http://www.rte.ie/arts/2006/0420/dylanb.html
Bob Dylan's new show, 'Theme Time Radio Hour With Your Host Bob Dylan', will debut on XM Satellite Radio on 3 May.
Billboard reports that each show is based around a particular theme, with the first broadcast devoted to the theme of 'weather'.
The show will also feature Dylan telling stories and answering fans' email questions.
Upcoming episodes will feature such themes as 'cars', 'police', 'dance' and 'whiskey', with guests set to include Elvis Costello, Charlie Sheen and the comedians Penn Jillette, Sarah Silverman and Jimmy Kimmel
Radio Dylan
Radio Dylan
echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
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bambooneedle
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Some Dylan specials on the radio today (Sunday) for those of you in the UK.
http://www.bbc.co.uk/bbcfour/music/bobdylan/
http://www.bbc.co.uk/bbcfour/music/bobdylan/
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Otis Westinghouse
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bambooneedle
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martinfoyle
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http://observer.guardian.co.uk/world/st ... 52,00.html
Hey Mister DJ ...
After decades as music's most enigmatic icon, Bob Dylan has stunned his fans by becoming a DJ for an American station. And The Observer has had an exclusive preview of his first broadcast
David Smith
Sunday April 23, 2006
The Observer
It starts with the sound of rain. A woman's voice tells us it is night in the city, and a nurse is smoking the last cigarette in the pack. Then comes a nasal, gravelly voice, more familiar in song: 'It's time for Theme Time Radio Hour. Dreams, schemes and themes.' The career of Bob Dylan, radio DJ, has begun.
Once the most iconic recluse in the music business, Dylan will spring a surprise on fans next month by broadcasting a weekly music show across America. His debut behind the mic, due to be broadcast on 3 May, has been heard exclusively in advance by The Observer.
As the quaint title, Theme Time Radio Hour, implies, it is a simple format, even old-fashioned. Taking a different theme each week, Dylan introduces his favourite records with a wry line or pithy anecdote, then lets the music do the talking. First is 'weather'. Sounding utterly imperturbable in his new role, he drawls in characteristically rhythmic tones: 'Today's show, all about the weather. Curious about what the weather looks like? Just look out your window, take a walk outside. We're gonna start out with the great Muddy Waters, one of the ancients by now, who all moderns prize.' He has been provided with a digital recording kit so that he can present the hour-long programme from home, studio or tour bus. He sends a playlist to XM Satellite Radio's researchers, who then assemble the music around his narration.
Future shows will be built around themes such as 'cars', 'dance', 'police' and 'whisky' and also feature special guests including songwriter Elvis Costello, film star Charlie Sheen, Penn Jillette, the TV illusionist, and comedians Sarah Silverman and Jimmy Kimmel. Dylan will read and answer selected emails sent by listeners - a thrill for fans who have regarded him as a Messiah-like figure of unreachable mystique.
The playlist for the first show ranges from Muddy Waters's 'Blow, Wind, Blow' to Dean Martin's 'I Don't Care if the Sun Don't Shine', from Jimi Hendrix's 'The Wind Cries Mary' to Judy Garland's 'Come Rain or Come Shine'. The list, much of it from the Fifties, offers a fascinating insight into the sources of Dylan's musical inspiration. But there is no place for the counter-culture hero's own nod to meteorological mischief, 'Blowin' In The Wind'.
Radio is a natural return to Dylan's roots. In his youth, Robert Zimmerman, as he was then called, was an avid listener, first to blues and country music stations broadcasting from New Orleans, then to the first stirrings of rock'n'roll.
It took three years for XM's chief creative programming officer, Lee Abrams, to persuade Dylan, 65 next month, to do the show. He said: 'With Theme Time Radio Hour, Bob redefines "cool radio" by combining a sense of intellect with edginess in a way that hasn't been on radio before. Bob has put a lot of work into his XM show, and it's clear that he's having a good time behind the mic.' XM, whose presenters include Dylan's friend and fellow musician Tom Petty, is America's biggest satellite radio service with more than 6.5m subscribers and 170 digital channels. As subscription-based, ad-free satellite radio grows rapidly in popularity, the Washington-based service is battling for listeners with Sirius, which poached 'shock jock' Howard Stern from terrestrial radio in a £282m five-year deal.
