Showing posts with label Folk-Rock. Show all posts
Showing posts with label Folk-Rock. Show all posts

Sunday, November 2, 2025

The Grateful Dead - Wake Of The Flood: The Angel's Share

Another November 2nd (Day Of The Dead) - another Grateful Dead offering for you all!

In celebration of the original album's fiftieth anniversary, The Dead's vaults were thrown open to provide Wake Of The Flood: The Angel's Share, the third installment of the celebrated Angel's Share series, featuring more than two hours of previously unreleased studio chatter, outtakes and alternate versions recorded during the band's August 1973 Wake Of The Flood sessions, held at the Record Plant in Sausalito, California. Some great additions to this release include:

  • Takes of “Let Me Sing Your Blues Away,” Keith Godchaux’s first and only vocal on a Grateful Dead studio record;
  • Bobby Weir’s continually evolving “Weather Report Suite”; and
  • The track “Phil’s Song (Unbroken Chain)”, released on the group's later album The Mars Hotel.

In case you're curious, here's the track listing:

  1. Mississippi Half-Step Uptown Toodeloo (Take 9) [Not Slated] [8/6/73]
  2. Mississippi Half-Step Uptown Toodeloo (Take 10) [Slated] [8/6/73]
  3. Mississippi Half-Step Uptown Toodeloo (Take 11) [Slated] [8/6/73]
  4. Mississippi Half-Step Uptown Toodeloo (Take 16) [Slated] [8/6/73]
  5. Stella Blue (Take 1) [Not Slated] [8/7/73]
  6. Stella Blue (Take 2) [Not Slated] [8/7/73]
  7. Stella Blue (Take 4) [Slated] [8/7/73]
  8. Stella Blue (Take 5) [Not Slated] [8/7/73]
  9. I Am The Rain (Weather Report Suite) [Take 2] [Slated] [8/7/73]
  10. I Am The Rain (Weather Report Suite) [Take 3] [Slated] [8/7/73]
  11. I Am The Rain (Weather Report Suite) [Take 4] [Slated] [8/7/73]
  12. Pistol Shot (China Doll) [TAKE 1] [SLATED] [8/8/73]
  13. Pistol Shot (China Doll) [TAKE 2] [SLATED] [8/8/73]
  14. Pistol Shot (China Doll) [TAKE 3] [SLATED] [8/8/73]
  15. Pistol Shot (China Doll) [TAKE 4] [SLATED] [8/8/73]
  16. Row Jimmy (Take 1) [Not Slated] [8/10/73]
  17. Eyes Of The World (Run-through) [Not SLATED] [8/10/73]
  18. Eyes Of The World (Take 1) [SLATED] [8/10/73]
  19. Eyes Of The World (Take 6) [Not SLATED] [8/10/73]
  20. Eyes Of The World (Take 15) [Not SLATED] [8/10/73]
  21. Eyes Of The World (Take 16) [Not SLATED] [8/10/73]
  22. Let Me Sing Your Blues Away (TAKE 1) [Not SLATED][8/15/73]
  23. Let Me Sing Your Blues Away (TAKE 2) [SLATED] [8/15/73]
  24. Let Me Sing Your Blues Away (TAKE 3) [SLATED] [8/15/73]
  25. Let Me Sing Your Blues Away (TAKE 4) [SLATED] [8/15/73]
  26. Let Me Sing Your Blues Away (TAKE 13) [Not SLATED] [8/15/73]
  27. Phil’s Song (Unbroken Chain) [Take 1] [Not SLATED] [8/16/73
  28. Phil’s Song (Unbroken Chain) [Take 2] [Not SLATED] [8/16/73]
  29. Phil’s Song (Unbroken Chain) [Take 3] [SLATED] [8/16/73]
  30. Phil’s Song (Unbroken Chain) [Take 4] [Not SLATED] [8/16/73]
  31. Phil’s Song (Unbroken Chain) [Take 5] [Not SLATED] [8/16/73]
  32. Phil’s Song (Unbroken Chain) [Take 6] [Not SLATED] [8/16/73]
  33. Phil’s Song (Unbroken Chain) [Take 7] [SLATED] [8/16/73]
  34. Phil’s Song (Unbroken Chain) [Take 8] [SLATED] [8/16/73]
  35. Weather Report Suite (Take 10) [Not Slated] [8/16/73
  36. Weather Report Suite (Take 11) [Not Slated] [8/16/73
  37. Weather Report Suite (Take 16) [Not Slated] [8/16/73]
  38. Weather Report Suite (Take 8) [Slated] [8/17/73]

Sort of not much else left to say here about this album - so I'll just shut up and offer up the music. Here for your Dias De Los Muertos listening pleasure, here's Wake Of The Flood: The Angel's Share, released by Rhino Records on August 18, 2023. This one's for all the Deadheads out there!

