Pink Floyd - 'Interstellar Encore'

'Interstellar Encore' is a 2CD boot that was recorded at The Fillmore West, in San Francisco, CA on April 29, 1970.

  On the back of the CD box, it says (in fine print):

"So you thought you had heard this show before? Never Like this! For the first time we bring you a complete stereo soundboard recording of this show that has often been confused with their appearance at the KQED studios earlier in the day."

In typical bootleg fashion, the above quote regarding the KQED show is incorrect, it was actually recorded the following day on April 30th, in an empty Fillmore West. CD1:

1. Grantchester Meadows 2. Astronomy Domine 3. Cymbaline 4. Atom Heart Mother
5. Embryo

CD2: 1. Green is the Colour
2. Careful With That Axe, Eugene
3. Set the Controls for the Heart of the Sun
4. A Saucerful of Secrets (1st Encore)
5. Interstellar Overdrive (2nd Encore)

I saw this tour, earlier that April (on a double-barrel micro dot), at the Boston Tea Party, in Boston, MA.

For me, one of the highlights at the Boston show, and on this freeload, is that they played my favorite Pink Floyd song, "Cymbaline". For the freeload, post one verse or chorus of your favorite Pink Floyd song.

Happy Birthday Dadoo!

Today is the 105th anniversary of my father’s birth.

My father, who I called "Dadoo", was originally from Kennebunkport, Maine, where he grew up in his parents' hotel. He was a mild-mannered man, and many people said he reminded them of Jimmy Stewart’s film persona (minus the stutter), and later, also to McLean Stevenson’s portrayal of Henry Blake in the TV series, M*A*S*H*.

In typical New England WASP (White Anglo-Saxon Protestant) fashion, he attended Dartmouth College, in New Hampshire, and then went onto Brown University’s school of Business, he was a "Preppy" before the phrase was coined. 

During his Dartmouth years, he and my mother fell in love one summer. My mother’s family, originally from Corsica, then living in Québec City, Canada, vacationed every year at my grandparent’s hotel in Kennebunkport. My parents knew each other since they were nine and ten years old. In their late teens, I guess hormones kicked in.

My father served in the Second World War, was wounded in the battle of Iwo Jima, and received the Silver Star medal for gallantry in action.  Upon returning home, he and my mother, moved to New York City, where he worked as an economist, and my mother worked as a chef.  A few years later, they opened their first restaurant in Brooklyn. They would go on to have four restaurants, and a Gay club (this, in the early 60s).

As you may have surmised, my father was a liberal, he also knew the ancient handshakes and the secrets of two fraternal organizations (The Free Masons and The Shriners, to be specific). In his later years, I asked him about the gay club, he told me "They need a place to eat, drink and meet too". He also told me he thought he might have been the first non-organized crime member and non-gay person to own a gay club in New York City. He then explained, back then, politicians, the Cosa Nostra, law enforcement and just "regular Joes" who were Free Masons and Shriners were in cahoots, and had each other’s back. When he told his fellow Shriner, who was also the local Cosa Nostra Capo (and father of Denise "The Grease") of his plan for a gay bar, he had his blessing as long as he used certain businesses for alcohol purchases and linen services. This also freed him from police raids, which were commonplace back then.



As an aside, my brother joined the Free Masons and later The Shriners at our father's behest. He once told me: "I joined the hoping there would be some evil conspiracy to help with, because I like evil conspiracies. Much to my dismay, there was not a drop of goat's blood, and I didn't even give my soul away. All I did was pay dues, so they could help sick and crippled children for free. Where the hell is the world domination!?!?!?".

He was joking. I think.

But this is a music blog...

My older brother was a teenager in the late 1950s, and had a modest record collection of rock 'n' roll records by Chuck Berry, Buddy Holly, Eddie Cochran, Bo Diddley and Gene Vincent. In my brother’s room was a small record player which did the job, but in our living room was a large wooden late 50s state-of-the-art console, that little Babs was not allowed to touch. The console had amplifier-powered stereo speakers, with a turntable and radio hidden under a lid in the center, on the bottom were two doors that when opened revealed a TV set, and it played records very loud.

