Recent Event Highlights: Johnny Cash - Folsom Prison Blues ( with Lyrics), Fretkillr - Good Time Charlie's Got The Blues, Grass Widower Blues (Jimmy Page Jam Track), Moody Blues: The Voice, iConcerts - Johnny Cash - Folsom Prison Blues (live), A Different World: Blues for Nobody's Child 2/3, and 37 more...
Created by dipity on Jan 5, 2011
Last updated: 01/10/11 at 06:05 PM
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I hear the train a comin' It's rolling round the bend And I ain't seen the sunshine since I don't know when, I'm stuck in Folsom prison, and time keeps draggin' on But that train keeps a rollin' on down to San Antone.. When I was just a baby my mama told me. Son, Always be a good boy, don't ever play with guns. But I shot a man in Reno just to watch him die When I hear that whistle blowing, I hang my head and cry.. I bet there's rich folks eating in a fancy dining car They're probably drinkin' coffee and smoking big cigars. Well I know I had it coming, I know I can't be free But those people keep a movin' And that's what tortures me... Well if they freed me from this prison, If that railroad train was mine I bet I'd move it on a little farther down the line Far from Folsom prison, that's where I want to stay And I'd let that lonesome whistle blow my blues away.....
Thanks to USMCBRAT2 that saved a few of Fretkillr's comments on his videos here is one for this song. "Good Time Charlie's Got The Blues This is a Danny O'Keefe song that I hadn't thought about or played for many a year but it popped out of my song memory the other day and I dusted it off for youtube. The lyrics evoke a melancholy that many listeners can relate to and the short and simple chorus is a catchy hook. Don't get too bummed out. It's only a song. - Fret Killer " Fretkillr -Good Time Charlie's Got The Blues ---- In memory of Fretkillr. Who got unplugged from youtube. Fret if you are out there drop me a line or two. I will be happy to post all your videos until you are back on Youtube. Friends and Fans Of Fretkillr This video is made possible because a man with much more foresight than myself. As a fan of Fretkillr has done a wonderful thing by allowing me to have copies of most of Fret's videos. The man is ldornieden who I would like to thank for his very generous gift. Please take a moment to thank him too. Thank you Lothar! You are the MAN! THE USE OF ANY COPYRIGHTED MATERIAL IS USED UNDER THE GUIDELINES OF "FAIR USE" IN TITLE 17 & 107 OF THE UNITED STATES CODE. SUCH MATERIAL REMAINS THE COPYRIGHT OF THE ORIGINAL HOLDER AND IS USED HERE FOR THE PURPOSES OF EDUCATION, COMPARISON, AND CRITICISM ONLY. NO INFRINGEMENT OF COPYRIGHT IS INTENDED
Howdy y'all! My wife and kids are away for a couple of days and left me with four cats, a dog and seven ducks... yeah! Time to rock'n roll! LOL! Well, it's been a long time since my last upload, so I think it was about time to make a new video. This time it's just some bluesy jam stuff to a backing track I downloaded for free from jamtracks, I believe... I really enjoy playing to it, but as you know - you always play the best stuff when no one is listening... A beer helps, and this time it's a Spendrup's Premium Gold 5,9%, my favorite... ☺ Ok, recording equipment: Music Man Luke -95 played both with fingers and with my favorite pick - Brossard Picks -The Bone, Marshall JVM410H (EL34's are replaced with KT77's and the 12AX7 in the V2 position is replaced with a Tungsram 12AT7), occasionally I use a Fulltone OCD, an isolated speaker cabinet loaded with one celestion G12T-100, miked with a Shure SM57 and a Studio Projects B1 condenser microphone. The microphone preamp is a Line Audio Design 2MP which is a really good and price worthy preamp- made in Sweden!! After that the signal goes into the computer and Cubase SX2 where I make an mp3 file, which I import to the video editing software and mix it with the video camera's sound. Don't ask what scales I use, 'cause I really don't know what I'm doing, I just play, having fun - even if it doesn't look like it... ;) I'm also aware of my faults... playing over my ability, but frankly - I don't give a damn! ;) Take care my friends! ♥
Music of The Moody Blues. Won't you take me back to school? I need to learn the golden rule. Won't you lay it on the line? I need to hear it just one more time. Oh, won't you tell me again? Oh, can you feel it? Oh, won't you tell me again tonight? Each and every heart it seems, Is bounded by a world of dreams. Each and every rising sun, Is greeted by a lonely one. Oh, won't you tell me again? Oh, can you feel it? Oh, won't you tell me again tonight? Cause out on the ocean of life my love. There a so many storms we must rise above. Can you hear the spirit calling, as it's carried across the waves? You're already falling it's calling you back to face the music. And the song that is coming through. You're already falling the one that it's calling is you. My a promise take a vow. And trust your feelings it easy now. Understand The Voice within. And feel a change already beginning. Oh, won't you tell me again? Oh, can you feel it? Oh, won't you tell me again tonight? Tonight? Oh, won't you tell me again? Oh, can you feel it? Oh, won't you tell me again tonight? And how many words have I got to say? And how many times will it be this way? With your arms around the future and your back up against the past. You're already falling it's calling you on to face the music. And the song that is coming through. You're already falling the one that it's calling is you. Each and every heart it seems, Is bounded by a world of dreams. Each and every rising sun, Is greeted by, a lonely ...
