#Peter LaFarge

[glowingcritter]

Veteran Ira Hamilton Hayes/Chief Falling Cloud, of the Gila River Indian Community in Arizona. He was one of the six iconic flag raisers on Iwo Jima. Peter LaFarge’s song “The Ballad of Ira Hayes” is based on his life.

[thislovintime]

(Photo 1) Peter Tork onstage at Carnegie Hall with Peter LaFarge, 1960s (photo by Bob Campbell); (photo 2) by Henry Diltz.

More about that gig with LaFarge here.

"I did some work accompanying Steve Stills when he was with Ron Long and the Buffalo Fish. I accompanied this black trio called the [Apollas], on the stand-up string bass." - Peter Tork, Goldmine, 1982

* * *

“[I] worked in a nightclub called The Shadow. And I think it was late June [1964] that the Phoenix Singers came through, and Peter was in the band, he was the banjo player in — behind the group… And he and I hit it off, and that Monday night, we did an impromptu show together, we just played a couple of tunes, you know, and had a good time, and stayed friends. And then when I opened a club in 1965, there was no place to play in the winter in that area — Virginia Beach, Norfolk… So I opened a club on my own with two friends, we called it The Folk Ghetto, and I contacted Peter in New York City and said, ‘I wanna hire you to come down here for a week and be the headlining act.’ Which he did. […] He was, he was fantastic. He was so good. It was wonderful." - James Lee Stanley, Tales of the Road Warriors, 2019 (x)

* * *

“Many people don’t know that Peter has a really rich baritone — had a voice like, it was like a cello, really rich and resonant, you know, and fun to listen to.” - James Lee Stanley, The Monkees Pad Show no. 11

* * *

“[E]ventually he had an offer to join the Phoenix Singers, who were short of a guy to play banjo AND guitar. And if you still have any doubts about whether he really does play, and play well, then the thing to do is ask the management behind the Phoenix Singers. Even without the Monkees, there is little doubt that the amiable Peter would have made the grade in the music business.” - Record Mirror, February 25, 1967

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“[Peter’s] really a genius, a prolific musician — he plays about seven instruments.” - Micky Dolenz, Record Mirror, February 11, 1967

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“Peter Tork has to be one of the best guitarists around — he can cut anybody on guitar. He plays about 10 instruments — banjo, uke, the lot.” - Davy Jones, The Ottawa Journal, January 20, 1967

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“Peter was a much more skillful player than I was by some orders of magnitude.” - Michael Nesmith, The Monkees Tale (1985)

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“[In the early 1980s, in NYC] I remember we went down to the China Club, and I took Peter down there, and… and I felt that a lot of the musicians, you know, disrespected him. He didn’t play, but I introduced him, ‘This is my pal, Peter,’ and they were kind of, like, blowing him off a little bit, and I remember seeing, you know, that pained look in his face as these guys were being rude — or condescending; not so much rude, it’s just condescending, like, ‘Oh, you were the Monkee, pfff,’ you know. And… and I know it troubled him. [Once the resurgence and 20th anniversary tour came around] that’s when Peter started — when they started giving him, you know, some regard.” - James Lee Stanley, The Monkees Pad Show no. 11

* * *

Q: "Most people know you from The Monkees but you were a well-respected musician before that."

Peter Tork. "You'll have to ask everyone else about the kind of respect I generated. I am a trained musician, somewhat trained. I took piano for six years and French horn. I took music theory for about three years. I learned to play the bass and the five-string banjo while I was learning a few other instruments here and there. So, I have some skills and some abilities. I'm pleased with what I got [...]. I wish I had more. But back then I was a folkie. Whatever I was, it seemed to be just the thing for The Monkees." - Daytona News Journal, October 8, 2009

[realmadridnews]