One wintry Sunday afternoon, my brother and I decided we’d go downstairs to play records in the living room. As we went down the stairs, I smelt cigar smoke and heard Tony Bennett singing. When we got to the living room, my father was relaxing in his recliner, with a cigar in one hand, and a Jack Daniel's on the rocks in the other. My brother asked my father if we could play some records, my father told him to play them in his room, and my brother abruptly marched off in a huff. As another song started to play, my father asked me, "May I have the pleasure of this dance, Babs?" which was something we did all the time; my father would get on his knees, we’d dance, he’d spin me around, and we’d laugh. When the record ended, my father put on another record, which had no lyrics, was very fast, had guitar and violin, which made me smile and giggle. My father laughed, and told me, "The man playing guitar was a Gypsy, who lived in a horse-drawn caravan in France, and only had two fingers on his left hand that he could use." all of which sounded very exotic to my eleven or twelve-year-old brain (years later it occurred to me, that was Django).

He then played a Frank Sinatra record, that I knew the words to, and we both sang along with Frank. My father was a fan of "The Rat Pack" who epitomized the post-war successes and excesses of post World War Two America, that he and my mother enjoyed.

For Christmas of 1975, I gave my father 'The Tony Bennett/Bill Evans Album'.  He told me it took him a few listenings before it clicked, as he was used to Tony Bennett in either a small group or big band setting.  In 1977, I gifted him 'Together Again', the second Tony Bennett/Bill Evans collaboration.  I remember him telling me, "That Bill Evans can sure tickle the old ivories."

"Dadoo" lived to be 95.

Today's freeloads are:

The Complete Tony Bennett/Bill Evans Recordings is a 2CD set released in 2009 compiling the two recording sessions by Tony Bennett and Bill Evans which produced 'The Tony Bennett/Bill Evans' and 'Together Again'.  It also has twenty alternate takes and two bonus tracks not released on the original albums.

The title says it all

This is the only Sinatra album I own or really want, as I'm not a big fan.

For the freeloads, tell us about an album that was gifted to you, that was by an artist or group you were unfamiliar with, and after listening to the album you became a fan of.

Led Zeppelin - Antrabata Outtakes (1968- 1980)

"Well, I sort of don’t trust anybody who doesn’t like Led Zeppelin."
—Friedrich Nietzsche, from 'The Birth of Tragedy' (1872)

Here's an 11 CD box Japanese boot from the 'Antrabata Reference Master' label.  This was a limited edition of 325 copies.

The 11 CDs came housed in cardboard sleeves
inside this box with removable lid.



Olympic Studios, London, September 20 - October 10, 1968
01 Babe, I'm Gonna Leave You (7:01)
02 Babe, I'm Gonna Leave You (6:16)
03 You Shook Me (7:56)
04 Baby, Come On Home (8:53)

Olympic Studios, London, October, 1968
05 Guitar, Organ Instrumentals (15:53)
06 Guitar, Organ Instrumentals (21:37)

Morgan Studios, London, June 1969
07 Sugar Mama (2:58)



Olympic Studios, London, November 1969
01 Jennings Farm Blues (24:53)

Electric Ladyland Studios, New York, June, 1972
02 No Quarter (25:08)

Headley Grange Studios, Hampshire, UK May - June 1970
03 That's The Way (5:37)
04 Feel So Bad, Fixing To Die, That's Alright ( 7:06)
05 Since I've Been Loving You (7:34)



Headley Grange Studios, Hampshire, UK May - June 1970
01 Since I've Been Loving You (Vocal Track) (3:06)

Mirror Sound Studios, Los Angeles, CA May 1969
02 Moby Dick (1:41)
03 Drum Set (7:01)

Bron-Y-Aur Cottage, Wales, UK May 1970
04 I Wanna Be Her Man, Guitar Instrumentals Inc., Down By The Seaside, Stairway To Heaven (Instrumental Take), Blues Guitar Instrumentals (54:41)
05 Blues Guitar Instrumentals (0:28)



Unknown Studio
01 Guitar And Piano Instrumentals (42:59)

Olympic Studios, London, June 5, 1970
02 Poor Tom (3:21)

Rolling Stones Mobile Studio, Stargroves, UK May 1972
03 Walters Walk (4:39)

Unknown Studio
04 Guitar Instrumentals (0:09)



Bron-Y-Aur Cottage, Wales, UK May 1970
01 Friends: (3:28)

Headley Grange Studios, Hampshire, UK May-June 1970
02 Immigrant Song (2:42)
03 Out On The Tiles (3:35)
04 Bron-Y-Aur (1:40)
05 Poor Tom (3:22)
06 Hey Hey What Can I Do (1:49)

