“Daniel Lanois performing live in the KEXP studio. Recorded February 27, 2015.”
Setlist:
Senegal
Opera
The Collection Of Marie Claire
Important People:
Host: Kevin Cole
Audio Engineers: Alex Krispin, Homero Glez & Kevin Suggs
Cameras: Jim Beckmann, Scott Holpainen & Justin Wilmore
Editor: Justin Wilmore
Can Live At Rockpalast (1970)
Setlist:
Sense All To Mine
Oh Yeah
I Feel Alright
Don’t Turn The Light On (Leave Me Alone)
Mother Sky
Deadlock
Paperhouse
Bring Me Coffee Or Tea
Besetzung:
Holger Czukay - bass
Irmin Schmidt - organ
Michael Karoli - guitar
Jaki Liebezeit - drums
Damo Suzuki - vocals
Visit Can’s official website (Spoon Records).
Follow Can on Facebook.
Purchase the album at Amazon.
Listen to “Oh Yeah” from Tago Mago on Episode 26 of The Global Elite Music Radio Podcast Supershow.
From the Youtube page:
[NOTE: The "Body Heat" DVD - released in 1989 - is the exact same thing as the VHS tape entitled "The Lost James Brown Tapes." In fact, the company that released this DVD didn't even bother to re-do the titles sequence--it still reads "Lost James Brown Tapes." The good news is that, even though the picture quality is only marginally improved from the VHS version, the sound quality is markedly better. AND, I'm not sure whether THIS video came from the VHS or DVD version.]
Setlist:
The Godfather of Soul
Hardest Working Man In Show Business
Soul Brother No.1
Minister of Funk
Mr. Dynamite
Massive Attack live at the Melt Music Festival in Germany, July 2010.
Setlist:
United Snakes
Babel
Girl I Love You
Invade Me
Teardrop
Safe From Harm
Inertia Creeps
Unfinished Sympathy
Atlas Air
Beastie Boys Live In Glasgow 1999.
Setlist:
Super Disco Breakin'
Flute Loop
Root Down
Shake Your Rump
Time for Livin'
Egg Raid on Mojo
Gratitude
Song for the Man
The Move
Unite
Skills to Pay the Bills
Slow and Low
Sabrosa
Lighten Up
Believe Me
Tough Guy
Pass the Mic
Sure Shot
Putting Shame in Your Game
Three MC's and One DJ
Something's Got to Give
Son of Neckbone
Nervous Assistant
Heart Attack Man
Remote Control
Body Movin'
Time to Get Ill
So What'cha Want
Intergalactic
Sabotage
New Order live in New York, 1981.
Setlist:
(Opening Montage)
Chosen Time
Dreams Never End
Everything's Gone Green
Truth
Senses
Procession
Ceremony
Denial
Temptation
(Closing Montage)
“Oz for Africa was an Australian concert held on 13 July 1985 at the Sydney Entertainment Centre. It was broadcast locally and internationally as part of the worldwide Live Aid performances to raise money for famine relief in Africa.” (Wikipedia)
Setlist:
Original Sin
Listen Like Theives
Kiss the Dirt
The video’s Youtube page says:
“Armed with the incredible vocalist Bilal, The Roots performed the signature track from Detroit, a film about the race riots in 1967. "It Ain't Fair" glares unflinchingly, takes a knee and raises a fist against the societal construct that has systematically denied equality of experience to those "presumed inferior," to quote one of Bilal's verses. And it achieves all this while covering its heart with its right hand. This reflective hymn tenderly yanks your heart strings and offers a window into the ethos of those who would like to stand for the flag but cannot in good principle, lest these same evils continue to exist.”
Setlist:
"It Ain't Fair"
Musicians:
Curtis L. Jones Jr (Trombone)
Arnetta Johnson (Trumpet)
Hiruy E. Tirfe (Sax)
Richard L. Tate II (Sax)
Joseph Streater (Trumpet)
Norman J. Bradshaw (Trombone)
Damon Bryson (Sousaphone)
Ahmir (Questlove) Thompson (Drums)
Tarik (Black Thought) Trotter (Emcee)
Bilal Oliver (Vocals)
Important People:
Creative Director: Bob Boilen
Producers: Abby O'Neill, Morgan Noelle Smith
Audio Engineer: Josh Rogosin
Videographers: Morgan Noelle Smith, Maia Stern, Kara Frame, Alyse Young
Photo: Claire Harbage/NPR
It’s been a while since we’ve heard from Louisville’s Jamie Barnes. And since musicians are people, it is only natural for us to wonder what’s he’s been up to in the years since his last release. Well, since musicians are people, we don’t necessarily get to know what Barnes has been doing for the last few years and we honor that privacy. But since he is a poet and songwriter, we do get to peek in on Barnes as he opens a window into his soul on his latest release “Ex Voto.” And the good news is that, even though we may not have heard from him in a while, Barnes’ clever and intimate songwriting sensibilities have only sharpened.
