Great fan art by Sean Fritz.
Showing newest posts with label _MUSIC. Show older posts
Showing newest posts with label _MUSIC. Show older posts
Thursday, 14 October 2010
Wednesday, 13 October 2010
The Video - Julie Doiron & The Wooden Stars' "Dance Music"
A real nice promo for "Dance Music" by indie sweetheart, canny canuck cutie Julie Doiron along with the Wooden Stars from some years back.
Julie collaborated with the Stars - the first time Doiron had collaborated with a band since the demise of the legendary Eric's Trip - back in 1999, to produce a very fine collection. One that includes the gorgeous piece of languid dream pop (a genre not normally associated with Julie) that is "Dance Music."
The "Julie Doiron & The Wooden Stars" album won the Juno Award for Alternative Album of the Year in 2000. Why they named such an award after a crap, over-rated, Diablo Cody flick is way beyond me though!
Art of the Book - "The Beatles 'Mad Day Out'" by Stephen Goldblatt
Deluxe new book features unseen 1968 'Mad Day Out' Beatles photos
October 11th, 2010
www.examiner.com
"Mad Day Out" is a 110-page deluxe volume of rare Beatles photos from the summer of 1968, accompanied by a full length commentary by photographer Stephen Goldblatt to be published by Fotovision in November.
The book will debut in conjunction with an exhibition at the University of California Berkeley Graduate School of Journalism next month. Norman Maslov, co-author of "The Beatles' England," is helping put the book together. Many of the images have never been seen before.
The box set is comprised of a chocolate linen bound box lined with paisley satin. The book is white linen bound. Both book and prints are signed for authentication. Also included is a limited edition archival print, housed in a secret compartment, of the Beatles made by Goldblatt that has never been published previously. All books and prints are signed and numbered.
Price for the deluxe set is a $495 donation to the nonprofit Fotovision, which supports documentary photography. The book's website is http://maddayout.squarespace.com/.
A book release party and exhibition opening with Goldblatt will be held at 7 p.m. Nov. 12 in room 105, North Gate Hall at the UC Berkeley School of Journalism in Berkeley, CA. Admission is free ..... A webpage with information is here: http://journalism.berkeley
The and Now - Willie Nelson does Wrestling Willie
Yap, years before discovering vats of Jack Daniels and bongs the size of the Great Wall of China, Willie was a wrestler!
By the look of things, this was in the late Nineteenth Century!
Tuesday, 12 October 2010
The Video - Daniel Johnston's "True Love Will Find You In The End"
This is a promise with a catch. Only if you're looking will it find you. ‘Cause true love is searching too. But how can it recognize you, unless you step out into the light?
A lovely recent video for the sublime "True Love Will Find You In The End", from the magnificent troubled genius that is Texas-based Daniel Johnston, a man who's been ploughing his own very unique and wonderful songwiting furrow for many decades now (though he's still only in his Forties!)!
"True Love Will Find You In The End" is a bijou classic. An unfussy, bullshit-free song with a deceptively simple yet witty, elliptical haiku-like lyrics. All above a delicious melody and delivered in Daniel's idiosyncratic manner! ... Marvellous stuff, indeed!
Though there's normally no love but unrequited or painful love in Johnston-land, this time there's a more optimistic outlook ... "Don’t give up until true love finds you in the end."
The great track first appeared on the Johnston LPs 'Retired Boxer' (1984), his seventh self-released music cassette album.
The song later was reinterpreted on 'Frankenstein Love' (1992) and '1990' (1993) as well as twice on the excellent star-studded tribute album Late Great Daniel Johnston: Discovered Covered
(2004) in version by Beck and by Danny himself.The promo was directed by Ro Rao of Ugly Pictures.
