Bootlegs of the Day: March 27, 2023

Nothing cures the Monday blues like some live Bob Dylan. Today we are continuing our series of shows with Freddy Koella on guitar. Enjoy.

Bob Dylan – 2003.04.30 – Louisville, KY

Bob Dylan – 2003.05.14 – Asheville, NC

Bob Dylan – 2003.05.17 – Jackson, MS

Bob Dylan – 2003.05.18 – Little Rock, AR

Bob Dylan – 2003.07.12 – Winter Park, CO

Bob Dylan – 2003.07.13 – Casper, WY

Bob Dylan – 2003.07.15 – Jackson, WY

Bob Dylan – 2003.07.16 – Big Sky, MT

Bob Dylan – 2003.07.17 – West Valley City, UT

Bob Dylan – 2003.07.19 – Lake Tahoe, NV

Bob Dylan – 2003.07.21 – Ketchum, ID

Bob Dylan – 2003.07.22 – Nampa, ID

Bob Dylan – 2003.07.23 – Bend, OR

Bob Dylan – 2003.07.26 – Paso Robles, CA

Bootlegs of the Day: March 26, 2023

Sundays are for various artists and today I’ve got some shows covering the alternative country/blues market plus a Rolling Stones vinyl.

Enjoy.

Hayes Carll – 2010.08.06 – Happy Valley, OR

Jason Isbell – 2015.02.04 – Washington, D.C

Jason Isbell – 2018.05.09 – Knoxville, TN

Jason Isbell – 2019.04.20 – Louisville, KY

Jason Isbell & Lucinda Williams – 2021.08.01 – Morrison, CO

Stevie Ray Vaughan – 1985.03.01 – Dallas, TX

Stevie Ray Vaughan – 1986.07.17 – Austin, TX

The Rolling Stones – 1967-1975 – 100% Odd Lots Vinyl

The Birthday Haul

blurays and comic books

As I mentioned in today’s bootleg post it is my birthday. Birthdays aren’t a big deal to me, so we didn’t do anything too exciting. We had plans to see Bill Frisell in a little club, which would have been awesome, but the budget has been tight of late, so that wasn’t in the works.

Instead, the wife bought me a few gifts and it was a lovely day and we went to the park. The daffodils were blooming and they were wonderful.

Thanks to everyone who wished me a happy day, it was a good one.

Bootlegs of the Day: March 25, 2023

I had a couple of other shows to share today, but there were problems. The Pink Floyd I was going to share had been previously shared a couple of weeks ago. I screwed up and grabbed the wrong show, so that got deleted. Then I was going to share an Al Green show but realized that particular boot has been officially released. So you get a few shows that I’ve previously uploaded on my Amazon Drive.

I hope at least a few of you find something you didn’t have. More tomorrow.

Also, happy birthday to me 🙂

Allman Brothers Band – 1973.12.31 – San Francisco, CA

Allman Brothers Band – 1989.07.17 – Syracuse, NY

Andrew Bird – 2002.11.02 – Madison, WI

The Who – 1964 – The High Numbers

The Friday Night Horror Movie: Barbarian (2022)

barbarian movie

It is very rare that a movie surprises me. Rarer still is a horror movie that surprises. Barbarian surprised me at least twice and left me breathless on multiple occasions. We’re not talking jump scares – though there are plenty of those – or just general weirdness (though it is a deeply weird movie). Barbarian surprised me in ways that supplanted my expectations. In the best possible ways. That it doesn’t quite stick its ending, and that its Horror was a little too much for me, doesn’t change the fact that this is exactly the kind of horror movie I love to see.

It is also a movie that truly is best seen completely cold, so I will do my best to remain vague and spoiler free.

Tess (Georgina Campbell) travels to Detroit for a job interview. She books an Airbnb and arrives late at night in the pouring rain. The lockbox opens but is missing the key. The rental agency does not answer the phone. Just as she’s leaving, a man, Keith (Bill Skarsgård), opens the door. Turns out he also rented the place for the night.

Being in a strange city, in the middle of the night, during a rainstorm, finding herself stuck staying in a house with a complete stranger doesn’t exactly make Tess feel comfortable. The film has a lot of interesting things to say about the ways men and women must travel through the world in different ways to feel safe.

It also does a great job of building tension around this situation. We (and therefore Tess) are never quite sure whether or not Keith is a potential friend or a danger. In order to not spoil what comes next I’ll fast forward to a second story the movie tells.

But let’s just say this is a horror story.

AJ Gilbrade (Justin Long) is a working actor – not quite rich and famous yet, but he’s getting there. He’s introduced driving a convertible down an ocean-side highway singing along to Donovan’s “Riki Tiki Tavi.” A phone calls interrupts this happy moment and he’s informed that his costar on his upcoming television series has accused him of sexual misconduct.

Losing that job and basically becoming untouchable to everyone else, AJ realizes he needs to liquidate some things fast in order to have the money to live on while things get sorted. Queue him traveling to Detroit to sell one of his rental properties.

Guess which house is his?

The two stories intersect but again it goes in directions I was not expecting at all.

Justin Long is a likable actor and we naturally assume that his declarations of innocence over the misconduct allegations are true. The film teases out what actually happened in some really interesting ways, and makes some comparisons to…well, again I don’t want to spoil anything.