Barnes plays quiet folk-ish music that is pregnant with imagery and warm details. But this is quiet music to be played loud. Barnes has always been known for his lush instrumentation, even though he often records at home. There are new layers, intricacies, and flourishes discovered with each listen and only discovered when we allow ourselves to be in the moment and fully present with this music. Which I think is part of its message.
Barnes gives away few personal details, but as the title suggests, there is a sense of someone struggling to find gratitude and devotion in the wake of something serious; in the wake of life, love, and loss. Sometimes relationships feel like planets trying to find their orbit or two songbirds on opposite branches.
Weaving imagery that oscillates between the here and now; being grounded in nature along with with scenes from the stars (“Perseid and Leonid fall,” “Mercury's in retrograde,” “Binary star,” etc.) Barnes holds a liminal space for the listener. It exists in the moment between inhale and exhale. Maybe it’s a Fall record caught in the moment between expected freeze, remembered warm breezes and the reality of nature’s passing everywhere around us. Does it bring us comfort to know that we’re not alone in our cycle of death and rebirth? Or does it reinforce our hurt, leaving us hopelessly caught in a never-ending cycle? That’s for the listener to decide. But throughout, Barnes evokes that sense of pain, loss, and longing. The opening words set the stage:
Turn the Earth upside down
Shake the dead things from their holes
While the memories drape
Like white chemtrails in our souls
Barnes explores the tension between endings and beginnings, trying to make sense of them both. In “Low To The Bird” (previously released as a single), Barnes laments, leaving us to wonder if his broken relationship is with a lover, himself, or maybe even his God (or maybe all three?):
Now I'm too many words lost down the drain
Gather me like rivers, gather me like rain
I don't mean to accuse, I don't mean to complain
I'm too low to the bird for my prayer to be heard anyway
Maybe we should expect nothing less from a man whose Twitter bio reads “Per aspera ad astra” (“through hardships to the stars") but this interplay between the imminent and the transcendent; that in-between space where life occurs provides the perfect canvas for Barnes’ clever and often insightful words. But the music is just as vital as the words. They weave in and out of one another; melodies softly soar and swirl, uplifting the soul even while the words might keep us grounded. Exploring that “in-between” space, “Ex Voto” is a record that doesn’t shy away from the hurt of life, but it is also not a record which leaves us in the mire.
Though Barnes acknowledges and explores despair and hurt and the dark realities of life, love, and loss, there is never a sense of despair or defeat. In fact, it is quite the opposite. Consider these lines from album opener “Pennyrile”
“And its shadow found me
There beneath it all
And with lifted hands to high we gasped and wondered at the writing on the sky
What a thing it even is to be alive”
Despite it all, “what a thing it even is to be alive!” Even though “crooks and carnivores are closing,” “Ex Voto” finds Barnes “holding fast, holding fast” (“Hollow Dusk”). The mountains may be crashing in to the sea, but Barnes is struggling to be still and make sense of it all; all without giving up the still small light of hope in the darkness. It’s that quiet sense of hope that seems to not only keep Barnes afloat but able to still try and make sense of it all. In “Christ of the Ozarks,” he sings:
“Christ of the Ozarks, hold out your kind arms to me
I lost my landmarks,
I lost my family
Bring down your home
Hold me in mystery
Hold me till the end and then always”
Sometimes we just wish we could make sense of things. There are days when we need to be held and assured and that’s part of what it means to be human. “Hold me till the end and then always.” Even now in the in-between. The night may be dark, but Barnes will not let us give up searching for the meaning behind it all:
“I wish there was a liturgy for the hour soon forgotten
I wish there was a prayer for the when and they why
I wish there was a litany for the names evanescent
A benediction for the long goodbye”
I don’t know if “Ex Voto” is Barnes’ “long goodbye” to something or someone, but it’s an album that deserves our full attention. It is a timely record for a culture caught in societal grief. Hopefully it will help us make sense of suffering while not giving in to despair. We may be broken, but only “just enough” that it’s like blood-letting; for our good. We may each have a vision of what we need to be purged of, but Barnes reminds us that even if the “great cloud of witnesses dissolves overhead,” we are not alone. Wherever you find that “Silent Partner,” Barnes reminds us that there are other hands reaching out in the dark. There are other people caught in the in-between just like we are.
Barnes may not chart a clear path back to daylight and out of the suffering, but he will “hold the space” for us as we “sundown” and in that, he has reminded us of the beauty of life, and love, even when there’s loss. Winter might be coming but, we can still “harmonize our sorrows and sighs and brace for the winter gloom.”
“Hear them now, crooks and carnivores are closing
Bar the door and guard my ruby heart 'til morning
Catalog what's left and wake the weary dawn
Holding fast, holding fast.”
