#tarbellies

[mudflat-creative-blog]

View this post on Instagram

A post shared by MUDFLAT CREATIVE (@mudflat_creative)

Throw back to a scouting mission #averyghg #wingshooting #mtnops #duckcalls #banded #hushlife #bandedbrands #waterfowl #specklebelly #snowgeese #duckhunting #waterfowlhunting #goosehunting #tarbellies #general #barbellies #arkansas #grandprairie #hunting #mudflat #outdoors #shotguns #choketubes @bperez96

[diceriadelluntore]

Storia Di Musica #214 - AA.VV. Sweet Relief: A Benefit For Victoria Williams, 1993

Uno dei live più belli che possiedo è un cofanetto di 7 cd dal titolo Live At The Gorge 05/06. Raccoglie le esibizioni tenute dai Pearl Jam il primo settembre del 2005 e il 22 e 23 Luglio del 2006 al Gorge Amphitheatre, un meraviglioso anfiteatro naturale che sta a George, non lontano da Seattle. Eddie Vedder prima di iniziare a cantare un brano dice: Questa è una canzone scritta da una donna chiamata Victoria Williams. E attacca una ballata malinconica che parla di una signora dagli occhi selvaggi e della vita della periferia americana, che parla dei sogni e delle premonizioni di morte, che esplode verso le fine in un clamoroso duello tra la chitarra di Mike McCready e l’organo Hammond di Boom Gaspar. La mia curiosità mi ha spinto a cercare chi fosse Victoria Williams. E ho scoperto una storia molto particolare, anche drammatica, che intreccia la musica con altro. Victoria Williams è una delle più promettenti cantautrici americane della fine degli anni’80. Meno arrabbiata di Ani di Franco e meno lunatica di Fiona Apple, inizia autoproducendo un disco di base folk, Happy Come Home, accompagnato da un mini documentario di una 30na di minuti. Non vende granché, ma la Geffen le offre la possibilità di un secondo disco: nel 1990 esce Swing The Statue, un folk rock di carattere che la mette sulla rampa di lancio, ed è ormai considerata una delle voci più interessanti della scena alternativa rock americana. Recita persino nel film epocale, di Gus Van Sant, Even Cowgirls Get the Blues (in italiano Cowgirl: il nuovo sesso) nel ruolo di Debbie, insieme a Uma Thurman e River Phoenix. Sembra essere pronta per il successo vero, ma all’inizio del 1993 le viene diagnosticata una sclerosi multipla. E la Williams scopre che la sua assicurazione sanitaria non copre le cure. Nasce così una gara di solidarietà tra colleghi, che fondano un’associazione, Sweet Relief, per aiutare lei e tutti i musicisti professionisti sprovvisti di copertura sanitaria, e nel 1993 incisero un disco, Sweet Relief: A Benefit For Victoria Williams, che raccoglie le sue canzoni interpretate da altri. Il risultato, musicalmente, è meraviglioso. Si riuniscono al capezzale della causa i nomi più interessanti dell’alternative rock dell’epoca. Il repertorio Williams, per lo più acustico, viene stravolto, elettrificato, con risultati notevolissimi. Si inizia con la meravigliosa Summer Of Drugs dei Soul Asylum, per passare ai Waterboys di Mike Scott con la divertente Why Look At The Moon, o i Giant Sand di Howe Gelb, che per un po’ di tempo ebbero la Williams in formazione, con Big Fish. E poi Lucinda Williams (Main Road), o Evan Dando, dei superbi Lemonheads (quelli della cover punk di Mrs Robinson) con Frying Pan. Ci sono anche Michael Penn, fratello di Sean, famoso compositore di jingle e colonne sonore che canta Weeds e i Jayhawks, il cui leader, Mark Olson, diventerà marito della Williams (e si ritirerà dalle scene per starle vicine quando le condizioni della cantante peggioreranno) che cantano Lights. Ci sono tre perle nell’album: il brano cantato da Lou Reed, Tarbelly And Featherfoot, rockeggiante e ritmico, Maria McKee, leader di quel meraviglioso gruppo cowpunk che furono i Lone Justice, che riprende in chiave struggente Opelousas (Sweet Relief) e quella canzone ripresa dai Pearl Jam, Crazy Mary, qui in versione low-fi, ma che diverrà un must dei loro live, dove solitamente termina in cavalcate sonore che spesso arrivano ai 10 minuti; la stessa versione di questo disco verrà poi aggiunta come bonus track nelle ristampe di Vs., il loro grande album dello stesso anno, 1993.  L’album raccoglie un po’ di fondi, e verrà ripetuto la stessa cosa nel 1996 con Sweet Relief II: Gravity Of the Situation, con cover di Vic Chessnut, cantante folk-country paraplegico, aiutato dalla Williams in persona, e che vede la partecipazione dei R.E.M., i Garbage, Madonna in un cameo con Joe Henry e gli Smashing Pumpkins. La Williams nel 1994 scrisse il suo capolavoro, Loose (dove riprende Crazy Mary) e intraprese un bellissimo Tour, che culmina con la pubblicazione di un live da Toronto nel 1995. Ma le condizioni iniziano a peggiorare e progressivamente, nonostante alcuni lavori fino agli inizi degli anni 2000, la Williams non pubblica più nulla, limitandosi a sporadiche esibizioni dal vivo fino a quando un attacco epilettico nel 2015 non la debilita ulteriormente. Uno dei versi più belli di Crazy Mary dice: Quello che ti impaurisce di più, lo puoi trovare a metà strada. La sua metà è stata davvero breve. Il disco si trova sulle piattaforme più comuni, mentre non so se fisicamente è ancora disponibile: ne vale la pena cercare.

