reelin and Rockin. He took big band music and Mississippi blues and melded them into something new, opening the door for Motown and others to walk in and take it even further. Features 8 super tracks, biography, image gallery and much more.
Tags:
License:
Standard YouTube License
Etta James - Blues To The Bone - The Sky Is Crying - YouTube
Etta James - Blues To The Bone - The Sky Is Crying - YouTube
loaded by CaelaHarlot on Oct 29, 2010
loaded by CaelaHarlot on Oct 29, 2010
Beautiful song by the lovely Etta James (1938 - 2012). Her death is a great loss to the world, hope she's content where ever she is and that people continue to learn from her and become pioneers of blues and jazz (amongst many other genres).
Etta James The Sky is Crying lyrics and music are property and copyright of its owners.
Lyrics:
The sky is cryin'....look at the tears roll down the street
I said, the sky is crying....look at the tears roll down the street
I'm waiting in tears baby
Looking for my baby
And I wonder wonder wonder where can he be
I saw my baby one mornin'....he was walking down the street
I saw my baby I saw my baby one mornin'....he was walking on down on down the street
Made me feel so good
'Til my poor heart would skip a beat.
Now listen...
I've got a bad bad feelin'
My baby my baby don't want me no more
I've got a bad bad bad feeling, my baby don't don't want me no more
Now the sky's been cryin'
The tears rolling out my door.
Now listen...
I've got a bad bad feelin'
My baby don't, baby don't want me no more
I've got a bad bad bad bad feeling, my baby don't
My baby don't want me no more
Now the sky's been cryin'
And the tears rolling out my door.
Oh yeah..
Etta James The Sky is Crying lyrics and music are property and copyright of its owners.
Lyrics:
The sky is cryin'....look at the tears roll down the street
I said, the sky is crying....look at the tears roll down the street
I'm waiting in tears baby
Looking for my baby
And I wonder wonder wonder where can he be
I saw my baby one mornin'....he was walking down the street
I saw my baby I saw my baby one mornin'....he was walking on down on down the street
Made me feel so good
'Til my poor heart would skip a beat.
Now listen...
I've got a bad bad feelin'
My baby my baby don't want me no more
I've got a bad bad bad feeling, my baby don't don't want me no more
Now the sky's been cryin'
The tears rolling out my door.
Now listen...
I've got a bad bad feelin'
My baby don't, baby don't want me no more
I've got a bad bad bad bad feeling, my baby don't
My baby don't want me no more
Now the sky's been cryin'
And the tears rolling out my door.
Oh yeah..
Linda Ronstadt - Tumbling Dice (1977 Atlanta) - YouTube
Linda Ronstadt - Tumbling Dice (1977 Atlanta) - YouTube
Uploaded by John1948EightB on Apr 1, 2010
PLEASE NOTE: I divided my uploads between multiple channels, Bookmark this link in your browser for instant access to an index with links to all of John1948's oldies classics. LINK: http://tinyurl.com/Channel-Index
With roots in the Los Angeles country and folk-rock scenes, Linda Ronstadt became one of the most popular interpretive singers of the '70s, earning a string of platinum-selling albums and Top 40 singles. Throughout the '70s, her laid-back pop never lost sight of her folky roots, yet as she moved into the '80s, she began to change her sound with the times, adding new wave influences. After a brief flirtation with pre-rock pop, Ronstadt settled into a pattern of adult contemporary pop and Latin albums, sustaining her popularity in both fields.
While Ronstadt was a student at Arizona State University, she met guitarist Bob Kimmel. The duo moved to Los Angeles, where guitarist/songwriter Kenny Edwards joined the pair. Calling themselves the Stone Poneys, the group became a leading attraction on California's folk circuit, recording their first album in 1967. The band's second album, Evergreen, Vol. 2, featured the Top 20 hit "Different Drum," which was written by Michael Nesmith. After recording one more album with the group, Ronstadt left for a solo career at the end of 1968.
