KiwiCoromandel
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aynsley dunbar is another one....an excellent and definitive drummer
Aynsley Dunbar...
Aynsley was born on January 10, 1946, in Liverpool, England. Over his career, he has demonstrated the ability of playing many different styles including jazz, blues, fusion, rock and progressive rock. With over 30 gold and platinum records from over 112 albums, Aynsley Dunbar has proven himself one of the finest drummers in the business for over forty years, whether as a member of a band or as a session musician.
Playing drums since the age of eleven, Aynsley began his professional career on the Liverpool jazz scene, playing at various gigs until joining a band called Leo Rutherford at fifteen, and then on to the traditional jazz band Merseysippi Jazz Band at the age of seventeen. In August, 1963, when rock descended on Liverpool, Aynsley shifted to rock/R&B and joined Derry Wilkieand the Pressmen. In January, 1964, the band disbanded and Aynsley joined four of the band members to form The Flamingos. After a short tour of Germany, they joined Freddie Starr in April of 1964 to form Freddie Starr and the Flamingos . In 1964, Aynsley joined the Excheckers, and then off to Stu James and the Mojos, a Liverpool band who toured from 1963-1966, famous for their pop hit entitled Everything's All Right.
After leaving the Mojos, Aynsley joined John Mayall's Bluesbreakers in 1966 with Peter Green and John McVie to record such British Blues staples as Hard Road and many others. As a Bluesbreaker, Aynsley recorded with Eddie Boyd and released an EP record with Paul Butterfield. It was through Bluesbreaker concerts that drummers first discover that an Aynsley Dunbar drum solo was something never to be missed. Aynsley's next gig was drumming for the Jeff Beck Group, with Rod Stewart and Ron Wood, playing on Jeff Beck's Seminal Truth sessions, Tallyman and Rock My Plimsoul. Before leaving the band, the whole group appeared in Donovan's album, Barabajajal. In 1967, Dunbar formed a blues-rock band named The Aynsley Dunbar Retaliation, which featured guitarist/vocalist John Moorshead, keyboardist Tommy Eyre, bassist Alex Dmochowski, organist/singer Victor Brox, and also back veteran blues artist Champion Jack Dupree and Tim Rose, famous for his songs Hey Joe and In the Morning Dew. Rod Stewart also fronted Retaliation on an earlier live recording with members Peter Green and Jack Bruce. Retaliation disbanded and Aynsley formed a new band, Blue Whale, a progressive style jamming band that recorded one album that featured a cover of a Frank Zappa song, Willie the Pimp. While with Retaliation, Aynsley met Frank Zappa in Belgium at a BYG record festival, where Frank sat in with Retaliation on two songs.
One night, upon randomly wondering into his favorite haunt, the London Club SpeakEasy, Aynsley was told someone was there waiting for him. There sat Frank Zappa. He invited Aynsley to join his new band and move to America. Aynsley arrived in the U.S., moved into Frank's Los Angeles house and set up his drums in his basement. Frank immediately put him to the test: OK, now remind me why I hired you. Aynsley delivered the goods and in that spontaneous moment, he and Frank created Chunga's Revenge. Not bad for the first day in the basement. Aynsley first appeared with Zappa on Chunga's Revenge and toured with the old Mothers on the Mother's Day Tour of 1970. Frank then approached Mark Volman and Howard Kaylan (The Turtles) to join his new version of the Mothers of Invention, appearing on such albums as Fillmore East: June 1971 and 200 Motels, and playing music that gave Aynsley a chance to show off his jazzier chops. In 1971, John Lennon and Yoko Ono joined Aynsley with Frank and the Mothers to record the live album Sometime in New York City.
