KiwiCoromandel
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Posts posted by KiwiCoromandel
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i cried...therefore i must be sane......
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it goes i am breaking down breakin down
its between the hardcore metal and punk group
i need to know the name of the artist
once again its
i am breakin down breakin down
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how about this one by skid row.." breaking down " from the 1995 album "subhuman race"....
What was it you once said
That there would be things in life that couldn`t be
Not for a second did I believe you
Not for a minute did I believe that
Within your need you lie alone
This empty space you call your home
Chorus
If you just let me in
I wouldn`t let you break down
I`m breaking down
As if you thought the rain could wash away the day
And could heal you
Not for a second did I believe it
Not for a minute did I believe that
Within your need you lie alone
This empty space you call your home
Repeat Chorus 2x
What was it you once said
That there would be things in life that couldn`t be
Not for a second did I believe you
Not for a minute did I believe that
Chorus
" If you just let me in
I wouldn`t let you break down
I`m breaking down "
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try to fix my leaking spa pool and fend off hordes of kids...its the last week of my 6 year old daughters` school mid term holidays......
:nope:
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I agree with the author. Perhaps they are not the worst ever but they all suck except Bono. He didn't say the Sex Pistols suck. He said Rotten sucks after the Sex pistols. He is tottaly right.
But again, this is just personal opinion
he could be right about morrissey.... in my opinion he`s talking rubbish about johnny rotten.......some of his Public Image stuff is choice
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what a load of crap.....ask " rockers " like paul mc cartney, the late john lennon and producer george martin what they thought about string sessions and orchestras as part of the rock toolkit.....
and frank zappa
and deep purple
and yes
and pink floyd
and elo
and keith emerson
and rick wakefield
and eric clapton
and jimi hendrix.........they were all real " rockers " and all successfully worked with and included strings and orchestral input into their music......and they didn`t need to go to afghanistan to score their opium either....
my suggestion to the dork that wrote this is to have a good long hit on his favourite bong and settle down with a digitally remastered copy of " Deep Purple & the Royal Philharmonic Orchestra - Concerto For Group & Orchestra " released in 1969.....
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" This was back when rock music was still progressing. The strength of an orchestra working with the power of a rock band. Deep Purple were the first band to integrate rock music with classical. The idea came from Jon Lord, Deep Purple's keyboardist.
The band have the muscle to avoid being buried by orchestration, yet manage to join forces with the orchestra. The outcome is a magnificent union that will delight those who care at all about music.
This set was recorded live at the Royal Albert Hall in London on September 24th, 1969 and was divided into three movements:
1st Movement: Allegretto.
2nd Movement: Allegro with lyrics by lead singer Ian Gillan.
3rd Movement: . Vivace presto which integrates a solo for Ian Paice on drums.
For only having two complete rehearsals, the outcome is absolutely amazing.
(Important note) Make sure to get the current release (import only, as of early 2003) which has been completely re-mixed to sound 100% better than the old CD and/or LP, it also includes a nice big booklet full of pictures and if that's not enough for you, a great bonus disc of the band performing a three song set before the Concerto.
Track 1: Hush - Perhaps a better version than the one we always hear on the radio, with Ian Gillan's incredible vocal delivery. Sounding almost like early Elvis at times.
Track 2: Wring that Neck - A smoking instrumental with room to play for guitarist Ritchie Blackmore and keyboardist Jon Lord. I must also mention the solid rhythm section of Roger Glover on bass and Ian Paice on drums, they just drive this piece along. Nice.
Track 3: Child In Time - The band were just about to record this "soon to be classic" for the upcoming album "In Rock". It might be one of the finest live version they ever did.
It's so new to them that they play it incredibly tight, and Gillan keeps his famous screams slightly off the mic, so not to scare the classical side of the crowd, but it makes for a great reverb sound. Those three tracks give you about half an hour of warm up. The audience sounds like they enjoyed the opening set. Fabulous!
The Concerto for Group and Orchestra was and is an excellent idea from JON LORD, he is a true hero. Thanks Jon..."
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get a life...find something else that you`re no good at and tear it to bits.......
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also listening to " 8 miles high " (long version) from the Byrds: " Untitled(Unissued); Live At The Fillmore-1969 "....this 16 minute, jazz orientated extended jam shows just what good musicians the byrds actually were...this track also features the inspired guitarist clarence white and the great gram parsons on drums...
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" It was REALLY late, something like 2 am . We were down the front, as the hordes of Zep fans had gone home. It was wet windy and cold, the Airplane had left the stage because of shocks from the mic's. But the Byrds were made of stronger stuff, they came on and DELIVERED in such a way that this acoustic set has stayed in my memory for over two decades as an amazing transcendent performance.
