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Dave Matthews Band Alert!!!!!

matthewsjitterbuggingDMB is the official band of ABC’s Saturday Night Football for the entire college football season–they just showed Dave and the boys doing “Why I Am” from Big Whiskey and the Groo Grux King CD!!!!

Dave Matthews Band is of course the greatest band in America and is the official band of jitterbuggingforjesus.com!!!! We just decided to make it so!!!!
Here’s the band’s early history from its official web site:
1991
The Dave Matthews Band formed in Charlottesville, Virginia, in early 1991, when vocalist/guitarist Dave Matthews decided to put some songs he had written on tape. Instead of simply recording himself with a guitar, he opted to bring in some instrumental help to give his musical ideas more depth. Dave found assistance in drummer Carter Beauford and saxophonist LeRoi Moore, who were both accomplished jazz musicians in the local Charlottesville music scene. Based on the recommendation of distinguished local jazz guru John D’earth, 16-year-old musical prodigy Stefan Lessard came on board to play bass. Completing the band was keyboard player Peter Griesar, who left the band after a couple of years, as well as the talented and classically trained violinist, Boyd Tinsley.

The first public performance of Dave Matthews Band occurred at the City of Charlottesville’s Earth Day Festival in April 1991. The first official gig for the newly conceived Dave Matthews Band was May 11, 1991, at a private party held on the rooftop of the pink warehouse on South Street in downtown Charlottesville. Local weekly gigs soon followed at Eastern Standard and then Trax nightclub, and within a little time, word of the band’s contagious new sound spread like wildfire throughout the region. Clubs started to fill up, tours began to cover more territory, and the fan base grew at an incredible rate

1993
On November 9, 1993, DMB released its first album, Remember Two Things, on its Bama Rags label. The album was recorded live at The Muse Music Club on Nantucket Island, in August of 1993. The album debuted on College charts as the highest independent entry, and went on to be certified gold by the RIAA — a significant accomplishment for an independent album. Meanwhile, the band kept touring and its fan base continued to grow. By allowing fans to tape shows for their personal use, DMB created a highly interactive community that continues in spirit today.

1994
During the first part of 1994, Dave Matthews Band recorded its RCA debut, Under The Table and Dreaming. Just before the album’s release on September 27, 1994, Dave Matthews Band hit the road for their first official national tour. The tour lasted well over a year and included sold out theater dates across the country, a trip to Europe, and two summers playing on the main stage of the H.O.R.D.E. Festival.
1995
By the fall of 1995, when the band returned to the studio to record its next album, Under The Table and Dreaming had been certified four times platinum by the RIAA.

1996
Crash, Dave Matthews Band’s second RCA studio album, was released on April 30, 1996, and debuted at number two on the Billboard 200 chart.

1997
The band continued with a steady schedule of touring throughout 1997, headlining sold-out amphitheater dates across North America. DMB, though elevated to the level of national pop stardom, continued to do things precisely as it had from day one: organically, with a grass roots mentality.

And from Wikipedia:
[edit] 2008 and the death of LeRoi Moore
On March 6, 2008, it was revealed that the band had been working with Rob Cavallo on their next album, Big Whiskey and the GrooGrux King.[citation needed] It was also mentioned that guitarist and longtime friend Tim Reynolds would be recording with the band on the new studio album. Reynolds would also join the band for their subsequent summer tour.[citation needed]

On April 6, Dave Matthews and Tim Reynolds performed an acoustic concert at Indiana University entitled “Rock for Change” in support of Barack Obama’s presidential campaign. They also played a benefit show for the Seeds of Compassion initiative on April 11 at KeyArena in Seattle, part of the five-day celebration that week centered on the Dalai Lama. This was followed by two nights at the Fifth Annual Kokua Festival on April 19 and 20 at the Waikiki Shell in Honolulu, Hawaii. These shows were part of a benefit for the Kokua Hawai’i Foundation, created by Jack Johnson and his wife Kim to benefit Hawaii’s educational system.

On May 27, three days before the band embarked on their annual summer tour, it was announced that keyboardist Butch Taylor, who had toured with the band since 2001, had decided to leave the band.