The Observer asked Charlie Gillett, the musicologist and BBC World Service DJ, to listen to Dylan's debut. He said: 'The programme is seamless and natural - it's how radio should be. His growly commentary is charming. It draws you in and you never for a moment think he's playing games, which he's supposedly notorious for doing.
'In each case he's got something to say and it all hangs beautifully together. To put Jimi Hendrix and Judy Garland together and not make it sound weird is an impressive achievement. The lack of adverts is also a big boon. For his audience it's absolutely perfect.'
Another Dylan devotee, poet laureate Andrew Motion, says of the playlist: 'It has a good mixture; it may not enhance the legend, but it very engagingly confirms a good many things we know - about the eclecticism of his taste, and about his skill in combining light-heartedness with seriousness.'
The bad news for British fans is that, although the show can be heard online, it is available only to people with a US billing address. So few here will hear Dylan sign off his first outing with the words: 'Well, the old clock on the wall says it's time to go. Until next week, you are all my sunshine. If you think the summer sun is too hot, just remember, at least you don't have to shovel it.'
Bob's playlist choices
Blow, Wind, Blow - Muddy Waters
You Are My Sunshine - Jimmie Davis
California Sun - Joe Jones
Just Walking in the Rain - The Prisonaires
After the Clouds Roll Away - The Consolers
Let the Four Winds Blow - Fats Domino
Raining in my Heart - Slim Harpo
Summer Wind - Frank Sinatra
The Wind Cries Mary - Jimi Hendrix
Come Rain or Come Shine - Judy Garland
It's Raining - Irma Thomas
Stormy Weather - The Spaniels
Jamaica Hurricane - Lord Beginner
A Place in the Sun - Stevie Wonder (Italian version)
Uncloudy Day - The Staple Singers
I Don't Care if the Sun Don't Shine - Dean Martin
Keep on the Sunny Side - The Carter Family
Hey Mister DJ ...
After decades as music's most enigmatic icon, Bob Dylan has stunned his fans by becoming a DJ for an American station. And The Observer has had an exclusive preview of his first broadcast
David Smith
Sunday April 23, 2006
The Observer
It starts with the sound of rain. A woman's voice tells us it is night in the city, and a nurse is smoking the last cigarette in the pack. Then comes a nasal, gravelly voice, more familiar in song: 'It's time for Theme Time Radio Hour. Dreams, schemes and themes.' The career of Bob Dylan, radio DJ, has begun.
Once the most iconic recluse in the music business, Dylan will spring a surprise on fans next month by broadcasting a weekly music show across America. His debut behind the mic, due to be broadcast on 3 May, has been heard exclusively in advance by The Observer.
As the quaint title, Theme Time Radio Hour, implies, it is a simple format, even old-fashioned. Taking a different theme each week, Dylan introduces his favourite records with a wry line or pithy anecdote, then lets the music do the talking. First is 'weather'. Sounding utterly imperturbable in his new role, he drawls in characteristically rhythmic tones: 'Today's show, all about the weather. Curious about what the weather looks like? Just look out your window, take a walk outside. We're gonna start out with the great Muddy Waters, one of the ancients by now, who all moderns prize.' He has been provided with a digital recording kit so that he can present the hour-long programme from home, studio or tour bus. He sends a playlist to XM Satellite Radio's researchers, who then assemble the music around his narration.
Future shows will be built around themes such as 'cars', 'dance', 'police' and 'whisky' and also feature special guests including songwriter Elvis Costello, film star Charlie Sheen, Penn Jillette, the TV illusionist, and comedians Sarah Silverman and Jimmy Kimmel. Dylan will read and answer selected emails sent by listeners - a thrill for fans who have regarded him as a Messiah-like figure of unreachable mystique.
