KiwiCoromandel
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Posts posted by KiwiCoromandel
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very poor taste....very uncool...sorry gene, i`ve just thrown all my kiss records out...... dennis leary`s song "i`m an asshole" comes to mind
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what a load of shit.....let`s see now....on one hand, morrissey the wimp...on the other hand, david bowie and nine inch nails.....hmmm...
fav bowie and nine inch nails track???...."i`m afraid of americans"
fav morrissey track...."none"
fav mental illness developed by listening to morrissey???...manic depression
fav antidote to morrissey??....valium
"September 16, 1995. One of the first stops of the "Outside Tour," David Bowie's first tour in years. There was a rather large sold-out crowd at Great Woods. After Prick, I, not so patiently, waited for Nine Inch Nails, the second opening act, to appear. Suddenly, a great blow to the speakers and Trent, Charlie, Chris, Robin and Danny roared onto the stage with "Terrible Lie." As Trent yelled "Now, doesn't it make you feel better?" to "March of the Pigs" we answered, "YES!" A smile cracked across his beautiful face and the crush of the mosh pit broke a few more ribs. I watched in awe through "Wish" and screamed along with "Gave Up" and å"Down in it." There was an emotional pause, then, as blurred doves scrambled about on the screen behind the band. Trent disappeared behind the curtain as everyone prayed that the set wasn't over. He reappeared with a glowing saxophone in his hands. As he played quiet, hypnotic notes through the microphone, a figure walked onto the stage. The cries and yells of each human being in the center blended together into one chaotic boom as David Bowie stepped up to the microphone. They waltzed through "Subterranean" and Trent stepped forward, into the spotlight for a loud crashing version of "Scary Monsters." David and Trent switched vocals while Nine Inch Nails drummer, Chris Vrenna, played along with the big-haired Bowie drummer. Suddenly, the aching cries of "Hurt" bled through the speakers and the tears rolled down my face. This emotional song turned out to be the last song for Trent and friends. With a wave, they sadly disappeared from sight and David took over.
The set was decorated with various figures in Bondage. David glimmered, blinding to look at, as he relaxed on a desk for "The Man Who Sold the World" (the original is always better). The theatrics were hypnotizing as he bounded all over the stage for "Jump They Say" and slowly, as if hesitantly, finished with "Joe the Lion." I watched in awe through this performance and I'm sad, yet ecstatic, to say that I will never again see such a wonderful a spectacle (at least until I see NIN again)"
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No time for the story right now.
All I have to say is Tim Owens is the shit! His singing in JP was awesome and he sounds just as great in Iced Earth. I definitely hope he continues to Keep the Faith.
ICED EARTH'S TIM "RIPPER" OWENS **EXCLUSIVE**
In For A Surprise, In For A Shock
By Jeff Kerby
Posted 12/22/03
One of the most interesting stories in metal history has to be that of infamous vocalist Tim "Ripper" Owens-a musician who once upon a time went from performing Judas Priest covers in unglamorous settings to eventually becoming a member of the group he idolized. Recently, his unceremonious removal from the band in favor of the singer he originally replaced, Rob Halford, led to speculation that Owens was destined to descend back into the metallic abyss from whence he came. Rumors had it that he would either eventually go back to merely playing "Green Manalishi" in front of inebriated patrons at neighborhood bars or trying his hand at a solo career that would be doubtlessly doomed to failure.
During his time with Judas Priest, Tim's job was in many ways a thankless one. Solid performances given during his tenure were still deemed "better if Rob was singing" by many of the fans. Regardless of whatever he did or even attempted to do, the specter of Halford constantly loomed large. His input during the writing process was minimal, and as a result, it was hard for many to see Owens as anything more than a temporary replacement that would allow Priest to tour and record until the inevitable reunion would occur. It finally did.
The time of introspection and confusion that followed for Tim may have in many ways actually provided a relief from the speculation and frustration that accompanied the latter stages of his stint with Priest. Events improved even more when metal fans heard that Owens planned on becoming a permanent member of the highly revered band Iced Earth. The news was instantly met with enthusiasm by numerous listeners who weren't exactly enamored with the vocal stylings of his predecessor. The new project, The Glorious Burden, showcases the 32-minute epic "Gettysburg" and gives listeners a chance to hear what a lengthy collaboration between Owens and I.E. visionary Jon Schaffer could produce. Whether Ripper ever loses the moniker "Ex-singer of Judas Priest" remains to be seen, but whatever the future brings for Tim Owens, it is likely that the period he spent with his previous group will have an undeniable effect on what he is to become.
How hard was it to try to come in and add your own style to the new Iced Earth project?
Well, in a way I was doing the same thing that Matt Barlow did. We're both classic heavy metal style singers. That's what Iced Earth needs too because it's just such a classic metal type band. The great thing about the Iced Earth music and what Jon has told me for years, is that he would write music with a specific vocal style in mind. When he creates this music, he said the voice he would hear in his head that would be mine. He's been telling me this since I first met him in 1998. That's part of why we'd been trying to get together to do the side project over the past year.
Actually, he has stated on numerous occasions that when he first heard you on Jugulator that something clicked and he realized that your voice was what he considered ideal for the music he writes. When you started this project, you weren't even a permanent member of the band.
No.
How has your mindset changed now versus back when you were maybe just laying down vocals and thinking of this more as a short term proposition?
Obviously, when I did the vocals, I was still in Priest. Of course, at that time I thought there was no way that I was ever going to be a member of Iced Earth. That's what you feel at the time. That's what you think. We even had a contract drawn up that said that I was just doing guest vocals and that I was a sideman. After I finished it though, I knew that I just absolutely loved it. I knew that I would love to sing that stuff all the time, but it was a difficult decision though. I guess my mindset isn't that much different now, but I've learned a lot more since then. Before joining the band though, I studied up on the old stuff more and listened to the old stuff more. I listened to the Live in Athens cd and checked on Iced Earth's sales figures to see if they have gotten better each year. I always knew that my love for the music was always there, but I wanted to make sure that it was something that was going to continue to grow in the future. I wanted to make sure that the band wasn't something that had already peaked and that it was still growing. That's where the excitement comes from now-when I went in to do the vocals, I just wanted to go in there and do them as well as they could possibly be done. We had so much fun recording the vocals, and at that time I knew that I could definitely be in a band with Jon… 'til he fires me like he does everyone else. (laughs)
The perception of Jon in some corners is that he can be extremely difficult to work with-mostly in light of all the lineup changes. Do you understand where any of this speculation comes from?
