Why did you choose that nick (or avatar)?

[tom.d.stiller]

I was thinking WILLIE. Canned Heat are no longer!!! If they ever have R&R in your house - add a country tune. That one!

The Bear is dead and gone but Canned Heat are very much alive and kickin':

Email
Date: 26.02.05 19:22:24
Sender: Skip Taylor <skip.taylor@sbcglobal.net>
Subject: 2005 WORLD BOOGIE TOUR

40th ANNIVERSARY

Legendary blues and boogie band, CANNED HEAT, celebrates their 40th Anniversary in the music business with their 2005 ''WORLD BOOGIE TOUR''.

Founded in Los Angeles in 1965 by blues historians and record collectors Alan ''Blind Owl'' Wilson and Bob ''The Bear'' Hite, the group specialized in updating obscure old blues recordings. Canned Heat’s unique blend of modern electric blues, rock and boogie has earned them a loyal following throughout the world and their #1 country-blues-rock songs, ''On The Road Again'', ''Let’s Work Together'', and ''Going Up The Country'', became rock anthems for the ''Woodstock Generation''. Right from the start, Canned Heat has been at the forefront, and the most influential group, in popularizing blues music.

They gained international attention and secured their niche in rock 'n roll history with their performances at the 1967 Monterey Pop Festival and the headlining slot at the original Woodstock Festival in 1969.

The first leg of the 2005 World Boogie Tour was just completed with a string of U.S. East Coast dates with Mountain and Vanilla Fudge. The band plays two special shows in Texas on April 8 at the famous Old Coupland Inn and Dance Hall just outside of Austin and on April 9 at the Hawg Stop in Houston.

Canned Heat begins the first of two, scheduled European tours this year on April 15th in Copenhagen, Denmark. Many of the dates on both tours will be played together with Jefferson Starship, Ten Years After, Iron Butterfly and Country Joe Mc Donald. The tours will each cover four to six weeks and include engagements in Scandinavia, Germany, France, Belgium, Switzerland, Austria, Poland, Italy and Spain. They will play a number of the biggest festivals in America and, in keeping with their reputation for playing more biker events than any other group, they will headline the famous ''Love Ride'' in Zurich, Switzerland in May.

Now, celebrating their 40th Anniversary with their World Boogie Tour, Canned Heat is still going strong. Anchored throughout by the steady hand of drummer/band leader Adolfo ''Fito'' de la Parra, original member of the ''classic'' lineup, Canned Heat is well on track to carry the boogie-blues it made famous, well into the 21st century with one of their strongest lineups ever: Fito on drums, Greg Kage on bass and vocals, Dallas Hodge on guitar and vocals, Don Preston on guitar and vocals and Stanley Behrens on harmonica, flute, saxophone and vocals.

See and hear for yourself, a piece of musical history when CANNED HEAT boogies in your area this year!

Skip Taylor, manager/producer 2/26/05

WILLIE, Linda,of course, always is a choice. How could I forget to list HIM!!! (Actually these days Country is more often on my list than R&B or R&R...)

Cheers
tom

[Sandra]

Many implications in your avatar tom.....maybe a tribute to desperate , not comprehensible souls.

[Pete]

Did someone mention Canned Heat!!!???

What a band!!!
My first LP was 'Canned Heat Cookbook'

and what about their 41 minute Refried Boogie?? I used to get so annoyed with having to turn over the LP to keep the piece going but now I have it on CD...such bliss

Pete


p.s. Alan Wilson wrote a song called 'My time ain't long' and he died soon after

[tom.d.stiller]

Many implications in your avatar tom.....maybe a tribute to desperate , not comprehensible souls.

It's part of a letter that Daphne Richardson sent to LC. He talked about Daphne in an interview given to Robin Pike:

ZZ: How about Daphne Richardson whose letter you had on the back of the Live album. Could you say something about her, because this seems possibly to tie in with this area.