The playlist for the first show ranges from Muddy Waters's 'Blow, Wind, Blow' to Dean Martin's 'I Don't Care if the Sun Don't Shine', from Jimi Hendrix's 'The Wind Cries Mary' to Judy Garland's 'Come Rain or Come Shine'. The list, much of it from the Fifties, offers a fascinating insight into the sources of Dylan's musical inspiration. But there is no place for the counter-culture hero's own nod to meteorological mischief, 'Blowin' In The Wind'.
Radio is a natural return to Dylan's roots. In his youth, Robert Zimmerman, as he was then called, was an avid listener, first to blues and country music stations broadcasting from New Orleans, then to the first stirrings of rock'n'roll.
It took three years for XM's chief creative programming officer, Lee Abrams, to persuade Dylan, 65 next month, to do the show. He said: 'With Theme Time Radio Hour, Bob redefines "cool radio" by combining a sense of intellect with edginess in a way that hasn't been on radio before. Bob has put a lot of work into his XM show, and it's clear that he's having a good time behind the mic.' XM, whose presenters include Dylan's friend and fellow musician Tom Petty, is America's biggest satellite radio service with more than 6.5m subscribers and 170 digital channels. As subscription-based, ad-free satellite radio grows rapidly in popularity, the Washington-based service is battling for listeners with Sirius, which poached 'shock jock' Howard Stern from terrestrial radio in a £282m five-year deal.
The Observer asked Charlie Gillett, the musicologist and BBC World Service DJ, to listen to Dylan's debut. He said: 'The programme is seamless and natural - it's how radio should be. His growly commentary is charming. It draws you in and you never for a moment think he's playing games, which he's supposedly notorious for doing.
'In each case he's got something to say and it all hangs beautifully together. To put Jimi Hendrix and Judy Garland together and not make it sound weird is an impressive achievement. The lack of adverts is also a big boon. For his audience it's absolutely perfect.'
Another Dylan devotee, poet laureate Andrew Motion, says of the playlist: 'It has a good mixture; it may not enhance the legend, but it very engagingly confirms a good many things we know - about the eclecticism of his taste, and about his skill in combining light-heartedness with seriousness.'
The bad news for British fans is that, although the show can be heard online, it is available only to people with a US billing address. So few here will hear Dylan sign off his first outing with the words: 'Well, the old clock on the wall says it's time to go. Until next week, you are all my sunshine. If you think the summer sun is too hot, just remember, at least you don't have to shovel it.'
Bob's playlist choices
Blow, Wind, Blow - Muddy Waters
You Are My Sunshine - Jimmie Davis
California Sun - Joe Jones
Just Walking in the Rain - The Prisonaires
After the Clouds Roll Away - The Consolers
Let the Four Winds Blow - Fats Domino
Raining in my Heart - Slim Harpo
Summer Wind - Frank Sinatra
The Wind Cries Mary - Jimi Hendrix
Come Rain or Come Shine - Judy Garland
It's Raining - Irma Thomas
Stormy Weather - The Spaniels
Jamaica Hurricane - Lord Beginner
A Place in the Sun - Stevie Wonder (Italian version)
Uncloudy Day - The Staple Singers
I Don't Care if the Sun Don't Shine - Dean Martin
Keep on the Sunny Side - The Carter Family
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Extreme Honey
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bambooneedle
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martinfoyle
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http://www.nytimes.com/2006/04/30/weeki ... ref=slogin
Play a Song for Me
By LAURA CANTRELL
Published: April 30, 2006
RADIO doesn't just spill into the atmosphere, it conjures atmosphere. The best of it can be pretty old-fashioned — a live art form, hand-crafted, done in real time and released into the ether with the knowledge that it will be received into homes and cars and earbuds at almost the same moment it escapes the hands, minds and voices that have made it.
But the truth is that a lot of radio is not live. When Bob Dylan makes his D.J. debut on Wednesday, he'll be long gone from the lonely microphone that heard his hourlong weekly show for XM Satellite Radio.