Why I Sing The Blues BB King Everybody wants to know Why I sing the blues Yes, I say everybody wanna know Why I sing the blues Well, I've been around a long time I really have paid my dues When I first got the blues They brought me over on a ship Men were standing over me And a lot more with a whip And everybody wanna know Why I sing the blues Well, I've been around a long time Mm, I've really paid my dues I've laid in a ghetto flat Cold and numb I heard the rats tell the bedbugs To give the roaches some Everybody wanna know Why I'm singing the blues Yes, I've been around a long time People, I've paid my dues I stood in line Down at the County Hall I heard a man say, "We're gonna build Some new apartments for y'all" And everybody wanna know Yes, they wanna know Why I'm singing the blues Yes, I've been around a long, long time Yes, I've really, really paid my dues Now I'm gonna play Lucille. My kid's gonna grow up Gonna grow up to be a fool 'Cause they ain't got no more room No more room for him in school And everybody wanna know Everybody wanna know Why I'm singing the blues I say I've been around a long time Yes, I've really paid some dues Yeah, you know the company told me Guess you're born to lose Everybody around me, people It seems like everybody got the blues But I had 'em a long time I've really, really paid my dues You know I ain't ashamed of it, people I just love to sing my blues I walk through the cities, people On my bare feet I had a fill of catfish and ...
FULL COURSE: truefire.com More blues guitar lessons: www.truefire.com TF on Twitter www.twitter.com TF on Facebook: www.truefire.com Of all the available tonal approaches, why use diminished? Because it's a great match for a raised-9 chord. Check the notation to get acquainted with the scale if you don't know it already. It's easier to memorize than most scales because it's built on a steady pattern of 1/2 step, whole step, 1/2 step, whole step. Get the diminished scale into your "ears" before worrying about how to get it under your fingers. One very effective way to do that (with any scale, really) is to take just a few notes at a time. Choose a small subset of the diminished scale and improvise over the raised-9 chord. The diminished scale also works beautifully with a blues scale. One way to bring them together is to start a line in the blues scale, and then bring in notes from the diminished. Listen to how those "diminished" notes break the boundaries of the blues sound resulting in very interesting lines for the listener.
Smak (Serbian Cyrillic: Смак; trans. ) was a Serbian and former Yugoslav rock band, with strong jazz fusion and blues undertones. It was formed by guitar player Radomir "Točak" Mihailović in Kragujevac, in 1971. The group was, with some breaks, active during the 1970s, 1980s and the 1990s. Under Mihailović's guidance, The band, in all its line-ups, always strove towards a well-thought-out, complex and more rich musical presentation than what the rest of the ex-Yugoslavian scene was offering at the time. Their compositions included lengthy improvisations from all of the musicians (including vocalists). What also set them apart was the intentional use of a Laconic lyrical style, to help with the relative difficulty of pronouncing Serbian Language in energetic rock singing.Smak was formed in 1971 in Kragujevac, SR Serbia (present-day Serbia), by guitar virtuoso Radomir Mihailović, nicknamed "Točak" ("the Wheel"). The first stable line-up, in late 1974, included Točak, drummer Slobodan Stojanović Kepa, bass guitarist Zoran Milanović, singer Boris Arandjelović, and keyboardist Laza Ristovski. They released 3 short play (SP) records from 1974-1975, on which appeared their hit single Ulazak u Harem (Entrance to the Harem). They also appeared as an opening act for the Deep Purple concert in Belgrade 1975. After a successful hit single and a concert with Deep Purple, they released their first LP called Smak 1975. It was one of the best debut albums of all time in ex-Yugoslavia ...
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...injured Alex Steen on the line in Anaheim and recorded a goal and an assist. On Friday, Blues coach Andy Murray juggled the lines for the sixth time in eight games, moving Perron to the stopper unit. He set up the Blues’ first goal, by McClement, and later...