[doomandgloomfromthetomb]

Lou Reed - Shrine Auditorium, Los Angeles, California, February 19, 1994

In 1994, Lou Reed co-starred in Long Island, Gus Van Sant’s underrated indie drama. Lou played Jack, a tough-but-sensitive chef caught up in a bittersweet love triangle with a younger waitress (Jennifer Jason-Leigh) and her abusive boyfriend (David Thewlis). The film won praise for its low-key, melancholic atmosphere, though it failed to make an impact at the box office. 

Just kidding, I made all of that up! But here’s this photo, anyway, taken in early 1994 at the Shrine Auditorium, where Lou performed at a benefit show for the Artists Rights Foundation. “The benefits are kinda fun because you get to play some songs for people and be a little looser and not have to do the stuff you’d have to do in an official show,” Lou tells the crowd. 

And yeah, this is a pretty unique setlist, packed with rare covers. We get an Elvis medley, an oddball jazzy rendition of Pete Townshend’s “Now and Then,” Brecht & Weill’s “September Song,” Victoria Williams’ “Tarbelly & Featherfoot” and Smoky Robinson’s “Tracks of My Tears.” Best of all, there’s a pounding rendition of “Foot of Pride,” one of the only times Lou played this Dylan deep cut outside of the Bobfest Tribute show in 1992. It’s a killer performance, with Reed relishing every snarling syllable. A feast!

As for Lou Reed songs, we get a few of those, too — nothing too exciting, though the jammed out “Busload of Faith” is a treat. More Lou in ‘94, you say? How about this strange solo electric gig in Italy? Not many examples of Lou completely alone onstage, so it’s worth a watch! 

Lou Says (1994): This ability to not stand idle — to take a stance and respond with the steady force of reason and humor — this is not an unimportant talent. And if it were not a talent, all good people would do it, wouldn't they? There are other things beyond the importance of who sold what, or how many records this or that year. Things such as permanence, and again, integrity, which act as inspiration for musicians, and writers, and even political figures, who are in constant need of examples, of how you live your life without selling your soul and talent to the highest-bidding maven of greed and fame.

[kimzplace]

SMOKY MOUNTAIN ROSE. THE APPALACHIAN VERSION OF CINDERELLA

Story by Alan Schroeder

Once upon a time, "smack in the heart o' the Smoky Mountains, there was this old trapper

livin' in a log cabin with his daughter. One night, while Rose was fryin' a mess o' fish, the

trapper, he starts lookin' dejected-like. “The long and the short of it was that he wondered if it

wasn't hard on his girl, not having a mother around? And he wondered if she would mind if he

married the neighbor lady? Rose answered, “I don't mind. You go a'courtin', Pa, if you think it's

best.” So he did, and before she knew what she had said, Rose was sorry. Oh, was that neighbor

lady mean, and her two daughters "why, they were so mean they'd steal flies from a blind

spider.” They spent all day, every day, admiring themselves and calling each other names. And

they were lazy too, making little Rose work all day, “milkin’ the cow, and collectin' the firewood

and churnin' the butter.” Her dad hated to see her treated so badly, but it turned out that trying to

talk to his new wife “was like kickin' an agitated rattler.” So he held his tongue. And then the

worst thing happened.