I think part of the reason is that many people don't understand that Jon didn't fire everybody. A lot of the older members left on their own or realized they wanted to do something else. Jon has worked so hard and made that band. He's built it from the ground up-obviously Matt has been a big part of it as well-but Jon has handled most of the business from merchandising to song writing. He has been the major driving force in every aspect, and some people didn't want to get involved. I think that maybe Jon may not have even wanted that at the time either, but that was the first thing we talked about was that he said that he actually wanted somebody to help. He said that he actually wanted help on the business end, and he wanted help from others making decisions. In the end though, Jon knows what Jon wants. He's a very determined person, and he definitely knows what he wants. If you don't want that same thing or you don't agree with it, you could very well be hitting the highway. Jon just works really hard, and you should expect to be paid in relation to how much work you put into it whether it's the next record or whatever.
Right.
He's a good guy. I mean, he may be a little hard headed, but he has his beliefs, and that's part of what's good about him. I think that's why he's built this thing up to be as big as it is.
How has your involvement in Iced Earth been a pressure reliever for you? Especially coming off an experience in Judas Priest that not too many people could properly understand or empathize with?
Well, I had a great time in Priest. The only difference may be that now I can hop in my car for four and a half hours and actually see Jon. I have a great relationship with him, and I've always had a great relationship with the guys in Judas Priest. I didn't get to write, and that was a downfall. Basically though, the biggest problem for me was we weren't busy enough in Judas Priest.
There were financial issues tied to that as well that people wouldn't necessarily expect. I mean, if you weren't touring, you couldn't just sit back and live off your writing credits, could you? Being off the road for a couple of years had to be difficult.
It was. You had to figure that I was under a contract where I wasn't supposed to do anything else. Even if I was able to, I never knew when Priest was gonna start working again. If I had decided at some point that I wanted to do a solo record, I never knew when Priest was gonna get back together and start working. It was just a hard thing to do. I was fine with it though because it was just such a great time. We were such good friends, and we all got along so well that it never really bothered me until maybe this past year. That's probably when I first started trying to figure out just what in the hell was going on with that, but it never did hurt our friendship.
How is that possible? I mean, I believe you when you say it, but there are people who would wonder how you could have this type of attitude when it would appear, at least outwardly, that Priest wasn't exactly being truthful with the press concerning your situation.
When the decision was made to get Rob back, it was a decision that we all agreed on together. We just knew that it was the best decision. They weren't hiding things-there were rumors all the time, and when they decided to go with it was when they decided to go with it. Obviously, there was speculation because our album wasn't selling well and Rob Halford's records weren't selling very well. Then, when he cancelled the tour, that's when all this speculation came up, but to me, it didn't hurt because I wanted it to happen. I succeeded as a singer. I sang well and was accepted by most of the people. If it wasn't for Judas Priest, I wouldn't be talking to you here right now. They gave me a lot. Let's face it, I'm in Iced Earth now, and I'm about to tour around the world and do a solo album-everything I'm getting ready to do is because of my time in Judas Priest. I know that. They knew that. They sat me down right from the beginning and said, "you aren't always gonna be in Judas Priest-you're a lot younger and at some point we're gonna have to stop."
Do you think they are looking at their reunion with Halford as a last hurrah, or do you think they may be looking down the road for another five or ten years?
I don't think they'd be looking at another ten or fifteen years down the road. I think that right now they're looking at doing another record and another tour and see where it goes from there. The road is a hard thing, and recording a record is a lot harder work than people think. When you're pushing sixty, it's gotta be draining. It's draining on me, and I'm thirty-six. It's hard, you know?
I would imagine it's especially hard when you have family that you're close to-
Yeah, and we aren't talking about guys who need to necessarily do this either. These are guys who live in mansions. They're basically doing it because they love it-that isn't to say there isn't money in a reunion. I just think they want to go out on top and do the thirty-year reunion. I think that's the way to do it too.
It doesn't seem like a lot of people realize that the people who get the residuals are the ones who write the songs. You just weren't really in a position to contribute in that area.
Exactly. Even if the albums don't sell 500,000 copies, they are still selling something, and that money goes to the people writing the songs. They're still getting paid a lot of money in publishing from their old records. They're still selling old records, and when they release these box sets, they're still getting money. They're making a lot of money…well, Glenn, Ken and Rob are making a lot of money. That's because they wrote the songs, and that's why you'd become a songwriter in the first place. Jon isn't stupid either. He found out at an early age that the songwriters make most of the money-so it isn't a coincidence that Jon's writing most of the material. (laughs)
That being said, do you feel freer to express your ideas either about the music or lyrics now that you're with Iced Earth that you felt at any time with Judas Priest? Or is the writing still kind of considered someone else's domain?
I definitely feel better about expressing myself. I've already gotten to write lyrics and the melody to one of the songs on the album, and I wasn't even in the band yet. I was offered to rewrite three of the songs, and that was more than my time in Judas Priest. It's nice to have that offered to me. I feel freer, and basically I'm just looking forward to getting the damn album out. It seems sometimes as if it's the album that's never gonna get released.
What have been some of the reasons for the delays? There has been a lot of speculation-especially on the Internet-as to why the record hasn't been released. Many of the fans seem to be especially frustrated.
