BeachhouseMuzik 3/9/19
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12:56am
Sheryl Crow and Willie Nelson “If I were a carpenter” from Anchored in Love - A Tribute to June Carter Cash (Dualtone) 1:00am June Carter Cash “Wildwood flower” from Wildwood Flower (Dualtone) 1:04am Willie Nelson and Bonnie Rait “You remain” from The Great Divide (UMG Recordings) 1:07am Sam Ku West “Farewell Blues (Gennett)” from Hawaiian Guitar Classics Of The 1920s (Master Classics Records) 1:10am Johnny Cash & George Jones “I still miss someone” from Silver (Columbia) 1:13am The Horsenecks “Blackberry Blossom” from The Horsenecks (The Horsenecks) 1:16am John Trudell and Northern Voice “We Are the Halluci Nation (feat. John Trudell & Northern Voice)” from We Are the Halluci Nation (Radicalized Records) 1:19am Neko Case “The Tigers Have Spoken” (Anti) 1:22am Buffy Saint-Marie “Soldier Blue” from Native North American Child: An Odyssey (Vanguard Records) 1:25am The Youngbloods “Get together” from The Youngbloods (Legacy Recordings) 1:30am George Harrison “This guitar (Can't keep from crying)” from Extra Texture (Apple Records) —Platinum Weird Version :-) 1:33am Carlos Santana “I'll be waiting” from Between Good and Evil (Sony Special Product) 1:36am Merle Haggard and Willie Nelson and Ray Price “I Gotta Have My Baby Back” from Last Of The Breed (Lost Highway) 1:39am Johnny Cash “Love's Been Good To Me” from American V: A Hundred Highways (Columbia) 1:42am Roy Orbison “Careless Heart” from Mystery Girl (Virgin Records) 1:45am Queen “Spread Your Wings (Live BBC Session, October 1977)” from News of the World (Deluxe Edition) (virgin) 1:50am Jimi Hendrix “little wing” from Hendrix in the West (Reprise 1972) 1:53am George Harrison “Sing Om” from Wonderwall Music (Columbia) 1:56am Donovan “Catch the Wind” from Like It IS (Hickory Records) 1:59am The Byrds “Turn! Turn! Turn! (To Everything There Is a Season)” from Eight Miles High (The Best of the Byrds) (Sony Music Entertainment) 2:03am Nick Drake “place to Be” from Pink Moon (Island Records Ltd.) —Happy Birthday Marc! 2:06am The Carter Family “Diamonds in the Rough” from Greatest Hits 1927-1934 (Fabulous) 2:09am Willie Nelson “I Guess I've Come to Live Here in Your Eyes” from SPIRIT (Island Records) 2:13am Willie Nelson and Merle Haggard “Somewhere Between” from Django & Jimmie (Legacy) 2:16am The Hawaiian Beachcombers “Hawaiian Melody” from Eternel Hawaii (TP4 Music) 2:19am Aaron Neville “Tell It Like It Is (Studio Rerecord)” from Aaron Neville (Suite 102) 2:22am Carlos Santana “Song of the Wind” from Between Good and Evil (Sony Special Product) |
Fun Fact!! Hendrix wanted a photo of Alice in Wonderland in Central Park. As the album cover for his album Electric Ladyland, photo by Linda Eastman McCartney taken in 1968.
http://www.feelnumb.com/2009/08/23/what-jimmy-hendrix-wanted-as-the-electric-ladyland-album-cover/
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TIME HAS COME TODAY
Review by Jenell KeslerThe first version of "Time Has Come Today" appeared on a 45 in 1966 (Columbia 4-43816) with a B-side of "Dinah." A completely different recording than the later version, this lasts only 2:37.