The Dave Matthews Band played their last show with all five original members on June 28 at the Nissan Pavilion in Bristow, Virginia. Two days later saxophonist LeRoi Moore was injured in an ATV accident on his farm near Charlottesville, Virginia.[citation needed] On July 1, 2008 while in Charlotte, Dave Matthews announced Moore’s accident.[citation needed] Béla Fleck and the Flecktones saxophonist Jeff Coffin filled in for Moore for the remainder of the tour. Though he was expected to make a full recovery, Moore died suddenly of complications from the accident on August 19. The following statement was released on the band’s website:

We are deeply saddened that LeRoi Moore, saxophonist and founding member of Dave Matthews Band, died unexpectedly Tuesday afternoon, August 19, 2008, at Hollywood Presbyterian Medical Center in Los Angeles from sudden complications stemming from his June ATV accident on his farm near Charlottesville, Virginia. LeRoi had recently returned to his Los Angeles home to begin an intensive physical rehabilitation program.

The band went ahead with a scheduled show at the Staples Center in Los Angeles, where Matthews announced the death of the band’s “dear friend” to the crowd.
[edit] Big Whiskey and the GrooGrux King (2009)
The band’s newest album, titled Big Whiskey and the GrooGrux King, was released on June 2, 2009, coinciding with a supporting summer tour, slated to run through early October. Tim Reynolds, Rashawn Ross and Jeff Coffin are scheduled to perform with the band on both the spring and the summer tours.

The album peaked at number one on the Billboard 200, achieving platinum status. To date, two singles have been released, Funny The Way It Is, and Why I Am.

[edit] Taping and bootlegs
Dave Matthews Band allows audience members to record most live shows and permits non-profit trading of the recordings.[48] The band cites college students trading these tapes in the early 1990s as a key reason for their current fame.[citation needed] Up until February 23, 1995 the band allowed tapers to plug directly into the soundboard at shows but after profiteering on these often high quality tapings, the taping policy was changed to only include microphones. The band and its management also worked with the US federal government in 1996 to launch a crackdown on for-profit bootleggers, which resulted in large-scale arrests of those responsible for illegally manufacturing and selling copies of DMB material.[citation needed] To further combat bootleggers,[citation needed] the band released their first live album, Live at Red Rocks 8.15.95, to satisfy the demand for live recordings.

In recent years it has been common to see several sources per show, sometimes as many as five or more. As microphones and recording equipment have become more inexpensive and of higher quality, the quality of tapings has improved.

From “Why I Am,” the DMB’s tribute song for LeRoi Moore who was known as “Groo Grux” back in New Orleans, his hometown:
It’s the lose and the win of the world.
Wrong and right,
Us and them of the world.
It’s the you and the me of the world.
But, Only one way out of the world.

It’s why I am, unlikely to agree.
It’s why I am, climbin’ out of my monkey tree.
Why I am, still here dancing with the GrooGrux King.
We’ll be drinking Big Whiskey while we dance and sing.
And when my story ends it’s gonna end with him.
Heaven or hell I’m going there with the GrooGrux King.

Why I am, the apple of your pretty eye.
Why I am, a snake in the wood pile.
Why I am, still here dancing with the GrooGrux King.

Out of my head and into the room.
So when my ghost takes me from you.
You can remember the fool that I am.
Don’t cry baby,
Don’t cry.

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Happy Friday from jitterbuggingforjesus.com & Satchmo

calmnessbigstockphoto_Heaven_3092770px-Louis_Armstrong_restored

I see trees of green, red roses too,
I see them bloom, for me and you.
And I think to myself… what a wonderful world.

I see skies of blue, and clouds of white,
The bright blessed day, the dark sacred night.
And I think to myself… what a wonderful world.

The colors of the rainbow so pretty in the sky,
Also the faces of people going by.
I see friends shaking hands, say how do you do?
They’re really saying, I love you.

I hear babies crying, I watch them grow,
They’ll learn much more than I’ll ever know.
And I think to myself… what a wonderful world.

Yes I think to myself… what a wonderful world.