Enjoy, and... well, you know!

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Saturday, November 2, 2024

The Grateful Dead - American Beauty: The Angel's Share

 

Since I did this during last year's Day Of The Dead, I suppose I'll try to make this an annual thing now, and continue posting some hard-to-find Grateful Dead here on this date. 

To commemorate the day, her for your listening pleasure is American Beauty: The Angel's Share, like all of the other "Angel's Share" discs, a digital-only release of alt mixes, outtakes and demos from The Grateful Dead's classic album.  I'm a lazy man, so for a more detailed description of this release, I'm taking the liberty of utilizing the Discogs.com write-up, rather than my own words; all credit for the following goes to them and that site:

American Beauty: The Angel's Share brings together never-before-heard studio recordings compiled from dozens of recently discovered 16-track reels. It includes multiple outtakes for several album tracks along with demos for every song on the album (except “Box Of Rain”) plus one for “To Lay Me Down,” which was later included on Jerry Garcia’s first solo album, Garcia. All 10 demos are available today for streaming and digital download with the full 56-track American Beauty: The Angel's Share to be released as a digital exclusive on October 15, shortly before the 50th anniversary of the album’s original release date: November 1, 1970.

Like its predecessor, the latest incarnation of The Angel’s Share was made possible by the tireless work of engineer Brian Kehew and archivist Mike Johnson who – operating under the supervision of Grateful Dead legacy manager David Lemieux – spent countless hours compiling and piecing the reels together to create this revelatory experience.

American Beauty: The Angel's Share opens with 10 demos that were recorded in August 1970 at Pacific High Recording Studio, the same place the band recorded Workingman’s Dead just a few months earlier. While fans are accustomed to hearing songs evolve through the band’s live recordings, this installment of The Angel’s Share offers them a rare opportunity to hear songs like “Ripple” (then titled “Hand Me Down”) grow from its first demo into the final version.

The vast remainder of The Angel’s Share features a mix of partial and complete takes from these sessions including multiple takes of “Friend Of The Devil,” “Ripple” and Pigpen’s “Operator,” an alternate mix of “Truckin’” and a different version of “Candyman.” These intimate in-studio performances are interspersed with conversations that make it feel like you’re in the studio with the band (Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan and Bob Weir) along with producer Stephen Barncard and engineer Phil Sawyer.

The Angel’s Share is rounded out with an acoustic mix of “Box Of Rain” and a version of “Attics Of My Life” that spotlights Garcia alone on electric guitar, both newly mixed from the band’s recording sessions for the album later that summer at Wally Heider Recording

That's that - here you go.  Enjoy the day, have a listen, and as always, let me know what you think.  Happy November 2nd!!

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Thursday, November 2, 2023

The Grateful Dead - Workingman's Dead: The Angel's Share

 

This being the Day Of The Dead, I figured why not commemorate the day by posting some Grateful Dead?  I don't have any especial love for GD... but that hasn't stopped me from collecting hundreds of hours of their recordings over the years.  They're an essential American band, and as such deserve honor and respect - even from an obsessive music collector like myself!

Here's Workingman's Dead: The Angel's Share, a digital-only 2020 release of studio rehearsals and outtakes from The Grateful Dead's classic and celebrated 1970 album.  I don't have much else to say about it here, but Rolling Stone magazine had plenty to comment upon regarding it when this album was put out three years ago; here's their write-up, if you're interested.  

This is for all the Deadheads out there, and music fans in general.  Have a listen, and let me know what you think.  Happy November 2nd!

