#The Night They Drove Ole Dixie Down

[eriksangel666]

The Easter Bunny brought you a new episode of this podcast! This week, we go up cripple creek and make a pit stop in Canada with the rock group the Band!

[delectablywaywardbeard-blog]

Morto Robbie Robertson, leader del gruppo rock The Band

Robbie Robertson, chitarrista e cantautore principale del gruppo rock The Band, è morto, ha reso noto oggi lVariety, citando il suo manager. Aveva 80 anni. In qualità di capobanda del gruppo canadese-americano, Robertson ha scritto le canzoni più iconiche della band, tra cui “The Weight”, “The Night They Drove Ol’ Dixie Down” e “Up On Cripple Creek��.  Il suo manager ha detto che Robertson era…

[jaguarmen99]

ロックグループ「ザ・バンド（The Band）」のギタリスト、ロビー・ロバートソン（Robbie Robertson）さんが9日、死去した。80歳。マネジャーが明らかにした。 　1943年7月5日、カナダ・トロント生まれ。1960年代半ばにボブ・ディラン（Bob Dylan）のバックバンドの一員としてツアーに加わり、アルバム「ブロンド・オン・ブロンド（Blonde on Blonde）」にも参加した。 　その後、グループはザ・バンドとしてデビュー。ロバートソンさんは代表作「ザ・ウェイト（The Weight）」「オールド・ディキシー・ダウン（The Night They Drove Ol' Dixie Down）」「クリプル・クリーク（Up On Cripple Creek）」などの作曲を手掛けた。 　ザ・バンドは1976年に解散。米サンフランシスコで行われた解散コンサートは『ラスト・ワルツ（The Last Waltz）』として映画化された。 　映画の監督を務めたマーティン・スコセッシ（Martin Scorsese）氏との交友はその後も続き、『カジノ（Casino）』『ギャング・オブ・ニューヨーク（Gangs of New York）』といった同監督の作品で音楽監督を務めた。(c)AFP/Maggy DONALDSON

ロビー・ロバートソンさん死去 80歳　「ザ・バンド」ギタリスト　写真1枚　国際ニュース：AFPBB News

[rocknrolldad]

“CANCEL CULTURE” and The Night They Drove Ole Dixie Down

I offer this week's video--the live version of The Band's "The Night They Drove Ole Dixie Down" from the Last Waltz--as the focus for consideration of the "cancel culture" debate currently underway in the aftermath of the George Floyd protests. I must admit that I have always been moved by the lament of Virgil Caine in the song. Indeed, it would be difficult not to be affected by the pain and despair brought to the song by the incredible talent of Levon Helm, the drummer and one of the main vocalists in The Band. I never viewed the song as one glorifying the Confederacy, but rather saw it as a story of a man born in the wrong place at the wrong time. The main character is clearly a poor man who never owned a slave, but who lived a hardscrabble life and was forced into the Confederate Army. However, I must admit that the song always left me with a flicker of unease, wondering whether those who glorified the Lost Cause viewed it in the same light that I did. I imagine that there are those who, much like Ronald Reagan did with Springsteen's "Born in the USA," fail to understand the true meaning of the song.

These feelings were reawakened when I read an article about Marcus King, a singer/songwriter who with his band and some guest artists recently performed a tribute to The Last Waltz, playing 15 songs from that famous concert. One of the songs was The Night They Drove Ole Dixie Down, performed by Early James. James rewrote some of the lyrics of the song to explicitly distance the song from any endorsement of the Southern revolt.

Where Helm sang that the fall of the Confederacy was “a time I remember oh so well,” James declared it “a time to bid farewell.” In the chorus, instead of mourning that downfall, he sang, “Tonight, we drive old Dixie down.” And in the final verse, he sang:

"Unlike my father before me, who I will never understand

Unlike the others below me, who took a rebel stand

Depraved and powered to enslave

I think it’s time we laid hate in its grave

I swear by the mud below my feet

That monument won’t stand, no matter how much concrete."