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jitterbugging at coney islandmartyrobbins02-430x250martyimagesHe was one smooth singing, mighty entertaining singer and a true original.
Plus, my Mama liked him a lot.
Plus, he did a lot of music that one could jitterbug to.
He had Soul (Western Soul Div.) and like me and the Buckinghams, that great Chicago band from the sixites always say, “Baby . . . . You got-ta, got-ta have soul right now!”
Article on him follows:

No artist in the history of country music has had a more stylistically diverse career than Marty Robbins. Never content to remain just a country singer, Robbins performed successfully in a dazzling array of styles during more than 30 years in the business. To his credit, Robbins rarely followed trends but often took off in directions that stunned both his peers and fans. Plainly Robbins was not hemmed in by anyone’s definition of country music. Although his earliest recordings were unremarkable weepers, by the mid-’50s Robbins was making forays into rock music, adding fiddles to the works of Chuck Berry and Little Richard. By the late ’50s, Robbins had pop hits of his own with teen fare like “A White Sport Coat (And a Pink Carnation).” Almost simultaneously, he completed work on his Song of the Islands album. In 1959, Robbins stretched even further with the hit single “El Paso,” thus heralding a pattern of “gunfighter ballads” that lasted the balance of his career. Robbins also enjoyed bluesy hits like “Don’t Worry,” which introduced a pop audience to fuzz-tone guitar in 1961. Barely a year later, Robbins scored a calypso hit with “Devil Woman.” Robbins also left a legacy of gospel music and a string of sentimental ballads, showing that he would croon with nary a touch of hillbilly twang.

Born and raised in Glendale, AZ, Robbins (born Martin David Robertson, September 26, 1925; died December 8, 1982) was exposed to music at an early age. His mother’s father was “Texas” Bob Heckle, a former medicine show man who told his grandson cowboy stories and tales of the traveling show. Robbins became enraptured by the cowboy tales and, once he became a teenager, worked on his older brother’s ranch outside of Phoenix, concentrating more on his cowboy duties than his studies. Indeed, he never graduated from high school, and by his late teens, he started turning petty crimes while living as a hobo. In 1943, he joined the U.S. Navy to fight in World War II, and while he was in the service, he learned how to play guitar and developed a taste for Hawaiian music. Robbins left the Navy in 1947, returning to Glendale, where he began to sing in local clubs and radio stations. Often, he performed under the name “Jack Robinson” in an attempt to disguise his endeavors from his disapproving mother. Within three years, he had developed a strong reputation throughout Arizona and was appearing regularly on a Mesa radio station and had his own television show, Western Caravan, in Phoenix. By that time, he had settled on the stage name of Marty Robbins.

Robbins landed a recording contract with Columbia in 1951 with the assistance of Little Jimmy Dickens, who had been a fan ever since appearing on Western Caravan. Early in 1952, Robbins released his first single, “Love Me or Leave Me Alone.” It wasn’t a success and neither was its follow-up, “Crying ‘Cause I Love You,” but “I’ll Go On Alone” soared to number one in January 1953. Following its blockbuster success, Robbins signed a publishing deal with Acuff-Rose and joined the Grand Ole Opry. “I Couldn’t Keep From Crying” kept him in the Top Ten in spring 1953, but his two 1954 singles — “Pretty Words” and “Call Me Up (And I’ll Come Calling on You)” — stalled on the charts. A couple of rock & roll covers, “That’s All Right” and “Maybellene,” returned him to the country Top Ten in 1955, but it wasn’t until “Singing the Blues” shot to number one in fall 1956 that Robbins’ career was truly launched. Staying at number one for a remarkable 13 weeks, “Singing the Blues” established Robbins as a star, but its progress on the pop charts was impeded by Guy Mitchell’s cover, which was released shortly after Robbins’ original and quickly leapfrogged to number one. The process repeated itself on “Knee Deep in the Blues,” which went to number three on the country charts but didn’t even appear on the pop charts due to Mitchell’s hastily released cover. To head off such competition, Robbins decided to record with easy listening conductor Ray Conniff for his next singles. It was a crafty move and one that kept him commercially viable during the peak of rock & roll. The first of these collaborations, “A White Sport Coat (And a Pink Carnation),” became a huge hit, spending five weeks at the top of the country charts in spring 1957 and peaking at number two on the pop charts, giving him his long-awaited breakthrough record.