We were of course, lucky to see Clarence White who was one of the best Byrds guitar players .What a line up ! McGuinn was centerstage , I seem to remember the band playing seated on stools. Rolling Stone said they played 8 -16 encores. Perhaps a slight overstatement , although there are lots of encores on the tape I have , but they did go down a storm with those who stayed up to watch.
This show was the first ever Byrds acoustic show ( at least that's what the band themselves state on-stage ) and its amazing , a few rough edges here and there, but that's mainly due to the fact that they are really delving into the songbook for stuff to play. They had intended to play an electric set , so the whole show was more or less an improvisation .Most of the time they sound as though they have been playing acoustic sets for years. There's a great jam on Eight Miles High that has the audience going into fits of ecstasy .
There's a few funny spots, like where McGuinn announces they will play Willin' "you know, weed whites and wine ?" he asks, expecting a big cheer.
Nothing . not a sausage from the audience, absolute quiet. So he asks again and there's still no response. Either we were all too numb to respond, or we just were all innocents who didn't know what he meant ( and I refuse to believe that !)
At another point the compere gets up and says that they want to get Dr John on-stage soon and he is just shouted down by the audience who want more Byrds, so he eventually gives up. The show ends after numerous encores with the compere stating that the Byrds are worn out and their fingers are trashed . "
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roger mcguinn..." 8 miles high " from the 1996 album " live from mars " 12 string acoustic version...amazing live concert rendition by ex byrd roger mcguinn...This version really is a must for all Byrds fans and guitar pickers. McGuinn is an excellent guitar player and his playing really shines on this track......
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Here's the desktop of my school computer.
The picture is another one of the roads leading to my parents. In fact, this is the view from my parents on past.
i.e. my first pic is a road on the descent, and this one is as you pass.
Nice country.
nice country indeed..looks very much like the country area that i live in down here in nz...this one is a pic of a 100 year old goldmine pumphouse at the end of our street......
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check this one......
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i saw the cure in nz during their 1992 "wish tour"..they were brilliant, robert smith was brilliant,the songs were brilliant......
my fav cure album...... " show "
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The Cure still works
17.08.2004
5.00pm
NEW YORK - Still singing about existential angst and slinging on his heavy makeup, The Cure's Robert Smith is connecting with audiences a third of his age as he headlines the US Curiosa festival even as he contemplates retirement.
"A 15-year-old responds to what I write because I have the same problems with my existence as they do," the 45-year-old singer-guitarist told Reuters. "If you don't have any belief in life after death you can't really shake existential angst. It just is."
After a career that took them to the top of the charts with dark and brooding songs like "Kiss Me Kiss Me Kiss Me" and pop hits like "Friday I'm In Love," The Cure released their 13th studio record in June, a self-titled album that debuted at No. 7 on the Billboard chart.
Now the band is headlining the Curiosa festival, performed across the United States on two stages and featuring alternative rock acts like Auf der Maur, Muse and Interpol that were influenced by The Cure and were quick to praise Smith.
"It's his integrity and honesty," said Melissa Auf der Maur, the former Hole bassist who recently released a self-titled solo album. "He obviously is the same person he's always been. He hasn't shifted based on what decade it is. I think that's where good and consistent music comes from."
At a recent Curiosa show on New York City's Randall's Island, thousands of fans shuffled between the two stages, dutifully watching the acts while waiting for The Cure. Some in the mostly young crowd wore heavy eyeliner and smudged lipstick, staples of the Goth look that Smith helped create.
"I've been a Cure fan since high-school; they're Goth 101," said Sabina Mollot O'Rourke, 25, who came to the show with her husband, a Robert Smith look-alike with teased jet black hair, black suit and a ruffled white shirt. "Robert is never too old to wear make-up."
Smith gets asked about the make-up all the time, and after a 25-year career he's a little tired of the question.
"The main reason I still do it is because my wife Mary prefers me in make-up," he said. "I think I have enough intelligence and self-awareness to know when to stop."
RETIREMENT?
After announcing he would retire in 2000, Smith had a change of heart and now returns to the United States with a new album and a new festival. He still sees an end on the horizon for The Cure, however.
"I don't think I'll be a performer for that much longer," Smith said. "I'm treating this tour, as with every tour we do, as the last thing I do. That's how I maintain the power and intensity, when this may well be the last time I ever step foot on stage in New York."
Come what may, Smith wants to continue to write music.