Shitloads of great Daniel stuff can be had at rejectedunknown.com/ly
The Curio - House of the Rising Son: Site of Bob Dylan’s Bar Mitzvah for Sale
House of the Rising Son: Site of Bob Dylan’s Bar Mitzvah for Sale
By DAVE ITZKOFF
artsbeat.blogs.nytimes.com
October 11, 2010
How many Hebrew school classes must one boy take before you can call him a man? The answer, my friends, may be contained within an unusual piece of Bob Dylan memorabilia that has been posted for sale on Craigslist: the building that was once the synagogue where the singer-songwriter had his bar mitzvah.
The Duluth News Tribune reported that the structure at 2320 West Second Street in Hibbing, Minn., which was formerly the Agudath Achim Synagogue where the young Robert Zimmerman was first called to read the Torah in 1954, was put on sale a few months ago by its owners. (They have since turned to Dylan fan sites and the news media in hopes of finding a buyer.)
Despite its place in history, the building has not been used as a synagogue since the 1980s; Brenda Shafer-Pellinen told The News Tribune that she and her husband, Eric, bought it in 2001 with plans to turn it into a bed and breakfast. They’re now asking $119,000 for the building, which could serve as a single-family home or duplex, or possibly the ultimate gift for the Dylan fan who has everything. “People who like Dylan love Dylan,” Ms. Shafer-Pellinen said. “They have an unusual level of devotion to his music — more so than other musical groups or artists.”
Monday, 11 October 2010
The Song - Mount Eerie and Julie Doiron's "Lost Wisdom"
With one hand in the water running cold and clear, fog obliterates the morning and I don't know where I am. The heart is pounding and you are always on my mind. Lost wisdom is a quiet echo. Lost wisdom, a boulder under the house. I used to know you. Now I don't.
Yap, Phil Elverum sure makes some of the most essential music this side of his generational peers Will Oldham or Bill Callahan.
And here's the fragile and enigmatic 'Lost Wisdom' - by Phil (in Mount Eerie guise), along with canny canuck Julie Doiron - the title track of the excellent 2008 Mount Eerie LP.
Stunning maverick music from the wild North-West. Music that's real ... that counts.
Beautiful bleak sculpted words. Existentialist, minimalist, sumptuous, nigh Carveresque ... "These rocks don't care if I live or die. Everyone I know will finally turn away."
A haunting song that sneaks a glance inside the dark holy darkness. A song of the sharp shards of shattered love. And love's leavings: loss, loneliness, longing and regret. Those permanent undead things. Shadowy spectres constantly "approaching shape in the low light."
A tale of those times when fragments of memory mutate and corrode the now. Those moments when "fog obliterates the morning and I don't know where I am."
Pastoral patchwork poetry from the very verge of things. Haikuesque lines stitched together with sinew and blood ... "Lost wisdom, by the edge of the stream at dusk, is a quiet echo on loud wind."
And this song truly echoes quietly. Unforgettably.
I got close enough to the river
that I couldn't hear the trucks.
But not close enough to stop
the roaring of my mind.
These rocks don't care
if I live or die.
Everyone I know will finally turn away.
I will confuse and disinterest all posterity.
Lost wisdom
is a quiet echo.
Lost wisdom,
by the edge of the stream at dusk,
is a quiet echo on loud wind.
With one hand in the water running cold and clear,
fog obliterates the morning and i don't know where I am.
The heart is pounding and you are always on my mind.
Lost wisdom
is a quiet echo.
Lost wisdom.
A boulder under the house.
I used to know you.
Now I don't.
The screaming wind said my name,
I think, significant and dark.
My lost face in the mirror at the gas station.
Who are you but my face that i wake up with alone.
Lost wisdom
approaching shape in the low light.
You thought you knew me.
You thought our house was home.
I thought I knew myself.
I thought my heart was calm.
Thunder lightning.
Tidal wave.
The wind blew down the door.
Lost wisdom.
The river goes through the room.
I saw your picture out of nowhere
and forgot what I was doing.
Everything vanished in your eclipse.
A constellation of moments comes to life in the void.
Lost wisdom.
Face down under the moss.
Enraptured by the beautiful face in the billowing flames.
