LIVE FROM James Whitaker SALON WEDNESDAY 17-08-2016
OPENING HOUR 12-1 UK
SONG SOUNDS THE SAME WEEK 2
1-2 NEVER MOBY GRAPE – SINCE I'VE BEEN LOVING YOU SO LONG LED ZEPPELIN
3-4 YOU NEED LOVING THE SMALL FACES – WHOLE LOTTA LOVE LED ZEPPELIN
5-6 SOME NIGHTS FUN – CECILIA SIMON & GARFUNKEL
7-8 ZOMBIE THE CRANBERRIES – HAUNTED TAYLOR SWIFT
9-10 VIVA LA VIDA COLDPLAY – IF I CAN FLY JOE SATRIANI
11-12 WARNING GREEN DAY – PICTURE BOOK THE KINKS
13-14 GHOSTBUSTERS RAY PARKER JUNIOR – I WANT A NEW DRUG HUEY LEWIS AND THE NEWS
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"THE PALOMINO CLUB" OPENS ITS SALOON DOORS AT 1PM FROM JAMES WHITAKERS HAIR SALON
FLYING THEMED SUITE
1 DON'T FLY AWAY – JAN AND DEAN
2 LOOP DE LOOP [FLIP FLOP FLYING IN AN AIRPLANE] THE BEACH BOYS
3 FLYING'S A WONDERFUL THING – LOVE
4 FLYING ON THE GROUND- BUFFALO SPRINGFIELD
5 HIGH FLYING BIRD – JEFFERSON AIRPLANE
6 FLYING HIGH – COUNTRY JOE & THE FISH
7 MIDNIGHT FLYER – THE EAGLES
8 WE CAN FLY – THE COWSILLS
9 EXPECTING TO FLY – BUFFALO SPRINGFIELD
10 BEAUTIFUL FLYAWAY [LAY DOWN AND DIE,GOODBYE] – ALICE COOPER
11 YOUNG BIRDS FLY – THE CRYAN' SHAMES
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ALL WOOD AND DOORS = JAMES LEE STANLEY AND CLIFF EBERHARDT
The Musicians:
PAUL BARRERE, JOHN BATDORF, SCOTT BREADMAN, CLIFF EBERHARDT, LAURENCE JUBER, RICK RUSKIN, TIMOTHY B. SCHMIT, JAMES LEE STANLEY, PETER TORK, CHAT WATSON, and special guests JOHN DENSMORE and ROBBY KRIEGER !!!!
ACOUSTIC,HARMONY LADEN VERSIONS OF DOORS CLASSICS, UNLIKE ANYTHING DONE BEFORE, FANS OF THE BEACH BOYS, CSN& Y, THE BEATLES CIRCA RUBBER SOUL,BUFFALO SPRINGFIELD WILL NOT BE DISAPPOINTED
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1 BREAK ON THROUGH
2 LOVE ME TWO TIMES
3 TAKE IT AS IT COMES
4 STRANGE DAYS
5 LIGHT MY FIRE
6 TOUCH ME
7 THE CRYSTAL SHIP
8 SOUL KITCHEN
9 PEOPLE ARE STRANGE
10 MOONLIGHT DRIVE
11 RIDERS ON THE STORM
12 THE END
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==FOR THE FIRST TIME EVER———
BUFFALO SPRINGFIELD – STAMPEDE
REMIXED.EDITED AND PRODUCED BY THE MAD HATTER
1 FOR WHAT IT'S WORTH
2 MR. SOUL
3 WE'LL SEE
4 PRETTY GIRL WHY
5 DOWN TO THE WIRE
6 EVERYDAYS
1 SELL OUT
2 MY KIND OF LOVE
3 NO SUN TODAY
4 BLUEBIRD
Buffalo Springfield (1973 Atco Records, noxid vinyl rip)
Buffalo Springfield (2001 Rhino Records 4CD box set)
Buffalo Springfield – Again (1967 Atco Records mono vinyl rip)
Buffalo Springfield – Bluebird b/w Mr Soul (1967 Atco Records vinyl rip)
Neil Young – Archives Volume 1 (2009 Reprise Records CD)
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Side A begins with “For What It’s Worth”, taken from the Buffalo Springfield boxset. It’s followed by the rare 45 rpm mix of “Mr. Soul” with a more upfront lead guitar and bass track,. Next is “We’ll See” and “Pretty Girl Why” from the Buffalo Springfield box set, followed by Neil’s vocal version of “Down To The Wire” from his Archives Vol 1. Side A concludes with “Everydays”
Side B uses Youngs “Sell Out”, taken from Archives Vol 1. Recorded near the very end of the Buffalo Springfield sessions in September 1966. Following is “My Kind of Love” and “No Sun Today” from the Buffalo Springfield box. Ending the album is the rare 9-minute version of “Bluebird”, taken from a vinyl rip of the obscure 1973 Buffalo Springfield double LP, folded into mono to match the rest of the reconstruction
So what was Stampede and why are we bothering to get excited by its appearance here jjers?
