OPEN MIKE - Beatles Ukulele Edition

Brook Adams - I Want You (She's So Heavy)



Jeff Meechai - Dear Prudence



Melissa Lingo - Eight Days A Week



Unknown Cat at Strawberry Fields - While My Guitar Gently Weeps

Ride - Live at Brixton Academy 1992

Elliot Smith - Between The Bars

Fleet Foxes - Helplessness Blues

Dan Auerbach - Mean Monsoon

Band Of Horses - No One's Gonna Love You

Amy Winehouse - Mr. Magic

Dave & Rick - Echoes (Acoustic at Abbey Rd)

David Bowie - Life On Mars

Willie Winfield and The Harptones - A Sunday Kind Of Love

Elvis Presley - Good Rocking Tonight / I Don't Care If the Sun Don't Shine

Free - All Right Now (1970 Isle of Wight)

The Greenhornes - Get Me Out Of Here

The Greenhornes - I'll Go Crazy

Michael Kiwanuka - Waterfall

Panda Bear - Comfy In Nautica

Wolf Parade - I'll Believe in Anything

Jack White - Mother Nature's Son (At the White House)

The Killers - Runaways

Muse - Madness

Michael Kiwanuka - I'm Getting Ready

Spoon - The Underdog

Black Rebel Motorcycle Club - Ain't No Easy Way

Thievery Corporation - Live at KCRW

Donavon Frankenreiter - You

The Black Keys - Howlin' For You

Led Zeppelin III (1970)

Led Zeppelin III is the third studio album by the English rock band Led Zeppelin. It was recorded between January and July 1970 and released on 5 October 1970 by Atlantic Records. Composed largely at a remote cottage in Wales known as Bron-Yr-Aur, this work represented a maturing of the band's music towards a greater emphasis on folk and acoustic sounds. This surprised many fans and critics, and upon its release the album received rather indifferent reviews.
Although it is not one of the highest sellers in Zeppelin's catalogue, Led Zeppelin III is now generally praised, and acknowledged as representing an important milestone in the band's history. Although acoustic songs are featured on Led Zeppelin III's predecessors, it is this album which is widely acknowledged for showing that Led Zeppelin was more than just a conventional rock band and that they could branch out into wider musical territory.

Many of the songs featured on the album were conceived in mid-1970 at Bron-Yr-Aur, an 18th century cottage in Gwynedd, Wales, on a hilltop overlooking the Dyfi Valley, three miles north of the market town Machynlleth. There, Jimmy Page and Robert Plant spent some time after an exhausting concert tour of North America to play and compose new music. This remote setting had no running water or electric power, which encouraged a slight change of musical direction for the band towards an emphasis on acoustic arrangements.

As Page later explained:

After the intense touring that had been taking place through the first two albums, working almost 24 hours a day, basically, we managed to stop and have a proper break, a couple of months as opposed to a couple of weeks. We decided to go off and rent a cottage to provide a contrast to motel rooms. Obviously, it had quite an effect on the material that was written... It was the tranquility of the place that set the tone of the album. Obviously, we weren't crashing away at 100 watt Marshall stacks. Having played acoustic and being interested in classical guitar, anyway, being in a cottage without electricity, it was acoustic guitar time... After all the heavy, intense vibe of touring which is reflected in the raw energy of the second album, it was just a totally different feeling.^[3]

Plant has expressed similar recollections:

[Bron-Yr-Aur] was a fantastic place in the middle of nowhere with no facilities at all-and it was a fantastic test of what we could do in that environment. Because by that time we'd become obsessed with change, and the great thing was that we were also able to create a pastoral side of Led Zep. Jimmy was listening to Davey Graham and Bert Jansch and was experimenting with different tunings, and I loved John Fahey. So it was a very natural place for us to go to.

After preparing the material that would emerge on the album, Page and Plant were joined by the other members of the band (John Bonham and John Paul Jones) at Headley Grange, a run-down mansion in East Hampshire, to rehearse the songs. With its relaxed atmosphere and rural surroundings, Headley Grange appealed to the band as the favored alternative to the discipline of a conventional studio.
The album was then recorded in a series of sessions in May and June 1970 at both Headley Grange and at Olympic Studios, London. Some additional work was put in at Island Records' new Basing Street Studios in Notting Hill, London, in July, then mixed at Ardent Studios, Memphis in August 1970 during Led Zeppelin's sixth American concert tour.^[1] The album was produced by Page and engineered by Andy Johns and Terry Manning.

Yes - Close To The Edge (1972)

Close to the Edge is the fifth studio album by the English progressive rock band Yes. It was released on Atlantic Records (Atlantic K 50012) in September 1972. It reached No. 4 on the UK Albums Chart^[1] and No. 3 on the U.S. Billboard 200^[2] (Atlantic SD 7244) during a chart stay of 32 weeks. In the Netherlands it reached No. 1 on the Dutch album charts^[3], the only Yes album to do so.
According to co-composer Jon Anderson, the title track is inspired by Hermann Hesse's book Siddhartha. The song tracks the awakening of Hesse's character "close to the edge" of a river (and, symbolically, of the serial lifetimes of his soul), where he experiences a spiritual awakening. Bruford says in his autobiography that he came up with the title to describe the state of the band itself, as he had with its predecessor Fragile. He left the line-up after completion of the recording in order to play with King Crimson, which led to Yes finding ex-Plastic Ono Band member Alan White to replace him before starting a new U.S. tour.

