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Who Defined “Jewish”? The Deeper Battle Over Identity and Divine Authority By: Michael Taylor | ThaWilsonBlock Magazine In today’s world of rewritten truths and rebranded identities, few topics are more misunderstood—or more manipulated—than the question: Who is a Jew? For centuries, institutions, cultures, and religious authorities have claimed the right to define Jewishness. But beneath the noise of tradition and politics lies a deeper issue—a spiritual one. Because the question isn't just how “Jewish” is defined. The real question is: Who or what has the authority to define it in the first place? --- The Origin of the Covenant When we go back to the beginning, the answer is simple and undeniable. The Most High—YHWH—established a covenant with Abraham, reaffirmed it through Isaac, and fulfilled it through Jacob, who was renamed Israel. The covenant was not based on culture or customs. It was based on divine election and lineage. > “I will establish my covenant betw...

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 2: B. B. King

Here's the second act from the third day of the 1969 Texas International Pop Festival: blues legend B.B. King. (Unfortunately, I'm mostly just guessing on the performance order for this and most albums on this day.)

1969 was a pivotal year for B.B. King. He'd been releasing albums since 1956. However, they pretty much had only appealed to fans of blues music. But in the late 1960s, electric blues got to be very popular, thanks mostly to British bands like Cream and Fleetwood Mac. So King's popularity rose. He released two albums in 1969, and both of them rose higher on the pop charts (about Top Forty) and R&B charts (about the Top Ten) than any of his previous albums.

One of those albums, "Completely Well," contained the song "The Thrill Is Gone." That would become his biggest hit and his signature song. Unfortunately, that song wasn't released a single until December, a few months after this. So it's not performed here.

A bunch of acts performed twice over the course of the three days of the festival. Few performed three times, but King was one of them. Apparently, his set caused some amusement, because he didn't realize that most of the audience stayed for all three sets, and he played the same songs with most of the same banter between songs. But despite that glitch, his music went over very well. A review in the "Times Herald" newspaper said that King "seemed to improve with each performance, flawless, hitting those low blues-filled notes and proving his birthright to the title of King of the Blues." 

King also was more savvy than most blues musicians of his generation by playing festivals full of hippies like this. In between songs, he King told the audience, "Now you can go let everyone know that we can get together outside of Woodstock and have a good time." 

This album is 43 minutes long.

01 talk (B. B. King)
02 Sweet Sixteen (B. B. King)
03 Please Accept My Love (B. B. King)
04 talk (B. B. King)
05 Everybody Wants to Know Why I Sing the Blues (B. B. King)
06 Don't Want a Soul Hanging Around (B. B. King)
07 What's Wrong Little Mama (B. B. King)
08 How Blue Can You Get (B. B. King)
09 Whole Lot of Lovin' (B. B. King)
10 Everyday I Have the Blues (B. B. King) 

https://pixeldrain.com/u/R9fc7uBt

alternate:

https://bestfile.io/DhmPBDoFFQauK9K/file

The cover photo is from this exact concert. The original was in black and white, and quite blurry in places. I used Kolorize to colorize. I tried to use Krea AI to reduce the blurriness, but you still see that with his hand and guitar.



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