Rewriting the lyrics to make a point is a time-honored tradition. But I would argue that context is everything. The problem with today's world is that context cannot be served up in a sound byte. Instead, everything is (excuse the expression) either black or white.

I offer for your consideration the context as supplied by Robbie Robertson who has explained that the song was inspired after Robbie went to meet Levon Helm’s parents in Arkansas. The opening lines of the song speak of the military campaign of Union general George Stoneman, whose raids behind Confederate lines—and specifically the destruction of the railroad tracks in Danville, Virginia—are given credit for breaking the back of the Confederate army which was starving in the winter of 1965, unable to resupply.

"Virgil Caine is the name, and I served on the Danville train

Till Stoneman’s cavalry came and tore up the tracks again

In the winter of ’65, we were hungry, just barely alive

By May the tenth, Richmond had fell, it’s a time I remember, oh so well."

Robertson specifically addressed the song's Dixie theme in an interview in late 2019. “I’m sitting down at the piano writing a song, and something creeped out of me, and it was a story. And I was writing a movie. I was writing a movie about a Southern family that lost in The Civil War, and from their side, but the story of that family. I was trying to write a song that Levon could sing better than anybody in the world. And that’s all it was. That’s what it meant to me—-this little movie, a perfect thing for him.”

This insight, this ode to the effect of the horror of the Civil War on ordinary people in the South who had no bone in the fight, adds to our humanity. It is not a monument to those who would have destroyed the Union so that they could continue to subjugate others. It is no statue. It should be allowed to stand and to touch our hearts. I only pray that the dynamics of our current national divide can rise above the rancor that is today's version of a Civil War.

(And with that, I dismount from my high horse).

https://www.youtube.com/watch?v=6dDbnwQlCek

Preview YouTube video The Last Waltz (1978) - The Night They Drove Old Dixie Down Scene (5/7) | Movieclips

[give-pete-a-chance]

“The Night They Drove Ol’ Dixie Down” by The Black Crowes (The Band cover)

Like my father before me, I will work the land Like my brother above me, who took a rebel stand He was just eighteen, proud and brave, but a Yankee laid him in his grave I swear by the mud below my feet, You can't raise a Caine back up when he's in defeat

Saturday Tunes

[jimgandolfini]

oh so the power went out for like an hour at work today and the generator only powers a few lights and the intercom so there was still music and it was super quiet

and all u could hear was hl whistling along to hey there delilah by the plain white t’s

and he’s usually at least slightly offbeat but he like....he knew it all.... flawlessly....

i was shook

[realretroroger]

QRKY Radio Playlist For 03/05/20

QRKY – Quirky Radio Playlist For 03/05/20

Listen Free.  Blues, Swing, Rockabilly, Old Time Radio Shows & More.

Click on the individual song titles in BOLD below.  They’re linked to music videos or to online audio files of the old time radio shows.  Or, if you’d prefer to autoplay the music video playlist, just click HERE.  It;s all for fun and for free, so enjoy.

Move It On Over -- George Thorogood & the Destroyers

Mojo Hand -- Lightnin’ Hopkins

Oo Poppa Do -- Lavay Smith & Her Red Hot Skillet Lickers

Can’t You See -- Marshall Tucker Band

Pigmeat Blues -- Georgia White

Crazy Little Thing Called Love -- Dwight Yoakam

Windy City Boogie -- JT Brown

Sunoco Gasoline (Old Time Commercial)

Tiger Rag -- Devine’s Wisconsin Roof Orchestra

Paying The Cost To Be The Boss -- B.B. King

Hey Lawdy Mama -- Gene Phillips & His Rhythm Aces

Lady Marmalade -- Labelle

Basin Street Blues -- Charleston Chasers

GI JIVE Radio Show #415 -- Armed Forces Radio Network

Information Blues -- Clarence “Gatemouth” Brown

Big Butter And Egg Man -- Louis Armstrong & His Hot Five

Pal Blades (Old Time Commercial)