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Thursday, August 15, 2019

Various Artists - Woodstock - Back To The Garden: The Definitive 50th Anniversary Archive (38 Discs)


Fifty years since Woodstock... what else can I say that hasn't already been said in the run-up to this historic anniversary? With the reams of memories, commentaries, scholarly dissertations, criticisms, accolades and contextual perspectives published and broadcast over the past couple of months, there is simply no chink of daylight left for a small-time music blogger like myself to add any fresh thoughts or new ideas regarding this seminal, semi-mythical event.

I believe it's the "semi-mythical" part about Woodstock that makes it so hard for modern-day writers to get a handle on the festival, what it was all about, and what it "meant". So much of what most people in this day and age know about Woodstock comes from fragmentary snippets (such as pictures of topless women dancing in the mud, Country Joe McDonald's infamous "Gimme an F!  Gimme a U! Gimme a..." chant, and of course Jimi Hendrix's electrified "Star Spangled Banner") displayed and broadcast constantly over the decades - images that I feel have served to morph the event from simply a gargantuan and well-attended rock festival into this shining, hippie-fied anti-war wonderland of universal hope and community, truly "three days of peace and love".

In conjunction with this, Michael Wadleigh's 1970 documentary film of the concert, while celebrated, presented only three hours of the three-day show... but it drew in contemporary audiences of the time and future audiences who hadn't been/couldn't have been in attendance at the original concert with a contrived sense that, by seeing the movie, they HAD been there, and they were feeling the same sort of glow from that time and place.  Of course, that "glow" had less to do with the overall vibe there, and a lot to do with Wadleigh's skillful film editing (it even got nominated for an Oscar in the Film Editing category, a rare distinction for a documentary). In his original four-star review of Woodstock, critic Roger Ebert (who should have known better) stated "The remarkable thing about Wadleigh's film is that it succeeds so completely in making us feel how it must have been to be there", adding in a later expanded review, "...how touching it is in this film to see the full flower of its moment, of its youth and hope."

So, there's a lot of legend and mythology surrounding Woodstock, which I feel skews the perception of the overall concert.  Music producers Brian Kehow and Andy Zax felt the same way regarding the show's legacy, apparently. Instead of presenting to the public only the parts of the festival that fit into the overarching "peace and love" narrative, Zax and Kehow decided to restore and reconstruct the ENTIRE concert, from start to finish, utilizing all available sources. The result of their decade-plus long effort is what I am presenting here today: a 38-disc, 432-track compilation of nearly every song sung, note played and word spoken from the stage in Bethel, New York from the evening of August 15th to the morning of August 18th, 1969, chronologically sequenced (the only tracks missing are two songs from Hendrix's set, "Mastermind" and "Gypsy Woman"/"Aware Of Love", which his estate requested not be included, and a song and a half ("Teenager In Love" and the first half of "Little Darlin") from Sha Na Na's performance due to a gap in the taping). In all, over 250 of the tracks present within this box set have never seen official release.

This set provides more of a "boots on the ground" perspective of the entire event; not just the highs and lows, but some of the more mundane instances and situations involved in the operation of a large rock concert. The many stage announcements included in this set really give you a sense of being there as a participant, and modifies the established view of how it was there over those three days. Pitchfork recently published an article on this set which describes this feeling and function much better than I ever could; here it is.

This is a gargantuan release, and as such was released in extremely limited quantities - only 1,969 copies (cute) of this set were produced, retailing for $800 or more. Two smaller sets containing selections from this box - the three-disc, 42-track Woodstock – Back To The Garden: 50th Anniversary Collection and the ten-disc, 162-track Woodstock – Back To The Garden: 50th Anniversary Experience - were released earlier this year and are more widely available.

But I got my hands on the source, the granddaddy, and thus I present it to you for your perusal and enjoyment (or at least for those of you without a spare $800 lying around...) - Woodstock - Back To The Garden: The Definitive 50th Anniversary Archive, all thirty-eight discs, released by Rhino Records just last month, on August 2nd, 2019. Enjoy, and as always, let me know what you think.

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Wednesday, June 6, 2018

Simon & Garfunkel - Bookends (RS500 - #234)


June 6th, 2018... fifty years today since the death of Bobby Kennedy.