When Howard Kaylan (Flo) and Mark Voman (Eddie) jumped ship from Zappa's band in 1972 after a strange accident where a fan pushed Zappa from the stage and caused him to be confined to a wheel chair, Aynsley joined them as a member of their backing band for a short period. He would return to work with Zappa on jazzier studio projects like Waka/Jawaka, The Grand Wazoo, and Apostrohpe', as well as continuing his studio work for other artists. He joined David Bowie in the 1973-1974 time frame for the albums Pin-Ups and Diamond Dogs. Aynsley recorded powerful drumming on a cover of his own Mojos hit, Everything's All right, and Bowie's huge hit, Rebel Rebel. In 1973, Aynsley also recorded Lou Reed's famous session album Berlin with Jack Bruce, Steve Winwood, and Tony Levin. In 1974, after recording twelve albums in two years (yes, 12 in two years), Aynsley was acclaimed by the music industry as the world's leading session musician. That same year, too busy flying a bi-weekly Atlantic crossing from Los Angles-to-London to record with Bowie. Aynsley delayed returning several phone messages from Santana guitarist Neal Schon and manager Herbie Herbert . When Aynsley finally returned the call, he took a listen to this new jazz-rock fusion group named Journey. Eager to build a democratic rock-fusion band, he joined, recorded and co-wrote four albums, including the highly acclaimed rock-fusion instrumental Kohoutek, Of a Lifetime, which features Gregg Rolie vocals with high-impact solos, Hustler, which featured Aynsley's first use of double kick drums, and such mega-hits as Lights, Feeling That Way, Anytime,Patiently, Something to Hide and Wheel in the Sky. Aynsley departed Journey as the band shifted their sound away from challenging rock-fusion towards simpler ballads.
In 1976, Aynsley played on rocker Sammy Hagar's album Nine On a Ten Inch Scale and played for the second time with Nils Lofgren to drum up his hit Back it Up on Cry Tough. Aynsley next joined Jefferson Starship in 1978, promptly bringing the band a new hit album with Freedom at Point Zero and such hits as Jane, Girl with the Hungry Eyes, and the mega hit, Find Your Way Back. He stayed with Jefferson Starship, touring and recording through 1982's Winds of Change. Aynsley took a well-deserved breather, to rest on his laurels in the great city of San Francisco, the same city that awarded him three prestigious BAMMIES. At the request of David Coverdale, over lunch at Sunset's La Dome, Aynsley was convinced to leave retirement to join Whitesnake in 1985. Aynsley played drums on the band's commercial breakthrough album, Whitesnake 1987, producing another string of hits, Still of the Night, What is Love and Here I go Again.
Aynsley then took another leave to raise his four children, Gretchen, Bibs, Taylor and Dash but the sticks kept calling and Aynsley headed out on the road again in 1994, playing and recording with such artists as Pat Travers, UFO, John Lee Hooker, Michael Schenker, and collaborating with many of the world's top musicians on tribute albums to Van Halen, Steve Ray Vaughn, Black Sabbath, Aerosmith, Queen and most recently Metallica. In 1996, Aynsley joined guitarist Alvin Lee from Ten Years After, Eric Burdon and a band of veteran musicians for a tour entitled Best of British Blues. Soon after, a virtuoso of musicians formed a hard driving rock band Mother's Army, featuring guitarist Jeff Watson from Night Ranger, Ozzie Osborne's bassist Bob Daisley, Deep Purple front man Joe Lynn Turner with Aynsley on the chops for a progressive metal-rock album Fire on the Moon, now awaiting release in the U.S.
In October 1996, Aynsley returned to his hectic world touring roots and signed on with Eric Burdon and the New Animals, bringing his powerful, driving beat to the rock `n roll hits We Gotta Get Out of This Place, It's My Life, Spill the Wine, Don't Bring Me Down, House of the Rising Sun, and many, many others. He has recorded three albums and a live recorded DVD which includes one of Aynsley's tremendous drum solos.
No other modern rock / jazz / blues / fusion drummer has played with as many successful bands and musicians as Aynsley Dunbar.
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" The man quickly explained himself. He took the pot from his 12-year-old son, who had found it while doing yard work, he said. He put it in his pocket but forgot it was there, he continued ".......full marks for the quick reply!! i`ll have to keep that in mind in case my 6 year old daughter finds my pot while doing yard work.......
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ginger baker of course....