The label just wanted to be able to release it at a time when they'd be able to put the best push behind it. I think when they found out that I was doing the vocals for it, it obviously gave them a charge to do it right. I think they thought that they could originally release it in October, but if they held it up, it might give them enough time to come up with the proper game plan for promoting it. Obviously, we were a little upset at first because we really want the record out, but then we have to also consider that if we're able to sell few more copies of the record because of this, then that's the name of the game. I mean, we want it out though-it's just killing us. None of this was our decision, and we will definitely stand behind SPV, but it's like having a new car and not being able to drive it.
How excited are you to begin performing with Iced Earth and showcasing the songs from this album?
I can't wait to do this. I can't wait to perform "Gettysburg."
I was going to ask you about that-are you going to really play all three parts?
We're gonna work on it, and we're gonna get the orchestra. We'll probably end up putting it into a computer and syncing it up and do a clip track which is pretty much what people have to do when they have something like that. When you have a case as with Gettysburg where you have the people and cannons and the orchestra, it'll be fun. I thought it was going to be pretty easy to sing before I started working on it, and that's when I realized how tough it was. It's going to be really exciting.
But you won't shorten it live? You'll play all thirty-two minutes?
Yeah, we're gonna play all three parts, but we're gonna play it so fast that it's only going to last fifteen minutes.
No way-
No, I'm just kidding. We're going to play it all and just see what happens. We've decided to do it, but we've got to make sure that it's something we can do and have all the parts present.
If you do it in its entirety though, you're basically talking about one song taking up a third of your set, right?
Yeah. That's basically it.
Is there any extra pressure on a band that has an audio track or video track accompanying the music? Isn't there always that sense that if the timing isn't right that it is going to be really noticeable to the audience?
You know what, I've never done it before, so this tour is going to introduce a lot of firsts for me. It's going to be new. It's not that bad for me because I just go along with the music, but it's the drummer who is going to really have to keep the time because if you lose it, it's done. Even if the tape machine messes up, you're in trouble. We'll see what happens.
It has also been said that this new music allows you to sound more like you. Why do you think that statement has been made?
I mean, the whole thing was, the Judas Priest albums were me too. This just showcases other aspects of my voice like the high natural voice that I probably only used on "Feed On Me" and probably not much else. This has a lot more passion and a lot more singing. The Priest stuff was still me-it was just in quicker doses. All the parts that are here with Iced Earth were also part of me in Judas Priest, but the parts were just quicker. Glenn liked to write more in character form while Jon writes in more flowing, emotional melodies. Jon and Glenn are two different style writers. I can sing the Iced Earth material any way I want though. The only problem that I had in Judas Priest that came up was that sometimes I would sing something, and I'd go, "man, I just sang that, and it kinda sounded like Rob." The problem with that is, that's just how I sing. Now, I don't have to worry about that. Now, I can get away with it when somebody says, "that sounds like Judas Priest. That sounds like Rob." That's mostly because I'm not in that band anymore. People used to think that I was trying too hard and that I was trying to sound like Rob.
It's got to be nice to not have the specter of Rob Halford constantly looming over you anymore.
Yeah, it was like when I would sing well live, people would say I was a Rob clone, but if I didn't sing it that way, they would think it was because I couldn't do it. I was always in a no win situation sometimes with some of the fans. Now, I can kind of do what I want and behave how I want without having to worry about that. I guess now all I have to do is worry about being compared to Matt which will be fun because we're two completely different singers. That's fine because the comparisons will be different because my voice is nothing like his.
In your defense, what made some of the criticism even more unfair was that when I interviewed Glenn last year, he said something like, "If we hadn't found Ripper, there probably wouldn't have been any more Judas Priest." It isn't like they could have just went out and got anyone to perform those songs.
The thing is ninety to ninety-five percent of the Priest fans accepted me as being the lead singer, and they saw that the band was happy. If it wasn't me that Judas Priest picked, it would have been someone else who would have been blamed for sounding the same way. The albums they wrote with me were going to be Judas Priest albums anyway, in my opinion, they were great albums. That's how it is.
Occasionally, you play informal type sets with a band called The Sickness. What does that provide you? Is it more of an informal type of environment to just belt out whatever you want?
Yeah, The Sickness was a lot of fun, and I've known those guys for a long time. The drummer was in one of my first bands, and my wife and I went out a few times to watch them, and we really enjoyed it. It was fun, and they played really good. What was fun was that I'd go on stage and have a couple of beers and just play. When I go out on stage with Iced Earth, I won't be drinking, and I won't be drinking before or anything like that. It was just a good time that just finally had to end because I got so busy. It was fun though.
Which songs maybe just really got on your nerves after awhile and that you don't really care to play any time in the near future?
You know, yeah, it's like singing "Breaking the Law" every night. You know, we even took "You Got Another Thing Comin'" out of the set list for awhile which was kind of odd considering it was their biggest hit. At the time we just wanted to bring back other songs like "Cheater" or something else. You have to play them though, and I imagine it's going to be the same way in certain respects with Iced Earth. You'll just eventually come to a point where you say-
"I can't do "Gettysburg" tonight…I can't do all thirty-two minutes anyway."
Yeah, "Gettysburg" would be the one I could see saying that about just because I really might not be able to do Gettysburg that night. It wouldn't be because I was tired of it, it might just be because of the strain involved. I might just lip sync it.
You guys could choreograph some moves too.
Yeah, I could choreograph some moves, get a uniform and push a canon around on stage-maybe even ride a horse.
Were you particularly interested in any of this material historically before your involvement with this record?
I'm not nearly into history as much as John or anything like that. He's one of the most intelligent men I've met within that field. I was aware of Gettysburg and it sounds cheesy to say, but part of it was through watching the movie. It was a great four hour movie.
Hey, and creating four hours of anything that someone can sit through is no small feat.
My father in law forced me and my brother to watch that movie.
In one sitting?
In one sitting.
That's shocking.
He didn't even use a gun to get us to do it either. It was amazing though, so I was at least familiar with a lot of the material. Obviously, I read up on it when I was doing the lyrics. After I did the record, I went to Gettysburg a couple of times for photo shoots. It's nice to go there and know what happened.