Ronstadt's first two solo albums -- Hand Sown Home Grown (1969) and Silk Purse (1970) -- accentuated her country roots, featuring several honky tonk numbers. Released in 1971, her self-titled third album was a pivotal record in her career. Featuring a group of session musicians who would later form the Eagles, the album was a softer, more laid-back variation of the country-rock she had been recording. With the inclusion of songs from singer/songwriters like Jackson Browne, Neil Young, and Eric Anderson, Linda Ronstadt had folk-rock connections as well. Don't Cry Now, released in 1973, followed the same formula to greater success, yet it was 1974's Heart Like a Wheel that perfected the sound, making Ronstadt a star. Featuring the hit covers "You're No Good," "When Will I Be Loved," and "It Doesn't Matter Anymore," Heart Like a Wheel reached number one and sold over two million copies.
Released in the fall of 1975, Prisoner in Disguise followed the same pattern as Heart Like a Wheel and was nearly as successful. Hasten Down the Wind, released in 1976, suggested a holding pattern, even if it charted higher than Prisoner in Disguise. Simple Dreams (1977) expanded the formula by adding a more rock-oriented supporting band, which breathed life into the Rolling Stones' "Tumbling Dice" and Warren Zevon's "Poor Poor Pitiful Me." The record became the singer's biggest hit, staying on the top of the charts for five weeks and selling over three million copies. With Living in the U.S.A. (1978), Ronstadt began experimenting with new wave, recording Elvis Costello's "Alison"; the album was another number one hit. On 1980's Mad Love, she made a full-fledged new wave record, recording three Costello songs and adopting a synth-laden sound. While the album was a commercial success, it signalled that her patented formula was beginning to run out of steam. That suspicion was confirmed with 1982's Get Closer, her first album since Heart Like a Wheel to fail to go platinum.
Sensing it was time to change direction, Ronstadt starred in the Broadway production of Gilbert & Sullivan's +Pirates of Penzance, as well as the accompanying movie. +Pirates of Penzance led the singer to a collaboration with Nelson Riddle, who arranged and conducted her 1983 collection of pop standards What's New. While it received lukewarm reviews, it was a considerable hit, reaching number three on the charts and selling over two million copies. Ronstadt's next two albums -- Lush Life (1984) and For Sentimental Reasons (1986) -- were also albums of pre-rock standards recorded with Riddle.
At the end of 1986, Ronstadt returned to contemporary pop, recording "Somewhere Out There," the theme to the animated An American Tail, with James Ingram; the single became a number two hit. She also returned to her country roots in 1987, recording the Trio album with Dolly Parton and Emmylou Harris. That same year, Ronstadt recorded Canciones de Mi Padre, a set of traditional Mexican songs that became a surprise hit. Two years later, she recorded Cry Like a Rainstorm - Howl Like the Wind -- her first contemporary pop album since 1982's Get Closer. Featuring four duets with Aaron Neville, including the number two hit "Don't Know Much," the album sold over two million copies.
~ Stephen Thomas Erlewine, All Music Guide
With roots in the Los Angeles country and folk-rock scenes, Linda Ronstadt became one of the most popular interpretive singers of the '70s, earning a string of platinum-selling albums and Top 40 singles. Throughout the '70s, her laid-back pop never lost sight of her folky roots, yet as she moved into the '80s, she began to change her sound with the times, adding new wave influences. After a brief flirtation with pre-rock pop, Ronstadt settled into a pattern of adult contemporary pop and Latin albums, sustaining her popularity in both fields.
While Ronstadt was a student at Arizona State University, she met guitarist Bob Kimmel. The duo moved to Los Angeles, where guitarist/songwriter Kenny Edwards joined the pair. Calling themselves the Stone Poneys, the group became a leading attraction on California's folk circuit, recording their first album in 1967. The band's second album, Evergreen, Vol. 2, featured the Top 20 hit "Different Drum," which was written by Michael Nesmith. After recording one more album with the group, Ronstadt left for a solo career at the end of 1968.
Ronstadt's first two solo albums -- Hand Sown Home Grown (1969) and Silk Purse (1970) -- accentuated her country roots, featuring several honky tonk numbers. Released in 1971, her self-titled third album was a pivotal record in her career. Featuring a group of session musicians who would later form the Eagles, the album was a softer, more laid-back variation of the country-rock she had been recording. With the inclusion of songs from singer/songwriters like Jackson Browne, Neil Young, and Eric Anderson, Linda Ronstadt had folk-rock connections as well. Don't Cry Now, released in 1973, followed the same formula to greater success, yet it was 1974's Heart Like a Wheel that perfected the sound, making Ronstadt a star. Featuring the hit covers "You're No Good," "When Will I Be Loved," and "It Doesn't Matter Anymore," Heart Like a Wheel reached number one and sold over two million copies.