"In most other kinds of music you're allowed to get better as you get older. It's only in pop music that you're supposed to get worse," he said. "My dream has always been to end up growing a beard and making film music."
Smith said he was enjoying the tour despite its heavy demands on his energy.
"It's the most fun I've had in years, but I think it's going to do me in before I get to the end of it," Smith said laughing. "I'm surrounded by people half my age who are determined to party, so I'm trying to keep up and not let anyone down."
Smith's retirement would come as a heavy blow for young fans like Rebecca Zlouf, 18, who only discovered the band three years ago.
"The feeling you get from their music is like no other," she said while rushing between stages at Randall's Island. "It's dark, intense, but also very happy and deep."
As long as Smith and The Cure continue to have fun on stage, fans can hope to be treated to another tour.
"We play really well on stage," Smith said. "We look at each other and say 'This is it, this is why we're still doing it.' It's a huge rush."
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happy birthday mate....
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Mine.
nice....
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today....
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last nite......
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oh the irony of it all............
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some new zealand ones for you.......
tall dwarves
straitjacket fits
netherworld dancing toys
fur patrol
tadpoles
hello sailor
space farm
blam blam blam
quincy conserve
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head man....
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now, the question is...will cat stevens and the us administration finally get on board the " peace train "???...i think not...
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Peace Train
by Cat Stevens
Now I've been happy lately, thinking about the good things to come
And I believe it could be, something good has begun
Oh I've been smiling lately, dreaming about the world as one
And I believe it could be, some day it's going to come
Cause out on the edge of darkness, there rides a peace train
Oh peace train take this country, come take me home again
Now I've been smiling lately, thinking about the good things to come
And I believe it could be, something good has begun
Oh peace train sounding louder
Glide on the peace train
Come on now peace train
Yes, peace train holy roller
Everyone jump upon the peace train
Come on now peace train
Get your bags together, go bring your good friends too
Cause it's getting nearer, it soon will be with you
Now come and join the living, it's not so far from you
And it's getting nearer, soon it will all be true
Now I've been crying lately, thinking about the world as it is
Why must we go on hating, why can't we live in bliss
Cause out on the edge of darkness, there rides a peace train
Oh peace train take this country, come take me home again
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titillating stuff..........
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Arc Angels - Arc Angels
Charlie Sexton - Under the Wishing Tree
:strumma:
nice choice umma...haven`t heard charlie sexton for a few years...used to have the arc angels on tape cassette about 10 years ago......
fav track.... " Spanish Moon "
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Charlie Sexton's precocious career began at four when he learned to play the guitar. By 11, he was jamming with the Vaughn brothers. At 13, when he still billed himself as Little Charlie, he became Joe Ely's lead guitarist. Two years later, he toured with the Clash and signed a solo recording contract with MCA Records. At 17, Sexton's
self-titled debut LP hit the Top 20 and his song "Beat's So Lonely" did respectably on the singles chart.
But with MCA placing as much emphasis on his finely chiseled face as his music, Sexton ended up a pinup in teen magazines. He also received flak from blues purists, who claimed he sold his roots for pop stardom. By the time the teenager released his followup album, "Pictures for Pleasure," he was dismissed as a has-been.
Despite this, Sexton said he got what he wanted out of his MCA albums.
"The albums helped me break out of the pigeonhole that I was a blues guy or into rockabilly," he said. "I wanted to expand on the music that I made growing up, and I think I did that."
Some critics said Sexton's pop efforts ripped off David Bowie's deep vocal style. But Bowie, who hired Sexton as his guitarist on a previous tour, is one of his strongest supporters.
"I wave a banner for Charlie," Bowie said, calling from Liverpool, England. "I like him a lot. He's a good kid and very talented. Yes, he's very pretty, but he didn't need to be oversold. (MCA) saw him as a one-man Duran Duran, which was a big mistake. Charlie's a blues boy and that's where he really shines. Arc Angels probably is the best thing for him at this point in his career."
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Arc Angels
Doyle Bramhall II - (lead vocals/lead guitar)
Charlie Sexton - (lead vocals/lead guitar)
Tommy Shannon - (bass)
Chris Layton - (drums)
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dokken..."too high to fly " from 2000 live album " live from the sun " with reb beach on lead guitar.....mindblowing lead solo......