Are you still thinking about and actively pursuing a solo album?
Oh yeah, I've got some friends that I'm working with, and I've written all the guitar parts and everything. We've been practicing some of the stuff together to try to get a feel for it. Then, it's off to the studio to make some demos and shop them around to some labels. Depending on how long I tour with Iced Earth next year, I'd like to get the album out by 2004.
Basically, between your Iced Earth record and potential solo album, your post Priest outlook is a lot brighter than many would have believed.
Yeah, it's really going well. I did a lot of thinking over the past year, and trying to figure out exactly what my game plan would be. I'm really excited about what is to come.
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An Interview With Judas Priest Frontman Ripper Owens
By Don Sill, Contributor
Thursday, June 27, 2002 @ 9:56 AM
Owens Clarifies The Alleged Feud Between Ex-Priest Vocalist Rob Halford
It's never easy being the “New Guy,” always having to put up with people's snide remarks and constant hazing. Fighting day after day in an ongoing battle to prove yourself to the masses and earn your bones and respect among the pact. People laughing when you trip and hoping to see you fall again and again praying for your demise and you failure. Tim "Ripper" Owens knows the feeling all to well; for 5 years he's been the “New Guy” -- a title that may never go away. Ripper isn't just any “New Guy,” he's the replacement front man of the world famous metal outfit, Judas Priest, taking center stage where the "Metal God" himself, Rob Halford, used to stand tall.
"I said that when [Rob Halford] left and did 'Two,' he left heavy metal, and that's true and that's the end of that, and what I always say is, 'Thank God he's back to heavy metal.'"
Throughout his 5 years with the legendary band, Ripper took lashings from Judas Priest die-hards and rock critics alike, always being compared to Halford and constantly walking in Halford's dark shadow, constantly having to prove his worth time and again. "I still see some people at concerts who come to watch me bomb and they hate me," says Ripper with a laugh in his voice. "I even had people sitting there flipping me off." But, Ripper would stay strong and focused and win over his critics by singing his ass off and proving that he has the talent, diversity and moxie that is worth of Judas Priest status.
Sure, Ripper had won over his critics and maybe a few of the extreme haters, but no matter how much talent he has, there will always be remnants of Halford's shadow lurking behind every corner.
Recently, [according to French Magazine Rock Hard] Ripper was accused of saying "Halford returned to his metal roots to cash-in on metals popularity." In response, Haford stated, "If Tim says that I turned my back on metal because Fight was a failure and Two was a failure, two commercial disasters, that I just went back to metal because that's where I make my money and my living… Fuck you, Tim! Because that's not what happened, and without me you would not be in Judas Priest."
I spoke with Ripper recently about still being the “New Guy” and about the latest feud with Halford…
KNAC.COM: You've been with Judas Priest for 5 years now; you've recorded 2 albums, toured with them, bonded with these guys and all of that stuff. Does it feel like it's your band now? Or is it still their band?
RIPPER: I feel like it's my band on the stage, ya know… But, off the stage I still feel like it's still their band. I mean, I've done 2 studio records and a live record and a soon to be DVD, and hopefully another live record -- and I've been here since ‘96 and it's all going pretty fast. But, I still feel it's theirs; they've done it. You know, when I start getting money from the back catalog, then I'll start feeling like it's my band! [Laughs]
KNAC.COM: [Laughs] Do you get intimidated to voice your opinion? Like when you were recording Demolition?
RIPPER: You know what I do, actually. I still do. I tell ya, I did get to put a lot more into Demolition. I got to change some vocals on things and unfortunately you don't get credit on things like that. I got to sing at my register, the way I wanted to sing it, and I really got to do a lot more on this one. This album was written for my vocals and not somebody who could just sing like Judas Priest. But, the intimidation factor is there because it seems like 9 times out of 10 my opinion gets shot down anyway. I just let them handle it, ‘cause they're probably just thinking, "Wait a minute, we wrote the songs for 20 years and we don't care what you say. You're a kid…" [Laughs] But with this one they gave me more freedom.
KNAC.COM: You can definitely tell on Demolition that you did put in a lot more of your vocal style.
RIPPER: Yeah, and part of the reason is that I can do every style of heavy metal singing, except maybe for that sissy hard rock stuff. I ain't gonna sing like that. But, who knows, they're may even be a little bit of that in there too. [Laughs]
KNAC.COM: Now, I imagine that growing up you were a huge Rob Halford fan…
RIPPER: Yup.
KNAC.COM: …And now, in the news I read that he's angry with you. Is there a feud between you and Halford?
RIPPER: No, at all. What did they say on there?
KNAC.COM: That you accused Halford of going back to his metal roots to cash in on metal’s current popularity. I'll read you what Halford said in response to this: "If Tim says that I turned my back on metal because Fight was a failure and Two was a failure, two commercial disasters, that I just went back to metal because that's where I make my money and my living… Fuck you, Tim! Because that's not what happened and without me you would not be in Judas Priest."
RIPPER: Man. See, that's just silly. Not what he said. I would have said that, too, if I was him. But, this is just silly, unbelievable stuff… I did say that he left heavy metal, that's all I said, but not with "Fight" ‘cause "Fight" is heavy metal, and I'm a huge fan of "Fight." I said that when he left and did "Two," he left heavy metal, and that's true and that's the end of that, and what I always say is, "Thank God he's back to heavy metal."
KNAC.COM: Well, I'm glad we can clear all this up because they had it like you were taking a shot at him.
RIPPER: No, not at all, "Thank God he's back to heavy metal," that's exactly what I always say. I say that everybody experiments with different stuff, and there's nothing wrong with that. When Rob left Judas Priest, he didn't leave heavy metal then. I'm a fan of Rob's and this is just silly stuff. It's unbelievable that I would say any of that.