The Chambers Brothers re-recorded it for their album The Time Has Come, which was issued in either late 1967 or early 1968. It first appeared on the Billboard Top LP's chart on Feburary 17, 1968 and is listed as existing in both mono (Columbia CL 2722) and stereo (Columbia CS 9522). "Time Has Come Today" was 11:06 here; it started to become a hit on "underground" FM stations, which didn't have restrictions on the length of songs they played. Eventually, a single was concocted. Based on my study of several copies of this 45, there are at least three different edits of the LP version: The first edit was the 3:05 version. I have a promo of this version with the words "Special Rush Reservice" on the label. But the two sides of this double-sided mono pressing have "1B" and "1F" after the master number in the trail-off wax, leading me to believe that this is the first single edit. There presumably was a second edit, about which I know nothing. (A mysterious 3:31 version, in stereo, has shown up on a couple CDs, but I don't know whether it's this version or a new creation.) I say this because ... The "hit" version is the 4:45 edit. It has the same master number as the 3:05 version, but an early pressing I have has the suffix "3B" after the master. How early is this pressing? It's a stock copy, but it still has the "3:05" time on the label and it also has no reference to the album on the label. When the label time was corrected to 4:45, Columbia added a reference to the album The Time Has Come to the print under the song title. To make life even more confusing, there is a 4:51 stereo edit that has appeared on many CDs in recent years. But this is not the same as the 4:45 mono single version, although it is very close. The biggest difference: The mono single is slightly faster than the stereo re-creation. Fortunately, the mono hit single version has appeared on CD. http://forums.stevehoffman.tv/threads/the-chambers-brothers-time-has-come-today-original-unedited-version.8823/#post-127519 
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The fun facts: Consider the lines from the song,
Time has come today, young hearts go their way … -Meaning that kids were free to love whom they choose, that they were free to make their own decisions, and conduct their own lives. They can’t put it off another day … -Meaning that now was the time to take a stand, as this was a politically active song about society and the war in Viet Nam. I don’t care what others say, they say we don’t listen anyway … -Meaning that it was time to step off of the corporate tread, take chances, think outside of the box, and what’s it matter if the establishment didn’t like what the kids were thinking and doing, their elders never listened to them, so why should they think that their kids were listening. The room has changed today, I have no place to stay … -The room can be thought of as many things, perhaps most aptly as “the mind,” because once a persona had tried a bit of the lysergic, their room / mind, has profoundly changed. I’m thinking about the subway, my love has blown away … -Consider the subway to be a modern version of the underground railroad, spiriting young men to Canada to avoid the draft, with everything they’ve ever known or loved to be forever left behind. My tears have come and gone, oh Lord I gotta run I got no home, no I have no home … -There was so much loss in the 60’s, the war, assassinations, cities in flames, and protest marches turning violent, that kids felt that they had no home, no country, nothing they’d be taught to recognize when push came to shove. Now the time has come, no place to run … -Where could anyone really run or hide, better to stake a stand. Might get burned up by the sun, but I’ll have my fun … -This line has several references, one is to the space race and the fear that space craft could drawn into the sun [as could we all], meaning life is uncertain. The sun was also a reference to Viet Nam and the unrelenting sun. The sun is also an implication suggestion of having fun, while tripping on the Owsley acid Orange Sunshine. I’ve been loved and put aside, I’ve been crushed by the tumbling tide, and my soul’s been psychedela-cized … -Take this as meaning that kids felt that they were loved, yet put on a shelf, never to be sincerely touched, with the “tide” suggesting that so many get crushed by a wave of people doing the exact same thing. The notion that they’ve tried everything, but that true peace comes from within. Now the time has come, there are things to realize … -Probably the most profound line, meaning that simply because kids realize that it’s time to make a change, that the time is now, that they should be acutely aware not to simply join another community, that they must realize or understand the things that implicitly matter, and do those things in spite of their elders or their contemporaries. Review by Jenell Kesler |
Few bands during 1967, during the Summer of Love and the fledgling FM progressive radio, where more suited and positioned to hypnotically psychedela-cized the nation, and nearly single handedly place psychedelic music squarely on the map with their to this day blisteringly emancipated vision of the social and musical scene, captured in a single profound moment … well, actually eleven minutes and six seconds to be exact. Rising from a gospel and folk background, even singing with Dylan on his unreleased 1965 sessions, the band was poised to see the world through the eyes and ears of the folk and gospel scene, yet with the backing of David Rubinson [late of Moby Grape], the Chambers brothers would sanctify the world with a heady funky blues laden track that ushered in one of the crowning achievements in psychedelic music, one that to this day is nearly unequaled.
Unlike other psych bands who simply fleshed out their music with trippy sounds and effects, the Chambers Brothers actually intuitively incorporated these sounds to not simply create an effect, but affect the totality of the song, using considered unpretentious lines and measured structures, featuring two lead guitars, one clean and the other fuzzed out, musical effects that were almost visual with stellar achievements with reverb, time sequencing, and echoes that felt as if the song was physically drawing the listener in, down, around, yet ever centered and in the moment, all presented with a sense of urgency, yet not forgetting that music was supposed to be a lot of fun. But the fun does not begin and end with the track “Time Has Come Today,” the rest of the album also has it’s far share of psychedela-cized tunes, but it also contains some brilliant R&B that’s laced with rock n’ roll, the blues and funk … songs that have been overlooked for far too long. |