Does the fact that he's not really there on the other end matter? Can the atmosphere be achieved in a canned format? The answer to that may depend on whom you ask and what their expectations of radio are. Certainly many Dylan fans will take what they can get, and if that's interesting song choices, clever segues and charming commentary prepared in advance, so be it.
Any new D.J., though, should know a thing or two about how some of the great broadcasters delivered on the promise to create a "theater of the mind." With the BBC's John Peel and the New York free-form jockey Vin Scelsa, it starts with the sound of their voices, which reveal passions and obsessions and draw music, entertainment, information and attitude into a powerful meeting point. A hallmark of Mr. Scelsa's (and Mr. Peel's, before his death in 2001) is a generous space for live music. A Peel signature combined a colorful wit grumbled in a Liverpudlian accent with a hand subject to the occasional error in the studio. He'd protest that music and recordings didn't need to be perfect: "Life has surface noise," he'd say, just like an old vinyl album. Mr. Scelsa uses Judy Garland's "Wizard of Oz" voice to begin and end each program: "I don't think we're in Kansas anymore," it chimes at the start, and as a sign-off: "There's no place like home." Phil Schaap at WKCR in New York City and Eddie Stubbs on WSM in Nashville make the preservation of the history of their respective genres — jazz and country — a highly personal quest to be shared with listeners. They aim to tell the story of how the music they love was made, sharing knowledge gleaned through years of personal research, anecdotes gathered from dusty corners of the jazz and country worlds and the recordings themselves. Listeners get a college-level education in a few weekly programs.
Garrison Keillor is probably the most original of them, a commentator on American life in the vein of Mark Twain or Will Rogers. Through the wit of his writing and his presence behind the microphone, his superficially quaint two hours of music, comedy and drama are a reflection in miniature of the heartland.
It's no coincidence that these broadcasters do their best work live, and the rest of us have much to emulate. In doing my own program, "The Radio Thrift Shop," on WFMU in Jersey City for the last dozen years, I've tried to make radio by hand, like a good pie, served from my studio right into, well, wherever you happen to be listening.
Clearly atmosphere is most readily evoked with a live format (most commercial and satellite radio not only is not live, it is assembled by computer), but it can be done with the out-of-time, out-of-body approach, and a recording artist like Mr. Dylan probably has a built-in advantage.
The best example may be Hank Williams. In the early 1950's, many artists did double duty behind the broadcaster's microphone, often appearing at early morning hours on programs with names like "Farm and Fun Time." Mr. Williams's "Health and Happiness Shows" were recorded in the WSM studios in Nashville to 16-inch acetate transcription discs, which were copied and shipped to radio stations across the country.
Though these shows were "canned," they have an immediacy that a lot of our modern, technology-assisted radio lacks. The thrill of hearing Hank encouraging his band to "play it like you mean it, boys," or cracking up at some goofy studio banter, switching sincerely to his closing "If the good Lord's willin' and the creek don't rise" give some sense of who he was beyond the records and the songs he left behind.
We probably can't expect Mr. Dylan to create a format as traditionally stylized as Mr. Keillor's ("That's the news from Lake Woebegone"), but as his show evolves he might reference Mr. Williams to create a vibe of his own.
Sneak previews suggest that he has some of the technical points down — he's relaxed, speaking in a lazy, offhand cadence, no trace of the awkwardness that most people feel when they face a broadcaster's microphone.
Laura Cantrell is a country singer whose most recent CD is "Humming by the Flowered Vine." She is on hiatus from her show on WFMU.
-------------------------------------------------------------------------
Having heard Bob's first show , I have to agree with Laura. It's a fun listen but is a bit too smooth . Some great tracks , especially Stevie Wonder singing in , I think, French! - J.F.
Play a Song for Me
By LAURA CANTRELL
Published: April 30, 2006
RADIO doesn't just spill into the atmosphere, it conjures atmosphere. The best of it can be pretty old-fashioned — a live art form, hand-crafted, done in real time and released into the ether with the knowledge that it will be received into homes and cars and earbuds at almost the same moment it escapes the hands, minds and voices that have made it.
