Amy Winehouse - SWR3 New Pop Festival, Baden-Baden, September 18, 2004

Egg Shen — Sun, 09 Dec 2012 14:59:01 -0800

Four days after her 21st birthday, Amy Winehouse sang at the SWR3 New Pop Festival in Baden-Baden. It's just my music. It's the only thing I have real dignity in in my life. That's the one area in my life where I can hold my head up and say, "No one can touch me."

Led Zeppelin - Royal Albert Hall, January 9, 1970

Egg Shen — Mon, 03 Dec 2012 18:12:37 -0800

Led Zeppelin - Royal Albert Hall, January 9, 1970 (previously) Their current two-hour plus act is a blitzkrieg of musically-perfected hard rock that combines heavy dramatics with lashings of sex into a formula that can’t fail to move the senses and limbs. At the pace they’ve been setting on their current seven-town British tour there are few groups who could live with them on stage. - Nick Logan Of the many bootleg versions of this concert, the best is perhaps the Winston Remasters in FLAC. Links are available.

Accept - Osaka, 1985

Egg Shen — Wed, 21 Nov 2012 16:42:02 -0800

With their brutal, simple riffs and aggressive, fast tempos, Accept were one of the top metal bands of the early '80s, and a major influence on the development of thrash. Led by the unique vocal stylings of screeching banshee Udo Dirkschneider, the band forged an instantly recognizable sound and was notorious as one of the decade's fiercest live acts. - AllMusic

The first performance of "Purple Rain"

Egg Shen — Thu, 06 Sep 2012 09:36:50 -0800

Wendy Melvoin is fresh from high school. She is a wearing a V-necked sleeveless top, and patterned shorts. She is playing the first chords of a new song on her purple guitar, opening chords that she wrote, a circular motif with a chorus effect. Wendy is nineteen and she has the high cheekbones and diffident confidence of a Hollywood upbringing. She half-smiles at the faces that crowd close to the low club stage. This is Wendy’s first gig with the new band, and the song she is playing is “Purple Rain,” and nobody in the audience has ever heard “Purple Rain” before because this is the night that Prince and the Revolution record the song.

James Brown's 1971 Olympia Concert

Trurl — Thu, 31 May 2012 18:38:36 -0800

On March 8, 1971, James Brown performed at The Olympia in Paris. Blessedly, there are quality audio recordings. The opening "Brother Rapp"/"Ain't It Funky" medley was chosen for inclusion in the peerless Star Time 4 CD box set. [The smile of satisfaction on the bandleader's face during Phelps Collins' epic guitar solo proves that the answer was: Why, yes. Yes, it is.] And the entire concert was finally released by Polydor in 1992 as Love Power Peace - which occasioned one of those extraordinary Julian Cope reviews I was talking about.

The Public Image Ltd. riot show

Trurl — Mon, 28 May 2012 06:58:45 -0800

On May 15, 1981, at The Ritz in New York City, Public Image Ltd. performed as a last-minute replacement for Bow Wow Wow. It didn't end well. (previously) A bootleg recording of the entire 25 minute show is one of many cool things available at Egg City Radio. (previously)

Jake Kelly. Cleveland Rock Illustrator

bwilms — Thu, 22 Mar 2012 03:00:49 -0800

Jake Kelly is a Cleveland, OH, based comic and concert artist. One of many rock artists in the area, he is prominently known for his really great concert fliers, promoting upcoming shows at venues around town. Last year, he completed a collaborative project titled 10 Imaginary Movies, where he created fake movie posters with local artist John G. He has also created murals for a number of area locations including The Grog Shop, Melt Bar and Grilled, and the Arts Collinwood Community Center. On the side, he maintains a blog titled Little Brown Mugs With Wooden Handles.

Black Flag

Trurl — Sat, 03 Mar 2012 10:24:21 -0800

Black Flag, live in England, 1984 The definitive account of Black Flag as a touring band is singer Henry Rollins' Get in the Van - which won a 1995 Grammy for Best Spoken Word Album.