" Ginger Baker was rock's first superstar drummer and the most influential percussionist of the 1960s. There were other drummers who were well-known to the public before him, including the Beatles' Ringo Starr and, in England at the end of the 1950s, the Shadows' Tony Meehan, but they were famous primarily for the groups in which they played and for attributes beyond their musicianship. Baker made his name entirely on his playing, initially as showcased in Cream, but far transcending even that trio's relatively brief existence. Though he only cut top-selling records for a period of about three years at the end of the 1960s, virtually every drummer of every heavy metal band that has followed since that time has sought to emulate some aspect of Baker's playing. "
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Ginger Baker was born Peter Edward Baker in Lewisham, South London on 19 August 1939. As a teen, he trained and competed as a racing cyclist, developing strong leg muscles which later contributed to his skill on the double bass drums. Ginger had always planned on becoming a professional cyclist, until he bought his first drum kit at the age of 15. Baker was keenly interested in modern art and jazz, a rebellious beatnik with an eccentric appearance and artistic flair. Later, he would become interested in sculpture, painting, rally diving and polo. It was his wide range of interests which led Ginger to take up the trumpet in the local Air Training Corp band. Watching the drummer gave Ginger the idea of playing drums himself.
Ginger recalls his first experience on drums: "I had been into drums from a listening point of view for quite a time. I used to bang on the table with knives and forks and drive everybody mad. I used to get the kids at school dancing by banging rhythms on the school desk! They kept on at me to sit in with this band. The band wasn't very keen, but in the end I sat in and played the bollocks off their drummer. And that was the first time I'd sat on a kit. I heard one of the band turn round and say: 'Christ, we've got a drummer' and I thought, 'Hello, this is something I can do'."
After playing for only a few months, Ginger got a job with a local trad jazz band led by Bob Wallis. At the age of 16, he quit his job, left home, and spent a year on the road. After some time, Ginger got fed up with his kit. With his characteristic achiever's attitude, he decided to make his own: "I got this great idea for using Perspex," recalls Ginger. "It was like wood to work on, but it was smooth, and it would save painting the inside of the drum shell with gloss paint. So I bent the shells and shaped them over a gas stove." Ginger made the kit in 1961 and used it until 1966, when he bought his first Ludwig set. Sadly, it was this home-made set that Jack Bruce would demolish with his upright bass in an on-stage brawl with Baker during the Graham Bond days. Bruce later recalled that the kit sounded spectacular -- like no other kit he'd heard before.
Listening to records, Ginger absorbed the playing of Baby Dodds and Alton Red. Then he discovered Max Roach. Applying Roach's technique, Ginger's wild and unconventional playing got him fired from a few bands, but ultimately it would develop into the rhythmic genius that would astound drummers around the world. Moving on to London's West End, he got another band job: "I got a reading gig, and I couldn't read. I had to learn to read music in a fortnight, to get the gig. It took me a week to find out what a repeat sign meant. I couldn't figure out why I was getting to the end of a part and the band was still playing!"
During the early 1960s, Ginger played in many jazz ensembles, striving to become a part of London's modern jazz circuit. His passionate and unconventional style, not to mention his short temper, were considered too disturbing. Says Ginger, "In those days I played like a madman and got emotionally involved with the music. Some people don't like that. They feel they are losing control of the band. A lot of drummers played what they heard on record. I was always playing myself. I had influences, obviously, but when I was playing modern jazz I was always accused of being a rock'n'roller because I need to lay down an off-beat. But then, so did Art Blakey. They didn't like this loud drummer playing off-beats, and getting the audience clapping their hands, and dancing about. That was most uncalled for. You were supposed to sit up and listen and drink your drink. But I never considered myself a rock'n'roller, I was always a jazzer."
In 1962, Ginger entered the R&B scene, joining Alexis Korner's Blues Incorporated in August of that year, taking over as drummer on the recommendation of Charlie Watts. One night, the late great modern jazz drummer Phil Seamen came to hear Ginger. They later practised and talked together. "Phil heard me play in the All-Niter Club which used to be the Flamingo on Wardour Street," Ginger recalls. "Tubby Hayes (the sax player) had apparently been in there and heard me and ran over to Ronnie Scott's Club and told Phil to come down and hear me. When I got off stage I was suddenly confronted by my hero."
In February 1963, Ginger, Graham Bond, and Jack Bruce left Alexis Korner to form the Graham Bond Organisation. Ginger stayed with Bond until 1966 when he formed CREAM. The Bond years were tremendously exciting for Ginger and for the British R&B scene; jazz guitar great John McLaughlin would join the Graham Bond Organisation, then later tenor sax man Dick Heckstall-Smith. During those years, Ginger developed a ferocious approach to drumming which would stun the world during his high-profile days with CREAM. Ginger would add a touch of jazz technique to the rock form, becoming probably the first true jazz-rock fusion drummer. Even today, great musicians hail Ginger as the greatest drummer of the rock genre, though the public at large has given him less credit than he deserves.
