If I hadn’t heard the Robert Johnson record when I did, there probably would have been hundreds of lines of mine that would have been shut down—that I wouldn’t have felt free enough or upraised enough to write.
— Bob Dylan
Chronicles: Volume One
Wikipedia:
“Come On in My Kitchen” is a blues song by Robert Johnson. Johnson recorded the song on November 23, 1936 at the Gunter Hotel in San Antonio, Texas – his first recording session. The melody is based on the song cycle by the string band the Mississippi Sheiks, “Sitting on Top of the World” (1930)/Things About Coming My Way (1931)/I’ll Be Gone, Long Gone (1932)/Hitting The Numbers (1934).
Johnson’s arrangement on slide guitar (in open tuning, commonly thought to be open G) is based on Tampa Red’s recording of the same tune with the title “Things ‘Bout Coming My Way”. Tampa Red had recorded an instrumental version in 1936, and the song had been recorded earlier by him in 1931, and by Kokomo Arnold in 1935 (Tampa Red may in fact have been the first to use the melody with his song “You Got To Reap What You Sow” (1929) based on Leroy Carr & Scrapper Blackwell’s version).
Johnson’s recording was released on the Vocalion label (no. 03563) as a “race record” – cheap records for the black consumer market. The song was among those compiled on the King of the Delta Blues Singers LP in the 1960s. (A slower alternate take was also later found and released on CD collections; this version also has ten extra lines of lyrics.)
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]I knew a man Bojangles and he danced for you
In worn out shoes
Silver hair, a ragged shirt and baggy pants
The old soft shoe[/vc_message][/vc_column][/vc_row]
Jerry Jeff Walker died on October 23, 2020 in Austin, Texas, from throat cancer-related complications.
Here are ten good cover versions of his most famous song – Mr. Bojangles.
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]And the final encore at Tel Aviv was a heartfelt performance of the old American spiritual, “Go Down, Moses”: “When Israel was in Egypt land (let my people go), oppressed so hard that they could not stand (let my people go). Go down, Moses, way down in Egypt land, tell old Pharoah, let my people go.” It’s a powerful reading of a song Dylan never sang publicly before. And quite typical ofBob Dylan, though born a Jew, to identify keenly with the people of Israel as seen (and portrayed romantically) by black American songmakers … and for him to choose to honor the people of Israel, at his first concert in that nation, by singing this song. (“That’s my religion. The songs are my lexicon. I believe the songs.”) .. “Go Down, Moses” is certainly the high point of the Tel Aviv show.
-> Paul Williams (Performing artist 1986 & beyond)[/vc_message][/vc_column][/vc_row]
“Go Down Moses” is an American Negro spiritual. It describes events in the Old Testament of the Bible, specifically Exodus 8:1: “And the LORD spake unto Moses, Go unto Pharaoh, and say unto him, Thus saith the LORD, Let my people go, that they may serve me”, in which God commands Moses to demand the release of the Israelites from bondage in Egypt.
-> wikipedia
Hayarkon Park
Tel-Aviv, Israel
5 September 1987
Bob Dylan (vocal & guitar) with Tom Petty & The Heartbreakers.
Tom Petty (guitar)
Mike Campbell (guitar)
Benmont Tench (keyboards)
Howie Epstein (bass)
Stan Lynch (drums)
The Queens Of Rhythm: Carolyn Dennis, Queen Esther Marrow, Madelyn Quebec (backing vocals)
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]Well, Eddie Grace’s Buick got four bullet holes in the side
And Charlie DeLisle is sittin’ at the top of an avocado tree
Mrs. Storm will stab you with a steak knife if you step on her lawn
I got a half a pack of Lucky Strikes, man, so come along with me
And let’s fill our pockets with macadamia nuts
And go over to Bobby Goodmanson’s and jump off the roof[/vc_message][/vc_column][/vc_row]
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]Still more lushly sentimental was “Kentucky Avenue,” the great song of Waits’ childhood. One of his most unashamedly emotional outpourings, it mourned lost innocence with a compassion few other songwriters have ever attempted, let alone achieved. This wasn’t The Waltons—the lyric was full of wanton violence and vandalism—but as the song reached its climax, the love in Waits’ voice, heaved from his memory, was almost too much to bear.
-Barney Hoskyns (Lowside of the Road: A Life of Tom Waits)
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[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]Route 66, written by the late Bobby Troup, gets the album [their first album] off to a rousing start, Keith Richards playing an excellent guitar with a tight clap-back track rhythm by Bill Wyman & Charlie Watts. It soon became a popular stage number.
-Martin Elliott (The Rolling Stones: Complete Recording Sessions 1962–2012)[/vc_message][/vc_column][/vc_row] Recorded January 3, 1964 @ Regent Sound Studio, London, England. Continue reading “10 Best Rolling Stones Songs from 1963/64 (videos & spotify playlist)”→
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]Linden Arden stole the highlights
With one hand tied behind his back
Loved the morning sun, and whiskey
Ran like water in his veins[/vc_message][/vc_column][/vc_row]