Source Info
St. Louis Post-Dispatch
http://www.stltoday.com/stltoday/sports/stories.nsf/blues/story/9CD4BD3C8E1E7F0786257659000EA284?OpenDocument
iConcerts - Rock - Johnny Cash - Folsom Prison Blues. Live at Montreux 1994 www.iconcerts.com Johnny Cash, an American icon, is captured in this amazing performance from the 1994 Montreux Jazz Festival. Going through 19 of his classics, including a guest appearance from his wife June on 'Jackson', Cash gives a history lesson of sorts. At the time of the show, he had been recording for nearly 40 years, and he performs most of his biggest hits. In late 2005, the bio-pic 'Walk The Line' hits theaters, starring Joaquin Phoenix as Cash and Reese Witherspoon as his wife June Carter Cash. It is currently slated for a November release, and will presumably be one of the high-profile motion pictures of the holiday season.
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...game so far,” Boyes said. “If we knew the answer, we would definitely try to fix it.” The Blues coaching staff has spent a LOT of time on this topic. Will coach Andy Murray switch up his lines to start the game? Will he change up the routine? Something has...
Source Info
St. Louis Post-Dispatch
http://www.stltoday.com/stltoday/sports/columnists.nsf/jeffgordon/story/06F1A003E5F591B8862576570058334B?OpenDocument
The readers of Pajiba amassed an incredible list of great movie quotes that rarely, if ever, are included on lists that count down the 100 Best Movie Quotes of All Time. These 100 lists inevitably tend to include the same iconic quotes that are so overused and parodied in pop culture they've become quote clichés, so its time they were officially retired. This video doesn't have those quotes - these are the quotes you throw back and forth at each other over drinks, the ones you work into conversations and the ones that have become part of the running jokes in your lives. In short... The 'Other' 100 Best Movie Quotes of All Time. Films featured in order of appearance: Goodfellas, Clue, Pulp Fiction, The Hangover, Roadhouse. JFK, Monster Squad, 10 Things I Hate About You, Chasing Amy, Catch Me If You Can, Up, Blazing Saddles, Better Off Dead, Dr. Horribles Sing-Along Blog, Anchorman, Stand By Me, Raising Arizona, Finding Nemo, Airplane, The Magnificent Seven ---1m-- Night of the Living Dead, Real Genius, Drop Dead Gorgeous, High Fidelity, Heathers, Zoolander, Coming to America, This is Spinal Tap, Annie Hall, Bull Durham, Brick, Eternal Sunshine of the Spotless Mind, Butch Cassidy and the Sundance Kid, The Goonies, Blazing Saddles, Conan the Barbarian, The Magnificent Seven ---2m-- Bring It On, High Anxiety, Alien Resurrection, The Big Lebowski, The Breakfast Club, Bull Durham, High Fidelity, Dogma, Anchorman, Sixteen Candles, Secretary, Muriels Wedding, From Dusk til Dawn ...
A Different World Episode #72, Season 4 Freddie befriends Alex, an eight-year-old foster child who attends the community center. She is horrified after visiting an adoption fair and watching all of the potential parents ignore Alex in favor of infants and toddlers. Professor Randolph speaks out on the plight of foster children, but Freddie accuses him of hypocrisy when he says that he and his wife would only adopt a baby. A disheartened Alex runs away from the adoption center and finds Freddie at Ron and Dwayne's place. Whitley tries to bond with the boy to make herself look good in front of Dwayne. Walter finally shows up to retrieve Alex, after Whitley and Freddie try their best to hide him. Mr. Gaines, Walter and Col. Taylor all wish to apply for adoption, but are told that they need to take more time to think it over. Professor Randolph and his wife decide to begin the process of adopting Alex; although Freddie's comments were out of line, the professor realized that she was right.
A Different World Episode #72, Season 4 Freddie befriends Alex, an eight-year-old foster child who attends the community center. She is horrified after visiting an adoption fair and watching all of the potential parents ignore Alex in favor of infants and toddlers. Professor Randolph speaks out on the plight of foster children, but Freddie accuses him of hypocrisy when he says that he and his wife would only adopt a baby. A disheartened Alex runs away from the adoption center and finds Freddie at Ron and Dwayne's place. Whitley tries to bond with the boy to make herself look good in front of Dwayne. Walter finally shows up to retrieve Alex, after Whitley and Freddie try their best to hide him. Mr. Gaines, Walter and Col. Taylor all wish to apply for adoption, but are told that they need to take more time to think it over. Professor Randolph and his wife decide to begin the process of adopting Alex; although Freddie's comments were out of line, the professor realized that she was right.
