…I must say I’m pleased with the album. It’s good. I’m not ashamed of it and am ready to stand by it. Rather than think of it as a masterpiece, I prefer to look at it as a little gem.
~Leonard Cohen (to Melody Maker’s Harvey Kubernik in March 1975)
That miraculously intimate voice has become more expressive and confident over the years without losing its beguiling flat amateurishness. Some of the new songs are less than memorable, but the settings, by John Lissauer, have the bizarre feel of John Simon’s “overproduction” on Cohen’s first album, which I always believed suited his studied vulgarity perfectly. A-
~Robert Christgau (robertchristgau.com)
.. The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds (“There Is a War,” “Field Commander Cohen”). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in “Chelsea Hotel No. 2.” This is one of his best album..
~Vik Lyengar (allmusic.com)
Chelsea Hotel #2
I remember you well in the Chelsea Hotel,
you were talking so brave and so sweet,
giving me head on the unmade bed,
while the limousines wait in the street.
Those were the reasons and that was New York,
we were running for the money and the flesh.
And that was called love for the workers in song
probably still is for those of them left.
Ah but you got away, didn’t you babe,
you just turned your back on the crowd,
you got away, I never once heard you say,
I need you, I don’t need you,
I need you, I don’t need you
and all of that jiving around.
Ian Scott Anderson, MBE (born 10 August 1947) is a singer, songwriter and multi-instrumentalist, best known for his work as the leader and flautist of British rock band Jethro Tull.
We honor him today with two fine versions of Aqualung, happy birthday Mr. Anderson!
Anderson plays several other musical instruments, including keyboards, bass guitar, bouzouki, balalaika, saxophone, harmonica, and a variety of whistles. His solo work begin with the 1983 album Walk into Light, and since then he released another five works, including the sequel of Jethro Tull albumThick as a Brick (1972) in 2012, entitled TAAB2: Whatever happened to Gerald Bostock.
Honestly, this may be the best Van recording I’ve heard, not withstanding its slightly wonky mix of vocals, its beauty is in the fun that Morrison and his band are having. A fantastic recording, a great night.
-Stuart @ collectorsmusicreviews.com
My New World Crystal Ball
Lion’s Share, San Anselmo, CA; August 8, 1971.
Backing Vocals – Ellen Schroer, Janet Planet, Martha Velez
… When I was 12 years old, or however old I was when Bringing It All Back Home came out, I’d just skip back and forth endlessly between ‘Subterranean Homesick Blues’ and ‘It’s Alright, Ma’ and ‘Mr. Tambourine Man,’ and now my Dylan roots are showing big time.
— Rodney Crowell
Rodney Crowell & Emmylou Harris – Shelter From The Storm (live 2006)
August 7, 1950 (age 68)
Houston, Texas United States
Warner Bros., Columbia, MCA, Sugar Hill, Epic, Yep Roc
Rosanne Cash, Emmylou Harris, The Notorious Cherry Bombs, Los Super Seven
From my perspective, there are better sound-quality boots out there (Live In Montreux, for example), but no Van boot I have — and I have more than a few — so integrates solid sound with a stunning performance: Live In Montreux comes close, but at 150+ minutes, Pagan is the winer. This boot is so good, so valued, that much like the ancestral heir loom one only wears on special occasions, I listen to Pagan Streams infrequently. If I listened to it too often, I would quit my job, leave my wife and dog, and sell my soul to attend every one of the Man’s concerts. I know it took me a while to track this boot down, and all I can say is: if you can find it, buy it.
–Niall Connors (oocities.org)
The sound quality of this double CD is a very good audience recording. In fact it sounds a lot like a soundboard recording. There is some distortion in a few tracks but it isn’t a huge problem and is very listenable. Van actually “booted” some tracks from this boot for his Gloria CD single.
-Russell Parkinson (oocities.org)
Hudson was just as crucial to the very different sounds made in the Basement the year afterwards: especially since in large part it was Garth who tape-recorded those unique, informal sessions, and had the sense to look after, afterwards, all the dozens of unknown-about extra ones beyond those of immediate interest to Dylan’s music publisher, and which only began to circulate decades later.
Hudson was also the musicians’ musician—and actually gave the other Hawks music lessons—and when the Hawks became the Crackers became The Band, he was the multi-instrumentalist supreme in a group of multi-instrumentalists. If The Band introduced a small orchestra’s worth of olde worlde instruments to mainstream rock music, it was Hudson who had introduced many of them to The Band.
~Michael Gray (The Bob Dylan Encyclopedia)
Members of The Band Accept Rock and Roll Hall of Fame Award at 1994 Inductions: