So it turns out the music journalist Sylvie Simmons, best known for her superb Leonard Cohen biography, “I’m Your Man: The Life of Leonard Cohen,” has been a closet singer/songwriter since she was a kid.
Well that’s over now.
Her debut album, Sylvie, will be released by Light In The Attic on October 28, 2014.
The album was produced by Howe Gelb and recorded at Wavelab Studio in Tucson. Sylvie sings, and plays ukulele. Backing Sylvie are Thoger on upright bass and Howe, Gelb on guitar, synthesizers and piano.
While waiting for the album, hear this lovely first song, “You Are In My Arms.”
[I just published my rock ‘n’ roll novel, True Love Scars.” There’s info about it here.]
Bob Dylan’s doodles on the piece of yellow, blue-lined paper on which he wrote the lyrics to “Married To My Hack” during the summer of 1967.
Elvis Costello made only the most minor changes to Bob Dylan’s 1967 lyrics for the song “Married To My Hack” that is included on the not-yet-released album, Lost On The River: The New Basement Tapes — with one exception.
Bob Dylan’s handwritten lyrics to “Married To My Hack.” Note the unfinished final line.
On the copy I got of a piece of yellow, blue-lined paper on which Dylan wrote the lyrics, the final line of the song is incomplete.
Dylan wrote, “Just gimmie a bottle and the”
That’s it.
He never finished it.
But Costello sings, “Gimmie a bottle and someone to throttle ’cause I’d rather be married to my hack.”
It’s certainly a controversial line in an otherwise humorous song in which Dylan details all the many women who apparently want him.
He wrote that he’s “got 15 women,” and later on the page, that he’s “got loose eye’d ladies who never seen a man just waiting around out back.”
The punchline is, of course, the song’s title. Dylan repeatedly tells us throughout the song that he would “rather be married to my hack.”
But the song’s best lines comes early on.
“I move like the breeze, and the birds and the bees
I’m never known to look back…”
[I just published my rock ‘n’ roll novel, True Love Scars.” There’s info about it here.]
The Flamin’ Groovies ’70s classic, “Shake Some Action,” is one of the ten songs Greil Marcus writes about in his new book. Pictured is the cover of an early ”90s single by the group.
Ten songs that shook the world!
By Michael Goldberg
I’ve learned quite a few things from the critic and cultural historian Greil Marcus over the years, but maybe the first – and the one I keep coming back to — is that when listening to music, the artist’s intention isn’t so important. What really matters is what you and I, as listeners, hear.
You know, what we get from the music.
“I was never interested in figuring out what the songs meant,” Marcus wrote in the prologue to his book, “Bob Dylan, Writings 1968 – 2010.” “I was interested in figuring out my response to them, and other people’s responses. I wanted to get closer to the music than I could by listening to it – I wanted to get inside of it, behind it, and writing about it, through it, inside of it, behind it was my way of doing that.”
Marcus has been sharing his response to the music since the late ‘60s. In “Mystery Train” and “Lipstick Traces,” “The Old, Weird America: The World Of Bob Dylan’s Basement Tapes” and other books he uses art as a doorway, and steps through it to find vast secret histories, histories of America and Europe that mostly hadn’t made it into the history books – at least not in the way Marcus writes.
After reading “Lipstick Traces,” which starts with Johnny Rotten and then proceeds to spin into a history of anarchistic rebellion going back long before Johnny Rotten was born – I haven’t been able to listen to a Sex Pistols or Public Image Ltd. song without thinking of Dada and the Situationists and the May ’68 protests in France and so many other things that Marcus wrote about in that book.
This new one, “The History of Rock ‘n’ Roll in Ten Songs” (Yale University Press, 320 pages), is all about what Marcus hears when he listens to ten songs, and what he hears is unexpected and sometimes revelatory. It’s not any kind of history of rock that you or I have ever read before, because Marcus sees no point in revisiting the same old story that we’ve read numerous versions of since the ‘60s.
“Shake Some Action” is one of ten songs Marcus writes about in the book.
One of the big ideas in the book is that the chronological history of rock ‘n’ roll – that blues and country begat Chuck Berry and Elvis begat Dylan and the Beatles and so on and so on, is, if not irrelevant, beside the point. Or if not beside the point, well, we’ve been there. We all know, or think we know, the contours of that story. Marcus has a different story to tell.