THE BLUES PROJECT -LIVE INTERNATIONAL CASINO,NYC MARCH 17,1981 One of the first album-oriented, "underground" groups in the United States, the Blues Project offered an electric brew of rock, blues, folk, pop, and even some jazz, classical, and psychedelia during their brief heyday in the mid-'60s. It's not quite accurate to categorize them as a blues-rock group, although they did plenty of that kind of material; they were more like a Jewish-American equivalent to British bands like the Yardbirds, who used a blues and R&B base to explore any music that interested them. Erratic songwriting talent and a lack of a truly outstanding vocalist prevented them from rising to the front line of '60s bands, but they recorded plenty of interesting material over the course of their first three albums, before the departure of their most creative members took its toll. The Blues Project was formed in Greenwich Village in the mid-'60s by guitarist Danny Kalb (who had played sessions for various Elektra folk and folk-rock albums), Steve Katz (a guitarist with Elektra's Even Dozen Jug Band), flutist/bassist Andy Kulberg, drummer Roy Blumenfeld, and singer Tommy Flanders. Al Kooper, in his early twenties a seasoned vet of rock sessions, joined after sitting in on the band's Columbia Records audition, although they ended up signing to Verve, an MGM subsidiary. Early member Artie Traum (guitar) dropped out during early rehearsals; Flanders would leave after their first LP, Live at the Cafe Au ...
Another Lyrics vid. . Plz comment and rate. I do not own this video in any way, all credit goes to Steely Dan.
johny cash- cocain blues. thank you all for the 20000 + views. as of right now 24 thousand. and not one thumb down so far. so thank you so much for taking the time to watch my uploading of johny cash cocain blues
From John Parish's 2002 release "How Animals Move My man's a pilot on the Birmingham airplane line I say my man's a pilot on the Birmingham airplane line When he comes to see me, my man sure comes a flying I know that my flying man ain't true to me I know that my flying man ain't true to me But he's as true as any man can be He takes me flying, flying, right up to the sky He takes me flying, flying, right up to the sky When I'm riding with my man, lord, he rides me so high First he turns me over then he starts to loop the loop First he turns me over then he starts to loop the loop Takes a long long time till his wings begin to droop He flies me slow, he flies me fast And I'm hoping, I'm praying he don't run out of gas So if he ain't true, there's nothing I'm gonna say Cause I ain't gonna let a man that good fly away
Composed by Gary Power, who is on the right playing a Taylor 114CE acoustic guitar. I am on the left playing an Eastman AR-904CE oval hole archtop. This recording is 100% acoustic. Gary is a talented songwriter originally from Nova Scotia, Canada. Lyrics & Music © 2008 Gary Power, all rights reserved I was taken by the light I was pulled into the night I felt the touch of a silent hand Lead me far from the Promised Land Walked along a nameless street Far from the sound of shuffling feet I was feeling kind of lost Not knowing whats the cost I sat and drank my fill But my fever thirst I could not kill Whats this empty place? I sighed Could it be that Ive arrived? [Chorus] Downtown where the blues live Where the weight of the night can sink you like a stone Downtown where the blues live And where the guitar echoes a lonely tune And the singer sings to an empty room Now you come down here on the midnight train Probably thinkin you can just go home again But you stagger out into the cold sunrise Where theres no relief and no surprise And a hollow smile on an empty face Cant get you back to that old space But you think youve got it made Yeah theres always somethin must be paid Every time that you walk the line Between the heart and the sands of time No matter what the hour might be You know somehow that youll always be [Chorus} [Solo] [Chorus]
Johnny Cash - Folsom Prison Blues (Live) Don't forget to subscribe for more Johnny Cash Music ! Lyrics: I hear the train a comin' It's rollin' 'round the bend, And I ain't seen the sunshine, Since, I don't know when, I'm stuck in Folsom Prison, And time keeps draggin' on, But that train keeps a-rollin', On down to San Antone. When I was just a baby, My Mama told me, "Son, Always be a good boy, Don't ever play with guns," But I shot a man in Reno, Just to watch him die, When I hear that whistle blowin', I hang my head and cry. I bet there's rich folks eatin', In a fancy dining car, They're probably drinkin' coffee, And smokin' big cigars, But I know I had it comin', I know I can't be free, But those people keep a-movin', And that's what tortures me. Well, if they freed me from this prison, If that railroad train was mine, I bet I'd move out over a little, Farther down the line, Far from Folsom Prison, That's where I want to stay, And I'd let that lonesome whistle, Blow my Blues away. Other Information: "Folsom Prison Blues" is a classic American country music song credited to Johnny Cash. The song combines elements from two popular folk genres, the train song and the prison song, both of which Cash would continue to use for the rest of his career. It has become one of Cash's signature songs. In the lyrics, the jailed protagonist listens to the whistle of a train outside his cell and recounts his crimes ("I shot a man in Reno/just to watch him die"), imagines the free ...