Released in the fall of 1975, Prisoner in Disguise followed the same pattern as Heart Like a Wheel and was nearly as successful. Hasten Down the Wind, released in 1976, suggested a holding pattern, even if it charted higher than Prisoner in Disguise. Simple Dreams (1977) expanded the formula by adding a more rock-oriented supporting band, which breathed life into the Rolling Stones' "Tumbling Dice" and Warren Zevon's "Poor Poor Pitiful Me." The record became the singer's biggest hit, staying on the top of the charts for five weeks and selling over three million copies. With Living in the U.S.A. (1978), Ronstadt began experimenting with new wave, recording Elvis Costello's "Alison"; the album was another number one hit. On 1980's Mad Love, she made a full-fledged new wave record, recording three Costello songs and adopting a synth-laden sound. While the album was a commercial success, it signalled that her patented formula was beginning to run out of steam. That suspicion was confirmed with 1982's Get Closer, her first album since Heart Like a Wheel to fail to go platinum.
Sensing it was time to change direction, Ronstadt starred in the Broadway production of Gilbert & Sullivan's +Pirates of Penzance, as well as the accompanying movie. +Pirates of Penzance led the singer to a collaboration with Nelson Riddle, who arranged and conducted her 1983 collection of pop standards What's New. While it received lukewarm reviews, it was a considerable hit, reaching number three on the charts and selling over two million copies. Ronstadt's next two albums -- Lush Life (1984) and For Sentimental Reasons (1986) -- were also albums of pre-rock standards recorded with Riddle.
At the end of 1986, Ronstadt returned to contemporary pop, recording "Somewhere Out There," the theme to the animated An American Tail, with James Ingram; the single became a number two hit. She also returned to her country roots in 1987, recording the Trio album with Dolly Parton and Emmylou Harris. That same year, Ronstadt recorded Canciones de Mi Padre, a set of traditional Mexican songs that became a surprise hit. Two years later, she recorded Cry Like a Rainstorm - Howl Like the Wind -- her first contemporary pop album since 1982's Get Closer. Featuring four duets with Aaron Neville, including the number two hit "Don't Know Much," the album sold over two million copies.
~ Stephen Thomas Erlewine, All Music Guide
The American Folk-Blues Festival 1962-1966 vol.1 - YouTube
The American Folk-Blues Festival 1962-1966 vol.1 - YouTube
loaded by axavild on Dec 13, 2010
loaded by axavild on Dec 13, 2010
01. T-Bone Walker — Call Me When You Need Me
02. Sonny Terry & Brownie McGhee — Hootin' Blues
03. Memphis Slim — The Blues is Everywhere
04. Otis Rush — I Can't Quit You Baby
05. Lonnie Johnson — Another Night to Cry
06. Sippie Wallace — Women Be Wise
07. John Lee Hooker — Hobo Blues
08. Eddie Boyd — Five Long Years
09. Walter "Shakey" Horton
10. Junior Wells — Hoodoo Man Blues
11. Big Joe Williams — Mean Stepfather
12. Mississippi Fred McDowell — Going Down to the River
13. Willie Dixon — Weak Brain and Narrow Mind
14. Sonny Boy Williams — Nine Below Zero
15. Otis Spann — Spann's Blues
16. Muddy Waters — Got My Mojo Working
17. Finale: Muddy Waters, Sonny Boy Williamson, Memphis Slim, Willie Dixon — Bye Bye Blues
Bonus:
18. Earl Hooker — Walking The Floor.Over You/Off The Hook
02. Sonny Terry & Brownie McGhee — Hootin' Blues
03. Memphis Slim — The Blues is Everywhere
04. Otis Rush — I Can't Quit You Baby
05. Lonnie Johnson — Another Night to Cry
06. Sippie Wallace — Women Be Wise
07. John Lee Hooker — Hobo Blues
08. Eddie Boyd — Five Long Years
09. Walter "Shakey" Horton
10. Junior Wells — Hoodoo Man Blues
11. Big Joe Williams — Mean Stepfather
12. Mississippi Fred McDowell — Going Down to the River
13. Willie Dixon — Weak Brain and Narrow Mind
14. Sonny Boy Williams — Nine Below Zero
15. Otis Spann — Spann's Blues
16. Muddy Waters — Got My Mojo Working
17. Finale: Muddy Waters, Sonny Boy Williamson, Memphis Slim, Willie Dixon — Bye Bye Blues
Bonus:
18. Earl Hooker — Walking The Floor.Over You/Off The Hook
Big Mama Thornton, John Lee Hooker, Big Walter Horton & Dr Ross - YouTube
Big Mama Thornton, John Lee Hooker, Big Walter Horton & Dr Ross - YouTube
Big Mama Thornton, John Lee Hooker, Shakey Horton & Dr Ross playing the harmonica
Big Mama Thornton, John Lee Hooker, Shakey Horton & Dr Ross playing the harmonica
Talented People Are all Arouind us, you need only look and listen.