I open the front and back door and let the wind blow through.
And I stood in the house and tried to hold the breeze.
Lost wisdom.
Waking up in a pile of ash.
Secret knowledge
comes to me in the dusk.
Showed me the river.
I saw me.
art by redfraction
Art of theCover - UNKLE's "Where Did the Night Fall?" (2010)
Looks like the ghost of Francis Bacon produced this art!! ... Like it!!
Sunday, 10 October 2010
The Song - Solomon Burke's "Everybody Needs Somebody To Love"
I believe I've got a message for every woman and. Every man here tonight that ever needed somebody to love. Someone to stay with them all the time, when they're up and when they're down. You know, sometimes you get what you want. And then you go and lose what you have. And I believe every woman and every man here tonight listen to my song. And it save the whole world ... Listen to me!
On this sad day, we remember the great Soulman Solomon and his tremendous musical legacy.
Here's Solomon belting out his classic signature song "Everybody Needs Somebody To Love," a gorgeous, powerful hymnal to lovers and to love.
A song with an unusual lyrical structure - beginning with an extended impassioned plea to the listener - before reverting to a more conventional Soul lyric style. All delivered magnificently over some spellbinding seminal riffs!
A song that was written by Solomon but co-credited to producer Bert Berns and, of course, Jerry Wexler (who seemed to get a writing credit on most songs coming outta Atlantic! ... and whose credit here ought to be questioned in the light of a comment made by Burke on the song's recording [more on which, anon!])
A song first recorded by Burke back in 1964 under the production of Berns at the legendary Atlantic Records.
It's truly a beautiful, uplifting, passionate classic, but one for whom ambitions were not too high back in the studio during the swift recording session.
Yap, in an interview with Mojo magazine in August 2008, Solomon said that he hired musicians from Charlotte, North Carolina, to play in Long Island and he got them in to do the signature instrumental riff for the song. This riff was actually the money march Solomon performed at Church every Sunday at the point where the congregation marches down the aisle to the altar in order to make their sacred offerings.
Burke modestly recalled the recording session saying:
"Got the band cooking, get a bit of echo, we went through it, came back out, said to Jerry Wexler, 'Whaddya think?' He said, 'Too fast. Doesn't have any meaning.' Tommy Dowd (the Engineer) says, 'What can we lose? His band's here, let's just cut it.'"!!!Well they sure as hell lost nothing in this seemingly inauspicious start!!
The timeless song's since become a real Soul standard. One that's been covered by an array of great artists since - perhaps best by Wilson Pickett, and perhaps most famously by the Stones (1965) and by the Blues Brothers (in the 1980 hit flick of the same name.)
This great live performance comes from Solomon's appearance on the BBC's "Top of the Pops" show a few years back.
What a song!! What a voice!! What a performer!! ... What a terrible loss to the world of music.
Rest in Peace, brother!
In Memoria - Soulman Solomon Burke sadly passes away aged 70
Very sad news, indeed.
Another huge loss to the world of music.
All commiserations to Solomon's family and loved ones.
Solomon Burke dies at Amsterdam airport at 70
Associated Press
via Yahoo News
10 October 2010
AMSTERDAM – Soul singer Solomon Burke, who wrote "Everybody Needs Somebody To Love" and recorded the hit "Cry To Me" used in the movie "Dirty Dancing," has died at Amsterdam's Schiphol Airport. He was 70.
Airport police spokesman Robert van Kapel confirmed the death of the singer Sunday, and referred further questions to his management.
Dutch national broadcaster NOS said he died on a plane early Sunday after arriving on a flight from Los Angles. The cause of death was not immediately clear.
Burke, who was both a Grammy winner and a member of the Rock and Roll Hall of Fame, had been due to perform at a well-known club in Amsterdam on Tuesday.
A Philadelphia native highly acclaimed by music critics, fellow musicians, and many loyal fans, Burke never reached the same level of fame as soul performers like James Brown or Marvin Gaye.
