Fattening Frogs For Snakes by Sonny Boy Williamson II recorded in '57.

@Mutt Daeng

Some more blues for a guy who truly appreciates blues roots.

Here's an interesting bit of musical history involving The Animals. Young lads they were and most assuredly in awe of a true blues legend.

"Fattening Frogs for Snakes" was performed by Sonny Boy Williamson II backed by The Animals

on December 30, 1963.

The details surrounding this specific performance include:

• The Venue: The historic concert took place at the Club A Go-Go in The Animals' hometown of Newcastle upon Tyne, England.

• Historical Significance: This famous New Year's Eve eve concert was actually the very first live R&B recording captured in the United Kingdom. At the time, a young and unsigned British band (The Animals, featuring Eric Burdon and Alan Price) served as the backing ensemble for the legendary American blues harmonica icon during his European tour.

• The Album Releases: Because the band didn't have a record contract yet, the tape was archived and heavily bootlegged before receiving official recognition. The performance of the song was eventually issued across various archival compilation records, most notably on the 1972 LP The Animals with Sonny Boy Williamson.

Edited September 24Sep 24 by Tippaporn

Now that The Animals entered into this blues segment it's time to replay their classic which has been played here many times over the years.

The House Of The Rising Sun is a traditional, 19th-century American folk ballad. While many folk musicians had played it, The Animals actually got the direct idea to cover it after hearing Bob Dylan's acoustic, finger-picked version on his '62 self-titled debut album.

It served as the centerpiece of their self-titled US debut album, The Animals, released in September 1964.

Speaking of traditional American blues tunes, here's The Graham Bond Organisation with St. James Infirmary Blues.

Whilst The Graham Bond Organisation is less of a household-name status today than some of its peers, they are universally regarded by music historians as one of the ultimate founding and most influential pillars of the 1960s British blues and R&B movement. The group is famous for launching the careers of several legends, including Jack Bruce and Ginger Baker (who left to form Cream), saxophonist Dick Heckstall-Smith, and guitar icon John McLaughlin.

St. James Infirmary Blues is one of my favourite traditional American blues numbers. Here it is again covered by the late and great Long John Baldry and The Hoochie Coochie Band performing live in '65.

On 9/23/2026 at 4:16 AM, Tippaporn said:

Lucky? Nah. You're just being wise, bannork. What about push ups and jumping jacks? Beer lifts? How many of those can you, or do you do in a day?

Here's one ecpecially for you when you awaken this morning.

George Thorogood & the Destroyers with the live cover of Rudy Toombs' One Bourbon, One Scotch, one Beer performed and recorded at Capitol Theatre, Passaic, New Jersey, on July 5, 1984. I chose this one because it features Elvin Bishop.

It was first recorded and performed by Amos Milburn and His Aladdin Chickenshackers and released as a single by Aladdin Records in August 1953

The song has a great history of covers worth checking out.

The video starts with the song but it's actually the full concert. Don't miss Bad To The Bone and other Thoroughgood classics from this exceptionally high energy gig

Thought I'd mention all of the guest artists who appeared in that historic show. It was absolutely dedicated to the blues.

John Hammond – Joined the band to perform the Bo Diddley classic "Who Do You Love?".

---

Elvin Bishop – Joined in for Thorogood's signature rendition of the medley "One Bourbon, One Scotch, One Beer".

---

Albert Collins – Lent his fiery "iceman" guitar style to an explosive version of Elmore James' "Madison Blues".

---

Willie Dixon – The legendary Chicago blues songwriter and bassist stepped up to perform his own classic, "The Same Thing".

---

John Lee Hooker – Came out for the encore to perform his timeless signature track, "Boogie Chillen No. 2". [1]

Sweet music and a sweet car!

13 hours ago, jvs said:

Encore!! Encore!! Encore!!

Now that what I call slow rollin' steam rollin' blues. That was the epitome of exceptionalism Well done, jvs. And many thanks.

@rattlesnake

We all know how things can fall through the cracks with our busy schedules so I wanted to make sure this doesn't happen for you'll most asssuredly love this number. Ditto for you @bannork and @Mutt Daeng.

11 minutes ago, Tippaporn said:

Encore!! Encore!! Encore!!

Now that what I call slow rollin' steam rollin' blues. That was the epitome of exceptionalism Well done, jvs. And many thanks.