Ol’ Man River -- Paul Robeson

G-String Twist -- Bald Bill Hagen

Route 90 -- Johnny Winter with Dr. John

My Girl Josephine -- Fats Domino

Baggage Claim -- Delbert McClinton

Banana In Your Fruit Basket -- Bo Carter

JUBILEE Radio Show (06/11/45) with Joe Liggins -- Armed Forces Radio Service

Maxwell House Coffee (Old Time Commercial)

Brand New Day -- Staple Singers

Take Your Hands Off It -- Billy Hughes

Why Can’t You Dance With Me Like That -- Eight To The Bar

Everybody Needs Somebody To Love -- Wilson Pickett

Breaking Point -- David Sanborn

Travelin’ Shoes -- Maria Muldaur

Shake That Thing -- Jimmy O’Bryant’s Famous Original Washboard Band

Sominex (Old Time Commercial)

One Bad Stud -- The Blasters

Press My Button (Ring My Bell) -- Lil Johnson

Tuff Enuff -- Fabulous Thunderbirds

The Lady Is A Tramp -- Lena Horne

Try Some Of That -- Lovin’ Sam Theard with Oscar’s Chicago Swingers

Sputniks & Mutniks -- Ray Anderson & the Home Folks

Hejira -- Joni Mitchell

Walk Right In -- Cannon’s Jug Stompers

Nestle’s Quik (Old Time Commercial)

The Night They Drove Old Dixie Down -- The Band

You Ain’t Goin’ Nowhere -- Bob Dylan

Shake Around -- Ray Smith

Never Make Your Move Too Soon -- Bonnie Raitt with Ruth Brown, Charles Brown & Kim Wilson

The Lifeboat Party -- Kid Creole & the Coconuts

[tennesseewatchman-com-news-blog]

My Mother, Once a Country Music Singer

My Mother, Once a Country Music Singer

During the late 1960s and early 70s my mother was a country music singer. She had one top ten hit on the Billboard charts – a country version of “The Night They Drove Ole Dixie Down” that went to number 9.

Not that you can’t be a celebrity and be a faithful Christian too, but my mother says she wasn’t fully surrendered to the Lord during that period. Her complete surrender would ultimately lead…

[thatswhenyourefrom]

Cotton teeth - the snake the cross the crown

My freshman year of high school was a highly formative time in finding music. I completely understood what a record label did. Less on day-to-day business type of way and on more of a curation level. I understood that record labels exist as touchstone for a scene or a style of music. You could regularly find new artists by simply going to the website for the record label of a band that you currently like, look at the roster, and bam, you’re full up on new music. Hit one of those band names into Limewire or PureVolume, and you’re rolling. This is exactly the method I used to stumble upon The Snake, The Cross, The Crown.

It was kind of undeniable that in the mid-2000’s, there was a scene that existed that was all about screaming and teens with bangs in their face. [Call it emo, screamo, i don’t care. It’s hyper timely and that scene as a whole is long out of style. But that’s okay. If you like it, enjoy it. It rocks it’s exciting.] Plenty of these bands landed on the same few record labels like Victory and Equal Vision, to name a few. I would scroll through websites and just listen and try to find something that spoke to me. Every once in a while, I’d find something that I liked, but usually it would be more of the same. I was sitting in an echo chamber of the scene. Occasionally there would be a weird signing that would be vastly different than everything else on the label. Sometimes they work, sometimes they don’t. When I got to the S’s on the Equal Vision page, I found the band with the long name and their song “Empires”. And I was captured.

The song is twangy and dark. I thought it a good skateboarding song for some reason. (I made a skate video for a high school video project and this was the song. Also looking back, this is not at all a good skate song.) The song offered a perfect bridge into the folk music I would learn to like. The singer croons over a guitar that is slow, but carries momentum. Not sad or desperate; just sentimental. (I wish I could speak on this lyrics in the song, but even after a decade of knowing this song, I have no clue what they are or what they are about.)