LC: I knew her first of all through the mails. I try to read everything I get and I was struck by the power of her communications. She was at that time trying to get published a book of poems that were very experimental and were collage poems. And they weren't by any means inept. They were highly skilled. They were a collage of Dylan, myself and her own work. And Dylan wouldn't give her permission to publish his work in scraps. And I did. I entered into this communication with her. I knew there was an edge to her letters that was so fanatic and so intense that she would experience great floods of disturbance. On the other hand, there was something about her mind that I found immensely attractive and delightful. Then her story started to emerge. She sent me long, long letters and books that she'd written to me and of course there were these excessive kinds of letters that she would write to me that she wanted to come and stay with me or, -- you know. On the other hand, her doctors and the people in her hospitals that she would come in and out of - they didn't believe that she was in communication with me at all. They thought that this was a complete pipedream. So she was living a completely strange sort of life. They were strapping her down and that sort of thing and she would say, "Leonard Cohen, I'm going to be working on his book." I said, "I'd like you to illustrate my book," - she was a very fine draughtsman - and I had intended her to illustrate my last book, The Energy of Slaves. She'd be screaming at the doctors, "You've got to let me out I'm illustrating Leonard Cohen's next book." I did go over on my last tour and we arranged to meet and I met her for the first time and she was a very attractive girl in her thirties, and really nice and of a style and bearing that was very close to people that I know. I knew she had experience in mental hospitals. We arranged to do this book together and I looked at more of her drawings and I was very impressed. Then I went back to America. And it was just one period when I was out of touch with my correspondence and I came to this correspondence and I found telegrams and letters saying, "Please help. I've been put away again, they won't believe me. I need your help, please help." I got on the phone to my agent in London and I said, "Get ahold of Daphne right away, she's in trouble. I'm already late, it's a month since these telegrams had come." I said, "Tell her that the work on the book is on and I want her to start these illustrations. I'll get the manuscript to her."

And she'd just committed suicide three days before.

I was just too late.

Another three weeks or a week or anything. She was just holding on to this kind of activity.

ZZ: Yes, I can see that.

LC: She mentioned me in her suicide note. It was horrible.

ZZ: Why did you put it on the back of the record?

LC: Oh she always wanted to be published. She couldn't get anyone to publish her. The letter was to me. There was a book she wrote to me from the mental hospital. I tell you it was shattering. A testimony of pain, I've never read anything like it.

JM: What's the difference between that and the "Pyramid of Suffering"?

LC: Very close, but a suffering that is not enlightened. Daphne was like somebody sitting in this room. She was completely aware. There were no blank spots. She was not a compulsive or an obsessive kind of person. She went into pain that was so overwhelming that she couldn't function. But she always knew where she was and what she was doing. This girl is like under it - it's really a pyramid - that's a beautiful description of where she is. She's buried under a pyramid of suffering like there is no other. Daphne, however, had a sense of humour. She was attractive. She was a much more attractive figure. Warm. This girl was insane. The black girl was insane. There was no question about that. Daphne was...I really blew that. I felt bad about that.

But you're right, and it's made me much...the point that you just very delicately suggested that I ought not to meddle around with these things if I'm not going to be there day after day to really follow through. I really feel that way now.

(JM is John Miller, the bass player, member of the 1974 tour band)

ZigZag magazine, October 1974

[Tchocolatl]

(Paula_PetrolStation 's not bad. Though I do not see you at all in this nick. Looks like a nick for a flashy country singer from Texas. Paula_Dinosaur's Piss Pump would have been baaaad.)


"it's, it's not made of words..." Linda this is wow. I like it.

The reasons for my avatar are spread all over the board little pieces by little pieces (still I am not yet nude in my modesty.) I therefore forward there (and there and there) those who are really interested to know to.

[Byron]

I work with a Lynne and a Linda too. But the most popular female name I know is Margaret and variations on the theme, Megan, Peggy etc. I know about 10 Margarets. You are probably all roughly the same age.

Linda_Lakeside my name should therefore be Paula_PetrolStation.

An interesting concept, Paula-Petrol/Station!

Can't stop, must dash............

Byron-bog-seat.

[Mrs. Trellis]

Dear Bryon,
Are you still playing with that beat group rozy music? haven't seen you on the telly fr'ages. I always liked a man who took the trouble to put a bit of bryl-cream on his hair. Can leave a bit of a stain on the pillow mind you. still, small price to pay for a well groomed man next to you I always say.
Bye for now
Mrs. T