He did incredible works on studio, and specially live with Cream (he often collapsed on stage) . Ginger Baker is the finest example of how a Jazz & Blues drummer can sound amazing with a Rock band.
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i`ve been listening to george lynch again (a lot of the old dokken stuff ) after reading your news article dudeasincool and have also managed to snag most of " precious george " today and tonite...brilliant stuff..his version of " all along the watchtower " is dynamite, and " he ain`t heavy " is very cool..i`ve listened to some of his acoustic stuff as well (" tierra del fuego ")..he certainly has many styles of playing and he would have to be right up there near the top of the list ...i`ve been reading up on him and he really is regarded as a " guitarists guitarist " by his peers.....
pic of " george lynch flame baritone "
Actually I was just thinking before I logged in here that Zappa was more of a technician, he was a perfectionist and lot of his work was out there and not as accessable as some other great guitatists. Though he recorded so much, he does cover all the bases and has some accessable material. And in the scheme of things second best is nothing to sneeze at lol...
Yes different styles but we were asked who was best and I think Hendrix was technically better but just my opinion and after all it's only the ears and heart that can make the final points lol.
I was also thinking that a lot of great meterial is so far in the past now, only real avid music fans would dig it up to listen to all of it. So we lose some of the impact of greatness because of time.
Also I was gonna mention a few other great guitarsit I did not see mentioned.
Jeff Beck,Johnny Winter, Steve Vai and Joe Satriani off the top of my head.
But I am only basing my ideas on technical ability and music itself is another matter I believe.
Some of the best music of all time is written and played by good but not the best musicians.
I'm gonna check out some more George Lynch now because you mentioned him.
:-)
peace
choice debate rickio......i would have to say that i feel that zappa was technically more proficient than hendrix,...hendrix MOVED a lot when he played, in my view giving the APPEARANCE of superior technical virtuosity via gymnastics...zappa pretty much remained in a static stage situation, just PLAYING, if you get my drift....i also feel that hendrix looked and sounded ahead of his time, because, quite frankly,nothing like hendrix had been seen before...that doesn`t, in my view, make him the best. zappa PLAYED...hendrix did a combination of things on stage that included playing...don`t forget that a lot of hendrix`s arranging and writing and the developement of sound effects like the fuzz box was done in tandem with sound and engineering experts such as eddie kramer who already had these groundbreaking thoughts and developments going on in their collective imaginations...zappa was known for doing all that stuff himself, almost to the point of obsessiveness. that is not say that hendrix wasn`t way ahead of his time, and technically the most proficient of his time and the most dazzling on stage of his time (because he was)......he just isn`t the best.....
totally agree with you dudeasincool, on the inclusion of jeff beck on the list......out of the 3 original yardbirds guitarists i`d have to say that i feel that jeff beck wipes the floor with the other 2 guitarists who, at this point will remain nameless..
fav jeff beck album..." you had it coming "
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Beck still pushing forward
You Had it Coming
By Jeff Beck
Epic; New York, N.Y.: 2001
" Eric Clapton and Robin Trower revert ever deeper into the blues, Eddie Van Halen tours the oldies circuit reliving a heyday longer and longer in the tooth, and both Aerosmith's Joe Perry and the Stones' Keith Richards seem content to churn out the same tired riffs.
And yet here's Jeff Beck — who came up in the early '60s with both Clapton and Richards, a hero to Van Halen and Perry — still exploring new sounds, still pushing the boundaries, still exploring that mysterious territory somewhere between rock and jazz.
Among top-rank rock guitarists, only Carlos Santana has stayed relevant anywhere near as long as Beck — and even Santana hasn't changed gears nearly as often nor as radically.
While Santana scored multiple Grammys for his cross-over laden "Supernatural" two years ago, Beck is way beyond the safe territory in which Grammys are awarded. Continuing to push boundaries both stylistic and structural, Beck is becoming a senior mentor much like Miles Davis in the latter parts of his career — someone so respected and idolized that the younger musicians don't even bother trying to keep up anymore, and content themselves with simply following where he leads.
After a quiet period in the '90s, Beck seems intent on making up for lost time with a series of albums released in quick succession, each of which is a little more daring, a little more assured.