For a year or two, I kept this single song on my MP3 players (not always iPods in my day). This was another band I was afraid to venture into in the event that the rest of their music was not very good. I was afraid of shattering my perception of something I held so true to myself. This song lasted as such for a long time, until one night I realized i was a glutton for punishment. I went to the band’s PureVolume page and found another song on the page; “The Sun Tells the Moon”. I genuinely stared at the computer screen for minutes contemplating clicking play or not. Finally, i decided to tempt fate, convincing myself that if it was something I didn’t like I would call myself a glutton for punishment. I clicked play and a kick drum started a tempo, and when the singer rolls in with a high pitch, pulled back wail, I knew I had another song to add to my list.

I was in love. “The Sun Tells the Moon” is a much bigger aggressive song than “Empires” but still not angry like one would expect from mid-2000’s Equal Vision band. At this point, I knew I needed more. I’m two for two. Let’s go. So I found more. I tried two songs that are the two most folky songs from the album, “A Brief Intermission” and “On The Threshold of Eternity.” These two songs clicked with me.

“On The Threshold of Eternity” is a great song with Beatles-esque vocals. Constant acoustic guitar strums keep the song going. The song I take to be about standing in the front of existence trying to make sense of “why am I here”. (Personal interpretation) This is a huge concept to bring into a little folk song. “A Brief Intermission” is a much more folky, storytelling song, but a sorrowful one of a family splintering and a son (child) not really understanding what is going on. Beautiful songs that kept me hooked for years.

It’s not a big secret that I am a fan of The Early November and thus, the lead singer Ace Enders. Once upon a time, he went on tour with The Color Fred (Fred mascharino of Taking Back Sunday) and Craig Owns (Chiodos, Cinematic Sunrise, a million other bands). Mike and I went to go to this show at The Pike Room in Pontiac to see Ace Enders and no one else really, but what we did not know was that Enders dropped off the tour right before hitting Michigan. We go to the show, he’s not there, we are bummed. Trying to find th best in a bad situations, the best part of the night was actually that a local band called The Silent Years opening the show, but that’s another story for another time. After the show, broken hearted, we tried to get as much cheap merch as possible. I bought a Color Fred EP on CD and got an Equal Vision sampler from Craig’s table. You know how car rides home from shows go; you look for something to listen to on the way home, so you grab your new merch and put in the sampler. I saw that there was a TSTCTC song on this sampler that I have never heard. A new song. This song changed my life.

In the rough of young people expelling feelings about girls and being a teen, there��s a gem of a folk song on this sampler that starts off with a deep folky voice that goes “Well if both of these horses just lay up and die…” It starts off with voice and an acoustic guitar. It tells you a story. It’s a father. A song about a dying man (possibly from war) who, as he realized death is upon him, is sharing an ethereal experience with this loves and family in understanding his own passing (personal interpretation). The song walks you through this story and is peppered with explosions of full band performance. After the first explosion, we ease back into more story from dad. It heaves and ho’s until it ho’s on a story beat about everyone coming to terms with the passing and then builds into death catching up to the man. At this point, the song crascendoes into a partial repeat of the first verse and a brand new verse crossing and complementing each other in a loud, open, cohesive mass of music. The song is a masterpiece.

There are more to come.

I believed this song fully. I didn’t change any paths to go get this cd, but I always looked for it when I went cd shopping. Not long after hearing that song, I was at FYE at Great Lakes Crossing, back when it was large enough to cut through the middle of the mall. [Side note, this was a heaven. Such a beautiful place for media. Second and Charles is a spiritual successor.] While flipping through the S’s, i saw a whole divider for The Snake The Cross The Crown. This blew my mind enough. Seeing the new CD, “Cotton Teeth”, blew what was left. Literally the only Equal Vision release with that comes with a sticker on the front to tell you to listen if you’re a fan of The Band. Could anyone ever imagine that? Incredible. I remember telling my dad this is the CD i wanted and he looked that the recommendations sticker, and gave out a little chuckle. He is a fan of The Band. (We are a fan of The Band.) I bought the CD and was so excited to listen to it. Pop it in and guess what: all folk.