A lot of ink has been and will be spilled today regarding Kennedy's 1968 campaign for the Democratic presidential nomination, most of it related to the continuing "Kennedy Myth" that has haunted and teased this nation for over fifty years. RFK's run has now assumed almost legendary status - the star-crossed young warrior, going to battle against the entrenched hierarchy and the special interests; a man born to great privilege and yet a "man of the people" and champion of the poor and downtrodden; a shining light of passion and dedication, cut down just as he could all but visualize his goal. While a lot of that has some basis in fact, Bobby's decision to run that year and his prospects for winning his party's nomination, and ultimately the presidency, were a lot more complicated than that.

It shouldn't be forgotten that Robert Kennedy entered the 1968 presidential race late, on March 16th, four days after President Lyndon Johnson narrowly won the New Hampshire primary over upstart Minnesota Senator Eugene McCarthy (49% to 42%). The relationship between
Kennedy and Johnson wasn't just one of mutual contempt - they actively despised one another, and had since the early Fifties, when Johnson was a powerful senator and Bobby was little more than a low-level Senate staffer. When JFK assumed the presidency in 1961, with Johnson as his vice-president and his brother as Attorney General, that power dynamic had shifted to Bobby's advantage (the office of the VP having little if any real power), and the younger brother used it to humiliate and emasculate Johnson constantly - revenge for Johnson's treatment of him in the '50s. By late in JFK's first term, it was clear that Bobby, not Johnson, was the #2 man in the administration, and his power and influence would only grow after JFK's near-certain reelection in 1964 (which would have set up a remarkable "what-if" scenario in '68 - if Johnson had been retained as a VP running mate in '64, undoubtedly both he AND Bobby would have run to succeed JFK that year... which would have in all likelihood set off a intra-party war between the two candidates' factions even nastier and more bitter than what actually happened that year...).

The bullets fired at the presidential motorcade in Dallas on November 22nd, 1963 suddenly and immediately altered that power dynamic yet again, this time with the new president Johnson on top, and he didn't hesitate to use it to exact some vicious payback against a physically altered and emotionally distraught Bobby, reeling in the aftermath of his brother's death. Even with all of that, Kennedy stayed on as Attorney General in the Johnson administration for several more months, ostensibly to cement JFK's legacy in the legal realm. But his heart clearly wasn't into his job, or with continuing to work with LBJ. Sensing that he could do more good - and establish his own political base for the future - outside of the cabinet, Bobby resigned his office in mid-1964 to run for the Senate in New York, defeating the incumbent Republican Kenneth Keating that November. During his four years in the Senate, Kennedy enhanced his liberal bona fides, championing civil rights and marginalized members of the population (who he referred to as the "disaffected", the impoverished, and "the excluded"), and increasingly calling into question America's involvement in the Vietnam War. By early 1968, Bobby's popularity with certain groups (especially minorities) rivaled and even exceeded that of Johnson.

Kennedy was itching to make a presidential run against the hated Johnson in 1968, who he considered to be over his head as Chief Executive and unable to adequately deal with the serious issues (war, racial divisions, poverty, etc.) he faced during his first full term. However, despite urging from his advisors and from various corners of society, Bobby considered his prospects for a successful run against a sitting president exceedingly unrealistic - the last president denied his party's nomination for a second term was Chester A. Arthur in 1884. So he announced at a January 30th, 1968 press conference (coincidentally, the same day as the beginning of the Tet Offensive) that “under no foreseeable circumstances” would he run for president. And it seemed to most of the world that that was the final word regarding a possible "Kennedy '68" bid.

However, shortly after this declaration, Kennedy, his pollsters and advisors began to sense that something was going on in the American electorate - a hidden but surging groundswell of discontent with the current direction of the country.  Bobby and his team could see that in the preliminary February polling for the upcoming "first in the nation" New Hampshire primary,
where the underfunded anti-war candidate Senator McCarthy was quietly gaining strength and support over the incumbent. It was clear to Kennedy that a significant number of people were looking for an alternative to Johnson. Bobby read the tea leaves and trusted his well-honed political instincts... while the modern narrative is that Kennedy jumped into the race only after smelling blood after Johnson's close call in New Hampshire on March 12th, the truth of the matter was that he'd changed his mind regarding his decision to run significantly earlier, prior to the primary vote. He'd planned to make his announcement in early March, but was persuaded by other influential friends to either talk McCarthy into dropping out prior to the primary (which McCarthy had no intention of doing) or waiting until just afterwards, in order to avoid splitting the Democratic anti-war vote.