“Whole intellectual industries are devoted to proving that there is nothing new under the sun, that everything comes from something else – and to such a degree that one can never tell when one thing turns into something else,” Marcus writes in the introduction to his book. “But it is the moment when something appears as if out of nowhere, when a work of art carries within itself the thrill of invention, or discovery, that is worth listening for. It’s that moment when a song or a performance is its own manifesto, issuing its own demands on life in its own, new language – which though the charge of novelty is its essence, is immediately grasped by any number of people who will swear they never heard anything like it before – that speaks. In rock ‘n’ roll, this is a moment that, in historical time, is repeated again and again, until, as culture, it defines the art itself.”
He continues:
“’It’s like saying, “Get all the pop music, put it into a cartridge, put the cap on it and fire the gun,’ Pete Townshend of the Who said in 1968. ‘Whether those ten or 15 numbers sound roughly the same. You don’t care what period they were written in, what they’re all about. It’s the bloody explosion that they create when you let the gun off. It’s the event. That’s what rock and roll is.’ Any pop record made at any time can contain Pete Townshend’s argument. … which is to say that this book could have comprised solely records issued by the Sun label in Memphis in the 1950s, only records made by female punk bands in the 1990s, or nothing but soul records made in Detroit, Memphis, New York City, San Antonio, New Orleans, Los Angeles and Chicago in 1963.”
And more:
“From that perspective, there is no reason to be responsible to chronology, to account for all the innovation, to follow the supposed progression of the form. The Maytals’ ‘Funky Kingston’ is not a step forward from the Drifters’ ‘Money Honey,’ or Outkast’s ‘Hey Ya’ a step forward from ‘Funky Kingston.’ They are rediscoveries of a certain spirit, a leap into style, a step out of time. One can dive into a vault as filled with songs as Uncle Scrooge’s was filled with money and come out with a few prizes that at once raise the question of what rock ‘n’ roll is and answer it.”
I’ve been reading reviews and books by Marcus since the late ‘60s, and he’s dead serious about what he puts on the page. And about what he discovers when he listens to and then writes about rock ‘n’ roll. This is serious stuff, life or death, and if you think music is nothing more than entertainment, well this book is probably not for you.
Reading Marcus is hard work because you have to think when you read his sentences. He takes for granted that you know a hell of a lot about music and art and film and literature. He’s not into coddling the reader. So when he calls his book “The History Of Rock ‘N’ Roll In Ten Songs,” it’s not that you’re going to get the literal history of the music, what you’re going to get is a theory about rock ‘n’ roll, and then ten examples that, in different ways, back up that theory.
So Marcus takes his ten songs and writes an essay about each. He works hard to tell us why these songs matter so much to him, why each in its own way contains the history of rock ‘n’ roll, and why they should matter to us too. And after you read this book, they likely will.
Read the rest of this column at Addicted To Noise, and dig many other great music features, news and reviews.
Neil Young is recording an album that will include songs with “big band arrangements,” according to music contractor Gina Zimmitti, who is involved with the project, and who posted photos and wrote about the sessions on the Facebook page for her company, Gina Zimmitti Music Contracting.
Zimmitti wrote that at one session, the musicians played “awesomely loud big band arrangements.”
Young has used an orchestra in the past, most notably on the songs “Expecting to Fly” and “Broken Arrow” recorded with Jack Nitzsche that appeared on Buffalo Springfield Again, and on the Harvest tracks, “A Man Needs A Maid” and “There’s A World” which Nitzsche recorded with the London Symphony Orchestra in London.
Violinist Marc Sazer has participated in at least one of the recent sessions and wrote on his Twitter page, “Recording with @neilyoung, great to have a great choir live in the room with us!”
Neil Young project today. Arranger/ conductor Chris Walden. Contractor Gina Zimmitti pic.twitter.com/cAkkAEciRH
The album is titled Storytone, according to arranger/conductor Chris Walden, who posted that information on his web site, along with a release date of November 4, 2014, but has subsequently removed that info from his site and replaced it with “untitled” and “2014.” Of course Neil Young is known for changing things at the last minute, so it’s possible that the title and release date could change, or even that Young could decide not to release the album at all.
Walden, according to Wikipedia, is known “for writing big band and orchestral arrangements for recording artists such as Michael Bublé, Diana Krall, Jennifer Hudson, Paul Anka, and Christopher Cross. He has been an arranger for ‘American Idol’ since 2007 and has worked for producers like David Foster, Phil Ramone, and Tommy LiPuma.”