One day, he died, leaving poor Rose all alone with the hateful lady and her horrible

daughters. There was nothing to stop them now, and they mocked her and worked her and

generally made her life a lot harder than it should have been. Many years passed. "Now, it so

happens that on the other side of the creek, there was this real rich feller- made his fortune in

sowbellies and grits.” And he was looking for a wife, so he got the idea to throw a fancy party

and invite all the neighbors. That's when Rose really began to feel sad: the sisters hooted and

sneered at the idea of her going. ”Lawd-a-mercy! Who'd want to dance with a dirt clod like

you?" But oh, how they worked Rose to fix them up for it. When the day finally came she

watched them, "whippin' the mule, they went a-rumbling down the dirt road, chortlin' out 'Skip to M ‘Lou' the whole time." Rose watched until she was alone, and then collapsed into tears. The

sound of the far off fiddle music made all her sorrows flood over her. And that's when “one of

the hogs comes moseyin' up to the fence and starts talkin' to her." He told her to "stand up and

turn around real fast, like you got a whompus cat bitin' at yer' britches." This caused her raggedy

overalls to become "the purtiest party dress” she had ever seen and instead of bare feet, sparkling

glass slippers. Next, the hog asked for “a mushmelon and two field mice" which she turned into

a wagon and team of horses. Warning her that the magic would hold only until midnight, the hog

sent her off the square-dance.

When she got there she saw “two fiddlers, a harmonica man, even a square dance caller

come all the way from Nashville." A hush fell over the crowd as Rose walked in, the rich man's

eyes danced and he held out his arm to her. But her sisters said to each other, “Well, shut my

mouth!" and "I ought to wring her neck, she's been going through my bood-whar!" But Rose

couldn't hear them, and she danced the night away. Suddenly, she saw the "big granddaddy clock

in the corner. ’Tarnation!' she cried, “its midnight!" and she fled. One of her slippers flew off

into a ditch but she made it home with the other. Looking down, she saw her rags, and thanked

the hog for her night of fun. “Anytime, Sugar!" it answered. That's when her stepmother and

sisters got home, mad as hornets. "Ain’t you gonna whip her now, Ma?' asked Liza Jane. “My

whippin' arms tired, I'll do it tomorrow", said the old meanie, and they all went to bed.

Lucky for Rose, the very next morning they all heard the news: " the rich feller' had

found Rose's shoe and was stopping at every cabin to find its owner. Before they knew, rich Seb

was there with the shoe. "Me first!" yelled Annie, the elder girl, and barged over. Seb tried his

best to fit it, but "gettin’’' the slipper onto her big foot was like tryin' to stretch a little bitty sausage skin over a side o' beef." Shoving her sister out of the way, Liza Jane had a try, but "the

minute the tuggin' started, she purt-near went blue in the face. “Lemme get the axe' she said, agaspin'. “I'll get that shoe on if it kills me!" That's when Seb saw Rose, hiding over near the hog

pen. "Come over here and stick out yer foot" he said,” come on now, jest set yourself down on

this here bucket and stick out yer tootsie." So Rose did, and that shining slipper “went glidin'

right on, just as smooth as butter!" It was love at first sight of her feet in those shoes, and Seb

proposed on the spot. Those mean old sisters saw the love shining between Seb and Rose, and

"'pon seein' that, they done burst into tears."

Rose, sweet girl that she was, forgave them for being cruel to her, and declared that she

loved them " like soup loves salt", and from then on, all was well. And “to this day, Rose and

Seb are still livin' there, and folks reckon they're 'bout the happiest twosome in all o' Tarbelly

Creek."

Hope you enjoyed reading as much as I did. Just had to share this with y'all.

~~banjo~~

[plinyknowsbest]

Soldiers' Island. Next comes the vine the Tarbelli Quattuorsignani, Cocosates Sexsignani, Venami, Onobrisates, Belendi; the