He wrote "Everybody Needs Somebody to Love" in 1964 and it was quickly recorded by the Rolling Stones and Wilson Pickett, and later and perhaps most famously by the Blues Brothers.
According to a 2002 interview with Philadelphia Weekly, Burke fathered 21 children and has scores of grandchildren. He lived in Los Angeles.
Legendary Atlantic Records producer Jerry Wexler once called Burke, "the best soul singer of all time."
The Curio - Living in John Lennon's childhood home
I had a Beatle in my bath: John Lennon's childhood home is now a museum visited by thousands - including Bob Dylan...but what's it like to live there?
By Amanda Cable
http://www.dailymail.co.uk
2nd October 2010
At first glance there is nothing remarkable about the pristine 1930s semi where Colin Hall lives with his wife, Sylvia. Nonetheless, Colin welcomes visitors with a smile and a palpable sense of pride.
As he shows guests around the modest kitchen, dining room and neat front parlour, there is a sense of hushed awe.
But it is when he takes people up to the small third bedroom at the front, which overlooks the leafy suburbia of Menlove Avenue in Liverpool, that emotions begin to spill.
Because it was here, on the narrow wooden bed - with posters of Elvis and Brigitte Bardot staring down from the wall - that the young John Lennon dreamed his way to stardom and penned a string of songs that would captivate the world.
The kitchen where Colin prepares his meals is where John once sat to eat his favourite egg and chips, made by his Aunt Mimi.
The front room where Colin, 60, relaxes is where Mimi and her husband, George, built floor-to-ceiling book shelves, to encourage young John to read.
And the sparse, tiled bathroom where Colin brushes his teeth is where the teenage John played his guitar, trying to recreate the acoustics of a rock 'n' roll band.
Mendips, the house that raised a legend, is steeped in history. And as custodian to Mendips, Colin lives with the memory of John Lennon daily.
Four times a day, from February to November, Colin takes guided tours around the historic house, which was bought by John's widow, Yoko Ono, in 2003 and given to the National Trust. He says, 'Last year, my wife and I studied the names in the visitors' book.
'They came from 55 countries: Yemen, Chile, Japan, and an awful lot from Russia. We have young and old - there's no age limit to the people who want to pay tribute to him.
'Last May, a guided group arrived by bus, and I saw that Bob Dylan was among them. I paused for a moment, then I simply started my patter: "Welcome to Mendips, the childhood home of John Lennon..."
Later, when we reached John's bedroom, Bob Dylan spotted the volume of Just William, which was one of John's favourite books.
Dylan was fascinated by the book, and I remember thinking, "I'm standing in John Lennon's bedroom with Bob Dylan." It was a totally surreal moment.'
The story of how this softly spoken, retired teacher came to live in the home of his boyhood hero is an extraordinary one. Colin says, 'I was nine years younger than John and, as a teenager, the Beatles were my absolute idols. As I was growing up, I felt a tremendous empathy with John Lennon.
'We were both raised by women other than our mothers. John came to Mendips as a confused and scared five-year-old, whose parents' relationship had broken down. He adored his mother, Julia, but was raised by her older sister, Mimi, who insisted she could provide him with a more stable upbringing.
'In my case, I was adopted at birth, and I only discovered later that an auntie who had always turned up on my birthdays was, in fact, the mother who had left me.'
Colin, who has two stepsons and a daughter, had retired from teaching English and history and was living with Sylvia, also a teacher, in a Victorian villa in Derbyshire when friends spotted an ad in the newspaper. The National Trust was seeking a custodian for Mendips, to look after the house and to give the guided tours. Colin says, 'I was looking for something else in my life and this job seemed the answer.
I went through several interviews before I realised that the job meant I would have to live at Mendips for nine months of the year because our home was a two-hour drive. It would mean living away from Sylvia for much of the week but, by now, I was so entranced by the house and the opportunity that I couldn't turn it down. Sylvia knew how much the Beatles meant to me - and, incredibly, she didn't stand in my way.'