AD Ceuta FC - Real Madrid Castilla 2:2

scorers: 0:1, Dotor 11′

0:2, Dotor 34′

1:2, Rodrigo (p) 77′

2:2, Danese 90+3′

AD Ceuta FC: Mejias; Gutierrez (68′ Danese), Lafarge, Macias, Alain, Nito Gonzalez, Jota (46′ Redondo), Reina, Iglesias (68′ Pablo), Cuevas (46′ Aisar), Rodrigo

Real Madrid Castilla: De Luis; Obrador, Marvel, Marin, Carrillo, Tobias; Dotor (57′ Villar), Theo Zidane, Alvaro Martin (70′ Peter); Arribas (90′ Gonzalo), Bravo (70′ Aranda)

[ratthumbsup]

33, 66, 99!

hi sarah :]

33. end of my rope by pokey lafarge

this song is awesome. thanks meg for the rec.

66. don't think twice, it's all right by peter, paul, and mary

this song is ALSO awesome. thanks my mom for the introducing me to peter, paul, and mary as a child

99. the sky and the dawn and the sun by celtic woman

epic music league hours

[themonkeesfansite-blog]

An original vintage 1964 photograph of Peter Tork of The Monkees on stage with Peter LaFarge during the 1964 New York City Folk Festival. [Photo source: 16 Magazine. Buy print here]

[wawalu]

Bob Dylan. ‘Ira Hayes’. ‘[Peter LaFarge cover live @ Rolling Thunder Revue, 1975/  ‘Rolling Thunder Revue’ OST,  2019]. 

[bobdylanrevisited]

Dylan

Released: 16 November 1973

Rating: 3/10

This isn’t a Bob Dylan album. It’s an album of the worst covers and outtakes from 3 years prior, that Columbia Records released without Dylan’s knowledge, as punishment after he signed with Asylum Records. It’s a shame this is technically part of his discography as it was never intended to be heard, and for good reason, so let’s make this quick.

1) Lily Of The West - The opening traditional track is by far the best on the album. It’s genuinely a decent track, the bass is brilliant, Dylan sounds great, and I can even deal with the backing singers. It’s all downhill from here I’m afraid.

2) Can’t Help Falling In Love - I don’t like the original Elvis track, but I really hate this version. These songs are all from the ‘Self Portrait’ era, so his crooning voice is in full effect and this is one of the worst examples of it.

3) Sarah Jane - This traditional song initially seems fun and upbeat, but unfortunately as per most of recordings from this time, the production lets it down. I mention my dislike for backing singers a lot, but this is the perfect example of how they can ruin a song. It’s a shame, Bob sounds like he’s having a laugh, but overall the confusing overdubs once again fuck this one up.

4) The Ballad Of Ira Hayes - A great Peter LaFarge song, telling an important story about Native Americans, and this version is fine. It’s still got all the godawful overdubs and added vocals, but Dylan sounds pretty good on the track. However, Bob performs the song live at the Tuscarora Reservation in Martin Scorsese’s perfect ‘Rolling Thunder Revue’ documentary, and I’d recommend watching that over listening to this version any day of the week.

5) Mr. Bojangles - No. Just no. This Jeffrey Walker tune doesn’t suit Dylan at all.

6) Mary Ann - The third and final traditional tune on the album, and my feelings towards it echo track 3. Could have been great, but it just ends up being an overproduced mess.

7) Big Yellow Taxi - There’s no reason to listen to this incredibly average cover, Joni Mitchell’s original is already perfect.

8) A Fool Such As I - I hate every second of this Bill Trader cover. Imagine the worst song on ‘Self Portrait’, double it, add a horrific cast of backing singers, some amateur production, and a very uninterested sounding Bob. Even though it was never meant to be released, I still judge Bob for even attempting to record this unlistenable shit.

9) Spanish Is The Loving Tongue - Bob has recorded this Charles Clark song many times. It is often sweet, beautiful, and incredibly moving, as heard on The Bootleg Series Vol. 10. So it seems like Columbia chose the worst possible recording, like I can’t even describe how fucking terrible this version is, and released it to add extra insult to Bob. Please seek out the other renditions of this majestic tune, ignore this godawful, over produced, pop song bollocks.