Either way, Bobby's declaration on March 16th, in the Caucus Room of the old Senate Office Building, was not met with overwhelming nationwide hosannas. He was denounced in some quarters as a political opportunist, taking advantage of the trail that McCarthy's months of hard work had blazed. Despite this, he was immediately regarded as the frontrunner and the president's most formidable electoral foe. Faced with two strong opponents now, Johnson famously bowed out of the race on March 31st, throwing his support and that of much of the Democratic establishment behind the candidacy of his Vice-
President, Hubert Humphrey. In this essentially three-way race between the major challengers Humphrey, McCarthy and Kennedy, only the latter two competed head-to-head in the state primaries. Of the four primaries with active competition between McCarthy and Kennedy, Kennedy won three, losing only in Oregon in an upset a week before the crucial California primary.

While the two liberal candidates were slugging it out in the states, Humphrey concentrated on acquiring nomination delegates from states that didn't hold primaries, places where party bosses still held sway and controlled delegate selection. Unlike nowadays, back then, most states DIDN'T hold primaries, and delegate slates were largely determined by big-city political machines. So, despite his relative success in the primaries, on the night of the California primary, Kennedy still had a grand total of only 393 pledged delegates to Humphrey's 561 (McCarthy had 238), with 1,312 votes needed to lock up the party's nomination. He hoped that with his primary successes, he could convince party leaders that he was the only Democrat who could defeat the nominal Republican candidate Richard Nixon and prevent them from pledging their delegations and allegiances (to Humphrey or anyone else) too early, at least not before the party convention that summer in Chicago. Kennedy wanted to create a "bandwagon" effect of the same manner and type that helped his brother gain the nomination in 1960.

With all of this, it's a tough call to say that RFK could have arrived in Chicago and garnered the remaining votes needed to win the nomination.  McCarthy's team was still furious at him for his late entry (two days before the California primary, two Kennedy staffers went to McCarthy state headquarters in Los Angeles to argue that the loser of the California primary withdraw and support the winner; said one McCarthy worker: “I’d vote for Nixon over that SOB [i.e., RFK].”), so those delegates weren't necessarily Kennedy's for the asking. Young antiwar voters, whom he needed to draw into in his coalition, remained steadfast in their loyalty to their champion Senator McCarthy.

More significant to his overall prospects, Kennedy faced opposition from three groups central to the nominating process and influential with state and big-city political bosses:
  • Southern Democrats, many of whom bitterly resented his civil rights advocacy; 
  • Much of organized labor leadership, who remembered his crackdowns on crooked Teamsters boss Jimmy Hoffa and other corrupt union officials; and—despite his upbringing and pedigree;
  • Titans of industry, who viewed with deep worry his steady drift to the left during his four years in the Senate. 
While Kennedy was hugely popular with minorities and the poor during his campaign, those groups would have almost no voice at the convention, and zero pull with the power brokers there.

So, looking at it in a cold, hard, objective manner, I seriously doubt that Bobby would have been able to get to 1,312. Of course, the events in the kitchen of the Ambassador Hotel in the wee hours of June 5th, 1968, and RFK's subsequent death little more than a day later makes all of that a moot point.


I was still in preschool in 1968, so I have little to no memory of the earthshaking events of that year - war, assassinations, riots, flights to the moon. Therefore, Kennedy's death had no impact on me at the time.  It was only later that full force of the event hit home. In my opinion, the RFK assassination was the single most significant event of the late 1960s affecting American history - more than the Watts riots, more than the Martin Luther King assassination, more than the moon landing. It seems to me that with his passing and the missed opportunity of a Robert Kennedy presidency, America lost its last, best chance to reclaim the shining beacon of hope, justice, truth and right in the world that had begun slipping from our grasp in the '60s.

It's impossible to say with any certainty, but it is likely that under Kennedy, America's involvement in Vietnam would have ended much earlier - not with any sort of victory (as the Pentagon Papers later revealed, prior administrations had concluded years earlier that a military conflict there was essentially unwinnable), but possibly with better terms and a saving of thousands of American lives. With a government led by a leader liked and trusted by marginalized groups, implementation of civil rights laws probably would have been expedited. And among other things, Watergate and its aftermath, the public's mistrust of and disillusionment with government and political service, never would have happened.  With the prospect of a Kennedy administration, there was an anticipation and expectation of a more caring and compassionate government, responsive to the issues and needs of the many, especially those needing assistance - and spearheaded by a tough-minded, experienced professional.