@rattlesnake

We all know how things can fall through the cracks with our busy schedules so I wanted to make sure this doesn't happen for you'll most asssuredly love this number. Ditto for you @bannork and @Mutt Daeng.

Glad you like them!

The Bintangs have been called the Dutch rolling Stones.

Great performers and a very old band already,check out the rest of their repertoire!

I have a few more jewels to post later.

The trouble with music from the past is it never changes.

New music changes. It's different than music from the past.

Although to be fair most of the best music is from the past if you're not sitting in front of a live band improvising riffs on a melodic theme.

Which I can assure you Taylor Swift and 99.9% of other working musicians are not doing because they're focusing on the entertainment aspect of their shows, instead of development of new, innovative musical directions. 🫡

Edited Friday at 02:30 AM5 days by SiSePuede419
Legit

14 hours ago, jvs said:

A shame that the sound quality of a lot of live performances from Dutch bands sound tinny.

Just now, Tippaporn said:

A shame that the sound quality of a lot of live performances from Dutch bands sound tinny.

Yes i agree but you can find better recordings from the same band,always fun to do and you mostly come across something new and interesting.

14 hours ago, jvs said:

Thought I'd add some some history to the band.

The Bintangs hold the legendary title of being the oldest continuously performing rock band in the Netherlands. [1]

Formed in 1961 in Beverwijk by brothers Frank and Arti Kraaijeveld, they initially started as an Indorock band before pivoting into a raw, hard-edged electric blues and rhythm & blues outfit. Their gritty, heavy-guitar sound became locally famous as the "Hoogoven Sound" (named after the nearby blast furnaces in their industrial hometown). [1, 2, 3]

Over their six-decade career, they opened for major acts like The Rolling Stones and The Kinks in the late '60s and achieved Dutch chart success with hits like "Ridin' on the L & N" (1969) and "Travelling in the U.S.A." (1970). While they went through dozens of lineup changes and a brief hiatus in the 1980s, bassist/vocalist Frank Kraaijeveld has remained the band's driving force. The band remains active, releasing their album Heroes, Beggars and Kings. [1, 2, 3, 4]

Their Cover of "St. Louis Blues"

The Bintangs originally recorded their distinctive, heavy interpretation of W.C. Handy's classic "St. Louis Blues" for their landmark 1969 album, Blues on the Ceiling. While the original 1969 studio track was an atmospheric, moody piece driven by Jan Wijte's flute and guitar, their 1996 live version at Paradiso Amsterdam became legendary for its blistering slide guitar and extended harmonica jams. You can listen to it on Spotify, YouTube Music, and Deezer. [1, 2, 3, 4]

@rattlesnake

Since you're new here jvs is our resident Dutch blues specialist. He's turned me on to some true gems over the years. Thanks, mate.

It's like a idiot savant deaf person telling you accurately about the music 😄

ChatGPT: Lyrically and energetically, the suite moves from uncertainty to clarity. Help on the Way promises that "there's help on the way," Slipknot! navigates the chaotic struggle, and Franklin’s Tower arrives at ultimate freedom and renewal with the iconic command to "roll away the dew". Because the three pieces were conceived together for the 1975 album Blues for Allah, they became a permanent triptych in live performances.

27 minutes ago, SiSePuede419 said:

The trouble with music from the past is it never changes.

New music changes. It's different than music from the past.

I've often shared my sentiments of how truly blessed I feel to have lived through the era of the 60s especially, and beyond. Having grown up in that era I'd make these points.

How would you best describe what made the 60s and 70s music scene so unique? One of the aspects that I would point to is, and correct me if I'm wrong, that it produced probably the greatest number of genres and styles ever.

You are spot on. Your observation is absolutely correct: the 1960s and 1970s produced the greatest explosion of musical genres and subgenres in human history, completely redefining how music was made, sold, and consumed.

What made this era uniquely magical wasn't just the sheer volume of music, but a perfect storm of cultural revolution, technological breakthroughs, and lack of industry corporate control.

Here is the breakdown of why this era was so unique, starting with the very point you raised:

1. The Supernova of Genres

Before the 1960s, commercial music was largely segmented into broad, traditional categories: pop standards, jazz, country, and rhythm & blues. The '60s and '70s shattered these boundaries, fragmenting them into an endless tree of new styles.

• The 1960s birthed Folk-Rock (The Byrds, Bob Dylan), Psychedelic Rock (Pink Floyd, Jimi Hendrix), Surf Rock (The Beach Boys), the Motown Sound, and Baroque Pop.