Good new band... She is a talented singer. Looks pretty back-woods but she is a soulful singer.
Band names can be pretty interesting and Garbage and a song like Blood For Poppies is very evocative....
Send me interesting names you come across
"Hold On" - great
song....this girl can sing.
More slick, more beautiful
Norah Jones Happy Pills
http://youtu.be/ They don't sound good to me, good name a band and title for a song, included because they were on the same section as Alabama Shakes....
The story of the Alabama Shakes begins in a high school psychology
class in Athens, Alabama. Brittany Howard, who had started playing
guitar a few years earlier, approached Zac Cockrell and asked if he
wanted to try making music together. “I just knew that he played bass
and that he wore shirts with cool bands on them that nobody had heard
of,” says Howard.
Attempting to record their songs with the honest sonic qualities
they cherished, the Shakes bought a few microphones and a vintage Teac
mixing board and set up in Howard’s house—which didn’t work, since she
lived right next to some railroad tracks. They eventually found their
way to a Nashville studio in early 2011, where the songs they cut
included “You Ain’t Alone” and “I Found You.”
When they appeared at a Nashville record store, people started to
take notice of the group’s relentless, hard-charging live attack, and
Howard’s magnetic stage presence.
One especially ardent fan raved about
the band to his friends, which included Justin Gage, the founder of the
Aquarium Drunkard blog. Gage wrote to Howard, asking if he could post
one of the Shakes’ songs. She sent back the yearning, intense “You Ain’t
Alone,” which he put up in late July, calling it “a slice of the real.”
And, literally overnight, all hell broke loose.
To download bio and press photos, please visit thefunstar.com.
Based in Los Angeles, Aquarium Drunkard
is an eclectic audio blog featuring daily music news, interviews,
features, reviews, mp3 samples and sessions. Originating in 2005, the
Drunkard bridges the gap between contemporary indie with vintage garage,
psych, folk, country, New Orleans funk, r&b, soul and everything
that falls in between.
Run by Justin Gage, the blog has since spun off Autumn Tone Records, the Aquarium Drunkard Presents series, Aquarium Drunkard Sessions and the weekly, two hour, Aquarium Drunkard Show Fridays on SIRIUS/XM satellite radio’s XMU (channel
26), and XM radio (channel 43). Noon-2pm EST. Gage is a working music
supervisor for film and music consultant. He authored the 2009
guide/travelogue Memphis And The Delta Blues Trail.
http://www.aquariumdrunkard.http://aquariumdrunk.blogspot. Aquarium Drunkard looks very cool and provides an introduction to young bands getting some traction in the music business.  YouTube - Videos from this email | |||||||||||||||||||||||
Johnny Winter Plays 'Johnny B Goode' + Fan Throws A Bottle At Him! - YouTube
Johnny Winter Plays 'Johnny B Goode' + Fan Throws A Bottle At Him! - YouTube
Uploaded by ognet on Sep 21, 2010
Johnny Winter plays a scorchin' version of Johnny B Goode at Roskilde, Denmark in 1984. Someone throws a bottle and he stops playing and walks off. Quite Right Too!