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" Reb Beach is all over this thing shredding away like the coming of the apocalypse. His leads are nothing short of memorable. But it's his solo during "Too High To Fly" that just plainly takes your head off. "
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Shred Pick - "Too High To Fly" (13:50)
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Dokken Too High To Fly lyrics
(Dokken, Lynch)
We sold our sons and we sold our daughters
Pretty soon we'll sell our brothers
We took the gold, but the gold was water
I tried to save the world, but I failed her
She cries the tears that I never left her
I left them all behind
You were sitting in your darkest hour
Summer's gone
We tried to make the world so much better
We send our words in a pretty perfumed letter
You sit alone in your ivory towers
I'm just one person, I don't matter
You tap the needle, and you went to heaven
You left it all behind
Now you're feeling oh so better
Chorus
Too high to fly
You should've seen me there (Yeah)
Too high to fly, my baby
But you were almost there
The sun shines down on my face
But you don't feel a thing (no, no, no)
The lines on the street, and the some rises
You looked too long for heaven, now you're blinded, baby
Another morning sun
Another day gone by
The storm's coming
With the pouring rain
Chorus 2
The storm comes with the pouring rain (Salvation)
The lines in the street, and the smoke rises
Wanderin' round for forty days, hope you find it
.......................
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some of my favs..." Z Cars", " The Sweeney ", " Mission Impossible " The Carol Burnett Show " (i think she`s a very funny woman)..
i do like " the sopranos " though...i find that i`m identifying quite sympathetically with big Tony these days.....some sort of mid-life crisis i think.....i quite like the guy....
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double uh,oh.........
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yeah, via is good :bigsmile:
steve vai and frank zappa...a brilliant guitar duo......try vai and zappa`s 8 minute version of " fuck yourself "
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Steve Vai started working for Frank Zappa as a music transcriber in September 1979. Some of Steve's transcriptions were published in 'The Frank Zappa Guitar Book' (Munchkin Music, 1982). Shortly after Steve joined as a transcriber, '[Frank] asked me if I'd do some overdubs for 'You Are What You Is'. So I ended up redoing about 80% of the guitars on the album. He had me down to rehearsal, and I got the gig.'
'Going on the road with Frank Zappa at such a young age [20] was a bit traumatic...', remembers Steve. Tommy Mars recalled a particularly traumatic incident for Radio 1's 'Air Sculpture', the first part of a two part Frank Zappa documentary broadcast on 20 November 1994. Tommy: 'I remember one time that we were finishing up rehearsal; it was the second or last day of rehearsal when everything had to be memorized and it was a particularly difficult body of material that we were doing. And the show 'Entertainment Tonight' was filming us at the same time and Steve Vai was in the band and this was his first tour [the autumn 1980 US tour, from October to December]. I forget the tune we were doing but it was [an] incredibly difficult tune and we all had to have our music memorized. Well, they were up on Steve's hands and, you know, with the camera, and I don't think he had ever had the film crew next to him before. And it's - if you haven't had it - it's a little bit unnerving sometime and rather violating. Let alone the fact that this was his like first or second time he'd ever done it straight from memory and we're going out on the road in three days and we have this Halloween show that we're going to be doing live on MTV and so... Steve started to like forget some parts and he made a few clams.
'And Frank got really pissed at him and, like, devastated him and said, you know, "I don't even know if you're roadable" and, you know, "If you clam up on this little thing imagine what you're gonna do on 'Saturday Night Live'." And poor Steve revered Frank so intensely... And he didn't really screw up, he just made a couple of little clams. And I think maybe Frank was just feeling weird about something and he lashed out. And, I mean, it really was terrible on Steve. He, like, lost it and he said, "Frank, I'm sorry, I didn't want to disappoint you." And Frank, his retort to that was, "You know, I don't know if you're roadable." And this is like the kiss of death to Steve. To me, it was just like, "Well, paps [sic] isn't in a very good mood, Steve." So, you know, I talked to Frank after that. I says, "What were you doing? Do you want this kid to have a nervous breakdown tonight?" He says, "Why? Do you think he took it that hard?"'
Steve toured with Zappa and played on several albums including 'Shut Up 'N' Play Yer Guitar' (1981), 'Tinsel Town Rebellion' (1981), 'You Are What You Is' (1981), Ship Arriving Too Late To Save A Drowning Witch' (1982) and 'The Man From Utopia' (1983). Shortly after leaving Zappa Steve released two eclectic solo albums, 'Flex-Able' (1984) and 'Flex-Able Leftovers' (1984). Steve then replaced Yngwie Malmsteen in Alcatrazz, recording an album entitled 'Disturbing The Peace' (1985), then made his infamous appearance in the film 'Crossroads' (1986). After leaving Alcatrazz Steve recorded two albums with ex-Van Halen frontman David Lee Roth, 'Eat 'Em And Smile' (1986) and 'Skyscraper' (1988) then joined Whitesnake for the 'Slip Of The Tongue' (1989) album. Steve then released his solo instrumental album 'Passion And Warfare' (1990) and formed his own band, Vai, who released one album, 'Sex And Religion' (1993), before disbanding. Steve's latest release is a solo instrumental EP called 'Alien Love Secrets' (1995).