So, seven years ago, Colin moved into the house that was to become his home and his passion, and Sylvia, who is now a children's author, followed some months later. He says, 'I wouldn't say that you can actually sense John's spirit
here, but the house has an extraordinary feeling of warmth. I thought I'd feel awkward, because I was effectively living in a museum, but from the moment I stepped inside, it felt like home. I've never missed the fact that we don't have a TV, or minded that we live in one room upstairs and store our clothes away all the time.
'Despite all these things, this felt like such a happy home. And I realise just how welcoming it must have been to the little boy who first moved here in 1945. At that time, John's life was in turmoil.
He had been born during the Blitz in Liverpool, and must have remembered some of the bombing and devastation. His parents' marriage was ending - he only saw his father, Freddie, who was a ship's cook, a couple
In stepped John's doughty and house-proud Aunt Mimi who, together with her husband, had purchased the semi in 1942.
They had no children - and young John was given the small front bedroom overlooking the tram lines. Modest even by 1950s standards, the room has been recreated by the National Trust just as John himself remembered it.
Colin says, 'It was in his bedroom that he wrote his own school newspaper, The Daily Howl; he pored over his favourite book, Lewis Carroll's Through The Looking Glass and, once Mimi had bought him his first guitar, he began to write his own songs.
'It is standing at the doorway that most people feel emotional, because this is where Strawberry Fields and I Am The Walrus (inspired by Carroll) were born.
'He sat on his small bed with its pink quilt and wrote Please Please Me with Paul McCartney. I still catch my breath when I think about it. This is the room where John felt most secure, where, he told Yoko, he would do his dreaming.'
Visitors to the house are shown, not through the front door, but around the side. Colin says firmly, 'Aunt Mimi didn't want her carpets to be worn down, so John would always walk up the side path and in through the kitchen. I like our guests to tread the same route.
'There, hanging on the wall for years, was a poem he had written for his aunt. It began: "A house where there is love..." She treasured it. Mimi would collect apples from the garden and cook him endless apple pies, which he loved.
'John's friends have come on the tour and told me how Mimi would wash everything by hand in the sink, including sheets, which she would hang from the drying rack on the ceiling.
For years, this kitchen would smell of washing powder and fish, because young John would go to the market and collect fresh fish for the two family cats.
When John was still at primary school, he stepped out one Christmas and found a tiny kitten shivering by the roadside.
'He brought it in, but Mimi refused to let him adopt the kitten until she had placed an advertisement in the local shop. When no one came to claim the kitten, she let him keep it and he called it Tim.'
The kitchen, where Aunt Mimi made John's favourite dish of egg and chips
Just by the kitchen is the morning room, which John loved. Colin says, 'There was no central heating in the house, and ice would freeze on the inside of the windows. This room had a coal fire, so John would sit here and listen to Dick Barton: Special Agent! and The Goon Show on the radio.'
'After Uncle George died, when John was just 14, Aunt Mimi struggled to make ends meet and had to resort to taking in student lodgers.
'They used her bedroom and she slept on a modest fold-up bed downstairs, and the dining room, which is now used to display memorabilia, became a sort of student common room.
Legend has it that Aunt Mimi banished John - and his new, baby-faced friend, Paul McCartney - to the porch to play their guitars. When Colin met McCartney a few years ago, they talked about Mendips.
Colin says, 'I met him at his offices in London and he recalled the echoing acoustics of the front porch. He remembered the pair of them singing Elvis's Blue Moon, and said they called it their "echo chamber". Paul said that his golden memories were sitting in John's small bedroom listening to music and playing their guitars. He was visibly moved.'
John left Mendips when he went to Liverpool College of Art and moved into student lodgings in the late 1950s, but returned briefly to live in the dining room with his new bride, Cynthia, in the early 1960s. In total, he spent 18 years of his life in this unremarkable suburban semi.