Verdict: It’s obviously shit, but it’s not Dylan’s fault. It intentionally has very little merit, was savaged by critics at the time, and Columbia Records are proper twats for trying to incinerate the reputation of one of their former biggest sellers. Weirdly enough, Bob would return to Columbia in 2 years, but not before he released an incredibly dark record with his former pupils The Band. Unfortunately, his upcoming second wave of success would come at the expense of his family life.

[glowingcritter]

American Indian activist, Vietnam War veteran, and protest folksinger, Peter LaFarge in Greenwich Village, August 1962

[thislovintime]

Peter Tork and Peter LaFarge, onstage at Carnegie Hall during the New York City Folk Festival, June 19, 1965. At the event, the bill was shared with the likes of Buffy Sainte-Marie, Chuck Berry, Johnny Cash, Muddy Waters, John Hurt, Phil Ochs, and The Staple Singers. Photo by Bob Campbell, © 16 Magazine.

“Peter came flying into the Four Winds, a coffeehouse on Third Street, in a high state of excitement, shouting, ‘Guess what, you guys!’ And he told us about his impending debut at Carnegie Hall. He told us that he had been hired to back up singer-composer Peter LaFarge (who later died in an unfortunate accident). Peter LaFarge was one of the acts invited to appear at the first New York City folk festival (and, I might add, the last) at Carnegie Hall. The festival starred such luminaries as Johnny Cash, Phil Ochs, the late Mississippi John Hurt, and a full range of folk personalities spanning the entire history of the idiom. Though the folk festival was not the financial success we had hoped it would be, it was certainly an artistic success — and it was a real kick to see Pete right up there on stage with the best of them.” - Lance Wakely, 16 Magazine, April 1967

Peter Tork: “[The music scene in Greenwich Village during the early 1960s was] Dreamsville. Total wonderfulness. Yeah, I was liberated, I was free, I was a hippie in Greenwich Village. It was great, you couldn’t ask for a better life.” Q: “Were you playing music for a living?” 
PT: “Yeah.” Q: “Did that pay the bills?” 
PT: “Yeah, such as they were. I mean, you know, I lived — shared a run-down apartment with a couple of other guys, and went out at night, we played the coffee house circuit in Greenwich Village from seven — quarter of the hour, from seven in the evening until four in the morning, six nights a week. It was a lot of fun.” Q: “You were playing guitar?” PT: Guitar and banjo, banjo and guitar, and between sets go get a slice and a beer and go back and do it again. And that was the life.” - GOLD 104.5, 1999

[smokeybrand]

Smokey brand Movie Reviews: The Devil is in the Details

I’ve been seeing a lot of chatter abut this Netflix movie, The Devil All the Time. It’s been getting mixed reviews but they skew mostly positive. What is really surprising is all of the buzz this thing has been getting. The word-of-mouth for this flick is mad profound. No less than six people that i know personally, have told me I'd love it. This thing was definitely on my list, Netflix has stepped their cinema game up considerably, but i have been distracted by other shows like The Boys, Raised By Wolves, and Ratched. The former two are weekly releases but i wanted to finish the latter completely before i took in any more new fare. Plus, Marebito is gnawing at me for a viewing. Still, i did finish Ratched and Marebito is an older title so i figure i might as check out this Netflix produced, Tom Holland vehicle for myself and see if the best Peter Parker can really step outside the MCU and impress, like his costar, Zendaya, does. Shout out to Zendaya on that Emmy win.

The Good

I love the direction of this film. It’s very controlled, very deliberate. This film started as a gook so there is already a story to be told, the trick is telling that story but in a way that not only represents the feel visually, but staying true to the tone of those pages. I’ve read this book years ago and never expected that it would get a film adaption but this one is pretty good at that. I credit this clearly to the deft touch of Antonia Gampos. He knows this story and he tells it well. Surprisingly, this is only his fifth directorial outing. Dude should be getting much more work after this though.