“Cakewalk” starts the album with some slow guitar plucking and the singer letting out a direct song about wanting to play music forever (keep this in your pocket). “I want to live on a stage. I want to play the guitar. And I wanna get paid.” All of the lyrics. So simple beautiful. The song starts lonesome and grows into a full band performance with a great drum pattern that includes the whole band. This song is to sing along to. The next song “The Great American Smokeout” reminds me of a campfire song. It sings along in such a fun foot-tapping way, but also has it’s own personal progression. Throughout the song, it sets up patterns and changes them up to keep the song exciting. It would still be fulfilling even it just played through, but the dynamics are so enjoyable. Track three, “Gypsy Melodies” is the usual one you show people when you introduce this band. Again, feels like a campfire song or a road song. Take your pick. I heard the song on a rainy day. I was at Mike’s house once and I showed him this song on a rainy day where we were inside playing cards and when I heard the song I thought “this is it; this is how this song is meant to be experience.” The title track continues the folk tradition set by the last songs. Songs about or at least from the perspective of families. This song is much more involved from the full band. Slide guitars and bass right from the beginning of the song, all the way into the finale with guitar solos and the whole lot. An amazing continuation. “Electronic Dream Plant” is not a song I was prepared for.

Track five is a seven minute epic that lands every beat it tries. It starts off with a piano. The singer comes in and softly calls over the keys. Drums and harmonies build the song more. By the second verse, guitars, bass and drums are singing along with the singer. After the second verse, you know this song is going to get huge. A reverb laden guitar solo, cooling you down with the melody of the verse three. The rest of the song builds on what is established and tells the love “I don’t want to go without you so I just wanna go with piece of mind.” Then tells them “Save your sorrow.” The song plays out and gets larger and bigger and maintains beauty. Never abrasive. A masterpiece in my own opinion. (There’s some “na-na-na’s” at the end that tend to remind the listener of The Band’s “The Night They Drove Ol’ Dixie Down.”)

Track six is the aforementioned “Behold the River”. Name another album that has two massive masterpieces in a row. We then go to “Hey Jim”; a darker, guitar rock song. I have no interpretation on what the song is about, but it feels like a night drive through the south. There’s these beautiful glowing keyboard sections. After the first verse, they emanate sound. As per usual, they know how to crescendo. This band knows how to write an amazing melody to repeat and keep on. If this crescendo doesn’t get stuck in your head, you don’t have a head. “Floating In And Out” sounds like it comes from the progressive era of Mander Salis, but also tends to transcend that this album. The song has this incredible section where it stops and starts a new drum pattern that the singer sings over. “Maps” is a fan favorite. This song epitomizes the entire album. Family perspective. Growth into a crescendo. No matter how you look at this song, it’s powerful. This song sounds like less of a story though. It feels like it’s personal. And it cuts the same way. The last song is a song that still dumbfounds me but I never skip it. “Back to the Helicopter” is a noisy experimental finale. But it still feels like the band. It’s like they sucked out all of the beauty and story from the first nine tracks and were left with this Eraserhead-like fetus that was birthed of the band. It has power. Aggression. But it’s a bastard of everything from “Cotton Teeth”. Oddly beautiful.

I bought this CD in 2008. I still hold this CD very close to my heart a decade later. It is one of the few CD’s that stays in my car. The real shame of this album is that it doesn’t know where it belongs. Certainly not with Equal Vision. It belongs with me. But everyone I’ve shared this album with doesn’t feel a thing. I have an intense connection with this entity and I want the world to know but they ignore it. Imagine if it were a person. I am annoyed.

I gave up trying to share it years ago, but instead let it be my friend. I sing with it in the car. I lay down with it. I spend time with it. It’s my imaginary friend.

The band would continue to have one more release in 2009, but not a standard album. A documentary.