The possible album title, Storytone, apparently refers to a rare early electric piano that Young may be using on the album.
Rare 1939 Storytone piano.
On the Piedmont Piano Company website is info about the Storytone piano pictured above:
This is an extremely rare and historically important instrument. The Storytone piano was built in 1939 in a joint venture between Story & Clark and RCA – the piano has normal strings and action but no soundboard – the sound is amplified by pickups and a speaker system making it the world’s first practical electric piano. The sound is very beautiful considering its design during the infancy of amplified instruments. As you can see the design is striking – art deco at its most radical.
Sessions for the album have taken place at Sony Pictures Scoring Stage and at EastWest Studios, both in L.A., during the last two weeks of August. Young concluded a tour of Europe with Crazy Horse on August 8 of this year.
Niko Bolas, who has worked with Young on such albums as This Note’s for You, Freedom and Living With War, is producing, according to Gina Zimmitti.
On August 19, Zimmitti posted:
“We don’t feel cheesy calling this one a ‘precious moment,’ and posted this photo:
Zimmiti wrote about this photo: George Doering, Chris Walden, and Neil Young (L to R). First day recording Chris Walden’s fantastic arrangements for Neil Young. — with Chris Walden at Sony Pictures Scoring Stage.
On August 23, Zimmitti wrote:
“2nd day of recording with Neil Young and producer Niko Bolas – this time for some awesomely loud big band arrangements by Chris Walden composer-arranger ! — with Chris Walden at EastWest Studios.”
She also posted this photo on August 23:
On August 27, according to Zimmitti, Young and the orchestra were back in the studio for more days of recording, this time working with arranger Michael Bearden.
Bearden has worked many successful musicians including Madonna, Whitney Houston, Lionel Richie, Chaka Kahn, Patti Austin, James Ingrahm, Babyface, Lenny Kravitz, Yoko Ono, George Benson, Natalie Cole, Anita Baker, Edie Brickell, Nancy Wilson, Stevie Wonder, Aretha Franklin, Liza Minelli and Michael Jackson.
Speaking to Billboard earlier this year, Young said, “I have new songs that I’m working on, and I haven’t stopped doing that. I do it when I feel like it and I’m collecting them. And sometimes I play them live before they come out as a record, and because of the way everything is people hear them before they come out, on the Internet. But I still feel like I’m gonna make records of them.”
One song that Young performed live numerous times this summer with Crazy Horse in Europe is called “Who’s Gonna Stand Up And Save The Earth?”
“I’d like to make a record with a full-blown orchestra, live – a mono recording with one mic,” Young told Billboard. I want to do something like that where we really record what happened, with one point of view and the musicians moved closer and farther away, the way it was done in the past. To me that’s a challenge and it’s a sound that’s unbelievable, and you can’t get it any other way. So I’m into doing that.”
However based on the photos, these sessions utilized numerous microphones. Oh well.
Some of Neil Young’s fans are skeptical regarding the project.
At Steve Hoffman Music Forums, a fan using the name “P(orF)” wrote, “It’s sad because I’ve been listening to him for 45 years, but my only reaction when I hear he’s doing a new recording is ‘What’s the gimmick this time?'”
And “Babyblue” added, “Yep, more and more Neil seems to be more about the gimmick than the actual music. I can see how this could happen to a veteran musician (especially a creative and eccentric one like Neil). It probably keeps things interesting. Unfortunately, it doesn’t always produce good music.”
But there were fans who defended Young. “Six String” wrote, “I’ll wait until I hear the music before passing judgement. It’s only a gimmick if it doesn’t work…”
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. It’s over sometime September 2, so if you want to enter, now is the time. Click here and enter.]
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. It ends at some point on Sept, 2, so if you want to enter, now is the time. Click here and enter.]
These new clips just went online. There’s “Long and Wasted Years” from the Brisbane Convention and Exhibition Centre on August 25, 2014, and then a nearly 9 and one half minute “Ballad Of A Think Man” from Dylan’s club show at The Tivoli on August 27, 2014.
Enjoy.
Bob Dylan, “Long And Wasted Years,” the Brisbane Convention and Exhibition Centre, Brisbane, Australia, August 25, 2014:
Bob Dylan, “Ballad Of A Thin Man,” The Tivoli, Brisbane, Australia, August 27, 2014:
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. Click here and enter.]