Of course, nothing is ever easy with Beck. Despite the heightened confidence apparent in his playing, Beck seems more musically impatient now even than in the '70s, when his incessant curiosity often gave his music far more energy than focus.
One can't really compare "You Had it Coming" to any other Beck release, not even 1999's "Who Else," which featured fellow guitarist Jennifer Batten. "You Had it Coming" is far edgier than the previous release, and maintains a higher energy level.
"You Had it Coming" is an incredible melding of industrial rock, electronica and jazz that creates a buzz-saw sound that's both grating and melodic, free-flowing and intricately structured. On a cover of the old blues standard "Rollin' and Tumblin'" Beck and Co. even turn in an acid blues performance reminiscent of Little Axe. (Imogene Heap turns in a haunting vocal not unlike blues guitarist Joanna Connor's singing.)
This is not only Beck's most daring album in a career delineated by ground-breaking releases, it also contains some of his best playing yet. "
find it...listen to it....
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i`ve been listening to george lynch again (a lot of the old dokken stuff ) after reading your news article dudeasincool and have also managed to snag most of " precious george " today and tonite...brilliant stuff..his version of " all along the watchtower " is dynamite, and " he ain`t heavy " is very cool..i`ve listened to some of his acoustic stuff as well (" tierra del fuego ")..he certainly has many styles of playing and he would have to be right up there near the top of the list ...i`ve been reading up on him and he really is regarded as a " guitarists guitarist " by his peers.....
pic of " george lynch flame baritone "
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ahh Hendrix is definately the best with zappa nipping at his heals. lol
but you should make a poll asking who you enjoy as a guitarist, as best is best and songs you like the most many times another thing. ;-p
Hendrix just blows everyone away. Most likely many folks have not heard all his work as well.
peace
we`ll have to agree to disagree my friend...different styles, different techiques ....
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:bigsmile:
there can be but one.......
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why isn`t frank zappa on there????
:reallymad:
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wow!!!!!!....guitar heaven,,,george lynch is an incredible guitarist...but not one that you hear mentioned a lot..in comparision to other guitar heroes, that is...i have most of his lynch mob stuff and some of his work with dokken..i`m off to get this one now!!
:strumma:
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it`s about as real as the day saddam`s statue came a`tumblin` down.........
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i like their " Power Windows " album........but not much else i`m afraid..i certainly don`t agree with geddy lee`s attitude to file sharing.....
fav track..." big money "......very apt.....
"The Big Money"
Big money goes around the world
Big money underground
Big money got a mighty voice
Big money make no sound
Big money pull a million strings
Big money hold the prize
Big money weave a mighty web
Big money draw the flies
Sometimes pushing people around
Sometimes pulling out the rug
Sometimes pushing all the buttons
Sometimes pulling out the plug
It's the power and the glory
It's a war in paradise
It's a cinderella story
On a tumble of the dice
Big money goes around the world
Big money take a cruise
Big money leave a mighty wake
Big money leave a bruise
Big money make a million dreams
Big money spin big deals
Big money make a mighty head
Big money spin big wheels
Sometimes building ivory towers
Sometimes knocking castles down
Sometimes building you a stairway -
Lock you underground
It's that old-time religion
it's the kingdom they would rule
It's the fool on television
Getting paid to play the fool
Big money goes around the world
Big money give and take
Big money done a power of good
Big money make mistakes
Big money got a heavy hand
Big money take control
Big money got a mean streak
Big money got no soul...
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Maybe he will run for pres in 2008 and I can vote for him. :rolleyes:
that damned liberal krugman and the damned liberal, unbalanced media, damned whining handwringers......hey red... i feel a capping coming on..
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no good hair bands in the 80`s??..how could you all..you know who they were.....you all know that you stood in front of your mirror and pretended you were one of them..your little sister caught you doing air guitar to the intro of " running with the devil " one night..you know she did..
