Jennings famously gave up his seat on the plane that killed Holly on Feb. 'Rock-a-Bye Rock'Įqually precious, also never-to-be-performed-again jewel from that supernatural night in Zilker Park 2006, Waylon Jennings' "Bob Wills Is Still the King" has its roots in Holly too, if only by extension. "One for Buddy, pals," concludes the bandleader three minutes later.īuddy Holly, Not Fade Away: The Complete Studio Recordings and More on six CDs from Hip-O Select offers 202 others. Ronnie Wood rings his weathered Stratocaster. In green Tolkien jacket and Cat in the Hat scarf – earring and headband as though a Moroccan prince – Richards delivers Holly's punch line with teeth clenched and his Anubis yawp in a lower register, a man who knows the game. When you love her but she doesn't love you Age and eyeliner can't hide the teen in his eyes as he barks. Richards' customary two-tune interludes in Stones shows over the last three decades have dealt a card or two from the bottom of the deck, but surely "Peggy Sue" or "Rave On" would have struck a more capital chord.Ī puff of talcum powder on the neck of his Fender precedes Richards' Lone Star-sized take on the song. Had Mick Jagger been onstage singing, the first song on the UK eternals' first album, Buddy Holly's "Not Fade Away," might have gotten the nod instead, opening hex on the band's Voodoo Lounge tour in the mid 1990s. If birds sang at night, you'd have heard their twitter. "So we're gonna have a bash at 'Learning the Game.'" "Anyway, I thought, just for a change, we want to pay homage to a great Texan – a man named Buddy Holly."įorty thousand live music capitalists cheer Richards' stone-faced reverence. Anyone got a room? I say that to all the girls."įather riff says that to all the "Little T&A," the song after the one he's introducing. "How y'all doing? All right?" continues the guitarist. Still a thrill sliding out disc one from the Rolling Stones' The Biggest Bang 4-DVD set, on which is printed below the concert venue/program: "Austin, Texas USA." “I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you’re never sure if the first person is talking or the third person,” he told Cameron Crowe."Good evening, Austin," says Keith Richards like the King of England himself, stepping back from the microphone to let the words hang in the crisp air of Zilker Park. Few songs evoke this desire to escape the past more than the album’s opening track, ‘Tangled Up In Blue’. Dylan does his best to run from his own history but, in doing so, finds himself looking over his shoulder. Throughout the album, there is a constant sense of the past rising up and colouring the future. It would be his final record for the label, and shortly after its release, Columbia began courting Dylan, explaining that they would do everything in their power to bring him “back into the fold”.ĭylan commenced work on Blood on the Tracks in September 1974, returning to New York, which still swirled with the creativity that had served him so well in the past. He’d also recorded a live double album, Before The Flood, for Asylum. It arrived at a very busy time for the singer-songwriter, who’d just come back from a 40-date North American tour with The Band – his first tour in seven years. Though panned by Rolling Stone at the time, Blood On The Tracks is now regarded as one of Bob Dylan’s finest albums.
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