A rare, previously unseen March 1967 photo of Rick Danko and Bob Dylan taken prior to the ‘Basement Tapes’ sessions. It’s “unknown” where the photo was taken, but it’s not from the actual sessions. “No photos exist of the actual basement tapes sessions,” said a source close to the “Basement Tapes” project. “It’s from earlier that year.” Photo courtesy Arie de Reus.
More than four decades after Bob Dylan and the musicians that would become The Band recorded a crazy mix of original compositions, standards and obscurities – recordings that became known as the ‘Basement Tapes’ – “every salvageable recording from the tapes” is finally being officially released on November 4, 2014, according to bobdylan.com.
Hear a version of “Odds & Ends” that will appear on the new set:
The six-CD deluxe set, titled The Basement Tapes Complete: The Bootleg Series Vol. 11, will sell for $149.98 and will include a 120-page booklet with liner notes by Dylan expert Syd Griffin, author of “Million Dollar Bash: Bob Dylan, the Band, and the Basement Tapes.”
Although bootlegs of many of the recordings have circulated since a batch of them were first released on the bootleg album, The Great White Wonder, in 1969, and most recently on an 11-CD bootleg, From the Reels – Complete Basement Tapes, the official boxed set will include at least 20 recordings that have not been previously released.
According to Larry Jenkins, who is involved with the project, determining what hasn’t been heard before is “kind of complicated, because this is the first time that all the original sources have been used. So, ultimately all of the recordings sound different.”
Rolling Stones’s Andy Greene writes:
The previously unknown tracks include an epic, apocalyptic rocker, “Wild Wolf”; an early draft of “I Shall Be Released” with slightly different lyrics; a cover of Hank Williams’ 1949 classic “My Bucket’s Got a Hole In It”; and country-fied versions of “Blowin’ in the Wind,” “It Ain’t Me Babe” and “One Too Many Mornings,” featuring Band keyboardist Richard Manuel handling lead vocals on the first verse.
In going through the tracks being released on the new set, and what has previously been released, I come up with this unverified list of previously unreleased ‘Basement Tapes’ recordings. Please let me know if any of these versions have seen the light of day before.
1. Edge of the Ocean
2. My Bucket’s Got a Hole in It (written by Clarence Williams)
3. Roll on Train
4. Mr. Blue (written by Dewayne Blackwell)
5. I’m a Fool for You (Take 2)
6. Blowin’ in the Wind
7. One Too Many Mornings
8. A Satisfied Mind (written by Joe Hayes and Jack Rhodes)
9. It Ain’t Me, Babe
10. My Woman She’s A-Leavin’
11. Mary Lou, I Love You Too
12. Dress it up, Better Have it All
13. What’s it Gonna be When it Comes Up
14. Wild Wolf
15. If I Were A Carpenter (written by James Timothy Hardin)
16. 2 Dollars and 99 Cents
17. Jelly Bean
18. Any Time
19. Down by the Station
20. Hallelujah, I’ve Just Been Moved (Traditional, arranged by Bob Dylan)
21. That’s the Breaks
22. Pretty Mary
23. Will the Circle be Unbroken (written by A.P. Carter)
24. She’s on My Mind Again
25. Northern Claim
26. Love is Only Mine
What became know as the ‘Basement Tapes’ sessions began in the “red room” of Bob Dylan’s house, Hi Lo Ha, in upstate New York. “Oddly enough, it was referred to as the ‘red room’, but it was not red,” Jenkins said. ‘At one time, it was probably painted red and the name stuck.”
As for what color the now historic site of the beginnings of the ‘Basement Tapes’ was?
“That information is lost to the sands of time,” said another source close to the project.
For some reason Dylan and company decided to move the sessions to ‘Big Pink,’ the house shared by Rick Danko, Richard Manuel and Garth Hudson in West Saugerties, New York. That’s where the rest of the sessions took place.
The musicians who are on these recordings: Bob Dylan, Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and Levon Helm.
Garth Hudson, who was keyboardist in The Band, and who played on most of the ‘Basement Tapes’ recordings, worked with Canadian music archivist and producer Jan Haust “to restore the deteriorating tapes to pristine sound, with much of this music preserved digitally for the first time,” according to bobdylan.com.