1973 - Living In The Material World SUE ME, SUE YOU BLUES You serve me And I'll serve you Swing your partners, all get screwed Bring your lawyer And I'll bring mine Get together, and we could have a bad time It's affidavit swearing time Sign it on the dotted line Hold your Bible in your hand Now all that's left is to Find yourself a new band We're gonna play the sue me, sue you blues We're gonna play the sue me, sue you blues Hold the block on money flow Move it into joint escrow Court receiver, laughs, and thrills But in the end we just pay those lawyers theit bills When you serve me And I serve you Swing your partners, all get screwed Bring your lawyer And I'll bring mine Get together, and we could have a bad time We're gonna play the sue me, sue you blues I'm tired of playing the Sue Me, Sue You Blues
Robben Ford & Blue Line playing Running Out On Me (LIVE)
Painted [Full] by Evans Blue off the CD: The Pursuit Begins When This Portrayal of Life Ends.Meant for listening not watching! --- Great CD, listen and enjoy! --- If anyone wants to diss Evans Blue or this song, please leave now, I won't tolerate it. --- Thank you! I DON'T OWN ANY RIGHTS. --- I am uploading all of Evans Blue songs I own currently, and they are all for juxtapositioning. Stay tuned for more music, coming soon. ---
Recorded live in the summer of 1966 with Mike Pinder on lead vocals. This film of the original line up of the Moody Blues is unusual because it features Rod Clarke on bass and backing vocals. Clint Warwick had already left the band and was due to be replaced by John Lodge, but he was not available for the dates that had been booked in Europe so Rod Clarke was hired as a stand in. Denny Laine left after these dates so Justin Hayward was brought in to complete the classic line up of the Moody Blues. Rod Clarke went on to play bass with the Rockin Berries. Update: In my collection I found the Decca release of this recorded on 30th March 1967, which actually has Justin Hayward and John Lodge playing and singing on it. It was their first recording session with the Moody Blues so its right on the crossover between the two versions of the band. That version with Justin and John was released as a single in the US and UK but did not chart. It does not seem to have ever been recorded by the original Mk 1 Moody Blues other than on this film.
Demi sings her unreleased song (one that didn't make it on her album) with the Jonas Brothers at the House of Blues on Sunset on November 23, 2008. Twitter? twitter.com UPDATE: The title of this song is Behind Enemy Lines and will be on her Don't Forget Deluxe Edition cd which will be released on March 31st. Lyrics: I can feel, feel a deep connection, And I feel, we might be onto something, And I know it's something special, Seeing you here, is not coincidental, Cause now I'm walkin, walkin, behind enemy lines, And I've been fighting, fighting, from the other side, I've been saying, saying, I won't fall this time, And now I'm walkin, walkin, within enemy lines. I was trying to be everything you weren't expecting, All I ever wanted was to try and keep you guessing, Now I'm falling way too fast, I just want this love to last forever, But inside me something's changed, Oh, something, for the better. And now I'm walkin, walkin, behind enemy lines, And I've been fightin, fighting, frm the other side, And I've been saying, saying,I won't fall this time, Now I'm walkin, walkin, within enemy lines And now I'm walkin, walkin, behind enemy lines, And I've been fightin, fighting, frm the other side, And I've been saying, saying,I won't fall this time, Now I'm walkin, walkin, within enemy lines
Here is my composition Low Out Blues. This slow jazz blues is based on two things: 1) The main purpose of the song. It is a blues where I'm cutting out everything that's not blue - almost no moments of a major scale mood, just blue... 2) An idea of what I want with each chorus. 'Low Out Blues' is more of a structured improvisation around the idea behind every chorus, than it is a set piece. ---------- Intro: A very short phrase where I slap the keys in the end of the phrase to accentuate the key click sound. Chorus 1 and 2: The main theme. One note at a time, no chords. A walking bass line that goes rather high up. Chorus 3 and 4: Improvising in the lower frequency register, playing one note at a time. I change the walking bass line for one that is staying more in the bottom of the frequencies and even goes all the way down to the lowest key/the C. Chorus 5 and 6: Improvising one octave higher, but still mostly playing one note at a time. Sometimes I'm playing the same phrase in both "legato" and "staccato" to get the different sounds of the Percussion effect of the organ. Same walking bass line as in chorus 3 and 4. Chorus 7: Starts with a two-note tremolo, and from here on I'm using more that one note at a time. I'm also using pedal tones here, and also a thumb glissando while using a pedal tone. Ending the chorus with a "machine gun tremolo". Shifting back to the walking bass line I used in chorus 1 and 2. Chorus 8: I'm using a pedal tone for the whole solo here, and ...
