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AND…another release from TBone with the Speaking Clock Revue due in stores October 18. 😀
http://www.mellencamp.com/news.html?n_id=1510
In October 2010, multiple-Grammy® and Oscar®-winning producer T Bone Burnett organized an impressive group of musicians, dubbed The Speaking Clock Revue, and joined with Participant Media for concerts benefiting arts education. The lineup included Elton John, Elvis Costello, Leon Russell, John Mellencamp, Gregg Allman, Ralph Stanley, Jeff Bridges, Neko Case, Jim James, Punch Brothers, Karen Elson, and The Secret Sisters. The Speaking Clock Revue was recorded at the Beacon Theater in New York, and featured a house band made up of musicians from many Burnett-produced recordings and led by music director and guitarist Marc Ribot.
Burnett was inspired to do the fundraising concerts after attending an early screening of Participant’s documentary Waiting for “Superman,” from Academy Award®-winning filmmaker Davis Guggenheim (An Inconvenient Truth, It Might Get Loud), which focused on the troubled state of public education in the U.S., following a handful of promising students through a U.S. public school system and offering creative new approaches to education reform. Participant’s Jeff Skoll, Jim Berk, Jeff Ivers and John Schreiber serve as executive producers on the album, the first release under the company’s newly-created Participant Music banner.
@tntracy wrote:
@Lafayette wrote:
“He’s God” is actually “God Don’t Never Change.”
Change duly noted here & at setlist.fm… 😉
@Lafayette wrote:
I loved this song so much
Did you hear my voice (song) mail?
Tom
Yes, Tom, I finally listened to my voicemail — the entire song! What a wonderful surprise — wish I had heard the phone ring.I love concert calls! Thanks a bunch.
Wonderful in depth report, tnt! Sounds like a superb show and one where Lu felt right at home. 😀
A note on the “He’s God” song title with prior discussion about blues songs and song titles that morph. Here is info I posted in the Nelsonville, OH show recap thread about this song.
I loved this song so much, after this show, that upon Lu’s advice, I went searching for Blind Pearly Brown’s music, since Lu said it was her first musical interest. It lead me to some fascinating finds and more dot connecting.I easily found a few CD’s of Blind Pearly Brown’s on amazon, ordered one, and discovered, upon listening to the CD, that “He’s God” is actually “God Don’t Never Change.” Further research had me discovering that Blind Pearly Brown was covering Blind Willie Johnson. The song (if my research is accurate) was originally recorded in New Orleans in Dec, 1929.
Link to Blind Pearly Brown CD:
http://www.amazon.com/Youre-Gonna-Need- … =8-1-fkmr1
Link to information on “God Don’t Never Change” by Blind Willie Johnson:
http://www.folkways.si.edu/TrackDetails … temid=4350
http://reocities.com/bourbonstreet/delt … bjohns.htm
I can’t head south to Macon so I suppose the next best thing is to head south to WNKU studios tomorrow afternoon. I was invited to the “secret show” for being a volunteer at the studio. Stevarino, I doubt now I will go to Southgate House. Lefty, I will pass along your regards to Erika.
Thank you, lwj, for posting! I will take a look later next week after I return from vacation. I’m briefly checking in and out. We’re on a rain delay tonight, so I’m taking advantage of the down time. 😀
Oh…what I wouldn’t have given to see that live! On vacation and I’m hovering in the lobby of our hotel while my guys are sleeping HA! I’m going to see if I can watch it on YouTube! For anyone that didn’t catch the interview I posted….one done for Lucinda’s Austin gig at Grubbs…Amos was quoted as claiming Little Angel was a song he listened to a thousand times….one that colored all the edges for him.
So cool, so cool, so cool.
No info on the secret show…it is a promotional event to secure added funds to WNKU’s coffers and one I’m not willing to participate in. I like doing the once and done way of contributing and this show is for members participating in a monthly cc payment for 12 months.
I have plans to be there…God wIlling and the creek don’t rise. You need to let your wife know Amos set in Cleveland was far different than Cincinnati. He was engaged with the audience and in much better spirits.
@blake wrote:
all really good points (especially “real love”, that’s gotta go in!!)
in my opinion, it’s sorta neglecting the appetizing quality of the customary opener set length (45 min +/-). having just enjoyed an amos set (or any artist play) for an 1.5 hours, another 2.5 hours of anybody’s music just seems like auditory overload…
… 2 entrees at my favorite restaurant is still something i walk away from regretting. but i suppose every ape has his appetite.
really just playing devil’s advocate. i’d love to be playing for 2.5 hours every night!
NYC, your point about disappointing hard working people is spot on. her feelings on the few shows with deadlines echo your sentiments, exactly. but in fact, there’s another side to why the curfews are there; unions. people who work at the venues get there before we do, working there all day and night, and in order to ensure some sense of sanity to their day, it helps to have a dependable light at the end of the tunnel.
all that said, tonight i’ve petitioned the group to forgo the usual “exit the stage before potential encore” bit. if the crowd at these gigs is receptive thru the show, maybe we’ll just plow right through. night buy us an extra 5-10 min. everyone i’ve presented it to seems into the idea, so we’ll see how it goes…
Blake,I like your idea about foregoing the exit before the potential encore. Of course, there will be some that will be complaining “there wasn’t an encore.” You won’t be able to keep everyone happy but at least another song (or two) could leave most happy…and mama (satisfied) and happy, too! 8)