KNAC.COM: So, it was taken out of context…
RIPPER: It has to be, because I always say the same exact thing. I say that Rob left heavy metal, that's what I say -- and he did, that's not a lie, there's nothing with that. Fine, he left heavy metal and I never will say anything bad about that, but I do say, "Thank God he's back to heavy metal," because that's what people want.
KNAC.COM: I agree. Halford went on to experiment with new stuff and he's back, thank God.
RIPPER: You know, we have had things going back and forth, and I have had things taken out of context, and I've also probably put my foot in my mouth a few times also, but, this is just silly. I mean, I met Rob and he's a great guy, you know, and why would I say anything bad about him? I might have said some things in the past, but he has to realize that I read a lot of bad things that he supposedly said about me, so I used to come back and react to these things after I read them. I used to; I don't anymore. You know what? It doesn't bother me, and if I was him, I would have said the same exact thing. He didn't really say anything that bad either. He said "If Tim said," and I didn't, so… He's got my phone number…
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"Judas Priest guitarist K.K. Downing and bassist Ian Hill formed the band in 1970 in Birmingham, England. Halford joined in 1971 and Tipton came on board three years later. The group's first album, Rocka Rolla, was released in 1974, and Halford sang on the band's next 12 albums before leaving after touring behind Painkiller. The group continued in 1996 with vocalist Tim "Ripper" Owens, who was recruited from a Judas Priest cover band and whose vocals bore an uncanny similarity to those of Halford.
"We were quite happy being out with Ripper," Tipton said. "He was the only person that could have stepped into Rob's shoes. We've all been enjoying ourselves and we've been relaxed, but we all feel the time is right now to go back out with Rob again, and Tim understands that."
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must admit... i prefer rob halfords vocals any day...fav priest track?..."you`ve got another thing coming"...fav album?.."screaming for vengance".
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Hmmm. I'd like that CD. In fact, we should have threads on everyone of those artists, Des..
eric burdon and brian auger ....."access all areas"...fav track?..."sky pilot"...a very cool musical partnership...burdon`s vocals rock..a real rock survivor
1. Introduction
2. Don't Bring Me Down
3. Misunderstood Intro
4. Don't Let Me Be Misunderstood
5. Monterey
6. We Gotta Get Out of This Place
7. I Just Want to Make Love to You
8. Roadhouse Blues
9. When I Was Young
10. It's My Life
11. Spill the Wine
12. River Deep-Mountain High
13. Bring It on Home to Me
14. No More Elmore
15. Band Intro for Eric
16. Tobacco Road
17. Sky Pilot
18. Rising Sun Guitar Intro
19. House of the Rising Sun
20. Sixteen Tons [studio 1992]
Khama Auger (drums), Dave Meros (bass guitar, vocals), Eric Burdon (vocals), Brian Auger (keyboards) and Larry Wilkins (guitar, vo
cals)
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I just burned me a cd......what was the last one you burned?
City Boy - 5.7.0.5
Flash And The Pan - Hey St. Peter
Frank Marino - Strange Dreams
Head East - Never Been Any Reason
New England - Don't Ever Wanna Lose Ya
Ram Jam - Black Betty
The Rockets - Oh Well
Slade - Cum On Feel The Noize
Sniff 'n' The Tears - Drivers Seat
The Runaways - Cherry Bomb
Argent - Hold Your Head Up
Horslips - Daybreak
Jay Ferguson - Thunder Island
Climax Blues Band - Couldn't Get It Right
Firefall - Strange Way
Louise Goffin - Remember (Walkin' In The Sand)
latest burn (this morning)...jeff beck album compilation.."you had it coming", "jeff", "wired", "blow by blow"...fav album on the compilation.."you had it coming"..fav tracks..."dirty mind", "rollin` and tumblin" (featuring imogen heap)
one of my favourite guitarists......makes jimmy page look sick...
Jeff Beck
You Had It Coming
Some people play a guitar. Jeff Beck attacks one. At his best the sounds he coerces from his white Strat are criminally inventive, rude — or in his words — "slippery". Pair this with the production and performance of Andy Wright, who has twiddled the knobs for everyone from Massive Attack to Simply Red, and you have what amounts to Jeff Beck doing the nasty at a rave. The opening cut "Earthquake" starts off with a grinding Nine Inch Nails keyboard figure and adds on some distorted vocals. Then Mr. Beck enters, effortlessly tossing little riffs atop the stew, but he's only warming up. About two minutes into the song when he cuts loose with a solo — a solo that hits you like a mule kick between the eyes — you remember why A: of all the sixties guitar gods, only Beck can still look at himself in the mirror and B: why most electronica sucks. By the time you get to the two cuts featuring British vocalist Imogen Heap, the wickedly greasy "Dirty Mind" and a Prodigy on speed version of Muddy Waters' "Rollin' and Tumblin", Jeff has already secured his reputation for another decade, should he decide to vanish as he did for most of the '90s.
When Jimmy Page, Eric Clapton and Jeff Beck were the guiding lights of rock guitar in the sixties and seventies, all were at the top of whatever game they decided to follow. Page had Zeppelin, Clapton everything from Cream to Derek and the Dominos. Then one by one, perhaps as age crept up, Page stopped playing, and well, Clapton should have. From "White Room" to "Wonderful Tonight" is a long and ugly road. Only Beck, by pushing himself in new directions, namely jazz/rock fusion, kept himself vital. By surrounding himself with musicians such as Jan Hammer, with who he created the incredible Wired album, Jeff Beck refused to rest on his laurels, endlessly reform past groups (hello, Mr. Page?) or make watered down pop pabulum. Granted, he hasn't been as visible as the others (this is only his second release in a decade), but what he's put out has never taken the safe route. By immersing himself in the rigid confines of electronic music (as he did on his last release, 1999's Who Else!), Beck's frenetic guitar with it's groove-heavy pacing and vitality is allowed to both complement and dominate the songs. His method of playing guitar lines in a uniquely non-linear fashion — he goes from A to B, but stops off at Q on the way — is exactly what this sort of lockstep music requires if it's to have any humanity at all. Even when he slows the pace down, such as on the (almost) soothing "Blackbird/Suspension", with its Windam Hill bird chirps and New Age keyboard washes, his tone, a dirty, piercing sound still rings true.