suzi q " johnny winter live at rockpalast 1979 - YouTube
suzi q " johnny winter live at rockpalast 1979 - YouTube
added by ndnjensen98 on Nov 7, 2010
added by ndnjensen98 on Nov 7, 2010
johnny winter live at rockpalast essen grugahalle april 1979 " Suzi Q "
Monday, April 9, 2012
Johnny Winter - Be Careful With A Fool - YouTube
Johnny Winter - Be Careful With A Fool - YouTube
loaded by ognet on Nov 19, 2008
loaded by ognet on Nov 19, 2008
Johnny Winter from Danish TV in 1970 with Tommy Shannon on bass and Uncle John Turner on Drums
Big Willie Dixon
YouTube - Willie Dixon, Memphis Slim, T-Bone Walker...: ""
Uploaded by milespaul
on Oct 27, 2007
http://www.thefortynighters.com ;
Maybe the best blues band I've ever seen. The link is of my band... the comment of the "best blues band" is, obviusly, to that great video. Also... my band is as big as Caldonia, that big woman ;-)
Maybe the best blues band I've ever seen. The link is of my band... the comment of the "best blues band" is, obviusly, to that great video. Also... my band is as big as Caldonia, that big woman ;-)
Saturday, April 7, 2012
"Successful and unsuccessful people do
not vary greatly in their abilities.
They vary in their desires to
reach their potential."
- John Maxwell
For a good writer, there is only one measure of success,
and that is found in his honoring the complexity and richness
of his subject while telling his story in a lucid way.
Joseph Epstein
The most important sentence in any article is the first one. If it doesn’t induce the reader to proceed to the second sentence, your article is dead. And if the second sentence doesn’t induce him to continue to the third sentence, it’s equally dead. Of such a progression of sentences, each tugging the reader forward until he is hooked, a writer constructs that fateful unit, the “lead.”
–William Zinsser, On Writing Well, p. 55
quotes
The man who backbites an absent friend, nay, who does not stand up for him when another blames him, the man who angles for bursts of laughter and for the repute of a wit, who can invent what he never saw, who cannot keep a secret - that man is black at heart: mark and avoid him.
-- Cicero
Roman author, orator, & politician (106 BC - 43 BC)
"Self-respect is the cornerstone of all virtue."
– John Herschel
- Obscurity is a good thing. You can fail in obscurity. It removes the fear of failure.
- --Jason Fried, Keynote Speech, SXSW 2006
- You never know how a horse will pull until you hook him up to a heavy load.
- --Paul "Bear" Bryant, I Ain't Never Been Nothing but a Winner
-
"Alone we can do so little; together we can do so much."
- Helen Keller
"The man who does not read good
books has no advantage over the
man who cannot read them."
- Mark Twain
"You are today where your thoughts
have brought you; you will be
tomorrow where your
thoughts take you."
- James Allen
The smart way to keep people passive and obedient is to strictly limit the spectrum of acceptable opinion, but allow very lively debate within that spectrum - even encourage the more critical and dissident views. That gives people the sense that there's free thinking going on, while all the time the presuppositions of the system are being reinforced by the limits put on the range of the debate
~ Noam Chomsky
Until he extends his circle of compassion to all living things, man will not find peace.- Albert Schweitzer
12 Life Lessons From America's Greatest Raconteur, Bert Sugar - Forbes
12 Life Lessons From America's Greatest Raconteur, Bert Sugar - Forbes
I was quite saddened, though. More than an iconic American sportswriter, complete with his trademark fedora and stogie, the author of 80-plus books and a member of the Boxing Hall of Fame, Bert was a world-class raconteur and a loyal friend. Fast with a name-dropping story or a groan-worthy pun – usually in some combination – you never forgot a night out with Bert, which is saying something given the imbibing it usually entailed.
Our friendship evolved into a most whimsical quid pro quo. Bert was as old school as it got, and made it his mission to let a 25-year-old writer with a passion for boxing touch history. Finding me at a bar in Las Vegas before or after some title fight, he would introduce me to the likes of Leon Spinks or Angelo Dundee or Gerry Cooney. In Atlantic City 15 years ago, when boxing cards could still sell out every hotel room in town, Bert arranged for a room at the Irish Pub, a former speakeasy that stays open around the clock and rents rooms above the bar to friends (Joe DiMaggio was a regular back in the day). My favorite memory of him: the night I hosted a book party in his honor (his prolific output, all banged out on typewriter, made this a frequent occurrence), when he dragged in his co-author, Captain Lou Albano, and a passel of other pro wrestlers, for a night of rowdiness and grappling stories.