In 2009, the band was the subject of a documentary called “On A Carousel of Sound, We Go ‘Round”. The film documents the band on tour (if I recall with mewithoutyou and Manchester Orchestra; an insane tour), playing live songs in different places, and an set of entirely new songs which comprise the album of the same name. [You can see this release as a doc with a soundtrack or a new album with a documentary.] In the documentary the band plays these songs with such emotion and power in such an intimate way. Once you know the songs, you need to see the documentary. The band also speaks out on being where they are in life without ever really making it (again maybe because of the market) and how difficult it is to be touring. I ‘m really left with the sense that there was a bit of defeat from this group. And I do not blame them. I have tried to vouch for them.

Since the release of “On A Carousel of Sound….” the band has gone quiet. They have not released a lick of music or any update since then. They have disappeared. They are ghosts. But what they have left me is a brother. If it is a ghost, they still haunt me and always will. “Cotton Teeth” is baked into me. Without it, I would never have found the love for The Band, Songs: Ohia,Right Away! Great Captain, Townes Van Zant, and many others that I can call folk. I will celebrate this album forever, even if it is only ever me and him celebrating.

[aestheticvoyage2018]

Day 299: Friday October 26, 2018 - “Night Moves”

The plan got seriously bonked, when Silver took a poop on us yesterday....and after a good full day of soaking in that, I pulled myself together and found myself driving down that road from Nashville to Birmingham as if my life were some musical mash up of Midnight Rider, Night Moves, and the Night The Drove ole Dixie Down to wind up in bed with my wife at 130am in Alabama. The only real surprise here being that she continues to be surprised....and me, feeling quite satisfied with my cleverness- showing up in the same costume she left me in yesterday pushing the car into the alley, as if nothing happened.  Just a day late.   Now, she only had about 2 hours before her alarm was to go off, so it was a bit of a goofer overnight crash - but I pulled it off anyway - flight from TUC to Vegas, then Vegas to Nashville,and a 3 hour drive down.   I suppose I could chalk it up to how far Id go to spend two hours rubbing her back before she goes back to work!! But honestly the big draw was her 18 hour overnight tomorrow in Louisville at the Brown  - our favorite hotel in the union.  We’d been planning this since last month when it showed up on her board.

Earlier in the week when I was trying to figure out how to make the “take your husband to work weekend” plan come together, I was getting frustrated that I couldnt get it all just right.   She crawled on top of me and in a very stern voice said “get your shit together and figure it out, man” - that hung with me on Friday morning sitting there - the cars been towed, theres nothing for me to do here....I could hear her voice.  “figure it out, man”  - yep.    She poked me for trying to turn the whole thing into something bigger than it needed to be in order to run some new roads.  And she was right - the whole point was to be in Louisville.  No reason to scrap it all because of the audible - and so there I was.  Calling her in the middle of the night asking if I could come up and cuddle for a couple hours... pulled it off, as I cherished the sound of her voice asking “are you here?!?!”    The treasure chest of this rambling man.

Song: Tracy Lawrence - Paint Me A Birmingham

Quote: “Magic is the stunning art of surprising your audience, so that nothing else surprises them.”  ― Amit Kalantri

[arsenicolada]

Favorite rock afire explosion covers?

oh man, that’s a heavy loaded question ya got there anon cuz I got a lot:

867-5309, by Dook

The Monkees Medley

Jackson, by Mitzi and Dook

The Night They Drove Ol’ Dixie Down, by Beach Bear

Desperado, by Mitzi

The Ride, by Beach Bear

Down in New Orleans, by Fatz

Born to Run, by Beach Bear

50s Rock n Roll Medley

The Beach Boys Medley

Mony Mony, by Beach Bear

The Magic Medley

Abracadabra Medley, by Dook 

Every Little Thing She Does is Magic, by Beach Bear

The Afterhours Show

My Gal is Red Hot, by Fatz

Framed, by Beach Bear

The Liberty Show

Summer Love Medley

Gloria, by Dook

Tribute to the Circus

Grammy’s 1988

On the Road Again, by Billy Bob

Spaceman, by Dook

I Ain’t Got You, by Fatz

Louie Louie, by Earl

I Feel Fine, by Dook and Mitzi

Feeling Alright, by Beach Bear

Tempted, by Beach Bear

The Abbey Road Medley

The Retro Medley

Boogie Woogie Bugle Boy, by Mitzi

Five Guys Named Moe, by Fatz

The Sign, by Mitzi

Somewhere Out There, by Dook and Mitzi

Talk To You Later, by Beach Bear

[longliverockback]