BOTTOM LINE NYC 1974 MINOR AUDIO ISSUES
lyrics Ain't no love in the heart of the city Ain't no love in the heart of town Ain't no love and it's sure nuff a pity Ain't no love cause you ain't around When you were mine Oh, I was feeling good Cause you lovlied up This whole nieghborhood But now that you're gone You know the sun don't shine From the city hall to the county line That's why I said Ain't no love in the heart of the city Ain't no love in the heart of town Ain't no love and it sure is a pity Ain't no love cause you ain't around Every place that I go Oh, it seems so strange Without you there Things have changed The nights are cold There's a blanket of gloom Another trick I saw In my lonely room I said ain't no love In the heart of the city Ain't no love in the heart of town Ain't no love, ain't any pity Ain't no love cause you ain't around And now that you're gone Oh, the sun don't shine From the city hall to The county line, I said Ain't no love in the heart of the city Ain't no love in the heart of town Ain't no love, it sure is a pity Ain't no love cause you ain't around Cause you ain't around Ain't no love in the heart of the city Ain't no love in this great big old town Ain't no love and ain't it a pity Ain't no love cause you ain't around Ain't no love in the heart of the city Ain't no love in the heart of this town
Home of the blues from the movie Walk the line. Sung by Joaquin Phoenix. ----- Home of the blues ----- Just around the corner there's heartache Down the street that losers use If you can wade in through the teardrops You'll find me at the Home of the Blues I walk and cry while my heartbeat Keeps time with the drag of my shoes The sun never shines through this window of mine It's dark at the Home of the Blues Oh, but the place is filled with the sweetest memories Memories so sweet that I cry Dreams that I've had left me feeling so bad I just want to give up and lay down and die So if you've just lost your sweetheart And it seems there's no good way to choose Come along with me, misery loves company You're welcome at the Home of the Blues Just around the corner there's heartache Down the street that losers use If you can wade in through the teardrops You'll find me at the Home of the Blues Yeah, you're gonna find me at the Home of the Blues
Steely Dan Charlotte, NC 8/12/2006 Donald Fagen - Keyboards and Vocals Walter Becker - Guitar Keith Carlock - Drums Jon Herington - Guitar Carolyn Leonhart-Escoffery - Backing Vocals Michael Leonhart - Trumpet Cindy Mizelle - Backing Vocals Jim Pugh - Trombone Roger Rosenberg - Baritone Sax Freddie Washington - Bass Walt Weiskopf - Sax Jeff Young - Keyboards and Backing Vocals
I must apologise for the "fade in" start to this posting; it is because the first part (3 minutes?) of the 33rpm record has been badly damaged by some clown trying to play it at 78rpm with a STEEL needle. However, I thought that the quality of some of the duets, and ensemble work, is good enough to justify posting the remainder. It was recorded at the same time as "Maryland" -one of my very first postings. The line-up is the same, Bunk Johnson tpt; Jim Robinson tmb; George Lewis clt; Alcide "Slow Drag" Pavegaeu bss; Lawrence Marrero bjo; and Baby Dodds dms. (An unmatched assembly of the musicians who lead the NO Revival in "the good old days"!)
„Parchman Farm Blues" (B. White) Recorded: Chicago, March 7, 1940 Bukka White (vcl) (g), Washboard Sam (w) Bukka White (November 12, 1909 -- February 26, 1977) was a delta blues guitarist and singer. "Bukka" was not a nickname, but a misspelling of White's Christian name by his second (1937) record label, (Vocalion). Born Booker T. Washington White near Houston, Mississippi, he gave his cousin BB King, a Stella guitar, King's first guitar. White himself is remembered as a player of National Steel guitars. He also played, but was less adept at, the piano. White started his career playing the fiddle at square dances. He claims to have met Charlie Patton early on, although some doubt has been cast upon this; regardless, Patton was a large influence on White. White typically played slide guitar, in an open tuning. He was one of the few, along with Skip James, to use a crossnote tuning in E minor, which he may have learned, as James did, from Henry Stuckey. He first recorded for the Victor Records label in 1930. His recordings for Victor, like those of many other bluesmen, fluctuated between country blues and gospel numbers. His gospel songs were done in the style of Blind Willie Johnson, with a female singer accentuating the last phrase of each line. Nine years later, while serving time, he recorded for folklorist John Lomax. The few songs he recorded around this time became his most well-known: "Shake 'Em On Down," and "Po' Boy." Bob Dylan covered his song "Fixin' to Die ...
„Black Train Blues" (B. White) Recorded: Chicago, March 7, 1940 Bukka White (vcl) (g), Washboard Sam (w) Bukka White (November 12, 1909 -- February 26, 1977) was a delta blues guitarist and singer. "Bukka" was not a nickname, but a misspelling of White's Christian name by his second (1937) record label, (Vocalion). Born Booker T. Washington White near Houston, Mississippi, he gave his cousin BB King, a Stella guitar, King's first guitar. White himself is remembered as a player of National Steel guitars. He also played, but was less adept at, the piano. White started his career playing the fiddle at square dances. He claims to have met Charlie Patton early on, although some doubt has been cast upon this; regardless, Patton was a large influence on White. White typically played slide guitar, in an open tuning. He was one of the few, along with Skip James, to use a crossnote tuning in E minor, which he may have learned, as James did, from Henry Stuckey. He first recorded for the Victor Records label in 1930. His recordings for Victor, like those of many other bluesmen, fluctuated between country blues and gospel numbers. His gospel songs were done in the style of Blind Willie Johnson, with a female singer accentuating the last phrase of each line. Nine years later, while serving time, he recorded for folklorist John Lomax. The few songs he recorded around this time became his most well-known: "Shake 'Em On Down," and "Po' Boy." Bob Dylan covered his song "Fixin' to Die Blues ...