Inside of the Close to the Edge LP

cover.

The spiritual influences introduced by Jon Anderson, which later formed the basis of Tales from Topographic Oceans, are already evident in the music and lyrics of all three tracks on Close to the Edge. Renewal and repetition are other main themes; the title track starts and finishes with the same sound effects of running water and birds, and in "Siberian Khatru" there is the repetition of two-syllable words and phrases. This came up many times later in songs like "The Revealing Science of God", "Going for the One", "To Be Over", and "Rhythm of Love".
This album set a trend for Yes of structuring an album around a single epic song. Here the centerpiece is the song "Close to the Edge". Later Yes albums that follow this pattern are Relayer (which features "The Gates of Delirium"), Going for the One (which features "Awaken"), Drama, which features "Machine Messiah", Talk (which features "Endless Dream") and Fly from Here, from the album of the same name.
The cover art was by Roger Dean. Some of the photography for the album sleeve was by bass player Chris Squire's former bandmate in the Selfs and The Syn, Martyn Adelman.

CLOSE TO THE EDGE LIVE UK 1972


THANK YOU FINKLESTEIN!!!!

Iggy & The Stooges - Raw Power (1973)

Raw Power is the third studio album by American rock band The Stooges. It was released on 7 February 1973 through Columbia Records. Though not initially commercially successful, Raw Power gained a cult following in the years following its release and, like its predecessor (1970's Fun House), is generally considered an influential forerunner of punk rock.



Raw Power was released in America in May 1973 and in the UK the following month as an album by "Iggy and the Stooges", contrasting with the group's first two albums, credited to "The Stooges". The album sleeve comprised a photograph of Iggy taken by rock music photographer Mick Rock. The songs "Search and Destroy" and "Shake Appeal" were both released as singles (the album's title track was released as a single in Japan only). Despite rave reviews, sales of Raw Power were weak, and the album peaked at No. 182 on Billboard's Pop Albums chart. Despite its weak initial reception, the reputation of Raw Power grew tremendously in subsequent years, and the album's volume and ferocity became benchmarks against which later albums were measured.

  Iggy produced and mixed the album by himself; unfortunately, his botched first attempt mixed most of the instruments into one stereo channel and the vocals into the other, with little regard for balance or tone quality. Tony DeFries, the head of MainMan, informed Iggy that the album would be remixed by David Bowie. Iggy agreed to this, claiming that "the other choice was I wasn't going to get my album out. I think DeFries told me that CBS refused to release it like that, I don't know",^[12] but insisted that his own mix for "Search and Destroy" be retained. Due to budgetary constraints, Bowie remixed the other seven songs in a single day in an inexpensive Los Angeles studio, Western Sound Recorders, in October 1972. According to Iggy, the mixing session took place in one day:

"To the best of my recollection it was done in a day. I don't think it was two days. On a very, very old board, I mean this board was old! An Elvis type of board, old-tech, low-tech, in a poorly lit, cheap old studio with very little time. To David's credit, he listened with his ear to each thing and talked it out with me, I gave him what I thought it should have, he put that in its perspective, added some touches. He's always liked the most recent technology, so there was something called a Time Cube you could feed a signal into -- it looked like a bong, a big plastic tube with a couple of bends in it -- and when the sound came out the other end, it sort of shot at you like an echo effect. He used that on the guitar in "Gimme Danger," a beautiful guitar echo overload that's absolutely beautiful; and on the drums in "Your Pretty Face Is Going To Hell." His concept was, "You're so primitive, your drummer should sound like he's beating a log!" It's not a bad job that he did...I'm very proud of the eccentric, odd little record that came out.^"

Bowie later recalled:

...the most absurd situation I encountered when I was recording was the first time I worked with Iggy Pop. He wanted me to mix Raw Power, so he brought the 24-track tape in, and he put it up. He had the band on one track, lead guitar on another and him on a third. Out of 24 tracks there were just three tracks that were used. He said 'see what you can do with this'. I said, 'Jim, there's nothing to mix'. So we just pushed the vocal up and down a lot. On at least four or five songs that was the situation, including "Search and Destroy." That's got such a peculiar sound because all we did was occasionally bring the lead guitar up and take it out."

GIMME DANGER


SEARCH AND DESTROY

Harry Nilsson - Nilsson Schmilsson (1971)

Nilsson Schmilsson is the seventh album by Harry Nilsson. Commercially, this was Nilsson's strongest work, producing three of his better known songs and achieving acclaimed chart success. This album marks the first of two of Nilsson's albums produced by Richard Perry. It was ranked No. 84 on Pitchfork Media's "Top 100 Albums of the 1970's".^[7] Two of Nilsson's self-penned songs, "Jump into the Fire" and "Coconut", subsequently became hits. The album performed well at the 1973 Grammy Awards, earning a nomination for Album of the Year, while "Without You", a cover of a song by the band Badfinger, won a Grammy for Best Male Pop Vocal Performance. This could be one of your favorite albums ever.