The Black Crowes Freak ‘n’ Roll... into the Fog 2006 Eagle ————————————————— Tracks: 01. (Only) Halfway to Everywhere 02. Sting Me 03. No Speak No Slave 04. Soul Singing 05. Welcome to the Good Times 06. Jealous Again 07. Space Captain 08. My Morning Song 09. Sunday Night Buttermilk Waltz 10. Cursed Diamond 11. She Talks to Angels 12. Wiser Time 13. Non Fiction 14. Seeing Things 15. Hard to Handle 16. Let Me Share the Ride 17. Mellow Down Easy 18. Remedy 19. The Night They Drove Ol’ Dixie Down —————————————————

Marc Ford

Steve Gorman

Ed Hawrysch 

Sven Pipien

Chris Robinson

Rich Robinson

* Long Live Rock Archive

[yuri-on-playlists]

American Boy: Leo De La Iglesia

One of my favorite characters in YOI is Leo (not because I'm an American) but because I relate a lot to him because of his love of music. When making this playlist, I didn't think about the kind of music Leo likes (which is likely pop/rap/top 40 stuff) but the kind of music that represents where he's from. So here are some downhome American songs from popular American artists!

Lots of country, southern rock, 70's rock. Enjoy!

Free Bird - Lynyrd Skynyrd

Born In The U.S.A - Bruce Springsteen

Take It Easy - The Eagles

Burning Love - Elvis Presley

Midnight Rider - Allman Brothers Band

Like A Rolling Stone - Bob Dylan

The Night They Drove Ol' Dixie Down - Joan Baez

Mary Jane's Last Dance - Tom Petty

[keepmenumb]

The night they drove ole dixie down the bells were ringin

[dannytonza]

Christmas Eve Listen-Along

I usually try to listen to or watch The Last Waltz on Christmas Eve (even though it’s a Thanksgiving movie.) This last year I listened to the Deluxe Edition for the first time and took some notes as I went.

Up On Cripple Creek: Such a great opener. I think prefer The Last Waltz version to the studio. It Makes No Difference: Lol, just now remembering I stole a line from this song for a writing assignment I had in my junior year of highschool (maybe a poetry assignment?) "These old love letters, well I just can't keep them, because like the gambler said, I read em and weep!" -Dan, age 16 Down South In New Orleans: Cut from the film for good reason. This Wheel’s on Fire: Rick Danko's voice is so delightfully unpredictable. You never know what he's going to do. Fuckin love that guy. Mystery Train: One I always think I'm gonna want to skip because I don't care anything about Paul Butterfield, but then, it turns out it’s good. Caldonia: Another one from the cutting room floor that should have stayed there. No disrespect to Muddy Waters, of course. Mannish Boy: Just one of many absolutely iconic vocal performances on this record. Rag Mama Rag: Read or watched something wherein Levon Helm said he thought this was going to be a big hit song and that he was disappointed it was not. I love it. That's just how southern he was; he heard Rag Mama Rag and thought "boy, that's gonna get the folks shoes a-tappin" 