This is easily one of the most f*cked up stories ever captured on film. It feels like Silence of the Lambs in that sense but far more brutal and far less controlled. I remember the book being a great deal to finish, it’s just so goddamn cruel, and seeing that translated on film is just as brutal. I love it. I love when film challenges you like this one does. I love when there is real brutality displayed because humans can be brutal. I’m a card-carrying misanthrope so this narrative is par for the course for me.

This film is violently visceral. I mean there is gore galore but it’s never gratuitous. It’s almost always in service to the plot to prove how goddamn cruel the world within this narrative truly is. It can be shocking, it can be grotesque, it is definitely off-putting, but it’s never just for the sake of shock. I always respect when films show restraint with this kind of stuff. The gore is to accentuate not the other way around.

This cast is straight up lousy with talent. Jason Clarke, Sebastian Stan, Eliza Scanlen, Pokey LaFarge, Harry Meiling, and Haley Bennett, all turn in decent performances. It was dope seeing Mia Wasikowska in something new and Riley Keough can surprise when she has a role to chew on. They even incorporated the author of the original book, Donald Ray Pollock, as the narrator. I appreciate that nod.

Tom Holland didn’t disappoint. This dude is a real talent and seeing him in something completely different than the role that made him a star, Peter Parker, is f*cking jarring. It speaks to his range and a ridiculously bright future in this business ahead of him. His turn as Arvin Eugene Russell was staggeringly emotional. This performance, alone, should devastate any talk of type casting because kid can do it all. Seriously, there is level of barbaric malice that just infects the entirety of this the younger Russell’s life and Holland captures that underlying malice perfectly

Robert Pattinson keeps showing me why he’s one of the best in the business. The more he keeps turning in performances like Connie Nikas and Young, the more he distances himself from f*cking Edward. Reverend Preston Teagard is another one of those showings that proves Pattinson is a real actor and not some pretty face or, in the case of The Batman, a jaw for a cowl. It’s wild seeing BatPats as a fat-ass, sleazy ass, southern preacher with a disgustingly accurate drawl.

I would be remiss if i didn’t mention Bill Skarsgard as Willard Russell. Dude has been one of my favorite actors since his stint on Hemlock Grove, another Netflix property, and he’s been excellent in everything I've seen him since then. Mark in Assassination Nation, Pennywise in IT, Markel in Atomic Blonde; Dude was even part of the ill-fated X-Force in Deadpool, too, as Zeitgeist. Bill is riddled all over sh*t i enjoy and his take on the elder Russell is just another reason why.

The Bad

This thing kind of jumps all over the place with the narrative. You have to pay close attention because it does take place between two generations and several families. Everyone is interconnected, which lends itself to a novel but can be quite the burden to properly display on film. It can be a little much to keep up with everything but, if you can, if you take the time, it rewards you with an incredibly well constructed relationship tree.

It feels like a lot of this cast was wasted. There re so many great actors in this thing that only get a few minutes, a few scenes, to shine and it's a little bit of a waste. I'm not saying what they gave us wasn't excellent, i was just left wanting, just left longing for more. Seemed like a missed opportunity to me.

This thing is kind of a slog. It’s a little over two hours long and, while you watch it at your leisure, in your home, it’s still a rather large committed to demand from the common viewer, especially when there isn’t any real action to be had. I’m built for slow burn movies. I love atmosphere and purposeful film making like Alien, Blade Runner 2049, or The VVitch so this is right up my alley. Those films, however, are acquired tastes that not so many people in the general public have acquired.