Bad English
Bon Jovi
Bullet Boys
Cinderella
Damn Yankees
The Darkness
Def Leppard
Dokken
Europe
Extreme
Faster Pussycat
Firehouse
Great White
Grim Reaper
Guns 'n' Roses
KISS (band)
KIX
LA Guns
Lita Ford
Mr. Big
Nelson
Poison
Quiet Riot
Ratt
Saigon Kick
Skid Row
Slaughter
Steel Heart
Tesla
Van Halen
Vinnie Vincent
Vixen
Warrant
W.A.S.P
White Lion
Whitesnake
Winger
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looks interesting...janes addiction are an excellent band and sound real good live..dave navarro is a very good guitarist..i have most of their stuff on mp3...
fav janes addiction tracks?.... " summertime rolls "....." ritual de lo habitual - three days "...." i`m not an addict, " jane says " and " sympathy for the devil "....
" As the curtains rose, Farrell adorned in a parachute style wedding dress straight out of a Norse wedding from hell, menacingly glared at the audience. The white dress which was more than twenty-five feet across and went waist high on the bare chested he-bride, contained some very special treats. The dress started to course like waves on an angry ocean frothing up half-naked female bodies that moved in tribal fashion as they started to grope the unblushing "bride" like a twisted Hindu deity. It's a scene taken right out of Francis Ford Coppola's "Dracula." Sexuality pulsates through everything that is Jane's Addiction. Farrell's voice has a shrill trumpeting quality that warbles it's androgynous arrows directly at the listener. He is an uncaged animal on stage. "
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howdy Yo sUp3rMaN
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howdy wilza...welcome...
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AC/DC's best album is without a shadow of a doubt "highway to hell".
"walk all over you" "touch too much" "love hungry man"
awesome stuff.
yep, that`s my next favourite after " if you want blood "....bon scott was a real 1% er...and a wicked rock vocalist as well....
BON SCOTT
" Many years ago I had the opportunity to work with a very unique musician -Bon Scott.
At that time Bon was with an Australian rock group called 'Fraternity'. Well - work with him is a bit of an exaggeration - I designed, built and operated the PA (amplifiers) for many of the rock groups active in South Australia at that time, and Bon liked the penetrating but clear power that came from my equipment. Bon lived for lyrics - and he wanted the audience to hear every word.
I most vividly remember Bon at the Largs Pier Hotel (which was one of the key hang-outs for 'heavy' rockers at that time). Off stage he was a quiet and unassuming guy, nice to be with, and despite his sexist philosophy, maybe even the type of guy you would let your daughter go out with. All this stupid hype I read in the press about devils and stuff is pure bullshit. He was basically a nice guy with a strong impish streak (and a minor criminal record) (who drank far too much).
That impish streak is what fascinates me, to this day, with this man.
For me, the definitive Bon Scott comes through most clearly on the Australian release of "Dirty Deeds Done Dirt Cheap" (available also in the UK) (ALBERT 465258 2). ( I am sure that the humor of Harry Vanda and George Young, who produced this record, also crept in there a little!!)
Table of contents:
1. Dirty deeds done dirt cheap
2. Ain't no fun (waiting round to be a millionaire)
3. There's gonna be some rockin'
4. Problem child
5. Sqealer
6. Big Balls"
7. r.i.p. (Rock in peace)
8. Ride on
9. Jailbreak
For many years this album was 'censored' or 'altered' in the USA release, and the continuity of the musical production ruined. Make sure you buy the correct version (probably an import). "
__________________________________________________________
Ac Dc - DIRTY DEEDS DONE DIRT CHEAP Lyrics
Dirty Deeds Done Dirt Cheap (Aus) (1976)
Dirty Deeds Done Dirt Cheap (1981)
LIVE (1992)
SINGLE: Dirty Deeds Done Dirt Cheap/Big Balls-The Jack
(Young, Young, Scott)
If you're havin' trouble with your high school head
He's givin' you the blues
You wanna graduate but not in 'is bed
Here's what you gotta do -
Pick up the phone
I'm always home
Call me any time
Just ring
36 24 36 hey
I lead a life of crime
Dirty Deeds Done Dirt Cheap
Dirty Deeds and they're Done Dirt Cheap
You got problems in your life of love
You got a broken heart
He's double dealin' with your best friend
That's when the teardrops start -
Pick up the phone
I'm here alone
Or make a social call
Come right in
Forget about him
We'll have ourselves a ball
Dirty Deeds Done Dirt Cheap
Dirty Deeds and they're Done Dirt Cheap
If you got a lady and you want her gone
But you ain't got the guts
She keeps naggin' at you night and day
Enough to drive you nuts -
Pick up the phone
Leave her alone
It's time you made a stand
For a fee
I'm happy to be
Your back door man
Dirty Deeds Done Dirt Cheap
Dirty Deeds and they're Done Dirt Cheap
Concrete shoes, cyanide, TNT
Done Dirt Cheap
Neckties, contracts, high voltage
Done Dirt Cheap
http://www.guitaretab.com/a/ac-dc/133.html
ahhh...dirty deeds...done dirt cheap!!!!