Greil Marcus wrote in his book “Invisible Republic: Bob Dylan’s Basement Tapes”:
There is no common memory, let alone documentation, to provide the exact dates when Bob Dylan and the former Hawks began meeting to try their hand at old songs, or when old songs gave way to a long burst of mockery and novelty (“Bob would be running through an old song,” Robbie Robertson says, “and he’d say, ‘Maybe there’s anew song to be had here'”). Certainly they began playing, and occasionally taping the results, in the Red Room in Dylan’s house in Woodstock. Most of the commonplace or covered material, the least finished and sure, from Ian and Sylvia hits to “Johnny Todd,” from Johnny Cash classics to “Cool Water,” comes from there, beginning in the early summer of 1967. The basement of Big Pink, the house Rick Danko, Garth Hudson and Richard Manuel were renting in West Saugerties, was more of a hideaway, or a hideout. Sessions there went on through the summer, then off and on through the rest of the year and into the next. The first few months produced most of the best-known basement originals, and the series of parodies and breakdowns that stretches from “Tupelo” through “I’m in the Mood” into “See You Later, Allen Ginsberg.”
The deluxe edition will include these songs:
BOB DYLAN – THE BASEMENT TAPES COMPLETE:
THE BOOTLEG SERIES VOL. 11
(all songs written by Bob Dylan unless otherwise noted)
CD 1
1. Edge of the Ocean
2. My Bucket’s Got a Hole in It (written by Clarence Williams)
3. Roll on Train
4. Mr. Blue (written by Dewayne Blackwell)
5. Belshazzar (written by Johnny Cash)
6. I Forgot to Remember to Forget (written by Charlie A Feathers and Stanley A Kesler)
7. You Win Again (written by Hank Williams)
8. Still in Town (written by Hank Cochran and Harlan Howard)
9. Waltzing with Sin (written by Sonny Burns and Red Hayes)
10. Big River (Take 1) (written by Johnny Cash)
11. Big River (Take 2) (written by Johnny Cash)
12. Folsom Prison Blues (written by Johnny Cash)
13. Bells of Rhymney (written by Idris Davies and Peter Seeger)
14. Spanish is the Loving Tongue
15. Under Control
16. Ol’ Roison the Beau (Traditional, arranged by Bob Dylan)
17. I’m Guilty of Loving You
18. Cool Water (written by Bob Nolan)
19. The Auld Triangle (written by Brendan Francis Behan)
20. Po’ Lazarus (Traditional, arranged by Bob Dylan)
21. I’m a Fool for You (Take 1)
22. I’m a Fool for You (Take 2)
CD 2
1. Johnny Todd (Traditional, arranged by Bob Dylan)
2. Tupelo (written by John Lee Hooker)
3. Kickin’ My Dog Around (Traditional, arranged by Bob Dylan)
4. See You Later Allen Ginsberg (Take 1)
5. See You Later Allen Ginsberg (Take 2)
6. Tiny Montgomery
7. Big Dog
8. I’m Your Teenage Prayer
9. Four Strong Winds (written by Ian Tyson)
10. The French Girl (Take 1) (written by Ian Tyson and Sylvia Tyson)
11. The French Girl (Take 2) (written by Ian Tyson and Sylvia Tyson)
12. Joshua Gone Barbados (written by Eric Von Schmidt)
13. I’m in the Mood (written by Bernard Besman and John Lee Hooker)
14. Baby Ain’t That Fine (written by Dallas Frazier)
15. Rock, Salt and Nails (written by Bruce Phillips)
16. A Fool Such As I (written by William Marvin Trader)
17. Song for Canada (written by Pete Gzowski and Ian Tyson)
18. People Get Ready (written by Curtis L Mayfield)
19. I Don’t Hurt Anymore (written By Donald I Robertson and Walter E Rollins)
20. Be Careful of Stones That You Throw (written by Benjamin Lee Blankenship)
21. One Man’s Loss
22. Lock Your Door
23. Baby, Won’t You be My Baby
24. Try Me Little Girl
25. I Can’t Make it Alone
26. Don’t You Try Me Now
CD 3
1. Young but Daily Growing (Traditional, arranged by Bob Dylan)
2. Bonnie Ship the Diamond (Traditional, arranged by Bob Dylan)
3. The Hills of Mexico (Traditional, arranged by Bob Dylan)