After “A White Sport Coat (And a Pink Carnation),” Robbins was a regular fixation on both the pop and country charts until the mid-’60s. The Burt Bacharach and Hal David composition “The Story of My Life” returned Robbins to the number one country slot in early 1957 (number 15 pop), while “Just Married,” “Stairway of Love,” and “She Was Only Seventeen (He Was One Year More)” kept him in teen-pop territory, as well as the upper reaches of the charts, throughout 1958. In addition to his pop records, Robbins recorded rockabilly singles and Hawaiian albums that earned their own audience. During that time, he began a couple of business ventures of his own, including a booking agency and a record label called Robbins. He also ventured into movies, appearing in the Westerns Raiders of Old California (1957) and Badge of Marshal Brennan (1958), where he played a Mexican named Felipe. The films not only demonstrated Robbins’ love for Western myths and legends, but they signalled the shift in musical direction he was about to take. Over the course of 1958 and 1959, he recorded a number of cowboy and western songs, and the first of these — “The Hanging Tree,” the theme to the Gary Cooper film of the same name — became a hit in spring 1959. However, the song just set the stage for Robbins’ signature song and biggest western hit, “El Paso.” Released in the summer, the single spent six months on the country charts, including seven weeks at number one, while hitting the top of the pop charts. A full album of western songs, Gunfighter Ballads and Trail Songs, became equally successful, reaching number six on the pop charts, and by the mid-’60s, it had gone platinum.

“El Paso” began a very successful decade for Robbins. “Big Iron,” another western song, followed its predecessor to the Top Ten of the country charts in 1960, but it wasn’t until 1961 that he had another huge hit in the form of “Don’t Worry.” Fueled by a fuzz-toned guitar (the first country record to feature such an effect), “Don’t Worry” spent ten weeks at number one and crossed over to number three on the pop charts. The following year, “Devil Woman” became nearly as successful, spending eight weeks at number one; it was followed by another number one, “Ruby Ann.” Between “Don’t Worry” and “Devil Woman,” he had a number of smaller hits, most notably the Top Ten “It’s Your World,” and for the rest of the decade, his biggest hits alternated with more moderate successes. With his career sailing along, Robbins began exploring racecar driving in 1962, initially driving in dirt-track racing competitions before competing in the famous NASCAR race. However, car racing was just a hobby, and he continued to have hits in 1963, including the number one “Begging to You.” The following year, he starred in the film Ballad of a Gunfighter, which was based on songs from his classic album.

Robbins’ chart success continued throughout 1964, before suddenly dipping after he took Gordon Lightfoot’s “Ribbon of Darkness” to number one in spring 1965. For the remainder of the year and much of the next, his singles failed to crack the Top Ten, and he concentrated on filming a television series called The Drifter, which was based on a character he had created. He also acted frequently, including the Nashville exploitation films Country Music Caravan, The Nashville Story, and Tennessee Jamboree and the stock-car drama Hell on Wheels. Though “The Shoe Goes on the Other Foot Tonight” reached number three in 1966, it wasn’t until “Tonight Carmen” reached number one on the country charts in 1967 that his career picked up considerably. During the next two years, he regularly hit the Top Ten with country-pop songs like “I Walk Alone” and “It’s a Sin.” Robbins suffered from a heart attack while on tour in August 1969, which led to a bypass operation in 1970. Despite his brush with death, he continued to record, tour, and act. Early in 1970, “My Woman My Woman My Wife” became his last major crossover hit, reaching number one on the country charts and 42 on the pop charts and eventually earning a Grammy award.

Robbins left Columbia Records in 1972, spending the next three years at Decca/MCA. Though “Walking Piece of Heaven,” “Love Me,” and “Twentieth Century Drifter” all reached the Top Ten, most of his singles were unenthusiastically received. Nevertheless, he sustained his popularity through concerts and film appearances, including the Lee Marvin movie A Man and a Train and Guns of a Stranger. In March 1974, Robbins became the last performer to play at the Ryman Auditorium, the original location of the Grand Ole Opry; a week later, he was the first to play at the new Grand Ole Opry House. The honors and tributes to Robbins continued to roll out during the mid-’70s, as he was inducted into Nashville Songwriters International Hall of Fame in 1975. That same year, he returned to Columbia Records, and over 1976 and 1977 he had his last sustained string of Top Ten hits, with “El Paso City” and “Among My Souvenirs” reaching number one. Following this two-year burst of success, Robbins settled into a series of minor hits for the next four years. In October 1982, he was inducted into the Country Music Hall of Fame. Two months later, he suffered his third major heart attack (his second arrived in early 1981), and although he had surgery, he died on December 8. In the wake of his death, his theme song to Clint Eastwood’s movie Honky Tonk Man was released and climbed to number ten. Robbins left behind an immense legacy, including no less than 94 charting country hits and a body of recorded worked that proved how eclectic country music could be. ~ Hank Davis, All Music Guide