From the Yard (birds) to House, Jeff Beck has few equals when it gets right down to it. Hopefully this elusive yet influential mainstay of modern guitar won't hide out as he has been prone to in the past, and continue to challenge both himself, and his listeners, by simply playing Jeff Beck guitar. And when he does, I'll sell my copies of the last 20 years of Page and Clapton releases to hear it.
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many thanks for your kind words guys....spent the day down here in new zealand with my wife and kids and family members having a ball..time`s sure moving fast...still a lot of music to listen to..and what was i listening to today???...
why, hot tuna of course :"first pull up, then pull down" (1971)...... sitting right beside quicksilver messenger service in my collection.... jack casady is one of my heroes and papa john creach plays a very cool electric violin...
"The revolution began in the 50's and it was televised. Artists like Elvis Presley and Buddy Holly appeared on prime time, jolting the well-groomed homes of white Americans with their interpretations of black music, while the real stuff - Lightnin' Hopkins and Chuck Berry - infested suburbia through records, assailing young kids like Jorma Kaukonen and Jack Casady in the musical jugular. The Delta Blues sound spawned Hot Tuna; a three decade wonder band with one of the most faithful audiences in popular music, spanning 25 years and a prodigious recording longevity of over 27 albums.
Jorma Kaukonen and Jack Casady began their musical courtship in Washington, D.C. in the late 1950's. As musical accomplices in high school, they listened to records that belonged to Jack's older brother Chick, an avid blues collector. Inspired by what they heard they formed a teen garage band, the 'Triumphs', a timely name which presaged their future success.
Jorma attended Antioch College where he met friend and mentor, Ian Buchanan and future blues man, John Hammond. This remarkable triad listened and copied the blues style of the greats: the rags, marches, old popular songs and sacred music of the Reverend Gary Davis, the visionary work of Robert Johnson, the acoustic duet Sonny Terry and Brownie McGee and the quick-fingering rags of Blind Blake - but it was the vast Davis repertoire and legacy which left the greatest impression on Jorma.
Kaukonen reunited with Jack when he transferred to the University of Santa Clara. A thriving folk scene was in progress, a "folk troupe" of notables: Janis Joplin, Jerry Garcia, and Pigpen centered around the coffee house, the Folk Theater. Folk met the future when Paul Kantner, Marty Balin and Jorma formed Jefferson Airplane. Signed to RCA, the band recorded its debut album, JEFFERSON AIRPLANE TAKES OFF, with Jack Casady on bass.
Airplane's trajectory went straight to the rock and roll heavens with nine top 20 albums and two top 10 singles.The Airplane represented a new musical vitality and creativity; an image that would come to embody the essence of the West coast alternative culture of the 60's.
Throughout the Airplane days, Jorma and Jack continued to play out as Hot Tuna - but as Casady later remarked, "it got pretty complicated." Wanting to make the blues their number one priority, Jorma and Jack officially left Jefferson Airplane in the early 70's.
Hot Tuna's first album, HOT TUNA, is a classic among a generation of kids growing up in the 70's looking for an alternative to REO Speedwagon, et al. The self-titled debut is a straight acoustic guitar/bass album - recorded live, it is a pure, unadulterated distillation of their laid-back blues sound.
On their second album, FIRST PULL UP - THEN PULL DOWN, many of the riffs were transposed from acoustic blues onto a heavy stringed Stratocaster. The result is a natural evolution and transition to their third album, BURGERS, an all-electric album. Legendary electric violinist Papa John Creach joined the band for BURGERS bringing an oldtimey, ragtime feel to the group. Kaukonen said, "It blew my mind when I first saw him. I knew he would fit in; he was just incredible." In 1973, PHOSPHORESCENT RAT marked Hot Tuna's official departure from Jefferson Airplane and ushered in a new era of purely electric guitar sounds very different from what Jorma has called the "cloned acoustic sounds" of their past.
Hot Tuna's LIVE AT SWEETWATER I and II , first recorded in 1992, began a series of critically acclaimed releases on Relix Records without overdubs, Live at Sweetwater is Hot Tuna's first acoustic album in eight years. A reminder of the freshness and innovation of their musical vision.
Also on Relix Records, CLASSIC HOT TUNA ACOUSTIC recorded in 1971 is a selection of vintage acoustic Hot Tuna performed live on the Bay Area radio station, KSAN. For this session Jorma is playing an old Gibson 150 guitar and Jack and Alembic bass. Sammy Piazza and Papa John Creach also make an appearance in this rare, all acoustic record. About this time Jorma said, "We had just started playing acoustic in front of people as Hot Tuna. We were all pretty hot on the whole deal."
Hot Tuna, accompanied by Michael Falzarano on guitar, Pete Sears on piano, and Harvey Sorgen on drums, recorded their last project on Relix Records in 1997 entitled LIVE IN JAPAN, a compilation of songs recorded at a small club in Yokohama, Japan, bringing to light the intimate acoustic sounds of Hot Tuna that their fans love.
In addition to the CLASSIC series on Relix Records, Hot Tuna fans were treated to a number of first time on cd reissues from RCA Records. The first two titles came in June of '96. They are HOT TUNA and FIRST PULL UP-TREN PULL DOWN Three more were released later that year, BURGERS, AMERICA 5 CHOICE and HOPPKORV, Put together in a unique collector's edition, they are now available as - literally - HOT TUNA IN A CAN In 1998 RCA reissued on CD, PHOSPHORESCENT RAT.
In 1998 Hot Tuna hit the road with the Furthur Festival. It was their second time at Furthur….Jorma’s third. Jorma, Jack, Michael, Pete and Harvey shared the stage with Rusted Root and The Other One's (members of the Grateful Dead, Bruce Hornsby, Dave Ellis from Rat Dog, John Molo from Hornsby’s band and Stan Franks) performing in cities across the country. That summer tour gave birth to Hot Tuna's most recent project......And Furthurmore on Grateful Dead Records.