Colin says, 'I never tire of showing people around. Each busload brings different groups who are excited and deeply moved by the fact that they are about to step foot into John Lennon's house. When the last tour has finished, I simply sit down and make my own tea.
'The museum becomes my home - until the next day of tours. When I sit reading in the front room, I couldn't want more from a home. And I know that John once felt the same.'
Colin pauses, and then adds, 'I am not sharing a house with John Lennon's ghost. I am living with a legend.'
www.nationaltrust.org.uk/main/w-mendips
Saturday, 9 October 2010
The Song - John Lennon's "Watching The Wheels"
I'm just sitting here watching the wheels go round and round. I really love to watch them roll. No longer riding on the merry-go-round. I just had to let it go.
Lennon's 'comeback' "Double Fantasy" LP was badly maligned - in fact mauled by so-called 'critics' - upon its release back in 1980. But it's actually an album that really had some fine moments - as the impending "Double Fantasy Stripped Down" collection shows more clearly.
Moments like this great moment!
The theme of "Watching The Wheels" is a summation of what Lennon had been up to in the six years since his previous 'real' album "Walls And ", his new philosophy on life. It's a song where he makes clear he's "no longer riding on the merry-go-round"!!
As well as that, it's a castigation of those who had scoffed at his new role of house hubby and tried to turn him away therefrom! ... "People say I'm crazy doing what I'm doing. Well they give me all kinds of warnings to save me from ruin. When I say that I'm o.k. well they look at me kind of strange. Surely you're not happy now you no longer play the game."
Instead, in a reference to Plato's "Allegory of the Cave", he affirms he's "doing fine watching shadows on the wall" rather than trying to unnecessarily complicate things trying to find answers for everything.
With age, fame had really begun to mean nothing, while family (wife Yoko and young son Sean) had become all.
Lennon in fact committed himself to a self-imposed exile from the fame/muzak biz in order to bring up his baby son Sean, who was born on 9th October 1975.
Lennon promised himself that, as he had missed so much of Julian growing up, due to his commitment to the craziness of being a Beatle, he was not going to make the same mistake twice.
I'm sure too dark echoes of his own traumatic and difficult - essentially parent-less for long periods - childhood made him want to ensure that Sean's childhood would be something very different.
True to his word (for a change!), Lennon stayed away from 'the game' and didn't enter the studio until 4th August 1980 when he returned to the Hit Factory, New York. By this time he had amassed a large repertoire which he had, thus far, only performed in demo form. Material he felt compelled to commit to vinyl.
The Hit Factory sessions produced 22 official completed songs. Having reviewed the final recordings, Lennon's plan was to release a selected 14 tracks on the "Double Fantasy" album, while the remaining tracks were provisionally planned to be released in 1981 on an album already given the title, Milk And Honey.
One of his favourite tracks from the sessions was "Watching The Wheels", a song that makes a firm statement about escaping the insidious madness of modern life.
Even though it may be a case of "people say I'm crazy doing what I'm doing," and "look at me kind of strange", stepping aside from the bullshit of the vapid rat race (the dumb f*cking "merry-go-round"!) and getting your life and proper priorities in order is the most important thing of all.
The only important thing in fact. The only means by which real personal and spiritual fulfillment can be achieved.
Of course though, it's far easier to adhere to that principle when you're a multi-millionaire!!
Anyway, here's a beautiful acoustic version of the song.
The Music - Happy 70th Birthday John Lennon
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HAPPY 70th BIRTHDAY JOHN LENNON !
.... Today, October 9, 2010 would have been John Lennon's 70th Birthday.
from http://monroegallery.blogspot.com/
Across the world, special events will recognize what would have been John Lennon's 70th birthday, October 9th, 2010. In New York's Central Park, home of the John Lennon "Imagine" memorial, a free, public screening of the American Masters film “LENNONYC” will be held on October 9th, 2010.