Bron-Y-Aur Cottage, Wales, UK May 1970
07 Guitar Instrumentals (2:23)
08 Guitar Instrumentals (2:07)
09 Vocals and Instrumentals (3:34)
10 Guitar Instrumentals (2:08)
11 Guitar Instrumentals (1:33)
12 That's The Way (9:10)
13 Friends (1:22)
14 Bron-Y-Aur, Guitar Instrumentals (8:31)
15 Guitar Instrumentals (2:00)



Headley Grange Studios, Hampshire, UK December 1970 - January 1971
01 Black Dog (6:59)
02 No Quarter (4:07)
03 Stairway To Heaven Instrumental (7:04)
04 Guitar Instrumentals (1:03)
05 Stairway To Heaven (6:10)
06 Stairway To Heaven (8:20)
07 The Battle Of Evermore (5:47)

Jimmy Page's Home Studio, UK, January 1972
08 Guitar Instrumentals (4:21)

Unknown Session
09 Ten Years Gone (7:12)



Bombay, India April 1972
01 Friends (31:42)
02 Four Sticks (5:18)
03 Friends (4:52)
04 Friends (4:40)
05 Four Sticks (2:17)



Southampton University, January 20, 1973
01 Frankfurt Special (Station Blues) (5:52)

Chicago Auditorium, Chicago, July 6, 1973
02 Sugar Baby (5:07)
03 The Wanton Song (2:39)
04 The Rover (8:22)
05 Night Flight (11:04)
06 School Days (3:10)
07 Nadine (1:03)
08 Round And Round (3:25)
09 Move On Down The Line (2:54)
10 Love Me Like A Hurricane (2:43)
11 C'mon Pretty Baby (3:03)
12 Shakin' All Over (2:51)
14 Hungry For Love (2:27)
14 I'll Never Get Over You (2:13)
15 Reelin' And Rockin' (1:46)
16 Surrender (3:38)



Headley Grange Studios, Hampshire, UK November 1973
01 The Wanton Song/Take Me Home (take one) (5:32)
02 Take Me Home (take two) (4:43)
03 In The Morning (take one) (6:10)
04 Trampled Underfoot (18:57)
05 In The Morning (take two) (6:01)
06 Sick Again (3:47)
07 The Rover (1:18)
08 Jam (3:14)
09 In My Time Of Dying (12:57)

WLIR 92.7 Radio Broadcast Westbury, NY Spring 1975
10 The Wanton Song (3:56)



Polar Studio's Stockholm, Sweden November - December 1978
01 Carouselambra (11:30)
02 Untitled, Wearing And Tearing (6:00)
03 Fool In The Rain (6:27)
04 Hot Dog (3:30)
05 In The Evening (6:39)
06 South Bound Suarez (4:20)
07 Darlene (5:21)
08 Fool In The Rain (6:21)
09 Carouselambra (8:48)
10 All My Love (7:55)



Victoria Theatre, London, UK May 1980
01 White Summer (2:26)
02 White Summer, Black Mountainside (6:19)
03 Kashmir
04 Achilles Last Stand
05 Stairway To Heaven

Clearwater Castle, Forest Of Dean, Wales May 1978
06 Fire (Say Your Gonna Leave Me)
07 Carouselambra

Boleskine House, Lochness, Scotland UK November 1973
08 Lucifer Rising (5:14)

Malibu, CA October - November 1975
09 Royal Orleans (0:20)
10 Tea For One (Hootchie Cootchie Version) (2:46)
11 Don't Start Me Talking, Blues Medley, All My Lovin' (4:55)

For the freeload, please share your favorite quote from a philosopher or existentialist.

The Complete Dean Benedetti Recordings Of Charlie Parker

In the late 1960s, I heard vague rumors in jazz clubs about an obsessive fan, named Dean Benedetti (or a name similar to Benedetti, depending on whom you spoke to) who followed Bird around and recorded his solos, and only his solos, on a wire recorder. Because the name Dean Benedetti reminded me of a moniker out of a Jack Kerouac novel, I wrote the rumors off as urban legend. In 1973, Ross Russell's often fictitious biography of Charlie Parker, "Bird Lives," was published, and Russell embellished the myth of Benedetti a hipster, saxophonist lurking around recording everything Parker played. To be fair to Ross Russell's book, despite being apocryphal, his account dramatizes Parker's appeal and his immense cultural influence. "Bird Lives" is Bird as an icon. Within limits, the book is true fiction.

Dean Benedetti

As it turned out, the rumors were true. Dean Benedetti did record all of Bird's solos from a two-week stand of performances in March 1947 in California on a vinyl acetate cutter, and the next year recorded some sporadic New York performances on paper tape. The recordings vanished into lore, and Dean died in 1957.

