Monday, March 4, 2024

Dylan Cover #621 Lisa Bastoni "Workingman's Blues #2"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Lisa Bastoni playing "Workingman's Blues #2"

Thoughts on Original:
From the first time we tackled a cover of this song:
One of Dylan's late career highlights, "Workingman's Blues #2" first appeared on Modern Times and was a stunning reminder of how Dylan can just completely nail it sometimes. The ease with which the piano and song flows out reminds of Dylan's best work, as if the song has always been there and he is just breathing it into existence at this time and place. It owes a debt to Merle Haggard, the Civil War, poet Henry Timrod and thousands of others, but is perfectly Dylan when it comes to the lyrics which bounce all over. A folk song, mistitled a blues song, for the workingman that feels aloof, pure Dylan

I may have been a bit down on the music of Modern Times in my original review (I have softened my stance a bit), but I was right about "Workingman's Blues #2", it stands with the greatest songs he has ever produced.   


Thoughts on Cover Artist:
RtBE is new to Lisa Bastoni who is a Massachusetts based singer songwriter. 

Thoughts on Cover:
This is a fantastic cover of a lesser played Dylan song. Bastoni nails it sonically and sings fantastically. A great cover of a great tune. 

Friday, March 1, 2024

Full Show Friday: Gina Birch @ The Blue Basement; 2/23/2023

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Gina Birch!

For this Full Show Friday we head back to almost exactly a year ago and Gina Birch playing Blue Basement at Third Man Records London. We enjoyed Gina's recent record and this show.


Thursday, February 29, 2024

New Single/Video from Ghostly Kisses "Keep It Real"

French-Canadians Margaux Sauvé and Louis-Étienne Santais are Ghostly Kisses. They are sharing a new song titled "Keep It Real"

Sauvé explains the track: 
“stands out for us as the darkest and one of the most impactful tracks on the album. It was inspired by the narratives shared in the Box of Secrets, where individuals wrestled with deciphering the thoughts of others and sought to shed light on complex situations.”

Check it out below:

Album Review: Amigo the Devil - Yours Until The War Is Over

Hey all, got a review up @glidemag which you can read Right C'here:

It is of Amigo the Devil's newest release, Yours Until The War Is Over.

A pretty solid album in the vein of Tom Waits and Leonard Cohen

Support the artist, buy the album, read the review and peep some video:

Wednesday, February 28, 2024

New Single/Video from crêpe girl "Keep It Simple"

French-American, indie-pop artist crêpe girl (Eliza Grégoire) has a new single, "Keep It Simple"

About the song notes Grégoire states: 
“‘KEEP IT SIMPLE!’ is about wanting to be with someone so much even if they don’t want anything real with you, and clinging on to them while thinking you have tough enough skin to endure that. It hurt writing and definitely brought up a lot of things emotionally for me… It’s one of my most honest songs.”
Check it out below:

Album Review: The Allman Brothers Band - Live at Manley Field House, Syracuse University 1972

The Allman Brothers Band
Live at Manley Field House, Syracuse University
**** out of *****

The newest archival release from The Allman Brothers Band shines a light on a brief period in their history when they were a five piece outfit. Live at Manley Field House, Syracuse University 1972, was recorded just six months after the death of guitar great Duane Allman and features the Brothers as a leaner blues rock band.

Tuesday, February 27, 2024

New Single/Video from Salt Cathedral "Terminal Woes"

New video from Bogota Colombia based Salt Cathedral for their song titled "Terminal Woes"

Regarding the song Juli states:

The creative process is mostly unexplainable and unique in that it’s not repeatable. Anyone who’s dabbled into art making will identify with the feeling of not knowing how you got to something and not being sure you’ll ever be able to make anything like it again. That is perhaps what makes this process so magical.

In music, songwriting specifically, phonetics or stream of consciousness words that come out might lead to an idea that becomes transcendental. Sometimes, I find my subconscious knowing what I really think and feel before I do. Just like in Jonathan Haidt’s theory of the elephant and the rider where the elephant is our subconscious and the rider our consciousness, (the logic with which we retroactively justify the elephant’s behavior) I too find ways to justify my brain’s phonetics or random word choices as ideas that may have existed in my subconscious.

Finding what fits my gibberish is a process of imagination. That’s how I came up with ‘Terminal Woes’. If a melody comes into existence with a certain sequence of vowels, I have a sense that it must live there. When I came onto the phrase ‘Terminal Woes,’ it spoke to me and sparked all these ideas around what it entailed. It spoke to my fears of the future in this planet, to my rage against corporate greed, to my love for nature and to my fear for an entire future generation/the thought of having children.

“who’ll dance at the break of dawn, when the heat’s begun, when our mother’s gone?

last chance! every living thing, every breathing being, everything that’s green

it’s not just a human’s world, just a human’s world just a human’s world

we’ve got to reverse this flight for our future child, for continued life”

Nico had produced the marching like beat and once we had the verse and “terminal woes” phrase we knew there was an idea worth developing. In a thrift store, I’d picked up a record of Ravi Shankar playing his Concerto for Sitar and Orchestra alongside the London Symphony Orchestra. It played on repeat and I think some of it’s spirit seeped into the vocal melodies on this song (and some guitars in other songs on the record.)

Check out "Terminal Woes"