You shall Hear things, Wonderful to tell

Rhaomi — Thu, 22 Dec 2011 11:35:18 -0800

A decade on, the Coen brothers' woefully underrated O Brother, Where Art Thou? [alt] is remembered for a lot of things: its sun-drenched, sepia-rich cinematography (a pioneer of digital color grading), its whimsical humor, fluid vernacular, and many subtle references to Homer's Odyssey. But one part of its legacy truly stands out: the music. Assembled by T-Bone Burnett, the soundtrack is a cornucopia of American folk music, exhibiting everything from cheery ballads and angelic hymns to wistful blues and chain-gang anthems. Woven into the plot of the film through radio and live performances, the songs lent the story a heartfelt, homespun feel that echoed its cultural heritage, a paean and uchronia of the Old South. Though the multiplatinum album was recently reissued, the movie's medley is best heard via famed documentarian D. A. Pennebaker's Down from the Mountain, an extraordinary yet intimate concert film focused on a night of live music by the soundtrack's stars (among them Gillian Welch, Emmylou Harris, Chris Thomas King, bluegrass legend Dr. Ralph Stanley) and wryly hosted by John Hartford, an accomplished fiddler, riverboat captain, and raconteur whose struggle with terminal cancer made this his last major performance. The film is free in its entirety on Hulu and YouTube -- click inside for individual clips, song links, and breakdowns of the set list's fascinating history. 1 | "Po' Lazarus" (lyrics) by James Carter and the Prisoners

Context: This plodding chain-gang chorus opens the film -- and suggests the whole story is an elaborate jailyard song in itself. Background: Despite the name, James Carter and the Prisoners isn't your traditional band -- it's the informal title of an actual 1950s Mississippi chain gang featuring Carter and a number of other anonymous convicts. Encountered by traveling ethnomusicologist Alan Lomax, their worker chant was recorded and entered into his vast field collection (much of which is now available online). Four decades later, Carter was tracked down and paid $20,000 by the Coens for the use of his music in the movie. The song itself is a traditional fable about a larger-than-life prisoner. Mudcat.org explains: Lazarus was a worker on a levy camp, in the days when "you worked from can to can't and maybe they paid you and maybe they didn't." One evening at the mess hall he got tired of finding "meat in his greens" (worms in his salad). Then he did something for which [he] must be feeling really pissed off and had to really have some balls. He "walked the table". He stood up on the mess table and stomped everyone's plates with his muddy boots. Knowing he'd face a minimum of a whippiong for his deed, and with revolvers in either hand, he went straight for the pay window, took the money and ran. Our story (the song) begins with the high sherrif telling the deputy to go get "Po' Laz'us". In concert: The five singers of the Fairfield Four used a slightly more lighthearted take on the song to open the concert. Other versions: The Bright Light Quartet's harmonious rendition, also from Lomax's collection

2 | "Big Rock Candy Mountain" (lyrics) by Harry McClintock

Context: Everett, Pete, and Delmar make a break for it during the opening credits. Background: While the cleaned-up version by Burl Ives is more famous, Harry "Haywire Mac" McClintock originally penned the song as an off-color riff on a hobo's idea of paradise, a Cockaigne-esque land of plenty where alcohol ran like water. In concert: Emcee John Hartford led a fiddle-based version.

3 | "You Are My Sunshine" (lyrics) by Norman Blake

Context: The official radio campaign song of Governor Menelaus "Pass the Biscuits" Pappy O'Daniel. Background: Adapting it from the Ukrainian folk song "Up There On the Mountain," original singer Jimmie Davis later used the tune as his own campaign song when he ran for governor of Louisiana (on a horse named Sunshine). It's now one of the state's official songs. Other versions: Too many to count, but Wikipedia lists many of them.

4 | "Down to the River to Pray" (lyrics) by Alison Krauss

Context: An argument is interrupted by a white-robed baptismal procession. Background: This traditional hymn was possibly written by slaves back in the 1800s before it wound its way to Appalachia. Choralnet.org goes into more detail. In concert: Alison Krauss performed the song with the backing of a full gospel chorus. Other versions: A peppy version by Laila Biala on piano.

5 | "I Am a Man of Constant Sorrow" (lyrics) by Dan Tyminski

Context: The popular off-the-cuff single that wins the Soggy Bottom Boys their freedom. Background: The most conventional hit of the album has its roots in a "Farewell Song" recorded by blind Kentucky folk singer Dick Burnett in 1913, though it almost certainly predates him. Dr. Ralph Stanley discussed the song and his attempts to revive it in this 2009 Diane Rehm interview, where he speculates it may be two or three hundred years old. (Fun fact: the accompaniment in the film, Tommy Johnson, was a direct reference to the real-life blues virtuoso of the same name, who likewise claimed to have sold his soul to the devil in exchange for musical talent.) There were several variations on this piece throughout the movie, including two different instrumental interpretations. Video of the original singers. In concert: The lyrical version was notably absent, but the late John Hartford performed a haunting wordless solo of his fiddle interpretation, one of his last before cancer rendered him incapable of handling his beloved instrument. Other versions: Again, many, but some of the most notable: Bob Dylan (his first national TV appearance) - Roscoe Holcomb - Jerry Garcia (via the Pizza Tapes) - Ralph Stanley

6 | "Hard Time Killing Floor Blues" (lyrics) by Chris Thomas King

Context: Bluesman Tommy plays a melancholy dirge at a pensive campfire. Background: Adapted from the keening original by Skip James, it reflects on the hard times faced by the nation's poor in the depths of the Great Depression. Other versions: Another, more ethereal take on the song by James (bio and lyrics in description).