But the truth is that a lot of radio is not live. When Bob Dylan makes his D.J. debut on Wednesday, he'll be long gone from the lonely microphone that heard his hourlong weekly show for XM Satellite Radio.
Does the fact that he's not really there on the other end matter? Can the atmosphere be achieved in a canned format? The answer to that may depend on whom you ask and what their expectations of radio are. Certainly many Dylan fans will take what they can get, and if that's interesting song choices, clever segues and charming commentary prepared in advance, so be it.
Any new D.J., though, should know a thing or two about how some of the great broadcasters delivered on the promise to create a "theater of the mind." With the BBC's John Peel and the New York free-form jockey Vin Scelsa, it starts with the sound of their voices, which reveal passions and obsessions and draw music, entertainment, information and attitude into a powerful meeting point. A hallmark of Mr. Scelsa's (and Mr. Peel's, before his death in 2001) is a generous space for live music. A Peel signature combined a colorful wit grumbled in a Liverpudlian accent with a hand subject to the occasional error in the studio. He'd protest that music and recordings didn't need to be perfect: "Life has surface noise," he'd say, just like an old vinyl album. Mr. Scelsa uses Judy Garland's "Wizard of Oz" voice to begin and end each program: "I don't think we're in Kansas anymore," it chimes at the start, and as a sign-off: "There's no place like home." Phil Schaap at WKCR in New York City and Eddie Stubbs on WSM in Nashville make the preservation of the history of their respective genres — jazz and country — a highly personal quest to be shared with listeners. They aim to tell the story of how the music they love was made, sharing knowledge gleaned through years of personal research, anecdotes gathered from dusty corners of the jazz and country worlds and the recordings themselves. Listeners get a college-level education in a few weekly programs.
Garrison Keillor is probably the most original of them, a commentator on American life in the vein of Mark Twain or Will Rogers. Through the wit of his writing and his presence behind the microphone, his superficially quaint two hours of music, comedy and drama are a reflection in miniature of the heartland.
It's no coincidence that these broadcasters do their best work live, and the rest of us have much to emulate. In doing my own program, "The Radio Thrift Shop," on WFMU in Jersey City for the last dozen years, I've tried to make radio by hand, like a good pie, served from my studio right into, well, wherever you happen to be listening.
Clearly atmosphere is most readily evoked with a live format (most commercial and satellite radio not only is not live, it is assembled by computer), but it can be done with the out-of-time, out-of-body approach, and a recording artist like Mr. Dylan probably has a built-in advantage.
The best example may be Hank Williams. In the early 1950's, many artists did double duty behind the broadcaster's microphone, often appearing at early morning hours on programs with names like "Farm and Fun Time." Mr. Williams's "Health and Happiness Shows" were recorded in the WSM studios in Nashville to 16-inch acetate transcription discs, which were copied and shipped to radio stations across the country.
Though these shows were "canned," they have an immediacy that a lot of our modern, technology-assisted radio lacks. The thrill of hearing Hank encouraging his band to "play it like you mean it, boys," or cracking up at some goofy studio banter, switching sincerely to his closing "If the good Lord's willin' and the creek don't rise" give some sense of who he was beyond the records and the songs he left behind.
We probably can't expect Mr. Dylan to create a format as traditionally stylized as Mr. Keillor's ("That's the news from Lake Woebegone"), but as his show evolves he might reference Mr. Williams to create a vibe of his own.
Sneak previews suggest that he has some of the technical points down — he's relaxed, speaking in a lazy, offhand cadence, no trace of the awkwardness that most people feel when they face a broadcaster's microphone.
Laura Cantrell is a country singer whose most recent CD is "Humming by the Flowered Vine." She is on hiatus from her show on WFMU.
-------------------------------------------------------------------------
Having heard Bob's first show , I have to agree with Laura. It's a fun listen but is a bit too smooth . Some great tracks , especially Stevie Wonder singing in , I think, French! - J.F.