Good song, he was right. All Our Past Time/Further On Up The Road: Oh, you don't like being told to quarantine and lockdown, Mr. Clapton? They should have LOCKED your ass UP for these two snoozers in the middle of a great show. Why don't you go fuck George Harrison's wife or something you little freak! (I have zero negative things to say about the coming Van Morrison songs (because they're great) but fuck him too. I'd kill to chill in lockdown on my Irish estate and have fresh cream and bangers delivered, or whatever the fuck they eat over there) Helpless: Pure beauty* *Martin Scorsese's use of rotoscoping to remove the cocaine rock from Neil Young's nose for this scene. Also the song is very good and Joni Mitchell sings backing vocals and that's good too. Four Strong Winds: They really picked all the right songs to be in the movie. So far all the extra is detritus. Maybe there's some good stuff. Idk, I've never listened to this version all the way through. So far, nada. Shadows and Light/Furry Sings the Blues: I stand corrected on the additional tracks. Give me all the Joni you got. Give me the b roll of her sucking down cigarettes backstage. Dry Your Eyes: Weirdly, probably my favorite track on here. Neil snapped on this one. Caravan: Van is such a great performer. Outshines most all of the guests on here. You can really hear the audience lose their shit during the climax. The Night They Drove Old Dixie Down: This is the definitive version of this track, imo. ME: “there's no room in our already fractured culture for songs that glorify the Dixie era south”

ALSO ME, IN THE CAR, AT THE TOP OF MY LUNGS: “the niiiiiiiiiiiight they drove ol dixie doooooowwn” Levon does a vocal contortion on here when he sings "Like my brother befoooOOOore me" that makes the hairs on the back of my neck stand up. The Genetic Method/Chest Fever: Garth Hudson can make the goofiest sounding keyboard of the era sound angelic. The Genetic Method would not sound out of place on a Oneohtrix Point Never album. Baby Let Me Follow You Down/Forever Young: Unmitigated bangers I Shall Be Released: I usually watch this once a year, but I can't remember: Is there a second drum kit on stage the whole time or did they have to set one up for Ringo on the encore? Anyway, this is the perfect conclusion to the film and The Band (if only ‘twere so simple) Final Thoughts: 

this is the best live album ever

this is the best film soundtrack ever 

Ronnie Hawkins should have stayed on stage the whole show, shouting.

Fuck eric clapton.

[petervc88]

Cappelle Calling - 12 maart 2020 - ValleiRadio

De actualiteit kwam terug in een aantal platen die ik op de playlist had gezet, zoals 'Land Of Confusion' en 'Wakker In Een Vreemde Wereld'. Maar het was niet alleen maar kommer en kwel, want ik gaf ook een klein voorproefje op de treinen uitzending van volgende week.

Terug luisteren kan hier.

Dit was de playlist:

Uur 1:

Genesis - Land of Confusion (1986) The Killers - Caution (2020) Santana - She's Not There (1977) The Jaded Heart Club - Nobody But Me (2020) (DisCovered) The Beatles - I Want To Hold Your Hand (1963) The Lemon Twigs - The One (2020) Stromae - Papoutai (2013) James Taylor - Fire And Rain (1970) (Filmplaat - uit 'Remember The Titans') Al Jarreau - Boogie Down (1983) Babyshambles - Delivery (2007) SZA & Justin Timberlake - The Other Side (2020)(ValleiSchijf) Clint Eastwood & General Saint - Stop That Train (1983) Jules - Shoes Don't Fit (2020) Pearl Jam - Alive (1991)

Uur 2:

De Dijk - Wakker In Een Vreemde Wereld (1987) Millie Turner - Jungle (2020) The Isley Brothers - Nobody But Me (1962) (DisCovered) Damien Rice - Chandelier (2020) Sia - The Girl You Lost To Cocaine (2008) Nolan Sisters - I'm In The Mood For Dancing (1979) (Guilty Pleasure) U2 - Two Hearts Beat As One (1983) Jonathan Wilson - Enemies (2020) The Three Degrees - Dirty Ol' Man (1973) The Snuts - Coffee & Cigarettes (2020) Oasis - Cigarettes & Alcohol (1994) Coldplay - Trouble In Town (2019) The Cure - Lovesong (1989) The Band - The Night They Drove Old Dixie Down (1969)

Volgende week donderdagavond van 20:00 t/m 22:00 is er weer een nieuwe uitzending van Cappelle Calling op ValleiRadio.nl. Verzoekplaten of suggesties voor DisCovered, De Filmplaat of de Guilty Pleasure zijn welkom via de Facebookpagina van het programma.