The screams of children are drown out by the wailing of their mothers.
Oh geez. I’ve been sitting here – literally for minutes! – trying to think of what to blog about; meditating on current events both in my life and on this wacky planet we call Bruggafaderöllfyrwabbanonie (though “we” are a chosen few and most people prefer the moniker “Earth”), and couldn’t come up with anything special about today. I finally thought to visit my friend Wikipedia for some thrills, chills and spills in the form of their random article feature, only to suddenly remember that today is [insert cuss word here] Easter.
It’s Easter, brother! How could I not notice?
I’ll tell you how: I have no kids in my life. No one excited that an anthropomorphized rabbit might be prowling in the night, leaving artificially-colored produce is sneaky spots around our property (how kids think this is “neat” is beyond me and perhaps bespeaks to an aggravated psychological wound in our collective consciousness). My youngest nephews are all in Northern California, safely out of reach from Melrose brunches and Angelyne billboards; the closest thing to a child in my life is the kitten we just rescued. (Her name is Maybe.)
Fahey, who was making similar innovations. Graham influenced a who’s who of British guitarists from Bert Jansch, John Renbourn, Richard Thompson, John Martyn, Nick Drake, Martin Carthy, and Jimmy Page -- Page’s instrumental "White Summer" was heavily based on Graham's "She Moved Thru the Bazaar/Blue Raga."
es of eclectic solo albums that touched on a wide range of music, from jazz and blues to Indian and Arabic and gypsy. He introduced to many an aspiring young guitarist the DADGAD guitar tuning, whose chief appeal is the ability to improvise freely, yet maintain a solid underlying rhythm and harmony. But Graham's career was somewhat unpredictable; his concerts were often hit or miss. Much of his reputation was based on a couple of brilliant albums, both released in the same week of 1965, Folk Routes, New Routes in a duet with the folk singer Shirley Collins and Folk, Blues and Beyond, a mostly instrumental album that combined all his world music styles. His live playing was best captured and recorded in 1967 on an incredible album entitled After Hours, which was recorded in a student's dorm room on the campus of Hull University in front of an audience of about eight people. Nonetheless, and in many ways, even as impulsive as he may have been, Davey Graham was the first guitar hero … and certainly one of mine.
part in here-- there's just so many of them. He was one of the first to arrange and manage European Jazz and Blues tours. He worked for Elektra and eventually formed his own production company called Witchseason. He booked an extremely successful club night in London in the 60s that hosted Pink Floyd and The Move, among many others. He went on to produce artists like Nick Drake, The Incredible String Band and Fairport Convention.
The Newport Folk Festival when he was a stage manager and Dylan went electric. Reading that portion of the book made my heart race! If for nothing else, it's worth buying White Bicycles just to read about this momentous occasion in rock history from a fresh viewpoint. Boyd was truly a part of that evening and remembers it all! He really must have kept a journal. It answers some questions about who exactly was in a physical fight that night, who started what and if Pete Seeger did indeed cut the electricity with an axe. There really was an axe there that night, and that's all I'm gonna say!