Stampede was to be released in the summer of 1967 to capitalize on Buffalo Springfield’s hit “For What It’s Worth”. Due to escalating ego battles and the departure of vocalist/guitarist Neil Young and bassist Bruce Palmer—the album never materialized and instead the bitterly disappointingly fractured Buffalo Springfield Again was released. This reconstruction focuses on full-band recordings rather than the assemblage of nearly-solo tracks as heard on the eventual Again.
Buffalo Springfield recorded and released their self-titled debut album at the conclusion of 1966. Although a powerhouse in the local LA scene, the album and its lead single "Nowadays Clancy Can’t Even Sing" made little impact. It wasn’t until lead singer and guitarist Stephen Stills witnessed the Sunset Strip Riots in November, and composed “For What It’s Worth”, a cautionary tale of a government policing its citizens who should otherwise have the freedom to peacefully assemble. Recorded in December, the song was released in January 1967 and hit the Top Ten nationally.
While “For What It’s Worth” was the song that made Buffalo Springfield, it was also the song that destroyed them, Neil Young had to briefly leave the group in January due to epileptic seizures, but returned in time for their first recording sessions of 1967 in New York. After working on several new compositions for a second album tentatively titled Stampede (Still’s “We’ll See”, Young’s “Mr. Soul” and guitarist Richie Furay’s “My Kind of Love”), Palmer was arrested for marijuana possession and deported back to Canada. Throughout the next six months, Palmer was temporarily replaced by a number of revolving bass players including: Ken Forssi of Love, Ken Koblum of The Squires, Miles Thomas of The Poor, Jim Fielder of Blood, Sweat & Tears and The Mothers of Invention…
The band went in and out of several studios in February and March with Fielder on bass. Cutting Stills’ “Pretty Girl Why”, “No Sun Today” and “Everydays” and Young’s “Down To The Wire”. In April, the band tracked “Bluebird” with session player Bobby West on bass, as well as more recording and mixing done to the earlier recording of “Mr. Soul” to create a follow-up single to “For What It’s Worth”. Meanwhile, Atlantic Records capitalized on the success of the top ten hit by re-issuing the band’s self-titled debut album, dropping “Baby Don’t Scold Me” for “For What It’s Worth”. The label then booked Buffalo Springfield to pose for an album cover photo shoot for the Stampede album this picture itself became a classic—with manager Davis posing as the missing Palmer, face obscured
Aside from the missing bassist more problematical issues came into play, Young, Stills and Furay, all vied to edge their compositions into the band, resulting in each member essentially producing the sessions for their own songs. By June, Palmer was able to return to Buffalo Springfield but Young had already left, Young was temporarily replaced by Doug Hastings of The Daily Flash and then briefly David Crosby of The Byrds. Furay’s “A Child’s Claim To Fame” and Stills’ “Rock ‘n’ Roll Woman” and “Hung Upside Down” were somehow cut through all the upheavals.