I’ll say no more about the plot. Writer/director Zach Cregger has created a most interesting story and found ways to interject something new into some pretty familiar-sounding horror tropes. As a director, he creates a good sense of space and an eerie sense of mood and creeping horror.

The jump scares mostly worked on me but they were the least interesting aspects of the film. Likewise, the actual horror parts of the film, by which I mean the more atypical scary parts of the movie (sorry, I do want to be vague and that makes it difficult to say what I mean just here) were a little too over the top for my tastes. But otherwise I completely fell for this film.

Bootlegs of the Day: March 24, 2023

Fridays are for Van Morrison. All of these shows have been previously released, but a couple of the famous ones have a new source or two.

Van Morrison – 1970 Demo Session

Van Morrison – 1970.09.23 – New York, NY

Van Morrison – 1970.10.09 – San Francisco, CA

Various Artists – 1971.07.04 – Closing Night at the Fillmore West

Van Morrison – 1971.09.05 – San Francisco, CA

Van Morrison – Inarticulate Speech of the Heart Live

Van Morrison – Into the Music Live

Van Morrison – Irish Heartbeat Live

Watch Scary Pockets Perform “Purple Rain”

When I’m not watching movies or posting shows, I sometimes turn on Youtube and look for good music. There is a whole cottage industry of folks playing cover songs on a regular basis and racking up pretty sizable followings.

Scary Pockets is one of my favorites. They are from Los Angeles and they do funkified versions of all kinds of pop songs. I really dig them and thought you might too. This is their version of Prince’s “Purple Rain”.

Bootlegs of the Day: March 23, 2023

Thursdays are for Neil Young and I’ve got five shows from 1970 with Crazy Horse. I believe the only one not ever posted here before is the New York gig. Enjoy.

Neil Young – 1970.02.19 – San Francisco, CA

Neil Young – 1970.02.25 – Cincinnati, OH

Neil Young – 1970.02.28 – Philadelphia, PA

Neil Young – 1970.03.01 – Boston, MA

Neil Young – 1970.03.07 – New York, NY

Westerns In March: Cheyenne Autumn (1964)

cheyenne autumn poster

John Ford made some of the greatest westerns ever made. From Stagecoach (1939) to My Darling Clementine (1946), The Man Who Shot Liberty Valence (1962) to The Searchers (1956) Ford proved over and over again to be a master of his craft, and of telling stories about the wild west and the men (and women) who tamed it.

Unfortunately, like so many western filmmakers at the time his films were not always kind to the Indians. All too often the Native Americans in western movies were faceless savages bent on raping and killing the white man. They were rarely made into full characters and very little attention was paid to the fact that the white man was invading the Indian’s territory and homeland.

In later years Ford seemed to have recognized his flaws in this area and at least in some ways he tried to make amends. In The Searchers John Wayne plays a pretty repugnant racist and his quest to rescue his niece, who has been captured by some Comanche Indians, allows the film to raise questions about the inherent racism of Manifest Destiny and America’s unrelenting quest to capture the entire country.

With Cheyenne Autumn, Ford’s last western and his penultimate film as a director, he depicts the historical event of the Northern Cheyenne Exodus in 1877 where a group of Indians decided to move from Oklahoma Territory back to their homeland in Wyoming. His depiction of the Indians is sympathetic and demonstrates just how awful the American government treated them.

Unfortunately, the film is overlong, rather dull, and still a bit racist. The two main Indian characters, Red Shirt and Little Wolf are played by Sal Mineo and Ricardo Montalban respectively – two very much not Indian actors (Mineo was of Italian descent and Montalban was Mexican born). The film’s focus likewise is on the white characters with the Indian characters playing second fiddle in their own story.

I could be more forgiving of most of this if the film was actually any good. Instead, it is slow, plodding, and contains one of the most unnecessary side stories I’ve ever witnessed.

The film begins with the Cheyenne on a reservation in Oklahoma. The land is arid and infertile. The people are sick and starving. Some delegates from Washington are supposed to meet them and discuss what can be done. But they don’t show and the Cheyenne decide to go home.

The trip is long and arduous. They must travel in desolate areas so as to not be seen by one of the many Army Forts along the way. Starving, some of them decide to turn themselves in at one of those forts. Though the Captain is sympathetic to their needs he has orders to turn them right around and send them home. Sickness, starvation and the brutal winter weather be damned.

There is some business about the press drumming up hysteria by printing falsehoods about the number of Cheyenne on the march and their ill intentions. Many of the soldiers on the ground (led by Richard Widmark) tend to be sympathetic to the plight of the Cheyenne but have their hands tied by forces in Washington.

Etc. and so on. Ford shot some of it in and around Monument Valley and Arches National Park and he gives the scenery his usual widescreen glory. But the story just never congeals into something interesting.

At one point, out of nowhere comes a scene with James Stewart playing Wyatt Earp and Arthur Kenney as Doc Holiday. It has absolutely nothing to do with the rest of the film and is completely comic in tone (the rest of the film is utterly dramatic) and then it just ends and we never see them again.

Somewhere buried in there is a film that could have been great. The story of the Cheyenne’s exodus is a fascinating one and could make an excellent film. This is not that film and what we’re left with is the thought that Ford’s legacy left a whole lot of other films that are far greater than this one.