7 | "Keep On the Sunny Side" (lyrics) by The Whites

Context: The official campaign song of reform candidate Homer Stokes. Background + lyrics

8 | "I'll Fly Away" (lyrics) by

Context: A montage of light-hearted scenes from the middle of the film. Background: Ironically this gospel hymn was adapted from a line in a secular tune musing about jailbreaking from prison life. Other versions: Lots, including Johnny Cash (with a great singalong version from his TV show) and Gillian Welch/David Rawlings. One version by the Kossoy Sisters was used in the movie in place of the soundtrack version; it's included on the reissue.

9 | "Didn't Leave Nobody But the Baby" (lyrics) by Emmylou Harris, Alison Krauss, and Gillian Welch

Context: A trio of sirens seduces the group by a cold creek. Background: This eerie tune was said to be based on a combination of an old lullaby with the steady cadence of a prison work song (compare with the rhythm of "Po' Lazarus." In concert: The three original singers reprised the song together on stage.

10 | "In the Highways" (lyrics) by the Peasall Sisters

Context: The song performed by the Little Warvey Gals at the Stokes rally. In concert: Reprised by the three sisters.

11 | "I Am Weary, Let Me Rest" (lyrics) by the Cox Family

Context: A brief act at the Stokes rally. Background: Dating back to 1864, the tune was modified somewhat by the Coxes for their in-film cameo. In concert: Introduced with good humor by Hartford. Other versions: Jade Turner live

12 | "O Death" (lyrics) by Dr. Ralph Stanley

Context: The chilling KKK rally scene (similar to the infiltration of the witch's castle in The Wizard of Oz). Background + lyrics In concert: Bluegrass legend Stanley gives a striking solo performance shrouded in shadow. Other versions: Jen Titus

13 | "In the Jailhouse Now" (lyrics) by Tim Blake Nelson

Context: A holdover song done to buy time during the ending concert. Background: A somewhat silly yodeling vaudeville piece with a busy history.

14 | "Indian War Whoop" by John Hartford

Context: The celebratory ditty aired while hauling George Nelson to his execution. Background: An instrumental piece by Hoyt Ming with myriad variations; Old Weird America (a blog about Harry Smith's seminal Anthology of American Folk Music) goes into all the details complete with videos and links. In concert: John Hartford and his fiddle have some fun at Gillian Welch's expense. Other versions: An older recording from Smith's anthology, an exuberant take from Dr. Scantlin's Red Hot Peppers, plus some YouTube demonstration.

15 | "Lonesome Valley" (lyrics) by the Fairfield Four

Context: Echoing the movie's intro, a group of workmen sing an execution song in unison as the boys pray for their lives. Background: The earliest known date for this is David Miller's 1927 record, though it's probably much older. Other versions: A jazzy cover by the "Million Dollar Quartet" -- Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins. Another uptempo version by Mississippi John Hurt, plus Woody Guthrie, Arlo Guthrie/Pete Seeger, and Bruce Springsteen.

16 | "Angel Band" (lyrics) by the Stanley Brothers

Context: Bridges the epilogue and end credits. In concert: This uplifting song closed out the concert in a mass singalong featuring all the stage's stars. Other versions: Several, but the most unexpected is likely the Monkees.

Other original music featured in the documentary:

"Wild Bill Jones" - Alison Krauss and Union Station "Blue and Lonesome" - Alison Krauss and Union Station "Green Pastures" - Emmylou Harris and Gillian Welch "John Law Burned Down the Liquor Store" - Chris Thomas King and Colin Linden "Will There Be Any Stars In My Crown?" - The Cox Family "Dear Someone" by Gillian Welch, David Rawlings, and John Hartford (my favorite) "I Want to Sing That Rock and Roll" - Gillian Welch and David Rawlings "Shove That Hog's Foot Further In the Bed" - John Hartford

Want more? The reissued deluxe edition soundtrack contains a second disc with 14 songs from the film never released on the original album.

The John Coltrane Quartet performs "A Love Supreme"

Trurl — Tue, 29 Nov 2011 16:11:47 -0800

On July 26, 1965, at the Antibes Jazz Festival, the John Coltrane Quartet made its only public performance of A Love Supreme. (previously) Coltrane's original manuscript is exhibited by the Smithsonian as a "Treasure of American History".

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