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martinfoyle
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This great guy is providing mp3s of the shows so far here. I've loved them all, it's like listening to Bobs mp3 player on random with Bob doing links for you. Great, great stuff.
http://web.ics.purdue.edu/~gstacks/dylanxm
http://web.ics.purdue.edu/~gstacks/dylanxm
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Otis Westinghouse
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martinfoyle
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These shows have been literally the best thing on the radio all summer long, imo, even though around here we have to listen to it via downloads. The latest show is all about Radio and, not surprsingly, Radio Radio gets a spin. Only the slightest lesser streaming version is available so for. Once the the better satellite version is available I'll put up a splice of Bobs comments, should be good. Bob really has settled nicely into this job and has a wonderful deadpan style, I loved his slapdown on Beck. If you're to dealing with FLAC files, the first 16 shows fit on a dvdr in this format, I'd be glad to do a few copies.
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martinfoyle
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Here's Elvis contribution to this weeks Radio show.
http://www.4shared.com/file/3388445/7a5 ... _show.html
http://www.4shared.com/file/3388445/7a5 ... _show.html
A Costello track is featured but not credited in Bob's latest show ( 'Guns', Oct.06). After the track La Pistola Y El Corazon by Los Lobos ( about 26 minutes into the show, track 19 if you're listening to the widely circulating download) Bob makes comments , including an intro. to Pistol Packin Mama by Al Dexter & His Troopers . In the backround can be heard A Town Called Big Nothing (Really Big Nothing) , the Jan.'87 recording by The MacManus Gang ( Elvis 'n co., for the soundtrack of the film Straight To Hell)
http://www.elviscostello.info/disc/offi ... fo_s10.htm
http://www.amazon.co.uk/Straight-Hell-R ... F8&s=music
http://www.elviscostello.info/disc/offi ... fo_s10.htm
http://www.amazon.co.uk/Straight-Hell-R ... F8&s=music
http://www.expectingrain.com/
Today's Bob Dylan Theme Time Radio Hour 36
Hair
Playlist, Theme 36 Hair:
Bill Carlisle - Sally Let Your Bangs Hang Down
They Might Be Giants - Bangs
Eddie Noack - Gentlemen Prefer Blondes
Piano Red - Baldheaded Lena
(Matt Groening - The secret of designing characters)
Sonny Burgess - Red Headed Woman
JB Lenoir - Don't Touch My Head
Ray Price - Bright Lights And Blonde Haired Women
Prof. Longhair - Bald Head
Hank Ballard - How You Gonna Get Respect
Joe Clay - Don't Mess With My Ducktail
Louis Jordan - Chartreuse
Elvis Costello & The Attractions - Baby's Got A Brand New Hairdo
Eddie "Cleanhead" Vinson - Cleanhead Blues
(Bob Dylan - Rapunzel)
Johnny Cash - You're My Baby (demo)
Today's Bob Dylan Theme Time Radio Hour 36
Hair
Playlist, Theme 36 Hair:
Bill Carlisle - Sally Let Your Bangs Hang Down
They Might Be Giants - Bangs
Eddie Noack - Gentlemen Prefer Blondes
Piano Red - Baldheaded Lena
(Matt Groening - The secret of designing characters)
Sonny Burgess - Red Headed Woman
JB Lenoir - Don't Touch My Head
Ray Price - Bright Lights And Blonde Haired Women
Prof. Longhair - Bald Head
Hank Ballard - How You Gonna Get Respect
Joe Clay - Don't Mess With My Ducktail
Louis Jordan - Chartreuse
Elvis Costello & The Attractions - Baby's Got A Brand New Hairdo
Eddie "Cleanhead" Vinson - Cleanhead Blues
(Bob Dylan - Rapunzel)
Johnny Cash - You're My Baby (demo)
Great to see Bob has picked the same Marvellettes track that Elvis used to include in a medley with Alison. It has yet to appear on CD ; I wonder will this broadcast include a cleaner copy than the vinyl dub. that Elvis played on a Mystery Train radio show appearance?