Dean's tapes reappeared in 1988 at his brother's house in Burbank, California. Mosaic Records secured the rights to them and issued them. There are a few minutes of recordings that, for reasons I'm not sure of, weren't included in the set, making this, in reality, "The Almost Complete Dean Benedetti Recordings."

'The Complete Dean Benedetti Recordings of Charlie Parker' is a 7-CD collection of the legendary, lost recordings, which were recorded by Dean between March 1, 1947, and July 11, 1948. The set collects 15 days' worth of Bird's improvisations and rehearsals at a variety of clubs, including the Hi-De-Ho in Los Angeles and the Three Deuces and the Onyx in New York.

Birds's solos during this run are a constant source of creativity. He repeats himself amazingly little in two weeks' worth of soloing. Some people have criticized the decontextualization of the solos, but personally I think they're pretty cool. While I know that the solos from the other band members are exceptional, it's easy to see Dean's fascination and admiration for the most gifted soloist and improviser to ever walk the earth.

A brief note on the sound quality. My ears are well bootleg-seasoned, if yours aren't, and if you can't listen through lo-fi murk, you might want to avoid this set, as it conforms to the First Law of Bootlegs: The more interesting the material, the worse the fidelity. These recordings are unquestionably amateur affairs and were not exactly meticulously cared for. The set also includes a booklet, that is beyond outstanding, and has fascinating information and excellent technical notes on how Dean recorded, as well as the equipment he used.
Another rumor in the jazz world is that there is a lost wax cylinder made by the New Orleans trumpeter Buddy Bolden, and are the holy grail of jazz. If that's true, then the Benedetti recordings are the vice-holy grail. For the freeload, tell us about your favorite urban legends and rumors, musical or otherwise.

Freddie King - 'The Complete King Federal Singles'

"Working in Chicago, that's where I first started playing in a band, but I been playing guitar since I was six. I picked up the style between Lightnin' Hopkins and T-Bone Walker. That's in-between style, that's the way I play, see. So I plays country and city. I used to use three picks, but then Eddie Taylor, he showed me how to get the speed out of two picks, see. He's fast, man, Eddie is. But in a way I'm fast in some things, you know?"

— Freddie King

Texas claims Freddie King as its son. However, although he was born on a farm near Gilmer in 1934, King's real contribution came as one of the young musicians from Chicago's West Side who challenged the first generation of South Side musicians starting in the late '50s. Guitarists like Otis Rush, Jimmy Dawkins, Luther Allison and Magic Sam and other then contemporary guitarists played aggressive, virtuosic blues that attracted a younger crowd. Freddie King ran with them.

Freddie was always an innovator, and on his very first record, (made for the tiny El Bee label in 1956), he used Robert "Big Mojo" Elem (left) on electric bass, an instrument few others were using at the time.

Freddie also pushe­d boundaries by assembling one of the­ first multiracial backing bands, demonstrating his progressive mindse­t towards music.

In 1982, Freddie was inducted into the Blues Hall of Fame, and in 2012 to the Roll Hall of Fame, as an early influence.

Freddie King's big break came in 1960, when King/Federal Records opened an office in Chicago.  Sonny Thompson, a seasoned veteran of postwar rhythm and blues, was the talent scout, and after learning that Leonard Chess didn't think Freddie King was worth signing, snapped him up and took him to the label's home in Cincinnati to record. Singles "Have­ You Ever Loved a Woman" and the instrume­ntal track "Hide Away" truly showcased King’s exce­ptional guitar style, which drew inspiration from both Texas blue­s and Chicago blues traditions. "Hideaway" was so popular after its release that every bluesman with a band felt like he had to add the song to his repertoire.

Today's freeload is 'The Complete King Federal Singles', a 2CD set that collects, in chronological order, all 54 singles Freddie recorded for the King/Federal label, from his best (at least to my ears) period —1960 through 1967.

This is two and a half hours worth of great blues. There's a good mix of vocal and instrumental sides included and with the help of arranger/pianist Sonny Thompson, King released a number of great (sometimes incendiary) blues sides. There are a few tracks that were released to hopefully catch teenage ears from the "Twist" period, and some of his "Surf" sides. But all in all, this is a great collection from one of the best, most influential electric guitarists to ever play the blues.

This collection has a 15 page booklet (included in the freeload) that contains an essay by Freddie King expert Bill Dahl.  Also included are photographs, recording dates and chart positions of singles.

Jurgen Crasser's remastering is crystal clear.  CRANK UP THE VOLUME!

