Ace of Cups performing at the Festival of Growing Things, Mt. Tam Outdoor Theater, July 1 & 2, 1967
The Ace of Cups emerged in San Francisco in 1967 but moved to Marin County early on during their five years of performing. Since then, they’ve been honored as (very likely) history’s first all-female rock band (as opposed to 1950s-style vocal-focused “girl groups”), as all five members played rock band instruments, sang, and shared the songwriting.
Simplicity
Jimi Hendrix invited the band to open for him at a free concert in Golden Gate Park. In London that December, Hendrix told Melody Maker about some of the "groovy sounds" he had heard that year, "like this girl group, Ace of Cups, who write their own songs and the lead guitarist is hell, really great".
De originele bezetting met: Duane Allman (gitaar), Gregg Allman (vocalen en orgel), Dickey Betts (gitaar), Berry Oakley (basgitaar), Butch Trucks (drums) en Jai Johanny "Jaimoe" Johanson (drums)
Duane Allman
Op 29 oktober 1971, niet lang na het uitkomen van het mooie live album At Filmore East , kwam Duane Allman in een motorongeluk om het leven
Berry Oakly
Een jaar later,op 11 November 1972 kwam ook Berry Oakly om als gevolg van een motorongeluk.
Tijdje geleden kwam ik deze naam tegen op mijn speurtocht naar mooie muziek op ons onvolprezen internet.Ik was het eigenlijk al vergeten ,tot ik op het weblog "No Depression"een filmpje van deze persoon zag.Erg mooi,zanger en geweldig gitarist in de stijl van Leadbelly ,Blind Lemon Jefferson.e.a.Hier het verhaal van Mance Lipscomb
Mance Lipscomb (1895-1976), guitarist and songster, was born to Charles and Jane Lipscomb on April 9, 1895, in the Brazos bottoms near Navasota, Texas, where he lived most of his life as a tenant farmer. His father was an Alabama slave who acquired the surname Lipscomb when he was sold to a Texas family of that name. Lipscomb dropped his given name, Bowdie Glenn, and named himself Mance when a friend, an old man called Emancipation, passed away. Lipscomb and Elnora, his wife of sixty-three years, had one son, Mance Jr., three adopted children, and twenty-four grandchildren.
SugarBabe
Lipscomb represented one of the last remnants of the nineteenth-century songster tradition, which predated the development of the blues. Though songsters might incorporate blues into their repertoires, as did Lipscomb, they performed a wide variety of material in diverse styles, much of it common to both black and white traditions in the South, including ballads, rags, dance pieces (breakdowns, waltzes, one and two steps, slow drags, reels, ballin' the jack, the buzzard lope, hop scop, buck and wing, heel and toe polka), and popular, sacred, and secular songs. Lipscomb himself insisted that he was a songster, not a guitarist or "blues singer," since he played "all kinds of music." His eclectic repertoire has been reported to have contained 350 pieces spanning two centuries. (He likewise took exception when he was labeled a "sharecropper" instead of a "farmer.")
Motherless Children
Lipscomb was born into a musical family and began playing at an early age. His father was a fiddler, his uncle played the banjo, and his brothers were guitarists. His mother bought him a guitar when he was eleven, and he was soon accompanying his father, and later entertaining alone, at suppers and Saturday night dances. Although he had some contact with such early recording artists as fellow Texans Blind Lemon Jefferson and Blind Willie Johnsonqqv and early country star James Charles (Jimmie) Rodgers,qv he did not make recordings until his "discovery" by whites during the folk-song revival of the 1960s.
All Night Long
Between 1905 and 1956 he lived in an atmosphere of exploitation, farming as a tenant for a number of landlords in and around Grimes County, including the notorious Tom Moore, subject of a local topical ballad. He left Moore's employ abruptly and went into hiding after he struck a foreman for abusing his mother and wife. Lipscomb's own rendition of "Tom Moore's Farm" was taped at his first session in 1960 but released anonymously (Arhoolie LP 1017, Texas Blues, Volume 2), presumably to protect the singer. Between 1956 and 1958 Lipscomb lived in Houston, working for a lumber company during the day and playing at night in bars where he vied for audiences with Texas blues great Sam "Lightnin'" Hopkins,qv whom Lipscomb had first met in Galveston in 1938. With compensation from an on-the-job accident, he returned to Navasota and was finally able to buy some land and build a house of his own. He was working as foreman of a highway-mowing crew in Grimes County when blues researchers Chris Strachwitz of Arhoolie Records and Mack McCormick of Houston found and recorded him in 1960.