http://www.expectingrain.com/
Today's Bob Dylan Theme Time Radio Hour 39
Tears
? and the Mysterians - 96 Tears
Anita O'Day - And Her Tears Flowed Like Wine
Bobby Charles - Big Boys Cry
Solomon Burke - Cry To Me
Hank Williams - I'm So Lonesome I Could Cry
Julie London - Cry Me A River
Jimmie Nelson - I Sat And Cried
The Marvelettes - No More Tear Stained Makeup
Charlie Rich - Tears A Go Go
J. Geils Band - Cry One More Time
Roy Brown - Laughing But Crying
Billy Ward & His Dominoes - The Bells
("Suits Me: The Double Life of Billy Tipton" )
Alton Ellis & The Flames - Cry Tough
Lula Reed - Drown In My Own Tears (1951)
Mose Allison - Everybody's Crying Mercy
............and finishing with yet another song Elvis has covered!
http://www.expectingrain.com/
Today's Bob Dylan Theme Time Radio Hour 39
Tears
? and the Mysterians - 96 Tears
Anita O'Day - And Her Tears Flowed Like Wine
Bobby Charles - Big Boys Cry
Solomon Burke - Cry To Me
Hank Williams - I'm So Lonesome I Could Cry
Julie London - Cry Me A River
Jimmie Nelson - I Sat And Cried
The Marvelettes - No More Tear Stained Makeup
Charlie Rich - Tears A Go Go
J. Geils Band - Cry One More Time
Roy Brown - Laughing But Crying
Billy Ward & His Dominoes - The Bells
("Suits Me: The Double Life of Billy Tipton" )
Alton Ellis & The Flames - Cry Tough
Lula Reed - Drown In My Own Tears (1951)
Mose Allison - Everybody's Crying Mercy
............and finishing with yet another song Elvis has covered!
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verbal gymnastics
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Yet another artist Elvis has talked up -Jimmie Nelson - I Sat And Cried
http://www.jimmyt99nelson.com/testimonials.htm
Jimmy with Elvis Costello
http://www.luckygoon.com/costello/news/2002/10/17.html
Thursday, October 17, 2002
Elvis Meets Jimmy Nelson
At the close of nearly every show on his ongoing world tour, Elvis Costello has been playing local bluesman Jimmy "T-99" Nelson's "I'm Gonna Miss Show Business." So author and Press contributor Roger Wood thought it would be cool if Nelson and Costello could meet while he was in town, and the summit was arranged. The two hit it off famously -- they talked for about half an hour and even sang an impromptu duet backstage at the Verizon. Costello is an ardent fan of Houston blues; he's called Bobby "Blue" Bland's Two Steps From the Blues the greatest album of all time, and gushed about it last year in the hoity-toity pages of Vanity Fair...
Maybe Elvis occasionally wipes the baby puke of his sleeve and heads down to the 'Village for a herbal tea with Zimmy and they come up with these tracks between them......
See also -
http://www.elvis-costello.com/news/2003 ... mpila.html
- except that archive is due to close soon so , just in case , here's the text -
We found out through various avenues that Elvis Costello has been ending every show on his extended US tour the same way: After the final encore, while the house lights are coming up and the crowd is beginning to leave, over the PA system a great track from a great record is played: "I'll Miss Show Business" written and performed by Jimmy T99 Nelson (from his 1999 CD Rockin and Shoutin the Blues).
We were also told that Elvis's web site has a reference to this story which we checked out and it is true. A fan had left a message for Elvis in the "Ask Elvis" section inquiring about the song and Elvis replied back confirming the name of the artist and the song. Click here to read the Q&A (9th. question down). A friend and supporter of ours who is also a blues historian, Dr. Roger Woods, managed to take Jimmy to meet Elvis and wrote us a review of the evening; he also took the photograph above. Here is a brief summary in his own words:
In terms of sight-lines and sound, we got great complimentary seats for the concert. In terms of Jimmy's mobility, getting him there (up various stairs and risers and into his center-of-the-room seat)--and in the dark (we entered the room approximately 20 minutes after EC came on stage)--was a bit of a challenge.