In turn, I considered it my duty to introduce my generation to this link to the Toots Shor era (his story about a drinking contest he witnessed between Shor and Jackie Gleason was one of his classics). I added him to the list of every magazine party I was affiliated with, and he came to them all, even if he was twice the age of everyone else, charming the room until the wee hours. I recruited him to emcee a series of Wall Street boxing galas, and suddenly he couldn’t walk through the New York’s financial district without hearing “Bert, Bert, Bert!” And, fatefully, in the late 1990s, I asked him to pen an advice column for P.O.V., a men’s magazine for twentysomethings. “Ask Bert” was basically a curmudgeonly version of the Dos Equis “Most Interesting Man in the World” concept.
Bert would pound out his columns on his typewriter – even until his death, he never used a word processor – and then mail them to me. (More recently, his typed letters, on stationery bearing his cameo, complete with fedora and cigar, arrived by fax –- email, Bert Sugar-style.) Last night, I leafed through them (they’re nowhere found on the Internet). They’re so true to him: witty, corny, wise. Here are a dozen of my favorites Bert-isms from his column.
On choosing a bar: “Never go to a bar that has a ‘happy hour.’ Nobody there ever is. Never go to a bar where the bartender has more problems than you. And never go to a bar where there is more than once bouncer – unless you’re expecting the trouble they are.”
On fashion at work: “As someone who dresses like Goodwill box just threw up on him, it’s difficult for me to tell anyone else how to dress. But if you choose a tie, add some color – think splashy, a la Nicole Miller. Not only will it give you that “casual” look, but if you eat like me, where your tie winds up as a diary of your meal, it will provide you with a way to camouflage any and all food stains.”
On fashion at play: “Here’s a tip: regulars do not go home and dress up; rather, they come as they are. That way, you’re only sullying one outfit a day.”
On pickup lines: “Straightforward and simple. Otherwise, the only thing you’ll go to bed with is a complimentary mint.”
On playing darts at a bar: “ Its only purpose is to serve as an accuracy test for sobriety.”
On marrying for money: “If you marry a woman who is a credit to her cards rather than one who likes to have sex only on days that have d’s in them, you may be disappointed. I know some who married for a cash prize only to beg for a refund.”
On defending your date from advances: “Be advised, as an old Portuguese proverb holds: Girls and vineyards are hard to guard. So hold to your glass and your lass before you lose something else that rhymes.”
Business
3/26/2012 @ 12:38AM |2,400 views
12 Life Lessons From America's Greatest Raconteur, Bert Sugar
When a friend texted me yesterday afternoon with the news that Bert Sugar had died at 74, I can’t say I was shocked: the first time we had lunch, nearly 20 years ago at the bar of Manhattan’s old Cedar Tavern, he pounded five Cutty Sarks on the rocks in between maybe three bites of a hamburger. Then he lit up a cigar, and continued talking as lucidly as if they had been Diet Cokes. It was barely noon.
I was quite saddened, though. More than an iconic American sportswriter, complete with his trademark fedora and stogie, the author of 80-plus books and a member of the Boxing Hall of Fame, Bert was a world-class raconteur and a loyal friend. Fast with a name-dropping story or a groan-worthy pun – usually in some combination – you never forgot a night out with Bert, which is saying something given the imbibing it usually entailed.
Our friendship evolved into a most whimsical quid pro quo. Bert was as old school as it got, and made it his mission to let a 25-year-old writer with a passion for boxing touch history. Finding me at a bar in Las Vegas before or after some title fight, he would introduce me to the likes of Leon Spinks or Angelo Dundee or Gerry Cooney. In Atlantic City 15 years ago, when boxing cards could still sell out every hotel room in town, Bert arranged for a room at the Irish Pub, a former speakeasy that stays open around the clock and rents rooms above the bar to friends (Joe DiMaggio was a regular back in the day). My favorite memory of him: the night I hosted a book party in his honor (his prolific output, all banged out on typewriter, made this a frequent occurrence), when he dragged in his co-author, Captain Lou Albano, and a passel of other pro wrestlers, for a night of rowdiness and grappling stories.