The screening, which will be first-come, first served, will take place at Rumsey Playfield in Central Park (best reached by entering the park at 69th Street and Fifth Avenue). The screening, which will take place rain or shine, will include picnic style seating so viewers are encouraged to bring blankets. People interested in attending should visit www.thirteen.org/lennon for more information. The screening will start at 7:00 p.m. and doors open at 6:00 p.m. People are encouraged to line up early given there will be limited seating.
The Santa Fe Film Festival has announced a screening of LENNONNYC during the 11th edition of the film festival (October 22-24) at the Center for Contemporary Arts (CCA). Tickets for all Santa Fe Film Festival films go on sale October 8 here. The film will air nationally on PBS on November 22 at 9pm.
In conjunction with the Santa Fe Film Festival, Monroe Gallery of Photography is honored to welcome Brian Hamill to Santa Fe for a very special exhibition of his intimate photographs of John Lennon; as well as his photographs from the sets of classic movies. Brian Hamill will join us Friday, October 22, from 5-7 pm for a public reception. (The photographs are on exhibit now)
Brian Hamill was born in Brooklyn, NY and studied photography at the Rochester Institute of Technology. In the late 1960s, Hamill began a career as a photojournalist covering the Rock & Roll scene as well as the boxing world. He also worked as an assistant to several top fashion photographers.
In the early 1970s he traveled to Northern Ireland to photograph the troubles there, and widened his scope into unit still photographer jobs on movie sets. Since then he has worked as a unit still photographer on over seventy-five movies including twenty-six Woody Allen films, resulting in the much acclaimed coffee table photo book entitled “Woody Allen At Work: The Photographs of Brian Hamill” (Harry N. Abrams, 1995).
Hamill’s work has also appeared in numerous other books, publications and exhibitions including a one-man show at the Academy of Motion Picture Arts and Sciences in 1995.
Photography by Brian Hamill
Friday, 8 October 2010
The Shot - The Maestro And The Rose of Katowice
Everybody wants a box of chocolates
and a long stem rose.
Everybody knows.
An iconic shot of Leonard Cohen - and a long stem rose (but no box of xhocs!) - during his gig in Katowice, Poland this week.
The Song - John Lee Hooker's "Hobo Blues"
Yes, my mother followed me that mornin', me that mornin'. She followed me down to the yard, oh yeah. She said my son he'd gone, he'd gone, he'd gone. Yes he's gone in a poor somewhere.
The short sharp shock of "Hobo Blues" delivered live here by a young John Lee in a wonderful clip from a performance at the American Folk Blues Festival in 1965.
A sparse and stunning song originally cut in 1959 and appearing on The Vee Jay Years 1955-1964.
A beautiful, poetic and moving tale of hard hard times on the long long endless road.
The sad story of a child sent out by his desperate mother into the big bad world alone. A young boy a long long way from home, whose only friend is a freight train.
All delivered in Johnny's own very idiosyncratic and peerless style, which mimics the sound of the trains.
You can almost feel yourself cold, hungry, alone and afraid in that dark, chugging railroad car to nowhere!
The Music - The Beatles' "In Spite Of All The Danger" performed in "Nowhere Boy"
Lennon does Hank Williams? ... A lovely video here specially-created using footage from the recent Lennon biopic "Nowhere Boy".
"In Spite of All The Danger" was written by Paul McCartney & George Harrison in 1958 and was originally sung by John Lennon - with vocal backing by Paul and George.
It was recorded at the first-ever recording session of The Quarrymen (the band that eventually became the Beatles) in a private Liverpool studio in summer 1958.
This version was recorded for the movie soundtrack by Aaron Johnson - who portrays the teenage Lennon in the film.
The video was directed by Beatles scholar Martin Lewis (whose many Beatles-related credits include producing the DVD edition of "A Hard Day's Night") and edited by Grammy-nominated editor Peter Shelton - working with extracts from the movie "Nowhere Boy" filmed by director Sam Taylor-Wood.
For more info about the film, check www.NowhereBoy.com
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