Hot Tuna is one of America's true musical treasures, which continue to grow with an ageless grace that shows no signs of slowing... ever."
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just a wild guess, Rog, but could it be cause canes & walkers & wheelchairs don't look too slick? (failing miserably to express myself for a change).
my WHO faves mostly come off the first album (and my second fave album is the one w/'boris the spider' on it--can't remember the name; it also had like a precursor to Tommy, a 20 minutes-long track called 'a quick one while he's away' which was very good).
the actual name of that album is "a quick one"
The Who
Title: Boris the Spider
Album: A Quick One
Look, he's crawling up my wall
Black and hairy, very small
Now he's up above my head
Hanging by a little thread
Boris the spider
Boris the spider
Now he's dropped on to the floor
Heading for the bedroom door
Maybe he's as scared as me
Where's he gone now, I can't see
Boris the spider
Boris the spider
Creepy, crawly
Creepy, crawly
Creepy, creepy, crawly, crawly
Creepy, creepy, crawly, crawly
Creepy, creepy, crawly, crawly
Creepy, creepy, crawly, crawly
There he is wrapped in a ball
Doesn't seem to move at all
Perhaps he's dead, I'll just make sure
Pick this book up off the floor
Boris the spider
Boris the spider
Creepy, crawly
Creepy, crawly
Creepy, creepy, crawly, crawly
Creepy, creepy, crawly, crawly
Creepy, creepy, crawly, crawly
Creepy, creepy, crawly, crawly
He's come to a sticky end
Don't think he will ever mend
Never more will he crawl 'round
He's embedded in the ground
Boris the spider
Boris the spider
The Who's second album is a mite inconsistent, not least because all four members were encouraged by a business deal to churn out songs. A Quick One nonetheless manages several Who classics, notably "A Quick One While He's Away," Pete Townshend's first longform (10 minutes) piece, and John Entwistle's licensed-to-ill "Whiskey Man" and "Boris the Spider." The band's sense of humor, however, gives way on rote pop tunes like Roger Daltrey's "See My Way." But CD bonus tracks like the great "Disguises" (included in a murkier mix than that on the 30 Years of Maximum R&B boxed set) and the Beach Boys tributes "Bucket T" and "Barbara Ann" are a distinct help. --Rickey Wright
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a very interesting perspective...being an aging baby boomer my self, i find particular relevance in roger daltreys` comments on growing old...
my favourite who music is pre-tommy era..fav who track?..."magic bus"
fav who album?..."the who live at leeds"
"Live at Leeds, culled from a concert performed by the Who on Valentine's Day 1970 at Leeds University in England, is not only the best live rock 'n' roll album ever, but the best rock album period. It also happens to be my favorite album of all time, making it perfect for inclusion in this series and another notch in my belt of good taste.
Fuck the competition. Sgt. Pepper? Pet Sounds? We're talking rock 'n' roll here, not belabored "artistic" statements with strings and French horns and shit. (As much as I love those albums). Rock 'n' roll is about carpe diem, seize the day. It's about being loose, naked, free, dirty, and instinct-driven. It's about four guys who hate each other off stage but complete each other on it making music more relentless and pulverizing than even the desire to die before you get old.
Let's talk about those four guys for a second. There's Pete Townshend, the guitarist, the man we call the leader. He writes the songs, acts as the spokesman, and internalizes the contradictions and perpetual identity crisis of his band. There's Roger Daltrey, the singer, the macho man's man. He twirls his microphone and turns Pete's introspective musings into fist-pumping anthems. There's John Entwistle, the bassist, the quiet one. He lets his thundering fleet fingers do the talking. The guy in back is Keith Moon, the drummer, the destroyer. He will kill you with his bare hands. He's also the most overwhelming musician ever to play rock 'n' roll.
When these fellas recorded and released Live at Leeds in 1970, it was equivalent to ripping a long smelly fart in an opera house. The Who had played plenty of those the previous year. The success of Tommy made the faux mods "more" than a rock band; they were rock opera singers, artists making statements with strings and French horns and shit on top of it. It was long way from Shepherd's Bush and "Can't Explain", that's for sure.
It was an evolution and it wasn't entirely welcome. Townshend, he of the aforementioned identity crisis, paradoxically longed for and was suspicious of artistic legitimacy. This was, after all, a guy who smashed his guitar and then talked ceaselessly afterward about what it "meant". Who else would have embraced the classical pretensions of rock opera on the studio version of Tommy and then proceed to tear them to shreds when he played the piece live with the Who? Rock opera made people take the Who very seriously, which Townshend loved and Townshend hated. The pendulum had to be swung back again. A roaring live document would remind people that the Who weren't fey British pishers after all.
When Live at Leeds was originally released, it contained only six songs, hardly representative of the Who's sprawling live show but damn potent nonetheless. Three of the songs were covers, including the single "Summertime Blues". The other two had long been staples of the Who's live act: "Shakin' All Over" was originally a hit by Johnny Kidd and the Pirates and a standard for any rock band worth its salt in England; Mose Allison's "Young Man Blues", the album's devastating opener, was a more obscure number pumped solid by the Who with enough erectile Led Zeppelin juice to choke the Acid Queen.
The other three songs were among the Who's most enduring classics, including a truncated "Substitute", a hilarious "Magic Bus", and a rambling 15-minute version of "My Generation" that not-so-succinctly summed up everything you would ever need to know about the band.
Having shoplifted a tape of Live at Leeds from a local used record store when I was 13, I had no idea what I was in for the first time I heard it. Up until then I had been spoon-fed finely manicured dance pop by the likes of Paula Abdul and Janet Jackson. My underdeveloped brain wasn't ready for the non-stop pummeling that is Live at Leeds. Its rawness rubbed my cerebral cortex beet red.