For the freeload, tell us what albums you listen to at a higher than usual volume.

Good Ol’ Grateful Dead - 'Dave's Picks, Volume 52'

From the Downs show

'Dave's Picks, Volume 52' is a show from September 11, 1983, at The Downs in Santa Fe, New Mexico.  It was also drummer Mickey Hart's 40th birthday.

This show was recorded by Dan Healy, who for many years was the Grateful Dead's audio engineer.  It's a Dead Head favorite, due to the sound quality and set list.  It has been traded and distributed for free (Dead Heads are like that) since 1983 (never, ever pay for a Dead boot).  Over the years, I've had it cassette, reel to reel, CDR and as FLAC files.  Until 'Dave's Picks, Volume 52' was released, my favorite version was 'Hunter's Trix vol. 129'.

'Hunter's Trix vol. 129' cover

Many people consider this show the best of 1983 and some say, the entire 1980s.

The Downs was a horse racing facility, hence the cover

'Dave's Picks, Volume 52' was released on Oct 30, 2024, and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering.

CD1 is the first set:
Alabama Getaway ->
Greatest Story Ever Told
Dire Wolf
Hell In A Bucket
West L.A. Fadeaway
Me And My Uncle ->
Mexicali Blues
Althea
C C Rider ->
Might As Well

There was a thunder storm between the first and second sets, with a rainbow afterward.  Here's a photo of it.

Imagine being "dosed" a Dead show, and seeing this?

CD2 is the second set
Help On The Way ->
Slipknot! ->
Franklin's Tower
Let It Grow
He's Gone ->
Drums ->
Space

CD3 is the continuation of the second set, plus three songs (to fill out the CD) from the previous night's show, also at The Downs.
Truckin' ->
Wang Dang Doodle ->
Morning Dew ->
Around And Around ->
Sugar Magnolia
U.S. Blues (encore)
From previous night's show
Cumberland Blues
Playing in the Band
China Doll

For the freeload, tell us about where and when you've seen spectacular rainbows.

John Coltrane - 'Complete 1961 Village Vanguard Recordings'

This will be my last post until Tuesday, December 3rd. If anybody is looking for me, I'll be in Los Altos, California, celebrating the Thanksgiving holiday with my family.

In the meantime, this should keep you busy.

Links are at the bottom of this post (no "qualifying" question).

In November 1961, at the height of his musical imagination, Trane was booked to play five nights at New York's Village Vanguard.  Bob Thiele, Trane's new producer at Impulse! Records, arranged for the sessions to be recorded by Rudy Van Gelder for a live album.



At the time, Trane was touring with his classic quartet of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. In addition, for the Village Vanguard gigs, Trane brought in Eric Dolphy on alto saxophone and bass clarinet, bassist Art Davis to experiment with two basses on a song or two. And for an additional exotic flavor, one night he brought in Garvin Bushell on cor anglais (which is described wrongly in the disc notes as an oboe) and Ahmed Abdul-Malik on tampura (a long-necked, four-stringed instrument originating in the Indian subcontinent, also described wrongly in the disc notes as an oud)

The result was four and a half hours of groundbreaking improvisational jazz of the highest quality.

In 1962, the Impulse! label released three songs; "Spiritual", "Softly, as in a Morning Sunrise" and "Chasin' the Trane" from the five nights as 'Coltrane "Live" at the Village Vanguard' on one LP. The album resulted in much controversy among both critics and audiences alike with its challenging music.

 In 1997, Impulse! Records released all five nights on Four CDs, as 'The Complete 1961 Village Vanguard Recordings'



CD1: "India", "Chasin' The Trane", "Impressions", "Spiritual", "Miles' Mode", and "Naima

"

CD2: "Brasilia", "Chasin' Another Trane", "India", "Spiritual", and "Softly As In A Morning Sunrise"






CD3: "Chasin' The Trane", "Greensleeves", "Impressions", "Spiritual", "Naima", and "Impressions"

CD4: "India", "Greensleeves", "Miles' Mode", "India", "Spiritual"









Link
https://workupload.com/file/3StGkytJeBj

RIP Alice Brock (February 28, 1941 – November 21, 2024

 

Alice Brock is the Alice from Alice's Restaurant.  It's a tradition in my family (and many others) to play Arlo Guthrie's 'Alice's Restaurant' on Thanksgiving.

My wine glass will be half full this Thanksgiving in her honor.