Once settled in his chair, T-99 (who had never heard of Elvis Costello until I contacted him about this whole scheme) proceeded to express his amazement at the size of the crowd (an almost totally packed house--in the largest configuration for that venue) and the intensity with which the audience was responding to EC's performance.
"Man, this guy is really popular, isn't he?" Jimmy observed, adding "And the people seem to be crazy about him. What's the deal?"
Not long after that, while EC vamped on guitar to the crowd's delight, interjecting inarticulate but passionate vocal effects, Jimmy nudged me and said with a grin, "White folks always steal from black folks."
As the concert evolved, it became clear that Jimmy wasn't too impressed with the many rocking numbers that had the crowd pumping fists and bobbing up and down. But when EC delivered one of his several splendid ballads, Jimmy would nod his head--and occasionally even applaud at song's conclusion. Leaning into my ear, he opined that EC "doesn't have the greatest voice, but he sure puts a lot of feeling into a song."
At concert's end (and while T-99's "I'll Miss Show Business" played over the PA) we slowly made our way through the exiting crowd to the stage-left curtain, as we had been previously instructed to do. After showing our passes and waiting for a few minutes, we were eventually led backstage, up two painfully steep flights of stairs (Jimmy's bad leg really got a work-out), and into a lounge. Jimmy collapsed into his chair, told me to fetch him a cup of coffee, and--while the room slowly filled with another 10-15 lucky people who somehow were granted backstage passes (most of whom clutched posters or photos they'd brought for EC to autograph)--blurted out with a laugh that he was "the only black man in the house tonight." (I silently added, "and the only octagenarian too.")
After another 10 minutes passed, Elvis entered the room, went straight to Jimmy, hugged him, sat down and proceeded to converse at length. While the other people stood respectfully in the background, EC talked to Jimmy and me about old T-99 songs (about which he was quite knowledgable) as well as more recent tracks (asserting his admiration for that 1999 CD
from which "I'll Miss Show Business" came), and he expressed pure glee when Jimmy presented him with a copy of his 2002 independent CD release (Take Your Pick).
My favorite moment: EC was reminding Jimmy of an old song (with the line: "Three minutes and 38 seconds is all I need to get to my baby" or something like that), and he proceeded to begin to sing the lyric. Jimmy cut him off with a big hand and the command, "Stop!" Then the master, with a pronounced sense of swing, started vocalizing the lyric, "the right way. . . with flavor." EC smiled and immediately the two joined voices and tore through the whole first stanza, both spontaneously pounding on the table top for percussive effect. When they finished the last line, the baffled onlookers (most of whom had no clue who Jimmy is) burst into applause.
Jimmy followed that up with some wisecrack about how EC wasn't black, to which the latter responded, "Yeah, but I'm Irish, and that's almost the same."
After about thirty minutes, during which EC focused his attention mainly on Jimmy, the manager came in and announced that it was time for the star to get on the bus. I suggested to Jimmy that we move on and let the other (amazingly patient) folks get a chance to procure the autographs they apparently sought. EC told us to stay put and kindly proceeded to scribble his signature on anything the others thrust before him, still talking and joking with Jimmy all the while.
After a few more pleas from the manager, Elvis eventually made ready to depart. As we all stood up and began to shuffle for the door, he turned to me, grabbed my hand, and thanked me profusely for bringing Jimmy to meet him. (I still can't believe it.)
On the ride home, Jimmy clearly was pleased with the whole experience. Despite the physical demands of getting there, this rendezvous with Elvis Costello had been good for him, had granted him some of the respect he merits for being the songwriter and performer that he is.
As I left him at the door to his home in Third Ward, he said he'd probably go inside and "write for a while."
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martinfoyle
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...and Bob got our Dec to rabbit on about the tunejohnfoyle wrote:Great to see Bob has picked the same Marvellettes track that Elvis used to include in a medley with Alison. It has yet to appear on CD ; I wonder will this broadcast include a cleaner copy than the vinyl dub. that Elvis played on a Mystery Train radio show appearance?
http://www.4shared.com/file/9950195/f1f ... ettes.html
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verbal gymnastics
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martinfoyle
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