EARLY IN THE MORNING


COCONUT

Traffic - John Barleycorn Must Die (1970)

John Barleycorn Must Die is the fourth album by the English rock band Traffic, released in 1970, on Island Records in the United Kingdom, and United Artists in the United States, catalogue UAS 5504. It peaked at number 5 on the Billboard 200, their highest charting album in the US,^[1] and has been certified a gold record by the RIAA. In addition, the single "Empty Pages" spent eight weeks on the Billboard Hot 100, peaking at number 74.^[2] The album was marginally less successful in the UK, reaching number 11 on the UK Albums Chart.^[3]

In late 1968, Traffic disbanded, guitarist Dave Mason having left the group for the second time prior to the completion of the Traffic album. In 1969, Steve Winwood joined the supergroup Blind Faith, while drummer and lyricist Jim Capaldi and woodwinds player Chris Wood turned to session work, Wood also joining Blind Faith's drummer Ginger Baker in his post-Blind Faith group Ginger Baker's Air Force for their first album.^[4]
In the beginning of 1970, after the demise of Blind Faith, the band having lasted barely six months, Winwood returned to the studio ostensibly to make his first solo album, originally to be titled Mad Shadows. He recorded two tracks with producer Guy Stevens, "Stranger to Himself" and "Every Mother's Son", but yearned for like-minded musicians to accompany. Inviting Wood and Capaldi to join him, Winwood's solo album became the reunion of Traffic, and a re-launch of the band's career.^[5]
As did most of their albums, it featured influences from jazz and blues, but the version of the traditional English folk tune "John Barleycorn" also showed the musicians attending to the same strains of folk baroque and electric folk as contemporary British bands The Pentangle and Fairport Convention.
It was reissued for compact disc in the UK on November 1, 1999, with five bonus tracks, including three recorded in concert from the Fillmore East in New York City. In the US, the remastered reissue of February 27, 2001 included only the two studio bonus tracks.
Steve Winwood oversaw a deluxe edition version that was released on March 15, 2011,^[6] featuring the original studio album, digitally remastered on disc one, plus a second disc of bonus material including more of the Fillmore East concert with alternate mixes and versions of album tracks.

GLAD

R.L. Burnside - Jumper On The Line (1978)

See my jumper on, hangin' out on the line

Know by that, something on my mind

I wouldn't be here, baby, if it hadn't been for you

Way down here, way you wanna do

Fix my supper, baby, let me go to bed

Guess white lightnin' done gone to my head

Guess white lightnin' done gone to my head

Clutch - The Regulator

......................................from 2004's BLAST TYRANT

The Budos Band - Volcano Song (2005)

Latchés - Minor Swing (Django Reinhardt Festival 2008)

Pink Floyd Final Reunion (Live 8 2005)

Tom Waits - Tom Traubert's Blues (Waltzing Matilda) 1977

Mungo Jerry - In The Summertime (1970)

Buffalo Springfield 1967

Mister Rogers - Garden Of Your Mind

One of the Finest Human Beings is sorely missed yet his message lives on.

Frank Marino & Mahogany Rush - I'm A King Bee (Midnight Special 1978)

John Lee Hooker - I'll Never Get Out Of These Blues Alive

The Hook.

John Lee Hooker - Serves Me Right To Suffer

Radiohead - The King Of Limbs (Live From The Basement)

The Doors - When The Music's Over (Copenhagen 1968)

Sleepy John, Hammie Nixon & John Henry Bartlett

I don't know if the names are right or not. I dug them out of the comment section.
If you know the cats names, say somethin.

Adam Yauch 1964 - 2012

I can easily remember every moment in my lifetime the Beasties influenced.
There are millions of them.

The Greenhornes - Underestimator (Wilcox Sessions)

BILL HALEY!!!!!!

YANO?!!

Junior Kimbrough - Do The Rump

Uriah Heep - Lady In Black (1971)

J. GEILS BAND !!!!

The Raconteurs - The Eden Sessions (2008)

The Black Keys - BBC Radio 1 (2012)

Flashback Friday with Music Mike!

...watch out for the crotch!

Ambrosia - Holdin' On To Yesterday

I heard this one this morning on The Ride...

Neil Young BBC Concert (1971)

WELCOME APRIL... WELCOME.

The Fratellis - A Heady Tale (2008)

The Shins - Port Of Morrow (2012)

SIMPLE SONG





IT'S ONLY LIFE

GO AND GET THIS ALBUM TODAY AND PLAY IT NONSTOP.

The Shins - Wincing The Night Away (2007)

PHANTOM LIMB



SEA LEGS




A COMET APPEARS

Flogging Molly - Rebels of the Sacred Heart

HAPPY ST. PAT'S TO YINZ ALL!!!!!