„Rock Island Line" (H. Ledbetter) Recorded: 1944 Lead Belly (vcl) (g), Paul Howard (cithare) Huddie William Ledbetter, (January, 1888 -- December 6, 1949) was an American folk and blues musician, notable for his clear and forceful singing, his virtuosity on the twelve string guitar, and the rich songbook of folk standards he introduced. He is best known as Leadbelly or Lead Belly. Though many releases list him as "Leadbelly," he himself spelled it "Lead Belly." This is also the usage on his tombstone, as well as the Lead Belly Foundation. Although he most commonly played the twelve string, he could also play the piano, mandolin, harmonica, violin, concertina, and accordion. In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion instead of the guitar. In other recordings he just sings while clapping his hands or stomping his foot. The topics of Lead Belly's music covered a wide range of subjects, including gospel songs; blues songs about women, liquor and racism; and folk songs about cowboys, prison, work, sailors, cattle herding and dancing. He also wrote songs concerning the newsmakers of the day, such as President Franklin Roosevelt, Adolf Hitler, Jean Harlow, the Scottsboro Boys and multi-millionaire Howard Hughes. Fame in 1986. The day of his birth has also been debated. The most common date given is January 20, but other sources suggest he was born on January 21 or 29. The only document we have that ...
Recorded: no details available John Lee Hooker (August 22, 1917 -- June 21, 2001) was an influential American post-war blues singer, guitarist, and songwriter born in Coahoma County near Clarksdale, Mississippi. From a musical family, he was a cousin of Earl Hooker. John was also influenced by his stepfather, a local blues guitarist, who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. John developed a half-spoken style that was his trademark. Though similar to the early Delta blues, his music was rhythmically free. John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his masterful and idiosyncratic blues guitar and singing. His best known songs include "Boogie Chillen" (1948) and "Boom Boom" (1962). Hooker's guitar playing is closely aligned with piano Boogie Woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are "Boogie Chillen", about being 17 and wanting to go out to dance at the Boogie clubs, "Baby Please Don't Go", a blues standard first recorded by Big Joe Williams, and "Tupelo Blues",a stunningly sad song about the flooding of Tupelo, Mississippi in April 1936. He maintained a solo career, popular with blues and folk music ...
Stereo: www.youtube.com Buck Norris sings "Folsom Prison Blues" by Johnny Cash. "Folsom Prison Blues" is an American country music song written by Johnny Cash in the early 1950s and originally recorded with his trio in 1956 for the Sun Records label. The song combines elements from two popular folk genres, the train song and the prison song, both of which Cash would continue to use for the rest of his career. It has become one of Cash's signature songs. In the lyrics, the jailed protagonist listens to the whistle of a train outside his cell and recounts his crimes ("I shot a man in Reno/just to watch him die"), imagines the free people inside the train ("I bet they're drinking coffee and smoking big cigars") and dreams of what he would do if he were free. "I know I had it coming/I know I can't be free," sings the imprisoned man. "But those people keep a'moving/and that's what tortures me." The song does not clarify why the protagonist is serving time in California despite having committed murder in Nevada (unless he is serving time in Folsom for another offence, and is recalling the Reno murder as he reflects on a life of crime, and his unwillingness to follow his mother's advice not to "play with guns"). Cash was inspired to write this song after seeing the movie Inside the Walls of Folsom Prison (1951) while serving in West Germany in the United States Air Force. Cash recounted how he came up with the "Reno" line: "I sat with my pen in my hand, trying to think up the ...