4. Down on Me (Traditional, arranged by Bob Dylan)
5. One for the Road
6. I’m Alright
7. Million Dollar Bash (Take 1)
8. Million Dollar Bash (Take 2)
9. Yea! Heavy and a Bottle of Bread (Take 1)
10. Yea! Heavy and a Bottle of Bread (Take 2)
11. I’m Not There
12. Please Mrs. Henry
13. Crash on the Levee (Take 1)
14. Crash on the Levee (Take 2)
15. Lo and Behold! (Take 1)
16. Lo and Behold! (Take 2)
17. You Ain’t Goin’ Nowhere (Take 1)
18. You Ain’t Goin’ Nowhere (Take 2)
19. I Shall be Released (Take 1)
20. I Shall be Released (Take 2)
21. This Wheel’s on Fire (written by Bob Dylan and Rick Danko)
22. Too Much of Nothing (Take 1)
23. Too Much of Nothing (Take 2)
CD 4
1. Tears of Rage (Take 1) (written by Bob Dylan and Richard Manuel)
2. Tears of Rage (Take 2) (written by Bob Dylan and Richard Manuel)
3. Tears of Rage (Take 3) (written by Bob Dylan and Richard Manuel)
4. Quinn the Eskimo (Take 1)
5. Quinn the Eskimo (Take 2)
6. Open the Door Homer (Take 1)
7. Open the Door Homer (Take 2)
8. Open the Door Homer (Take 3)
9. Nothing Was Delivered (Take 1)
10. Nothing Was Delivered (Take 2)
11. Nothing Was Delivered (Take 3)
12. All American Boy (written by Bobby Bare)
13. Sign on the Cross
14. Odds and Ends (Take 1)
15. Odds and Ends (Take 2)
16. Get Your Rocks Off
17. Clothes Line Saga
18. Apple Suckling Tree (Take 1)
19. Apple Suckling Tree (Take 2)
20. Don’t Ya Tell Henry
21. Bourbon Street
CD 5
1. Blowin’ in the Wind
2. One Too Many Mornings
3. A Satisfied Mind (written by Joe Hayes and Jack Rhodes)
4. It Ain’t Me, Babe
5. Ain’t No More Cane (Take 1) (Traditional, arranged by Bob Dylan)
6. Ain’t No More Cane (Take 2) (Traditional, arranged by Bob Dylan)
7. My Woman She’s A-Leavin’
8. Santa-Fe
9. Mary Lou, I Love You Too
10. Dress it up, Better Have it All
11. Minstrel Boy
12. Silent Weekend
13. What’s it Gonna be When it Comes Up
14. 900 Miles from My Home (Traditional, arranged by Bob Dylan)
15. Wildwood Flower (written by A.P. Carter)
16. One Kind Favor (Traditional, arranged by Bob Dylan)
17. She’ll be Coming Round the Mountain (Traditional, arranged by Bob Dylan)
18. It’s the Flight of the Bumblebee
19. Wild Wolf
20. Goin’ to Acapulco
21. Gonna Get You Now
22. If I Were A Carpenter (written by James Timothy Hardin)
23. Confidential (written by Dorina Morgan)
24. All You Have to do is Dream (Take 1)
25. All You Have to do is Dream (Take 2)
CD 6
1. 2 Dollars and 99 Cents
2. Jelly Bean
3. Any Time
4. Down by the Station
5. Hallelujah, I’ve Just Been Moved (Traditional, arranged by Bob Dylan)
6. That’s the Breaks
7. Pretty Mary
8. Will the Circle be Unbroken (written by A.P. Carter)
9. King of France
10. She’s on My Mind Again
11. Goin’ Down the Road Feeling Bad (Traditional, arranged by Bob Dylan)
12. On a Rainy Afternoon
13. I Can’t Come in with a Broken Heart
14. Next Time on the Highway
15. Northern Claim
16. Love is Only Mine
17. Silhouettes (written by Bob Crewe and Frank C Slay Jr.)
18. Bring it on Home
19. Come All Ye Fair and Tender Ladies (Traditional, arranged by Bob Dylan)
20. The Spanish Song (Take 1)
21. The Spanish Song (Take 2)
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. Click here and enter.]
Thurston Moore and his new supergroup, which includes Sonic Youth’s Steve Shelly and My Bloody Valentine’s Debbie Googe, performed at Belgium’s Pukkelpop festival this past weekend.
Moore’s got a new album called The Best Day due October 21, 2014.
Here is Moore and his band performing a song off the new album, “Forevermore.”
Thirteen minutes worth!
Plus here’s an old Sonic Youth track, “Climbers & Creepers,” that you might not have heard. This was part of Peter Coffin’s”Music For Plants” series.
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. Click here and enter.]