'Alice's Restaurant'
Link
https://workupload.com/file/HH3CHqG7pV8

From Arlo:

“Alice passed away a week before Thanksgiving. She was living in one of her favorite places – Provincetown, Massachusetts where she’d been for over four decades.

I first met Alice in 1962 when she was the school librarian at The Stockbridge School, in Stockbridge, Massachusetts. I was there beginning my second of four years. I also met, Rick Robbins, another student, and we’ve been friends ever since.

Alice’s mother, Mary Pelky, bought the church in June of 1963 and gave it to Ray & Alice who began transforming it into a home. After the school year, my brother and I, along with Rick and a few others spent the summer with Alice and her husband, Ray on Martha’s Vineyard where they ran the Youth Hostel in West Tisbury. Alice always loved being on the Cape. It was home.

I returned to The Stockbridge School after a most wonderful summer, playing music every night, and generally goofing off. Ray & Alice got busy at the church, making it into a home.

For the next couple of years, friends would gather at the church from time to time, play some music, and generally enjoy a loose network of like minded people. Then it all changed.

Rick & I went to visit Ray & Alice for Thanksgiving in 1965. The rest is history. Alice went into the restaurant business and I began my years as an entertainer. We were, both in our own ways, successful. As well as being a restauranteur, Alice also became an author, and an artist. We worked together on various projects. During the next few decades we remained friends while our lives kept us busy. She was a no-nonsense gal, with a great sense of humor.

This coming Thanksgiving will be the first without her. Alice and my daughter, Annie had spoken together recently and Alice, knowing her circumstances, approved an exhibit at the church to tell her own story. Alice and I spoke by phone a couple of weeks ago, and she sounded like her old self. we joked around and had a couple of good laughs even though we knew we’d never have another chance to talk together.

A couple of years ago, Alice, Rick and I met up at the church, and from there went to Rick’s home for a Thanksgiving Dinner. Marti & I, along with a lot of old friends celebrated 60 years of friendship. Some couldn’t be there, as time has taken its toll. But, the spirit was all that mattered, and we got to celebrate it.

This year we get to add one more to those whose life we celebrate – An important one. Alice was a lifelong friend.”

Johnny Shines - 'The Blues Came Falling Down'

 

The music industry’s history is littered with talent that never managed to intersect popular acclaim, and such might have been the story of bluesman Johnny Shines, if not for his sideline as a photographer and a chance encounter with Howlin’ Wolf.

Johnny started gigging in the early ‘30s, and hoboed with Robert Johnson through Depression-era America.  They hopped freights, played on street corners, shared rooms, whiskey, women and they made it as far north as Canada.

In 1946, Johnny made recordings for the for Columbia, and for the Chess label in 1950, both sessions but were consigned to the vault.  In 1952, he recorded what many (myself included) consider his best work, for J.O.B. Records.  Unfortunately the J.O.B. sides didn’t make a dent in the market.

By the mid-50s Johnny had withdrawn from performing and turned to the construction industry, but a sideline photographing Chicago club patrons put him in touch with Howlin’ Wolf, and in turn secured him a half-dozen tracks on Vanguard’s influential 1966 anthology, Chicago/The Blues/Today, Vol. 3. (All three volumes, will be a future post)

Upon its release, the Vanguard album sparked the renown that circumstance had denied Johnny for two decades.  He recorded albums for several independent labels and toured the international blues circuit to wide acclaim before a stroke in 1980 sidelined him for several years.

In 1991 Johnny appeared and played in the documentary 'The Search For Robert Johnson' just before his 1992 death.  The Blues Hall of Fame wasted no time in inducting him that same year.

'The Blues Came Falling Down' was recorded live in 1973, but for some reason not released until 1999.  The performance was recorded in the acoustically friendly Graham Chapel at Washington University in St. Louis, and finds Johnny in peak form.  His guitar playing is crisp, nimble and deeply informed by decades steeped in the blues.  At 58, his voice was still strong and supple, showing no signs of age, and his touring experience shows in a powerful command of the stage.  His song introductions and between song banter is essential, adding context and some humor to the listening experience.

Johnny’s solo and acoustic for the first 12 and final five cuts of this concert.  He’s accompanied on guitar for the other three tunes by Nighthawk co-founder Leroy Jodie Pierson.

If you have a warm spot in your heart for traditional acoustic blues, you’ll absolutely love this CD. The sound quality is so good that you can almost feel Johnny Young’s breath between verses. It’s an absolute shame that his concert went unreleased for 46 years, but we can enjoy it now.

For the freeload, tell us about some of your favorite music that sat on a shelf unreleased for many years.