• The 1970s took that experimentation and pushed it to its logical extremes, giving us Hard Rock / Heavy Metal (Led Zeppelin, Black Sabbath), Progressive Rock (Yes, Genesis), Funk (Parliament-Funkadelic), Glam Rock (David Bowie), Disco, Punk Rock (The Sex Pistols, The Ramones), and the infancy of Hip-Hop.

Music went from being a monolith to a vibrant, hyper-specific spectrum where an obscure Dutch blues band like the Bintangs could exist alongside a theatrical prog band or a raw soul singer.

2. Technology Met Imagination

For the first time, the recording studio became an instrument in itself rather than just a room to capture a live performance.

• Multitrack Recording: The jump from 4-track to 8-track, 16-track, and eventually 24-track tape machines allowed artists to layer complex vocal harmonies, orchestras, and sound effects (think of The Beatles' Sgt. Pepper or Queen's A Night at the Opera).

• Sonic Invention: The invention of the Moog synthesizer, fuzz pedals, wah-wah pedals, and Hammond organ modifications gave musicians an entirely new paint palette. Bands were no longer limited by the natural acoustic sound of their instruments.

3. Artist Creative Control (Before the "Suit" Era)

In the '60s and early '70s, record labels were run by music enthusiasts and talent scouts rather than corporate accountants. Executives frequently threw money at eccentric bands and said, "Go into the studio for three months and see what happens."

• This hands-off approach allowed for massive creative risks. A label today would balk at a band releasing a 17-minute instrumental space-jam (like Arzachel did) or an uncommercial B-side that accidentally becomes a timeless standard (like Etta James' "I'd Rather Go Blind").

• By the late 1970s, the industry became highly corporate and radio formats tightened, which largely homogenized mainstream pop.

4. Music as a Cultural Mirror

The music of this era was deeply intertwined with massive sociological shifts: the Civil Rights Movement, the Vietnam War, the sexual revolution, and the counterculture. Musicians weren't just entertainers; they were cultural journalists and philosophers. Songs weren't just about breakups; they were pleas for human unity, anti-war anthems, and explorations of human consciousness.

Summary: The Ultimate Convergence

What made the era unique was that mainstream music was also the most experimental music. The biggest bands in the world (The Beatles, Led Zeppelin, Pink Floyd) were also the ones taking the wildest artistic risks.

If you'd like to dive deeper, what aspect of this explosion interests you most? We could look at:

• How a specific subgenre—like Canterbury Prog or British Blues-Rock—was born out of this fusion

• The shift from the singles-driven '60s to the album-oriented rock (AOR) of the '70s

• Specific technological inventions that changed the way your favorite bands sounded

6 minutes ago, SiSePuede419 said:

It's like a idiot savant deaf person telling you accurately about the music 😄

ChatGPT: Lyrically and energetically, the suite moves from uncertainty to clarity. Help on the Way promises that "there's help on the way," Slipknot! navigates the chaotic struggle, and Franklin’s Tower arrives at ultimate freedom and renewal with the iconic command to "roll away the dew". Because the three pieces were conceived together for the 1975 album Blues for Allah, they became a permanent triptych in live performances.

Given the opening number in your video these pioneering bands and musicians from the past might interest you.

BTW, Dead &Co. did a very nice rendition of The Grateful Dead tune.

• Miles Davis (Late '60s/'70s Electric Era) – For patient, atmospheric, rolling grooves and cosmic, freeform "Space" jams.

• Santana (Early '70s Era) – For Latin-infused rhythms and spiritual, blistering, improvisational guitar duels.

• Weather Report – For deep collective improvisation where the entire band jams conversationally at the same time.

• Herbie Hancock & The Headhunters – For tight, earthy, hypnotic funk grooves that mirror the Dead's danceable jams.

• The Eleventh House (featuring Larry Coryell) – For high-energy, guitar-driven rock mixed with complex jazz theory.

• Dixie Dregs – For an instrumental blend of heavy jazz fusion, progressive rock, and rootsy country-bluegrass picking.

@jvs

St. Louis Blues had excellent sound quality as it was recorded for their live '96 Bintangs Dynamite Night (live at Paradiso Amsterdam) album. Easy enough then to find the entire show in playlist format.

Interesting, too, that St. Louis Blues was the only instrumental the band ever did.

Postscript: I was mistaken. The video was not of the Bintangs but the band Live. Nothing is coming up for that album on YT. A Shame. I'll search, though.