See see Rider
His encounter with Strachwitz and McCormick marked the beginning of over a decade of involvement in the folk-song revival, during which Lipscomb won wide acclaim and emulation from young white audiences and performers for his virtuosity as a guitarist and the breadth of his repertoire. Admirers enjoyed his lengthy reminiscences and eloquent observations regarding music and life, many of which are contained in taped and written materials in the Mance Lipscomb-Glenn Myers Collection in the archives and manuscripts section of the Barker Texas History Centerqv at the University of Texas at Austin. He made numerous recordings and appeared at such festivals as the Berkeley Folk Festival of 1961, where he played before a crowd of more than 40,000. In clubs Lipscomb often shared the bill with young revivalists or rock bands. He was also the subject of a film, A Well-Spent Life (1970), made by Les Blank. Despite his popularity, however, he remained poor. After 1974 declining health confined him to a nursing home and hospitals. He died in Grimes Memorial Hospital, Navasota, on January 30, 1976, and was buried at West Haven Cemetery.
Written by
John Minton
Baby Please Dont Go
Arhoolie Records (El Cerrito, California) has released seven albums of material by Lipscomb: Mance Lipscomb: Texas Songster and Sharecropper (Arhoolie 1001); Mance Lipscomb Volume 2 (Arhoolie 1023); Mance Lipscomb Volume 3: Texas Songster in a Live Performance (Arhoolie 1026); Mance Lipscomb Volumes 4, 5, and 6 (Arhoolie 1033, 1049, and 1069); and You'll Never Find Another Man Like Mance (Arhoolie 1077). Trouble in Mind was released by Reprise (R-2012). Individ pieces are included in other anthologies.
Alcohol Blues
Very nice story about the frienship between Michael Birnbaum and Mance Lipscomb,see:
http://psych.fullerton.edu/mbirnbaum/mance/
Warren Haynes is een van Rolling Stone's 25 "greatest guitarists" of all time.Behoort ook al een aantal jaren tot een van mijn favorieten en zag hem ook al een aantal malen optreden met zijn eigen band (Gov,t Mule).Werkt veel samen met The Allman Brothers Band, The Dead en the Dave Matthews Band en is bovendien een prima songwriter.Hier zien we hem in aktie tijdens de Red, White & Blues event in de East Wing
Susan Tedeschi and Derek Trucks - Rollin' and Tumblin'
Susan Tedeschi& Derek Trucks traden in 2001 in het huwelijk en formeerden The Tedeschi Trucks Band in . Tedeschi toerde o.a met B.B. King, Bob Dylan, en the Rolling Stones. Trucks is een gewledige gitarist,zag hem zowel met zijn eigen band(Peer)als met Clapton(Ahoy) .
Christopher Andrew "Christy" Moore (Geb.7 Mei 1945) is de broer van Luka
Bloom.Beide zeer populaire Ierse singer/ songwriters.Luka zag ik
diverse keren optreden Christy helaas (nog) niet. Christy was tevens een
van de oprichters van Planxty en Moving Hearts.
Christy Moore & Declan Sinnot - Ride On
RIDE ON True you ride the finest hourse I've ever seen Standing sixteen, one or two, with eyes wild and green You ride the horse so well, hands light to the touch I could never go with you no matter how I wanted to
Ride on, see you, I could never go with you No matter how I wanted to
When you ride into the night without a trace behind Run your claw along my gut, one last time I turn to face an empty space, where you used to lie And look for a spark that lights the night Through a teardrop in my eye
"Political Science" is a song written and performed by singer-songwriter Randy Newman on his 1972 album, Sail Away. In going along with the theme of the rest of the album, the song is a satire
of a particular part of American culture and history, namely its
foreign policies at the time. The unnamed narrator describes the state
of the world, and suggests, "Let’s drop the big one and see what happens."
Political Science - Randy Newman
No one likes us-I don't know why
We may not be perfect, but heaven knows we try
But all around, even our old friends put us down
Let's drop the big one and see what happens
We give them money-but are they grateful?
No, they're spiteful and they're hateful
They don't respect us-so let's surprise them
We'll drop the big one and pulverize them
Asia's crowded and Europe's too old
Africa is far too hot
And Canada's too cold
And South America stole our name
Let's drop the big one
There'll be no one left to blame us
We'll save Australia
Don't wanna hurt no kangaroo
We'll build an All American amusement park there
They got surfin', too
Boom goes London and boom Paree
More room for you and more room for me
And every city the whole world round
Will just be another American town
Oh, how peaceful it will be
We'll set everybody free
You'll wear a Japanese kimono
And there'll be Italian shoes for me
They all hate us anyhow
So let's drop the big one now
Let's drop the big one now
