Monday, January 25, 2021
Saturday, January 23, 2021
Thursday, January 21, 2021
Tuesday, January 19, 2021
Friday, January 15, 2021
Monday, January 11, 2021
Friday, January 8, 2021
Hooker 'n Heat is a double album released by blues musician John Lee Hooker and blues-rock band Canned Heat in early 1971. It was the last studio album to feature harmonica player, guitarist and songwriter Alan Wilson, who died in September 1970 from a drug overdose. The photo on the album cover was taken after Wilson's death, but his picture can be seen in a frame on the wall behind John Lee Hooker. Guitarist Henry Vestine was also missing from the photo session. The person standing in front of the window, filling in for Henry, is the band's manager, Skip Taylor. Careful examination of the photo reveals that Henry's face was later added by the art department. Although featured on the cover, vocalist Bob Hite does not sing on the album.
It was the first of Hooker's albums to chart, reaching number 78 in the Billboard charts. Hooker plays unaccompanied on side one and "Alimonia Blues"; on the remainder of side two and "The World Today" and "I Got My Eyes on You" Hooker is accompanied by Wilson on various instruments. The full band plays with Hooker on the rest of side three and all of side four.
All songs written by John Lee Hooker except as noted.
1. "Messin' with the Hook" 3:23
2. "The Feelin' Is Gone" 4:32
3. "Send Me Your Pillow" 4:48
4. "Sittin' Here Thinkin'" 4:07
5. "Meet Me in the Bottom" 3:34
1. "Alimonia Blues" 4:31
2. "Drifter" Charles Brown, Johnny Moore, Eddie Williams 4:57
3. "You Talk Too Much" 3:16
4. "Burning Hell" John Lee Hooker, Bernard Besman 5:28
5. "Bottle Up and Go" Tommy McClennan 2:27
1. "The World Today" 7:47
2. "I Got My Eyes on You" 4:26
3. "Whiskey and Wimmen" 4:37
4. "Just You and Me" 7:42
1. "Let's Make It" 4:06
2. "Peavine" 5:07
3. "Boogie Chillen' No. 2" John Lee Hooker, Bernard Besman 11:33
John Lee Hooker - vocals, guitars
Alan Wilson - harmonica; piano on "Bottle Up and Go" and "The World Today"; rhythm guitar on "I Got My Eyes on You" and "Peavine"
Henry Vestine - electric guitar on "Whiskey and Wimmen," "Just You and Me," "Let's Make It," and "Boogie Chillen' No. 2"
Antonio de la Barreda - bass
Adolfo de la Parra - drums
Bob Hite - producer
Thursday, January 7, 2021
Steelyard Blues is a 1973 comedy crime film starring Donald Sutherland, Jane Fonda and Peter Boyle.
Tagline: If you can't beat 'em ... drive 'em crazy!
Because Fonda, Sutherland and Boyle were active in anti-war activities when this movie was made, it seems that Steelyard Blues was not given a wide release or much publicity. Nevertheless, it is memorable for its portrayal of oddball characters, and found a warm reception among college students and non-conformists. With its anti-establishment message and hip soundtrack by musicians Mike Bloomfield, Paul Butterfield, Nick Gravenites, Maria Muldaur and others, it is an iconic seventies film.
A tremendous soundtrack album to director Alan Myerson's film Steelyard Blues, which starred Jane Fonda, Donald Sutherland, and Peter Boyle, this collection feels like a side project collaboration between the Electric Flag and Paul Butterfield Blues Band with added performances by Maria Muldaur and Merl Saunders. The majority of the material is written and performed by the great Nick Gravenites and Mike Bloomfield, the 14 songs really standing up on their own as a work not dependent on the film and not feeling like they are mere chess pieces to supplement a Hollywood flick. Gravenites does a masterful job of producing, with "Common Ground" resembling a great lost Electric Flag song -- Annie Sampson trading off on the vocals with Gravenites as Janis Joplin did with him on In Concert. Muldaur co-wrote "Georgia Blues" with Bloomfield and Gravenites, while they gave Muldaur and Saunders the opportunity to contribute a tune by including their "Do I Care." "My Bag (The Oysters)" adds some pop/doo wop to the affair, a nice twist, and it borders on parody. Gravenites is always able to juggle his serious side with a tongue-in-cheek wink, and this interesting and enjoyable effort deserved much wider play.
Tuesday, January 5, 2021
In the 17th, 18th, and 19th centuries, some doctors wore a beak-like mask that was filled with aromatic items. The masks were designed to protect them from putrid air, which (according to the now-obsolete miasmatic theory of disease) was seen as the cause of infection. The design of these clothes has been attributed to Charles de Lorme, the chief physician to Louis XIII.
The first European epidemic of the bubonic plague dates back to the mid 6th century and is called the Plague of Justinian. The largest plague epidemic was the Black Death in Europe in the 14th century. The large losses of people in a town created an economic disaster, so community plague doctors were considered quite valuable and were given special privileges; for example, plague doctors were freely allowed to perform autopsies to research a cure for the plague.
In some cases, plague doctors were so valuable that when Barcelona dispatched two to Tortosa in 1650, outlaws captured them en route and demanded a ransom. Barcelona paid for their release. The city of Orvieto hired Matteo fu Angelo in 1348 for four times the normal rate of a doctor of 50-florin per year. Pope Clement VI hired several extra plague doctors during the Black Death plague to tend to the sick people of Avignon. Of 18 doctors in Venice, only one was left by 1348: five had died of the plague, and 12 were missing and may have fled.
A beaked Venetian carnival mask with the inscription Medico della Peste ("Plague doctor") beneath the right eye
Some plague doctors wore a special costume. The garments were invented by Charles de L'Orme in 1630 and were first used in Naples, but later spread to be used throughout Europe. The protective suit consisted of a light, waxed fabric overcoat, a mask with glass eye openings and a beak shaped nose, typically stuffed with herbs, straw, and spices. Plague doctors would also commonly carry a cane to examine and direct patients without the need to make direct contact with them.
The scented materials included juniper berry, ambergris, roses (Rosa), mint (Mentha spicata L.) leaves, camphor, cloves, labdanum, myrrh, and storax. Per the then-widely accepted miasma theory of disease, it was believed this suit would sufficiently protect the doctor from miasma while tending to patients.Public servants
Their principal task, besides taking care of people with the plague, was to compile public records of the deaths due to the plague
In certain European cities like Florence and Perugia, plague doctors were requested to do autopsies to help determine the cause of death and how the plague played a role.Plague doctors became witnesses to numerous wills during times of plague epidemics. Plague doctors also gave advice to their patients about their conduct before death. This advice varied depending on the patient, and after the Middle Ages, the nature of the relationship between doctor and patient was governed by an increasingly complex ethical code.Methods
Plague doctors practiced bloodletting and other remedies such as putting frogs or leeches on the buboes to "rebalance the humors" as a normal routine. Plague doctors could not generally interact with the general public because of the nature of their business and the possibility of spreading the disease; they could also be subject to quarantine.
Monday, January 4, 2021