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Saturday, January 25, 2014
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
The influences of early Joan Baez, Judy Collins, Marianne Faithfull, and Sandy Denny echo heavily on Deena Webster's obscure 1968 British LP Tuesday's Child. Emphasizing high-voiced and earnest interpretations of contemporary songs by Donovan, Bob Dylan, Phil Ochs, Tom Paxton, and the Bee Gees, there's also a hint of folk-pop orchestration in some of the arrangements. "Hurry, Tuesday Child" almost sounds like something Scott Walker could have sung in the late 1960s, though far more often the production has a plainer tone, and is on occasion fairly stark traditional folk.
Of course, at least part of the reason this album is so obscure is that, despite the similarities to the aforementioned folk legends, Webster's voice isn't nearly as good or distinct as the vocals of Denny, Faithfull, Collins, or Baez. It's still pleasant period mid-'60s folk (actually slightly retro by the time of its 1968 release) for genre specialists. Considering how often the song was covered, "The House of the Rising Sun" is a surprising standout, Webster's haunted voice and acoustic guitar backed only by a spooky organ.
A Baezic collection of sweet hippy folk. Not perfect, but some very sweet and moving moments such as a very good interpretation of the Bee Gees New York Mining Disaster, Tangles of My Mind, Flower Lady and the romanescan Geordie.
I sometime enjoy Bob Dylan's song when they are sung by people who actually are able to sing well. Her version of Just Like Tom Thumbs Blues is gorgeous. I felt quite carried away by the sensitive pop oriented orchestrations of Hurry Tuesday Child. I wasn't enammored by The House of the Rising Sun, thought it was a strange choice but I guess it was popular at the time.
Deena has a strong understanding of the lyrics she relates and handles them always with sincerity and intelligence. Not just a bimbo folkie chick. While I don't believe I have ever seen a performance of her, she has a voice commanding attention and I got quite lost in hearing this. I wish she had had a more extensive discography.
01. Hurry, Tuesday Child
02. Hair Of Spun Gold
03. New York Mining Disaster 1941
05. Just Like Tom Thumb's Blues
06. The House Of The Rising Sun
07. Who Will Buy
08. The Flower Lady
09. Summer Day Reflection Song
11. Tangles Of My Mind
12. The Last Thing On My Mind
|Deena Webster 1970|
Tuesday, January 21, 2014
Size: 116 MB
Found in OuterSpace
This is the complete show. This is a continuous running recording of the entire show with all songs included. This verifies the songs played and the order the songs were played in. Also this setlist is confirmed in Levon Helm's book "This Wheel's On Fire".The only time it seems the recording was stopped or paused was at the end of track 10 before the encore song durring the applause then started back up. This source is the best sounding undedited raw source around.
Their first album, Music from Big Pink (1968) was widely acclaimed. The album included three songs written or co-written by Dylan ("This Wheel's on Fire", "Tears of Rage", and "I Shall Be Released") as well as "The Weight", the use of which in the film Easy Rider would make it probably their best known song. While a continuity certainly ran through the music, there were stylistic leanings in a number of directions. In contrast to his wild guitar playing with Hawkins and Dylan, Robertson opted for a more subdued, riff-oriented approach, often mixed low down in the song.
After the success of Music from Big Pink, the band went on tour. Their first live appearance was at Stony Brook University in the spring of 1969 several weeks preceding a performance at the Woodstock Festival (which was not included in the famed Woodstock film due to legal complications) and an appearance with Dylan at the UK Isle of Wight Festival (several songs from which were subsequently included on Dylan's Self Portrait album). That same year, they left for Los Angeles to record their follow-up, The Band (1969). From their deliberately rustic appearance on the cover, to the songs and arrangements within, the album stood in contrast to other popular music of the day.
Although it should be noted that, by this point, several acts, notably Dylan on John Wesley Harding (written during The Basement Tapes sessions) and The Byrds on Sweetheart of the Rodeo (featuring two Basement Tapes covers), had made similar stylistic moves. The Band featured songs that evoked oldtime rural America, from the Civil War in "The Night They Drove Old Dixie Down" to unionization of farm workers in "King Harvest (Has Surely Come)".
These first two records were produced by John Simon, who was practically a group member: he aided in arrangements and played occasional instruments (piano or tuba). Simon reported that he was often asked about the distinctive horn sections featured so effectively on the first two albums: people wanted to know how they had achieved such memorable sounds. Simon stated that, besides Hudson (an accomplished saxophonist), the others had only rudimentary horn skills, and achieved their sound simply by creatively utilizing their limited technique.
Max Yasgur's Farm Field, Bethel, N.Y.
August 17, 1969 [Day 3 Sunday]
♦ Robbie Robertson - acoustic and electric guitars & vocals
♦ Rick Danko - bass & vocals
♦ Levon Helm - drums, mandolin & vocals
♦ Garth Hudson - organ & saxaphone
♦ Richard Manuel - piano, drums & vocals
01. Intro. by MC. >
02. The Genetic Method > Chest Fever
03. Don't Do It
04. Tears Of Rage
05. We Can Talk
06. Long Black Veil
07. Don't You Tell Henry
08. Ain't No More Cane On The Brazos
09. This Wheel's On Fire
10. I Shall Be Released
11. The Weight > Outro by MC
12. Loving You Is Sweeter Than Ever