Steve made a guest appearance on the first night of the 'Zappa's Universe' concerts on 7 November 1991 which led to another concert of Zappa compositions in April 1995. 'Conductor Joel Thome had originally put 'Zappa's Universe' together in New York, and those shows were the basis for the record. I played several pieces on that, and received a Grammy for playing on 'Sofa'. Anyway, Joel has been trying to put it together again, and we have been working on five or six pieces of my own. When he arranged to do the Zappa music with the Seattle Symphony, I was really excited to do it.'
DJN: Do you think your technique is at its peak now [shortly after the release of 'Alien Love Secrets'] or were your chops sharpest when you were playing with Zappa? SV: Well, my technique with Frank was not nearly as good as it is now. Although I may have had more chops, you know... I mean they were sloppy chops. Maybe back with David Lee Roth during 'Eat 'Em and Smile' (1986) my chops were maybe at their height but right now my taste factor is so much better. My maturity as a musician and a guitar player are at their peak. DJN: There's a rumour that you transcribed the solo in 'Inca Roads' from memory while you were on the tour bus. SV: Oh, huh, huh. Where did you hear that? DJN: It was in a guitar magazine - 'Guitar World' from last year [April 1994, page 54]. SV: Oh, that's funny! I thought I only mentioned [it] to somebody once. But yeah, I did. I love that solo so much. DJN: Would you say it was your favourite Frank Zappa guitar solo then? SV: I'd say that's probably my favourite. It's between that, 'Watermelon In Easter Hay', 'Zoot Allures' or 'Black Napkins'.
DJN: What are your favourite musical memories of playing with Zappa? SV: We were doing 'Zoot Allures'... We were playing in New York and it was the soundcheck and we were doing it in the soundcheck and Frank did one of the most incredible solos I've ever seen him do, ever. He was just... He was just on and he was connected and he went for it and it was the most incredible solo I ever saw him perform. And believe me, I've seen and heard more than probably anyone else, you know. DJN: Was it recorded? SV: No. No. And I remember I had a dream once that it was recorded and we listened back to it. But it was just a dream [laughs].
DJN: What was the most challenging guitar playing that you did with Zappa? SV: Oh boy - I could write a book about that... Just songs that were really hard to play on the guitar execution-wise. You know - they weren't made for the guitar. Songs like, um, 'Moggio', and 'Envelopes' and 'Drowning Witch', umm, 'Sinister Footwear', uh, 'The Black Page'... Stuff like that was just like - woah! Stuff I really loved too like 'RDNZL' - we have this incredible version of 'RDNZL' [steve plays on 'RDNZL' from 'You Can't Do That Onstage Anymore Vol 5' (1992)] and 'Sofa' - he used to let me really, really play. DJN: You've said that you've had some of your most profound musical experiences playing with Zappa. Could you explain what you meant by that? SV: Well, with Frank, I mean...[sighs] I didn't realize it until afterwards when I saw how difficult it is to create and come up with inspiring things. I would flashback on Frank and like soundchecks and stuff where he would just sit there or stand there in front of the band with a smile on his face or breaking into laughter... He would just compose the wildest stuff right there on the spot. Really beautiful stuff and then throw these weird twists and turns in it. And the way that he manipulated the forces of music to do his bidding was quite a spectacle. There's your quote [laughs]!
DJN: The title of your 'Alien Love Secrets' album (1995) is almost the same as your widely misunderstood Guitar Player column from a few years ago ['Martian Love Secrets']. SV: Yeah [laughs]. Widely misunderstood, yeah. DJN: Is that where the title comes from? SV: Pretty much. I always liked 'Martian Love Secrets' and I wanted to use it some place else with more significance. But the word 'Martian' sounds so confining. You know, 'Alien' sort of gives it a bigger picture. But the actual phrase came from... It was written on the wall... 'Martian Love Secrets' - it was written on the wall of a toilet in the men's bathroom at the Record Plant in 1970 that Frank Zappa read. So there you have it!
http://www.vai.com/AllAboutSteve/discography_full.html
Rat Zapper
in Kickin' it
Posted
very cool...my 6 year old loved it.......