Roy Ayers’ stopped by the NPR Tiny Desk in March 2018 with keyboardist Mark Adams, bassist Trevor Allen and drummer Christopher De Carmine.
Setlist:
"Searching"
"Black Family"
"Everybody Loves The Sunshine"
Musicians:
Roy Ayers, Mark Adams (keyboards)
Trevor Allen (bass)
Christopher De Carmine (drums)
Important People:
Producers: Abby O'Neill, Morgan Noelle Smith;
Creative Director: Bob Boilen;
Audio Engineer: Josh Rogosin;
Videographers: Morgan Noelle Smith, Kara Frame, Bronson Arcuri, Dani Lyman;
Production Assistant: Joshua Bote;
Photo: Jenna Sterner/NPR.
MC’d by Don Imus, this reminds us all of a time when concert lineups were interesting. The 1974 California Jam lineup was:
Rare Earth
Earth, Wind & Fire
Eagles
Seals and Crofts Black Oak Arkansas
Black Sabbath
Deep Purple
Emerson, Lake & Palmer
Today we’ve featured Black Sabbath’s set which includes the following list (Of course there are various setlists for this show, but here’s the one I’ve typically gone with):
Tomorrow's Dream
Sweet Leaf
Killing Yourself to Live
War Pigs
Snowblind
Sabbra Cadabra (with Jams)
Sometimes I'm Happy
Supernaut
Iron Man (with "Sabbra Cadabra" reprise)
Orchid
Paranoid
Embryo
Children of the Grave
David Crosby and Graham Nash live at BBC Studios in 1970.
Setlist:
Simple Man. (Graham Nash song)
Marrakesh Express
Guinnevere
Song With No Words (Trees With No Leaves)
Teach Your Children
Right Between the Eyes
The Lee Shore
Traction in the Rain
I can’t believe I haven’t posted this sooner, but I saw someone mention it the other day on Twitter and it was like I was hit with a lightning-bolt need for some unreleased (as far as I know) Prince instrumental tracks from 1977.
Prince was about 19 years old here and plays organ on these tracks. He is accompanied by Prince, Andre Cymone on bass, and Bobby Z on drums. These recordings are dated about a year before Prince’s first “official” album, For You. They are generally known as the “Loring Park Sessions ‘77” but there is a version floating around called “Husney’s: A Work In Progress,” and frankly, I enjoy the artwork for that one, so that’s what I’ve included in the download. Feel free to replace it or create your own or both.
Download mp3 files and the “Husney’s: A Work In Progress” artwork here.
Anyways, enjoy this early, funky Prince:
Erykah Badu live for VH1’s Soul Stage, 2008.
Setlist:
The Healer
On & On
...& On
Me
Annie (Don't Wear No Panties)
Other Side of the Game
Honey
Soldier
Didn't Cha Know
Believe in Yourself
Why, yes, I have been on a big Erykah Badu kick lately, why do you ask?
And speaking of Erykah Badu, here’s a fun playlist I put together.
Enjoy.
Tracklist:
“Hi” (from But You Caint Use My Phone)
“Woo” (from Worldwide Underground)
"Southern Girl” (Single)
“Love of My Life Worldwide “ (from Worldwide Underground)
“Window Seat” (from New Amerykah, Pt. 2 - Return of the Ankh)
“Back In the Day” (from Worldwide Underground)
“Appletree” (from Baduizm)
“Jump Up In the Air and Stay There” (from New Amerykah, Pt. 2 - Return of the Ankh)
“On & On” (from Baduizm)
“Bag Lady” (from Mama’s Gun)
“Danger” (from Worldwide Underground)
“Rimshot (Intro)” (from Baduizm)
“Gone Baby, Don’t Be Long” (from New Amerykah, Pt. 2 - Return of the Ankh)
Here’s a playlist of some Rainer Ptacek instrumentals. I remember making this mix when we lived in KY, so it must have been around 2003 or 2004 and I’ve listened to it a ton since then.
18 tracks taken from 4 different albums (follow the key after each song title).
Enjoy.
Tracklisting:
Here Comes Lilly? (#)
Cheeseball (&)
Instrumental #13 ($)
Di Lantin
Ode to N2O (&)
Instrumental #5 ($)
Opening Aunt Dora’s Box in 6/8 (&)
Instrumental #10 (chore ending) ($)
Improv in E (%)
Instrumental #9 (wait a minute) ($)
Within You Without You (&)
Horse Hair (#)
Instrumental #3 ($)
Curiouser and Curiouser (&)
Instrumental #4 (slight humming) ($)
Shifting Blues ($)
Instrumental #6 ($)
Arabing ($)
# = Alpaca Lips (2000)
& = Nocturnes (1995)
$ = The Farm (2002)
% = Live At The Performance Center (2000)