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Eleanor Rigby: Not your typical party fare

200px-EleanorRigby-singlecoverMaybe it’s just me, but one of the stranger moments at the Sir Paul concert last week came about an hour into the show, when Paul and the band did “Eleanor Rigby” and we in the audience started singing along–the first song of the night in which there was any singalong.
Paul actually led a fun singalong to the na-na-na refrain of “Hey Jude” later in the show.
But the Eleanor Rigby singalong, which the crowd just seemed to jump into spontaneously, seemed a little strange to me because this concert was by design more of a feel-good, happy nightclub act and party with Paul hosting 40,000 of us, rather than a typical rock concert.
Eleanor Rigby is a great song, but it’s a whopper of a melancholy and sorrowful song and lament for the lonely. And sure–a lot of songs are sorrowful and sad, country and blues thrive on sorrowful and sad and lonely conditions–but those are usually about love lost or unrequited.
Eleanor Rigby’s just not the standard fare.
Maybe it goes to show that a great song is fit for any occasion, even a party with Paul Mac being the merrymaking host?
For sure, it’s a humane song and is reflective of Paul McCartney’s deep humanity. And of course we preachers appreciate the theology in it.
And as a chaplain at a hospital there are many, many nights I look around and wonder where all the lonely people come from.
Loneliness is a worse condition than illness itself, and the two together can be lethal.
Here’s the song, as if you don’t know it already:
“Eleanor Rigby”
Appears on album: Revolver
Composed by: Lennon/McCartney (but even John said “it was Paul’s baby all the way”)
Year released: 1966

“Eleanor Rigby” Lyrics
Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby, picks up the rice
in the church where a wedding has been
Lives in a dream
Waits at the window, wearing the face
that she keeps in a jar by the door
Who is it for

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Father McKenzie, writing the words
of a sermon that no one will hear
No one comes near
Look at him working, darning his socks
in the night when there’s nobody there
What does he care

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby, died in the church
and was buried along with her name
Nobody came
Father McKenzie, wiping the dirt
from his hands as he walks from the grave
No one was saved

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

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We Got Saturday Night Owl Fever!

St Paul said, “The fruit of the spirit is love, jitterbugging, peace, patience, kindness, goodness, gentleness, faithfulness and self-control.
It’s in Galatians.
You could look it up.
Grace & peace, everybody, and until church tomorrow . . . .
jitterbug boogie2254043953_5a2ab1057b2254043993_a437c556e8

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The long and short of Sir’s 2 hours 45 minutes of nonstop hard rocking magical mystery show is that I would sell the family farm again to experience that again. I and 40,000 others never had so much fun in our lives but nobody had, or has, more fun than Sir himself, who still has energy that amazes and astounds.
Biggest majority was Beatles–Early Beatles, Revolver transition Beatles, Psychadelic Beatles, everthing from Saw Her Standing There to Yesterday and Eleanor Rigby to Day in the Life to, believe it or not, Helter Skelter (at about 190 decibels).
Lots of talk and bantering with the audiences and reading signs from the audience (“Paul now that it’s legal will you marry me. No! I won’t!”)
It was an amazing, shocking, sudden fireworks show in Live and Let Die, a Monty Pythonesqe psychadelic video show at during Sgt Pepper/The End on the third and final encore, and him still hamming for the camera as he left the stage with his two young guitarists and drummer and middle aged keyboard player.
One of his young guitar players once said Paul wanted young musicians around him to keep him feeling young. “But he keeps US feeling young,” the young man said. That’s Sir Paul — forever and gracefully young.

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What Sir Paul will be singing to me tonight!

baby he's a rich man!

baby he's a rich man!

From the Dallas Morning Snooze:
Beatles fans will be in heaven. The set list for Paul McCartney’s current tour is loaded with Fab Four tunes, including “Drive My Car,” “Eleanor Rigby,” “Paperback Writer,” “Let It Be,” “Hey Jude” and “Yesterday.” There are also Wings staples such as “Band on the Run,” “Jet” and “My Love.” Otherwise there’s some solo material and cuts from his side project, the Fireman (latest CD: “Electric Arguments”). But, clearly, the draw of this show will be the Beatles. With half of the band deceased, the bulk of its legacy rests on the 67-year-old McCartney’s shoulders. Judging from the tour’s glowing reviews, it seems as if he and his four-piece band are handily keeping the music alive and thriving.

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