If you don’t own Duane Allman — an anthology, you should, if only for this:
The instrumental break at the five-minute mark is just the set-up for what’s to come three minutes later. Which is friggin’ otherworldly. As far as I’m concerned, the last three minutes of that song could go on forever.
In other words, if you haven’t, go buy the album already.
I’ve currently got a Warren Zevon mix playing in the car, so I went looking for something to share this morning and found a cover I’ve never heard before, of his doing an acoustic “All Along The Watchtower”. It’s pretty much what you’d expect, which is to say eerie and intense.
This one popped up on my drive into work this morning and I thought I’d share.
From one 0f my favorite Dwight Yoakam albums, the 1993 release This Time, here’s Dwight channelling his inner Rolling Stones, with “Wild Ride”.
This may be the most cheerful sounding song about a break up you’ll ever hear.
BREAKING: Raul Malo has one helluva set of pipes.
Here’s a bonus live, hornier version for ‘ya.
This one’s a little different from usual, but if you ever wondered what Miles Davis and John Lee Hooker might sound like if they ever played together, there’s actually an answer for you.
… Although this album presents itself as the soundtrack to the film The Hot Spot, like many such releases it bares little relation to the music that was actually used in the film — not that much of this music was actually used. All one really needs to know about the film itself, other than the fact that it was directed by Dennis Hopper, is that it is awful, even by bad film standards. That it was the impetus for this marvelous music to be made is something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker. Anyone who grew up with the former artist during his electric transfusions of the ’60s and ’70s probably wondered why he wasn’t playing with John Lee Hooker the whole time, since they both seemed headed in the same direction. In fact, one wonders why it took this crummy film and the personal appeal of its director to bring these two musical giants together. That they didn’t seek to do something like this on their own can be looked at as a character flaw, one that can only be forgiven after listening to how wonderfully they interact here. An important aspect of the magic is their individual genius in the art of playing blues music in such utterly personal ways. There is no mistaking the sound of either Hooker or Davis for anyone else, with layer upon layer of detail backing that up — the actual sound of their instruments is distinctive, their choices of notes and timing completely unusual and impossible to imitate, and they both have a knack for casually making even the most basic sort of band track sound as if it is a style of music that has never been played before. No matter how many times one may have heard a bar band break into what they think is a Hooker boogie, a brief recovery period will still be required after first exposure to the tracks here. Often during his recording career, Hooker was able to get a particularly scintillating rhythm section sound going with whatever pros had been assembled for the occasion. This is one of these sessions, but it indeed makes it seem like a royal visit to have Davis blowing over the top of these grooves…
And here’s the soundtrack in its entirety. Prepare to be grooved.
It’s like somebody told them to get moody and atmospheric and they ran with it. Simply brilliant.
Lowell George would have been 73 today. Instead, he passed away when he was 34, sad to say.
Anyway, here’s a clip from better times — Little Feat, with the help of a few friends, playing “Dixie Chicken”. Enjoy.
Man, if this doesn’t give you chills listening to it, you’re doing it wrong. (h/t)
More a cappella Marvin here.