As much as i can praise the overall narrative and how unapologetically adapted it’s been to film, this sh*t is not an easy watch. It is truly f*cked up and a real hard story to witness. While i, personally, believe the utter barbarism on display is riveting, I've sat through Irreversible and Raw a few times so my tolerance is pretty high to the horrid, i can see how people could be turned off by all of this f*cked up. This is a story of awful people caught in even worse circumstances. Every one who is even remotely decent, dies. There are no happy endings to be had here. This movie is an exercise in the worst of humanity so if you’re looking for a light-hearted romp to get your mind off the state of the world, this ain’t, bud.

The Verdict

I loved this film. It is an absolutely excellent picture from start to finish. The way it’s shot, the vision on hand, the adherence to the time period - all of it is masterfully guiding by the expert direction from Campos. Tom Holland turns in a brutally forceful performance that carries this film filled with one of the best casts I've seen in years. Seriously, this movie has an embarrassment of riches on hand and they use them to full effect, mostly. I enjoyed every second of this movie but i can honestly say, it ain’t for everyone. This is not a fun tale. This not a good time. This is one of those movies that leaves you disgusted with humanity and that might be way too much to ask of people, especially during this, the f*cking apocalypse in real life. If 2020 were a film, it would be The Devil All the Time. Sh*t’s that bleak and it asks a lot of your time to slum it in this sordid, bloodied, world. The performances and visuals are absolutely outstanding and the way the film has been crafted makes for great cinema but, f*ck, is it a monstrous watch. If you can stomach it, i give it the highest of recommendations but this thing can be excruciating to see.

[irishbluejay]

Episode 055 - Catherine Bainbridge, Rob Howatson

Episode 055 – Catherine Bainbridge, Rob Howatson

http://endeavoursmedia.com/wp-content/uploads/2017/08/Episode-055.mp3

Catherine Bainbridge is a documentary filmmaker for Rezolution Pictures and found previous success with the film Reel Injun. She has also been a producer on several shows including Mohawk Girls, Down the Mighty River, and The Oka Legacy. Her newest film is Rumble: The Indians Who Rocked The World, which looks at the history of…

[watusichris]

A Bob Dylan Story, or Two

WARNING: The following may contain spoilers. Yes, spoilers.

In Martin Scorsese’s 2005 documentary Bob Dylan: No Direction Home, which takes in Dylan’s youth and the first five years of his recording and touring career, the late Izzy Young, the founder of Greenwich Village’s Folklore Center, picks through an early Dylan bio. He notes some of the singer’s more outrageous accounts about his early travels, and his claims of learning songs from blind Chicago street singer Arvella Gray and Texas songster Mance Lipscomb.

“I should have figured out right away he was bullshitting me,” Young says.

From the very first, bullshitting was an important, even preeminent part of Dylan’s self-manifestation, and some of the recent acts of archival curation on the musician’s behalf have also involved no small amount of manure spreading. (cf. my piece on the gospel set Trouble No More, here: https://watusichris.tumblr.com/post/167349872212/a-dylan-a-day-annex-narrow-is-the-way).

Scorsese’s new film Rolling Thunder Revue: A Bob Dylan Story, which premieres on Netflix June 12, is being described in some quarters as a “documentary,” but it is animated in no small measure by large servings of highly entertaining mendacity. Its subject gives a bit of the game away in its early minutes: Dylan takes a stab at explaining what the subject of the film might be, then halts abruptly and says, “Ah, bullshit.”

The movie, which is being accompanied by a 14-CD boxed set of music (my Variety review: https://variety.com/2019/music/news/bob-dylan-rolling-thunder-revue-live-box-set-review-1203235093/), is a major reclamation project. The copious documentary footage of Dylan’s titular tour of 1975 was shot for his maiden project as a film director, the excruciating, nearly four-hour Renaldo & Clara. I had a hand in launching that self-indulgent disaster in 1978, and to say the grosses were nightmarish is an understatement -- it flopped on arrival. It’s still a chore to view this addled junior-high stab at Children of Paradise. Watching it today at its full length on YouTube, I wanted to remove my brain from my skull with my own hands.