34 degrees and sunny. Listen closely and you can hear the icicles dripping and maybe even a woodpecker on the pine -- we're just on the edge of melting season here in the Upper Peninsula. I learned this one from Lester McCumbers last year during Old Time Week at the Augusta Heritage Center. Fiddle tuned GDGD. I try to play it close to the way it's supposed to sound. Then I can't help myself and head toward a train wreck at the end. Prior to upload the critics said: "Why not consider becoming a mechanic instead?" YP -- Klickitat County, WA
A little blues jam with my Blade Texas Standard through a Line 6 Pod 2.0 I guess it's time for a vid cam
Bobby Prince: "Between DOOM and DOOM II, I worked with John Carmack and Dave Taylor at id to help port Wolfenstein to a video game platform. At that time Dave was doing the sound code for the port and I was designing the instrument samples and tweaking the MIDI files to keep the number of notes to a minimum. Somewhere along the line, Dave mentioned something about a blues song and it stuck in my mind. When I wrote the music for DOOM II, that idea became a song which I named in honor of Dave. Dave has since left id Software to go with his own company, Crack Dot Com. That is the company that developed Abuse which is now distributed by Origin. This song follows the "classical" blues chord progression, which is 12 bars long. The chord progression is as follows (a slash separates each measure and each measure has four beats): I / I / I / I / IV / IV / I / I / V7 / IV / I / I / In the key of E, the I would be an E, the IV would be an A and the V7 would be B7. Listen for the echo on the rhythm guitar. This is one of the first songs where I experimented with doing a MIDI echo. The idea is to play a note and hold it. Then you play the same note over and over again, reducing the volume of each succeeding note. The results are an echo that is almost as good as those played through digital reverberation/echo units. It sounds like some of the original analog tape echo units of the 60's. The lead for this song gets pretty weird starting at about 3 minutes 37 seconds, but I love the ...
Excerpt
...the Sharks did last year they beat the Aucklanders 32-25 at North Harbour Stadium. "You have to soak up the pressure the Blues exert and that's why the right defensive lines are important," explained Barritt. "Then get in their faces and meet them with controlled...
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Excerpt
It's a simple strategy which revolves around flat defensive lines and hitting them hard in the tight exchanges, effectively what the Sharks did last year they beat the Aucklanders 32-25 at North Harbour Stadium.
"You have to soak up the pressure the B
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Independent Online
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The Nashville Bluegrass Band perform Blue Train.
Tony McPhee The Groundhogs were an iconic blues and progressive rock band characterised by improvised screaming guitar solos, which achieved several top chart albums (Thank Christ For The Bomb, Split, Who Will Save The World & Hogwash) through the 1970's. Tony 'TS' McPhee is the talent behind 'The Groundhogs', and his outstanding writing and phenominal guitar skills have formed and pushed at the outskirts of British blues and rock for the last fourty odd years. Despite the album success, The Groundhogs retain a cult status, you are either absolutely passionate about them or have never heard of them. In the early 1960s Tony was invited to join his mates band, 'The Dollarbills' a local pop band, he persuaded them to start playing Blues and R&B after he had seen Cyril Davies and the All-Stars playing at the Marquee club and suggested 'Groundhogs' as a name for the band, after a John Lee Hooker album track. Tony and the band played all of the gigs on the blossoming blues circuit and then were fortunate to be asked to back Hooker on the final week of his first British tour. John enjoyed the company of the band and preferred to travel with them in their Commer van and asked the "Number one British blues band", to back him on later British tours. At around the same time the Hogs also backed Champion Jack Dupree who later told Melody Maker that they were 'the best band he'd ever played with'. In 1965 the Hogs backed Hooker on an album which was initially called John Lee Hooker ...
Hey, its been a while but here is another Blues Piano Lesson - This time I am concentrating on a walking bass pattern and and pretty funky right hand riff. Hope this helps! Ben
Johnny Cash - Folsom Prison Blues
Bill Monroe and the Bluegrass Boys- Muleskinner Blues The Mall, Wash., DC 1-18-93
The Moody Blues singing The Voice at Wembly Arena in 1984
Guns N' Roses live at Dane County Coliseum on the 19th December 1987. This was the last show that they played where they were opening for Alice Cooper. It was also one of the first in a line of shows where "Cinderella's" Fred Coury filled in for Steven Adler, who was injured and couldn't play at the time. During this show, Axl tells the crowd how he was attacked the night before in Boston, because he had long hair. He goes on to say how one of them called him a Bon Jovi look-alike, which led to Axl announcing at this show, that "Bon Jovi can suck my dick!".
Live @ San Quentin Prison
Performed on a Roland Handsonic15 & SPD-S. Bass line & piano are sequenced. All other instruments played live in real time by my hands and/or feet.
( www.youtube.com ) Long version of Texas Flood by stevie ray vaughn ! Texas Flood is an electric blues album by blues guitarist Stevie Ray Vaughan and his band Double Trouble, released in 1983. Although "Texas Flood" has three verses of lyrics, the song is more of a prolonged guitar solo, allowing Vaughan to show off his characteristic electric blues style. During live shows, he would often play portions of this song behind his back, arousing an enthusiastic crowd response. Stylistically, "Texas Flood" is structured around the common three chord blues progression. Written and performed in the key of G (sounding F# because of Vaughan's tuning), it is in 12/8 time, or compound time[1], which gives it a "slow burning" feel that is common in Texas blues. en.wikipedia.org
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