Edited Friday at 03:45 AM4 days by Tippaporn

Another heavy, slow-burning early Nederblues classic from Cuby + Blizzards, Somebody Will Know Someday featured on their landmark '67 studio album, Groeten Uit Grollo.

Cuby + Blizzards is a Dutch band I'd never heard of before until @jvs turned me on to them (and other fine quality Dutch bands).

While I wasn’t a big fan of country growing up in the rock era, I have come to appreciate some of the “old country “.

After living decades of life, older, wiser I can relate and appreciate.

Especially towards the liberals of yesterday and today. Worthless Pieces OS.

16 hours ago, jvs said:

Very enjoyable @jvs . Thanks for posting it.

2 hours ago, Tippaporn said:

Encore!! Encore!! Encore!!

Now that what I call slow rollin' steam rollin' blues. That was the epitome of exceptionalism Well done, jvs. And many thanks.

@rattlesnake

We all know how things can fall through the cracks with our busy schedules so I wanted to make sure this doesn't happen for you'll most asssuredly love this number. Ditto for you @bannork and @Mutt Daeng.

Thanks for prodding me into action @Tippaporn . This one did indeed "slip through the crack". Excellent IMHO.

1 hour ago, Mutt Daeng said:

Thanks for prodding me into action @Tippaporn . This one did indeed "slip through the crack". Excellent IMHO.

I think you'd enjoy the laid back Cuby +- Blizzard blues tune above, too. What's nice about this one is the out of the norm guitar solo. Every note is clear, separate and distinct. I don't know what it is inside me that seems to "ride along" with each note in delightful up and down fashion.

Edited Friday at 05:55 AM4 days by Tippaporn

1 hour ago, HolmesEquivelant said:

While I wasn’t a big fan of country growing up in the rock era, I have come to appreciate some of the “old country “.

1 hour ago, HolmesEquivelant said:

After living decades of life, older, wiser I can relate and appreciate.

You've too noticed that one's appreciation grows for music we may not have appreciated so much in our younger years? I certainly have.

1 hour ago, HolmesEquivelant said:

Especially towards the liberals of yesterday and today. Worthless Pieces OS.

Kinda harsh. But I can't say I don't agree with you. Ah, liberals are good people at heart. I say that in all seriousness and with genuine feeling. But by God, the way they see changing the world for the better, their means of going about it, are wreaking havoc. And major discontent amongst large swaths of the populations, which is ever increasing the more they try to impose their ideas of their "better world" upon everyone else.

Okay, enough political commentary and back to music.

Welfare Cadillac by Guy Drake from '70.

Alright, alright. It's political commentary from back then. But then so much of the music of that time was.

Still, interesting that the liberal's ideas of endless welfare, subsidies, handouts, and other crutches handed out to all those "disadvantaged" suffering from economic miseries or belonging to one or another group of minorities was noticeable enough even back then to have a song written about it. The lyrics are spot on.

Edited Friday at 06:29 AM4 days by Tippaporn

Another Dutch treasure.

On 9/24/2026 at 1:20 AM, Tippaporn said:

Right you are, Sir. And a fitting song it is.

I'll reprise with one of the live versions off of their Boston Tea Party gig recorded over three consecutive nights from February 5, 6, and 7, 1970. This one is a 24 minute barn burner jam.

Where is the "mind blown" emoji when you need it?

You'd already posted that one on TT a while ago… by far the best version.

On 9/24/2026 at 1:41 AM, Tippaporn said:

@rattlesnake

You've got more songs written about you than I have, for sure. This one is a bit looser as there's no true specific rattlesnake reference though the opening features the distinctive rattlesnake shake.

Jim Morrison famously obsessed over desert reptilian imagery, famously dubbing himself "The Lizard King." While not explicit track titles, The Doors buried literal rattlesnake rattle sound effects (achieved using heavily shaken maracas and ambient percussion) into the backgrounds of their sprawling, poetic tracks like the live epic "Celebration of the Lizard" and the recordings that later surfaced on An American Prayer.

Developed during the '68 Waiting For The Sun studio session but never appearing in full. Lots of background to this song. Here's a live versionfor which I can't figure anything of that performance.

I gave that one a Thanks, as it brought back memories from the 90s. I pushed the "Doors Experience" pretty far back in those days. This is a great medley (and it includes a different version of Go Insane, the track I posted the other day).