In August the band cobbled together an album mainly consisting of solo recordings.Featuring the Palmer-less “Bluebird” and “Everydays”; the Young-less “A Child’s Claim To Fame”, “Rock ‘n’ Roll Woman” and “Hung Upside Down”; Young offered his own recordings of “Expecting To Fly” and “Broken Arrow” ; Furay offered his own recordings of “Sad Memory” and “Good Time Boy” (the later which was sung by drummer Dewey Martin and session musicians filling out the rest of the instrumentation!). Only “Mr. Soul” featured all of the classic Buffalo Springfield lineup. Despite being full of fantastic material,Buffalo Springfield Again was hardly a group album,in truth it was hardly anything at all except a showcase of superb songwriting.
Much like SMiLE every man and his dog have theorized and reconstructed what Stampede could have been, the results vary wildly as no track list was ever forthcoming. Despite this, there are two chief methods to organize the album:I think it should have been the collection of the songs Buffalo Springfield were working on in 1967 before Young quit, , making it a classic album that would chronologically follow their debut album and replace Again with a more unified “band-sound” with Neil,. Furthermore, I made the assumption that the Stampede album would have touted “For What it’s Worth” and the debut Buffalo Springfield will remain as it was initially released in 1966 without it. Finally, this reconstruction will be presented in mono, which is what the Buffalo Springfield expected at the time.
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DYLAN AND CASH SESSIONS 1969
1 ONE TOO MANY MORNINGS
2 MOUNTAIN DEW
3 I STILL MISS SOMEONE
4 CARELESS LOVE
5 MATCHBOX
6 THAT'S ALRIGHT,MAMA
7 BIG RIVER
8 GIRL FROM NORTH COUNTY
9 I WALK THE LINE
10 YOU ARE MY SUNSHINE
11 RING OF FIRE
12 GUESS THINGS HAPPEN THAT WAY
13 JUST A CLOSER WALK WITH THEE
14 BLUE YODEL
15 I THREW IT ALL AWAY
16 LIVING THE BLUES
17 GIRL FROM NORTH COUNTY
18 NASHVILLE SKYLINE RAG
19 I THREW IT ALL AWAY
20 PEGGY DAY
21 COUNTRY PIE
22 TONIGHT. I'LL BE STAYING HERE WITH YOU
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MOBY GRAPES GENIUS SKIP SPENCE'S LOST CLASSIC "OAR"
Described as "one of the most harrowing documents of pain and confusion ever made" the album was recorded after Spence had spent six months in Bellevue Hospital, Spence had been committed to Bellevue following a delusion-driven attempt to attack Moby Grape band mates Don Stevenson and Jerry Miller with a fire axe !!!!!.
At the time of Spence's release from hospital, he had written a number of songs that he wanted to record. Producer Rubinson suggested that Spence record at the Columbia studios in Nashville, where there was a particularly patient recording engineer, Mike Figlio, Rubinson instructed Figlio to keep the tapes running at all times, to record everything that Spence did. The majority of the tracks were recorded using a 3 Track Recorder. Rubinson chose to stay away from the studio, concerned that Spence's recording activities would be distracted by the presence of a producer.
According to Spence, the Nashville sessions were intended by him to only be a demo, which he gave to Rubinson with the intent that the songs would be fleshed out with full production for the actual album. Instead Rubinson had the demo recordings released by Columbia.
When first released, Oar was not promoted by Columbia Records, despite pleadings from Rubinson. It was at the time the lowest-selling album in Columbia Records history, and was deleted from the Columbia catalogue within a year of its release
1 "Little Hands" – 3:44
2 "Cripple Creek" – 2:16
3 "Diana" – 3:32
4 "Margaret/Tiger Rug" – 2:19
5 "Weighted Down (The Prison Song)" – 6:27
6 "War in Peace" – 4:05
7 "Broken Heart" – 3:29
8 "All Come to Meet Her" – 2:04
9 "Books of Moses" – 2:42
10 "Dixie Peach Promenade (Yin for Yang)" – 2:53
11 "Lawrence of Euphoria" – 1:31
12 "Grey/Afro" – 9:38