Dreadful as Dylan’s movie was, some astounding performances by Dylan and his many Rolling Thunder co-stars and cohorts could be found amid its stupor-inducing dramatic improvisations by Dylan and his cast of non-professionals (who included his wife Sara, whom he was trying to woo back into his good graces, and his former paramour and singing partner Joan Baez).

Wisely pretending that Renaldo & Clara never existed, Scorsese organizes the blazing footage of Dylan, his immense and febrile RTR band, and his co-stars into a chronological account, augmented by new testimony, of what the late poet and tour fellow traveler Allen Ginsberg calls “a con man carny medicine show” in a vintage interview.

Since Renaldo & Clara has been officially buried in the vaults for four decades and never officially released on home video, and the concert material that hasn’t been scrubbed from the Internet is not of the highest quality, the vibrant, newly cleaned-up footage in Scorsese’s feature will most assuredly blow minds.

Part of the Rolling Thunder Revue’s allure derives from the starry trek’s short run of remote ’75 dates in New England and Canada, and the movie delivers the goods in spades, offering up those obscure shows in all their forceful glory. The visually pristine sequences of Dylan and company hurling themselves through then brand-new numbers like “One More Cup of Coffee,” “Isis,” “Romance in Durango,” and “Hurricane” and high-watt rearrangements of oldies like “It Ain’t Me, Babe,” “The Lonesome Death of Hattie Carroll,” and “Knockin’ On Heaven’s Door” shook the theater at the screening I attended.

Dylan himself is especially intense onscreen in his whiteface and plumed, flower-bedecked, wide-brimmed hat, dashing around the stage and locking eyes with his band mates and duet partners Baez and Roger McGuinn. Customarily a non-presence in front of a camera (even in his own movie), he is ferociously alive behind the RTR mic.

No less exciting is material captured by the side of the road, like a version of Peter LaFarge’s  “Ballad of Ira Hayes,” about the Native American hero of Iwo Jima, played at a Tuscarora Indian reservation, or an impromptu run-through by Joni Mitchell of her new song “Coyote” (reputedly inspired by an affair with tour mate Sam Shepard) with Dylan and McGuinn in Gordon Lightfoot’s living room.

Despite its seemingly conventional contours, Scorsese’s look at the short, lively life of the Rolling Thunder Revue should not be confused with his relatively straightforward docs like No Direction Home, The Last Waltz (which also features Dylan), or his films about George Harrison and the Rolling Stones.

“Life is about creating yourself,” Dylan says, and Scorsese acts as an accomplice in the present endeavor. The results are enjoyably perverse.

The sleight-of-hand approach announces itself in the film’s first minute. It begins with a clip from an 1896 short by Georges Meliés, the subject of Scorsese’s 2011 homage Hugo, in which the French filmmaking magician makes a woman disappear. (Just as the director renders Sara Dylan invisible in the proceedings, it should be noted.) A title card immediately appears: “Conjuring the Rolling Thunder Revue.” The word “conjuring” suggests that some of what the audience will be seeing is at once something more than and somewhat less than the truth. (A lyric comes to mind: “All the people we used to know, they’re an illusion to me now.”)

Keener-witted viewers of Rolling Thunder Revue may have already started to wonder about the veracity of some of what they’ve been watching by the time they reach a segment, late in the film, in which former Michigan congressman Jack Tanner talks about a trip to a Rolling Thunder show in Niagara Falls that was facilitated by President Jimmy Carter.

After you realize that “Tanner” is the actor Michael Murphy, reprising his role in Robert Altman’s political mockumentary Tanner ’88, you may start to understand that some of what you’ve already seen is the purest fiction. You then find yourself second-guessing some of the talking heads who offer their recollections.

