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Rare Folk Rockabilly – THE KENTUCKY RAIDERS :: I DIDN’T REALIZE 1965-68 private pressing

A haunting ballad by The Kentucky Raiders, from their album “The Old Highway.” Old-time vocals mixed with hard time country blues.

Original Private Press, Breeze 178, Mono.  Released somewhere between 1965 and 1968, I would guess. One of the few clues I have is on the album cover, which states “This record plays excellent on stereo equipment”. This directly implies that this LP is recorded in mono. I have not seen this type of statement on any U.S. LP cover after 1967 or 1968. -POPSIKE.COM

Album: The Old Highway
Breeze Records LP-178 `                                                                                                                           1965-68

Playlist:LOST IN TRANSMISSION No.22, by Folk Radio UK via Mixcloud

An excellent mixtape from the folks at Folk Radio UK, and hey it’s even slightly festive.

Here are their notes regarding their set:

“Whilst not a full-on festive offering, our latest mix does contain some festive cheer courtesy of a reading from Robert Frost as well as music from Steve Tilston & Maggie BoyleTim LaycockRichard Farina With Blind Boy Grunt (better known as Bob Dylan) & Eric Von Schmidt, and some top-notch wassailing from John Kirkpatrick.

Scattered amongst this festive sprinkling are some classics from the likes of John MartynSandy DennyHamish Imlach and Richard Thompson as well as unique offerings from Maarja Nuut and new music from DakhaBrakha and Siobhan Miller‘s new single. There’s also some old recordings from Topic Records back catalogue including Ed Pickford with Ee Aye, Aa Cud Hew, Gordeanna McCulloch with The Clutha and Exiles who were Enoch Kent, Bobby Campbell and Gordon McCulloch.”

 

VITO ACCONCI:: PRYINGS, 1971 17 min.

1971, 17:10 min, b&w, sound

A documentation of a live performance at New York University, Pryings is a graphic exploration of the physical and psychological dynamics of male/female interaction, a study in control, violation and resistance. The camera focuses tightly on Kathy Dillon’s face, as Acconci tries to pry open her closed eyes. Dillon resists, at times protecting her face or fighting to get away. Locked in a silent embrace, the couple’s struggle is violent, passionate; Acconci’s sadistic coercion is tinged with a sinister tenderness. The body is a vehicle for a literal enactment of the desire for and resistance against intimate contact.

Acconci writes, “The performer will not come to terms, she shuts herself off, inside the box (monitor), my attempt is to force her to face out, fit into the performer’s role, come out in the open.”

BLINKY PALERMO

 

Palermo was born Peter Schwarze in Leipzig, Germany, in 1943, and adopted as an infant, with his twin brother, Michael, by foster parents named Heisterkamp. He adopted his outlandish name in 1964, during his studies with Bruno Goller and Joseph Beuys at the Kunstakademie Düsseldorf between 1962 and 1967. The name refers to Frank “Blinky” Palermo, an American Mafioso and boxing promoter who managed Sonny Liston. Continue reading BLINKY PALERMO