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that sounds to me like everything the guy ever made
i think my lawn mower makes more interesting music than david gilmour
Must be a Honda......
didn`t the hondells do a song about honda lawnmowers?? i think the beachboys did a version in 1964 as well.....they all (including the lawnmower) sounded better than david gilmour
LITTLE HONDA
I'm gonna wake you up early
Cause I'm gonna take a ride with you
We're going down to the Honda shop
I'll tell you what we're gonna do
Put on a ragged sweatshirt
I'll take you anywhere you want me to
First gear (Honda Honda) it's alright (faster faster)
Second gear (little Honda Honda) I lean right (faster faster)
Third gear (Honda Honda) hang on tight (faster faster)
Faster it's alright
It's not a big motorcycle
Just a groovy little motorbike
It's more fun that a barrel of monkeys
That two wheel bike
We'll ride on out of the town
To any place I know you like
First gear (Honda Honda) it's alright (faster faster)
Second gear (little Honda Honda) I lean right (faster faster)
Third gear (Honda Honda) hang on tight (faster faster)
Faster it's alright
It climbs the hills like a matchless
Cause my Honda's built really light
When I go into the turns
Lean [Tilt] with me and hang on tight
I better turn on the lights
So we can ride my Honda tonight
First gear (Honda Honda) it's alright (faster faster)
Second gear (little Honda Honda) I lean right (faster faster)
Third gear (Honda Honda) hang on tight (faster faster)
Faster it's alright
First gear (Honda Honda) it's alright (faster faster)
Second gear (little Honda Honda) I lean right (faster faster)
Third gear (Honda Honda) hang on tight (faster faster)
Faster it's alright
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what`s up dick?...the pressure of all that manipulating and all those lies getting on top of you???
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.met bon scott in aussie round about the time of " dirty deeds done dirt cheap " and partied hard in sydney with him and an aussie mate of mine (now sadly passed on)...ahhh those were the days
Were you a rocker, Kiwi? Did you play?
i am passable on the guitar but never played seriously..because new zealand was a small country i knew most of the musos from those days....aussie was the same..new zealand rockers used to travel across the " ditch " (the tasman sea) all the time to make it in aussie ( i knew most of them, went to school with some of them, partied and practiced multiple substance abuse with many of them .. a lot of the top musicians and bands in aussie in the `60`s and `70`s (and `80`s if you count split enz and crowded house) actually are new zealanders...the aussies just say that they are from australia.....they`ve been trying to steal our best of every thing for years...bon scott was a mate of an irish/australian friend of mine who used to live with me in new zealand years ago...he (my mate) actually played with an early edition of ac/dc when they (ac/dc) were doing the pub circuit in sydney and melbourne,and were huge in aussie and new zealand even then with a very large cult/pub following in those days..we hung out on that circuit with them for a few drunken months.....
below is a pic of another friend of mind, kevin borich...we went to college in auckland together in the early `60`s..he has opened for ac/dc in america during the late `70`s and is the top guitarist down here still although he`s starting to get a bit old now.....see if you can track down some of his stuff..kevin borich express...incredible blues/rock guitarist
" Winner of innumerable "Best Guitarist" polls, Borich played such a scorching set at the 1977 Rockarena concert that Carlos Santana (also on the bill) invited him onstage to participate in the Santana encore. "
" Oz rock/blues guitar legend
Kevin Borich maintains a revered reputation as a wicked performer, songwriter and phenomenal ax-man. Rated one of the worlds finest blues-based players with an ever-present edge of excitement. Borich will take you on a musical epic from the deepest blues to the potent force that made him one of our hottest rockers. "
Guitar Guru Just Keeps on Plucking
Who: Kevin Borich
Where: Club Phoenix
Author: Sarah Allport
When: Saturday December 29, 2001
" IT'S not often an artist continues to make albums and perform live after more than 30 years in the business but Kevin Borich is one of the few exceptions.