So was that “European film director” actually a part of the crew shooting the tour? Or is he possibly a former performance artist? How is it that one of the purported tour promoters shares the name of the current chairman of a major Hollywood studio? Nah, couldn’t be. Should we believe an assertion by Ronnie Hawkins, who played “Bob Dylan” in Renaldo & Clara, that Scarlet Rivera, the exotic violinist on the tour, was a major freak who invited him to her hotel room to watch her have sex? (“She had a sword,” both Hawkins and Dylan report, darkly.) Was Rivera’s boyfriend really Gene Simmons of KISS, whose makeup supposedly inspired Dylan’s whiteface? (That one’s a real hoot!) Should we trust Sharon Stone, the star of Scorsese’s Casino, when she describes joining the tour as a 17-year-old?

Not content to toy with his own reality, Dylan has obviously given license to Scorsese to toy with everyone else’s, too. Note the picture’s subtitle again: “a Bob Dylan story.” In this case, a good synonym for “story” is “yarn,” and a decent yarn it is.

I suppose it’s appropriate that Allen Ginsberg, making a poignant posthumous return to Dylan’s stage, is the beating heart of Rolling Thunder Revue. After all, he was a man who appeared in Jack Kerouac’s novels as fictional characters – Carlo Marx, Alvah Goldbook, Irwin Garden, Adam Moorad. Dylan calls him “the Oracle of Delphi” here, and he brings the picaresque rigor of the Beats to the film, as he declaims his hardcore elegy “Kaddish” to an audience of little old ladies at a mahjongg tournament, reads Kerouac’s Mexico City Blues at the novelist’s Massachusetts grave site, and dances ecstatically in a hotel ballroom.

The poet is granted the film’s final moments, in which he instructs the audience to  “pick up on some redemption of your own consciousness, and make it for your own eternity.” That line seems almost like a description of Dylan’s and Scorsese’s playbook for this unusual movie.

[rutaalrocknoticias]

WARD HAYDEN & The Outliers concierto en la Sala Clamores de Madrid.

WARD HAYDEN & The Outliers

La revista Rolling Stone les definió con la ecuación de “un Buddy Holly moderno + Dwight Yoakam dividido por los Mavericks”, y la verdad es que es la definición perfecta de su divertido rock n' roll clásico y ritmo de honky tonk

11 DE OCTUBRE (víspera de festivo). SALA CLAMORES, MADRID Compra tu entrada aquí

Ward Hayden & The Outliers (antes conocidos como Girls Guns & Glory) comienzan como una vía de escape a la música enlatada de la radio actual. Hayden, formado en la música country y el rock n’ roll primigenio a través de las cintas de cassette de su madre, ha encontrado en Greg Hall (bajo), Josh Kiggans (batería) y Cody Nilsen (guitarra) a sus compañeros perfectos de viaje. Labrándose un nombre en los honky tonks de Boston antes de saltar a la carretera en USA y Europa, pronto lograron una fiel legión de fans, y la revista Rolling Stone les definió con la ecuación de “un Buddy Holly moderno + Dwight Yoakam dividido por los Mavericks”. Enamorados del rock n’ roll clásico, el country, el blues y la música americana más eléctrica y auténtica, sus canciones hablan de amor, del día a día, de la gente sencilla. Tras “Can’t Judge a Book”, primer disco de la nueva encarnación de la banda, compuesto por versiones de The Derailers, Peter Lafarge, Fountains Of Wayne, Elvis, Chuck Berry y Nick Lowe, ‘Free Country’ (2021), producido por el infalible Eric ‘Roscoe’ Ambel (Steve Earle, Dan Baird y un largo etcétera) es un paso adelante en su ejercicio de estilo, con baladas de corazones rotos y rock n’ roll para llevar el ritmo con las botas.

[youthsloadedmedia]

Rivers Government Seizes Lafarge Truck (Pictures) 

Rivers Government Seizes Lafarge Truck (Pictures)  The Rivers State Ministry of Works wishes to appreciate citizen’s patriotic act of reporting the spilling of mixed concrete along Dr. Peter Odili road through Ordinance road, Trans-Amadi, Port Harcourt. Consequently, the ministry has seized the truck while further action is…