In turn, I considered it my duty to introduce my generation to this link to the Toots Shor era (his story about a drinking contest he witnessed between Shor and Jackie Gleason was one of his classics). I added him to the list of every magazine party I was affiliated with, and he came to them all, even if he was twice the age of everyone else, charming the room until the wee hours. I recruited him to emcee a series of Wall Street boxing galas, and suddenly he couldn’t walk through the New York’s financial district without hearing “Bert, Bert, Bert!” And, fatefully, in the late 1990s, I asked him to pen an advice column for P.O.V., a men’s magazine for twentysomethings. “Ask Bert” was basically a curmudgeonly version of the Dos Equis “Most Interesting Man in the World” concept.
Bert would pound out his columns on his typewriter – even until his death, he never used a word processor – and then mail them to me. (More recently, his typed letters, on stationery bearing his cameo, complete with fedora and cigar, arrived by fax –- email, Bert Sugar-style.) Last night, I leafed through them (they’re nowhere found on the Internet). They’re so true to him: witty, corny, wise. Here are a dozen of my favorites Bert-isms from his column.
On choosing a bar: “Never go to a bar that has a ‘happy hour.’ Nobody there ever is. Never go to a bar where the bartender has more problems than you. And never go to a bar where there is more than once bouncer – unless you’re expecting the trouble they are.”
On fashion at work: “As someone who dresses like Goodwill box just threw up on him, it’s difficult for me to tell anyone else how to dress. But if you choose a tie, add some color – think splashy, a la Nicole Miller. Not only will it give you that “casual” look, but if you eat like me, where your tie winds up as a diary of your meal, it will provide you with a way to camouflage any and all food stains.”
On fashion at play: “Here’s a tip: regulars do not go home and dress up; rather, they come as they are. That way, you’re only sullying one outfit a day.”
On pickup lines: “Straightforward and simple. Otherwise, the only thing you’ll go to bed with is a complimentary mint.”
On playing darts at a bar: “ Its only purpose is to serve as an accuracy test for sobriety.”
On marrying for money: “If you marry a woman who is a credit to her cards rather than one who likes to have sex only on days that have d’s in them, you may be disappointed. I know some who married for a cash prize only to beg for a refund.”
On defending your date from advances: “Be advised, as an old Portuguese proverb holds: Girls and vineyards are hard to guard. So hold to your glass and your lass before you lose something else that rhymes.”
On cohabitating: “Anyone claims that living together is a 50-50 proposition doesn’t know the first thing about women. Or percentages.”
On etiquette at work: “Remember: a thank-you note can be thought of as a down payment on the next favor.”
On etiquette on dates: “Just as gentlemen prefer blondes, blondes prefer gentlemen.”
On greasing Maitre Ds: “I recommend something with a picture of Andrew Jackson on it. Then, after he says, “Thank you,” and you respond, “Don’t mention it,” you can be assured he won’t.”
On when to cut yourself off: “Drink only enough to make others interesting.”
Bert once told me that he’d rather be a good liver than have one. Now that we’ve lost him too young, I’m not sure I agree with that. But there are few that wouldn’t be well-served imbuing him a bit. RIP, Bert. I’ll be having a Cutty’s tonight, thinking of you, and trying to make whoever I’m with interesting.
On etiquette at work: “Remember: a thank-you note can be thought of as a down payment on the next favor.”
On etiquette on dates: “Just as gentlemen prefer blondes, blondes prefer gentlemen.”
On greasing Maitre Ds: “I recommend something with a picture of Andrew Jackson on it. Then, after he says, “Thank you,” and you respond, “Don’t mention it,” you can be assured he won’t.”
On when to cut yourself off: “Drink only enough to make others interesting.”
Bert once told me that he’d rather be a good liver than have one. Now that we’ve lost him too young, I’m not sure I agree with that. But there are few that wouldn’t be well-served imbuing him a bit. RIP, Bert. I’ll be having a Cutty’s tonight, thinking of you, and trying to make whoever I’m with interesting.
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