The renowned guitarist has played with some of the most talented musicians in the world, including Santana, and was a support act for Elton John and Status Quo. But Borich is not just a support act or special guest.
He has had an impressive career in his own right, stemming from his beginnings with New Zealand band La-De-Das. The La-De-Das recorded more than 20 albums and survived the transition from the '60s to the '70s. They eventually split, leaving Borich as a solo artist.
He then formed a three-piece band called The Kevin Borich Express, featuring John Annas on drums and Harry Brus on bass, two of the most respected musicians in Australia.
Not only has Kevin Borich endured the changes in society but his music has remained fresh.
Borich uses an old 1930s National Steel Acoustic guitar to add variety to the show.
Borich has not only made good music, he has set the standard for other guitarists.
After the Rockarena in 1977 at Calder Park Raceway, during which Santana invited Borich onstage to jam, Santana said Borich was one of the best guitarists he had ever played with. "
His latest album Heart Starter again showcases Borich's talent that Santana spoke of.
"La De Da Legend released March 1975…their last album, it contained on side one 6 tracks, mostly from non-album singles (GONNA SEE MY BABY TONIGHT, MORNING GOOD MORNING, I GUESS I’LL NEVER STOP LOVING YOU, etc..)…plus 4 killer cuts on side two from their last recording sessions, including a fantastic version of“All Along The Watchtower” – in which, Borich’s guitar playing is PHENOMENAL!!! "
i have watched him play " all along the watchtower " live at the sundbury festival in aussie in 1972...incredible.....
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I wonder if it was his own
yeah right.....can he actually play, or is he just a multiple substance abuser.....has anyone at beatking ever seen him or motley crue play live?
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hank marvin was a very good guitarist and one of the forerunners of the fender stratocaster rock guitar style and sound (the man most responsible for the sound of the shadows was, essentially hank marvin. " with his trade mark of red fender stratocaster and buddy holly style glasses, it was hank`s style and sound everyone copied ")...a sound that was further developed by the likes of jimi hendrix and robin trower.....original shadows members jet harris and tony meehan were also guitar heroes in their own right with a #1 hit " diamonds "..
:strumma:
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very cool album.....used to thrash the hell out of it...the intro to" those about to rock " still rings in my ears...listened to it in many biker (and ordinary) bars..met bon scott in aussie round about the time of " dirty deeds done dirt cheap " and partied hard in sydney with him and an aussie mate of mine (now sadly passed on)...ahhh those were the days
fave ac/dc track?.." Bad Boy Boogie "
fave ac/dc album?..." If You Want Blood You've Got It " (wicked cover art)...
Ac Dc - BAD BOY BOOGIE Lyrics
Let There Be Rock (1977)
If You Want Blood - You've Got It (live) (1978)
(Young, Young, Scott)
On the day I was born the rain fell down
There was trouble brewing in my home town
It was the seventh day, I was the seventh son
And it scared the hell out of everyone
They said stop, I said go
They said fast, I said slow
They said yes, I said no
I do the bad boy boogie
Being a bad boy ain't that bad
I've had me more dirty women than most men ever had
All you women come along with me
And I'll show you how good a bad boy can be
I said right and they said left
I said east and they said west
I said up and they said down
I do the bad boy boogie all over town
I wanna tell you no story, tell you no lie
I was born to love till the day I die
I just line them up and I knock them down
And they all came running when the word got round
(Just keep a running)
I said up, they said down
They said straight, I said round
They said lost, I said found
I said free and they said bound
Bad boy boogie
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i absolutely agree with that very interesting and informative article...i hate ie6...it`s too fucking slow for one thing on 56k...mozilla firebird flies on 56k..and i use foxmail english version 5.0 for my email client...very nice...but i would agree that there is some microsoft software that i do like...for example, the scanner/ camera wizard in xp is near-perfect and microsoft word is one of my most used apps.....
Do You Smoke?
in Kickin' it
Posted
started when i was 14 and used to smoke 60 to 80 a day...got up one morning 18 years ago after a heavy nite feeling god-awful and never smoked another cigarette...and never felt like one ever again...go figure..also haven`t had a drink since 1998...don`t miss that either..pot is my only vice and i doubt if i`ll ever voluntarily give that up...