As Leonard Pitts Jr. wrote in a recent op-ed in the Miami Herald:
It turned out the tough guy had an instinct for the underdog and a deep, moral indignation over the unfair treatment that trapped them in their hoods and hollers, barely subsisting in the shadows of plenty. He saw their humanity. This, I think, even more than his opposition to the war in Vietnam, was what drew people....

There was in that last ragged campaign of his, this sense of the possible, of the new, of fundamental, systemic change. There was this sense of a more compassionate America waiting just below the horizon. There was, in a word, hope. Or as Rep. John Lewis, then a campaign aide, consoled himself in the grim weeks after Martin Luther King was murdered in Memphis: “At least we still have Bobby.”

Read more here: https://www.miamiherald.com/opinion/opn-columns-blogs/leonard-pitts-jr/article212396079.html#storylink=cpy
The key word in that section above is "hope" - to many people, that's what Bobby Kennedy represented, and that's what was lost.

Looking back fifty years now at the events of that time, the thing that is most devastating and distressing about Robert Kennedy's death to me is that there wasn't any interim period needed for citizens to assess his legacy - people IMMEDIATELY knew what a profound loss they and the nation had suffered.

RFK's funeral was held at St. Patrick's Cathedral in New York on the morning of June 8th, 1968, then his body was transported by special train down to Washington, DC, where he was to be laid to rest in Arlington National Cemetery. Without provocation or urging, hundreds of thousands of people lined the entire length of the railroad tracks and packed the stations along the route, paying their respects to their lost champion as the train moved past. A sampling of the photos of the assembled crowds is haunting and devastating in depicting the grief and despair of a vast swath of the nation:



 







The Number One song in the U.S. the week of Kennedy's death was "Mrs. Robinson" by the pop duo Simon & Garfunkel. The song was originally included in the soundtrack to the hit Mike Nichols-directed film The Graduate, released in late 1967, and released again as part of the folk-rock duo's 1968 album Bookends. The song, one of several Simon & Garfunkel tunes included in the movie, was originally titled "Mrs. Roosevelt", but was revamped and retitled for the film to refer to one of the main characters, the adulterous Mrs. Robinson, played by Anne Bancroft. While popular in its own right, the film version of "Mrs. Robinson" was markedly different from the album version, released a couple of months later. It was this latter version that climbed the charts in the spring of 1968, peaking on June 1st and remaining at the top of the charts for most of that month.

The most famous and celebrated portion of the song refers to the former Yankee great Joe DiMaggio:
Where have you gone, Joe DiMaggio
Our nation turns its lonely eyes to you
Wu wu wu
What's that you say, Mrs. Robinson
Jolting Joe has left and gone away
Hey, hey, hey, hey, hey, hey
In an interview years later, Simon discussed this lyric and explained that the line was meant as a sincere tribute to DiMaggio's unpretentious heroic stature, in a time when popular culture magnifies and distorts how we perceive our heroes. He further reflected:
"In those days of Presidential transgressions and apologies and prime-time interviews about private sexual matters, we grieve for Joe DiMaggio and mourn the loss of his grace and dignity, his fierce sense of privacy, his fidelity to the memory of his wife and the power of his slience.  ...I didn't mean the lines literally... I thought of him as an American hero and that genuine heroes were in short supply."
In the wake of the assassination, it was easy at the time to figuratively transfer the meaning and context of the words in that song to the nation's feelings regarding the loss of RFK.  Being that Bookends was consciously constructed to contain many of Paul Simon's major lyrical themes (including "youth, alienation, life, love, disillusionment, relationships, old age and [especially] mortality"), the album became almost the perfect accompaniment to and encapsulation of the nation's collective feelings during that terrible month.  I can't listen to the album nowadays without thinking of Bobby.

In memory of Bobby Kennedy, all that he was and all that he could have been, here's Simon & Garfunkel's Bookends, released by Columbia Records on April 3rd, 1968. Enjoy, reflect, and as always, let me know what you think.

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