Fortunately, I wasn't a total dolt and eventually came to love what I was hearing. I soon understood what dynamite each part of the operation here delivered. Townshend's soloing, especially on "My Generation", sounds improvised but can't be. It's too melodic and directed to be drug-induced wonkery. Maybe the credit here should go to Entwistle, whose hard-hitting bass lines cling to Townshend's like metallic tentacles, creating a framework that makes his magic possible. On "My Generation", their jamming stops and surges in two minute intervals, with Townshend plucking staccato guitar parts and Entwistle honing in on him every step of the way. Together they rise and rise until it all collapses and starts over again. Meanwhile Daltrey scats bloody murder along the way like He-Man bellowing atop Mount Olympus.
Have I not mentioned Moon? In a band of instrumental superstars, he is the superest supernova . This is a man whose gift for spontaneous genius and disaster was wasted in the studio. The stage brought out the best in him. The 1995 reissue of Live at Leeds with its eight extra tracks brings this more into light, revealing just how brilliantly reckless Moon's "timekeeping" was. Or should I say timing? To make a hackneyed "Seinfeld" analogy, Moon comes into "Amazing Journey" like Kramer through Jerry's door (literally) by way of nuclear cannon. On "A Quick One While He's Away", the Who's first (and probably best) rock opera, he brings eight minutes of breathtaking action to a climax with a swirl of cascading drum runs so tremendous that they are still echoing in the Alps somewhere deep in Switzerland.
Toward the end of "Magic Bus", the last song on both the 1970 and 1995 versions, Moon finally appears to be mortal. His energy is sapped. After remaining silent for the first three minutes of the song, he charges in and demolishes everything again. No more, I'm done, he seems to say as the beat peters out. Then comes the Townshend staccato. A beat, a second beat, and Moonie is back in there pounding away stronger than ever. Entwistle adds to the stomp with his nimble digits. Daltrey scats some more murder. Why do I always expect the Who to be spent when I'm the one who's exhausted by album's end?
Live at Leeds was reissued again in 2001 with a complete version of Tommy from the concert on a second disc. I'm not a fan of buying the same album more than twice, so I've stuck with the 1995 version. Besides, Live at Leeds has no business mixing with Tommy. They exist at opposite ends of the Who spectrum. The rock opera and the fart. "
THE WHO
Live at Leeds
(MCA)
US/UK release date: 1970
by Steven Hyden
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how about this "tacky" picture...
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looks like eddie van halen has got his cancer of the mouth problem under control....one of my favourite guitarists...very sonic sound...fav single?..."everybody wants some".
fav album?..."diver down".
http://www.eddievanhalen.com/cgi-bin/index.cgi
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wow!!! that is fucking low......
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these kind of posts are what make zeropaid a great forum...
maybe i should do a "Do you hate mr.jip" thread?
these kind of posts are what made me run screaming from the other site that we are oh so familiar with......
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oh man, it's gonna be like an AA club there mixed with rehabs and petty ex-cons from the 80s.
I'd go just to see the scene... can't be more than a $10 cover at a local bar for these guys.... :bigsmile:
Who knows... not me, they may still have a cult following... All 80 of them...
Judas Priest has reigned supreme for 30 years as the most influential and commercially successful pure heavy metal band, and the masters are being honored with the career-spanning, four-CD, 65-track box set Metalogy scheduled for release on May 11, 2004, by Sony Music/Legacy Recordings. The worldwide reverence for Judas Priest has resulted in sales of 20 million albums and countless sold-out concerts.
judas priest always were, and always will be headliners until they lower them into the ground. they will never be a second rate bar band...as an original british metal band they have more class than that....fav judas priest track?.."breakin` the law"...fav album?.."painkiller"..i would love to see them live..
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who actually made the decision that the iraqi flag needed changes????.....and, more importantly, what do the iraqis think of it?
http://english.aljazeera.net/NR/exeres/94E...C425A108CE1.htm
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interesting news item.....god, time moves quickly doesn`t it??? "60 something ian gillan"...ouch..
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Who says one actually has to be a plumber to have plumber's crack?
nice pics mate... makes me want to run out and hire a plumber for the night... :good job:
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yikes!!! the american dream???
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THE CURE will release their new album in June.
The currently untitled album has been scheduled for release on June 21. The album will be the band's first since the release of 2000's 'Bloodflowers'.
The band are working with At The Drive-In and Korn producer Ross Robinson.
The album will come out on Robinson's own I Am label.
i am a real cure fan. robert smith was always ahead of his time as well as being an excellent guitarist and lyricist, and he has always played with top class musicians..his work has some of the highest quality production standards that you will ever hear both live and in the studio. i saw the cure on their "i wish" tour in auckland new zealand in 1992 and it was everything that you could wish for..in short..brilliant. robert smith has always been able to create a mood or paint a picture for me..
my favourite cure track?.."hanging garden" although "love cats" and "boys don`t cry" are up there.
my favourite cure album?..."wish" :1992.
'Wish' was hailed in 1992 as The Cure's best work yet. Again working with Dave Allen as co-producer, the album was a richly diverse, multi-faceted guitar driven album of massive appeal. It went straight in at #1 in the UK and #2 in the USA, and 3 more fabulous hit singles were taken from it; 'High', 'Friday I'm In Love', and 'A Letter To Elise'. This was another phenomenal year for The Cure, with the wonderfully kaleidoscopic 'Wish Tour' taking the band around the world again, playing sold-out shows wherever they went, from NZ's Wellington Town Hall to Dallas Texas Stadium...
the other favourite?.. "show" :1993. captures the cures` brilliant live show atmosphere and adrenalin..
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what a shame that those great traffic memories are such a shambles...the passing of time, and the mention of large amounts of money, certainly changes perceptions of what may have gone before, and the reasons for it....my fav traffic album?....why, "low spark of high-heeled boys" of course.
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Gene Simmons Is an "Asshole"
Kiss man plans to party around star-studded album
Kiss bassist Gene Simmons plans to hold "asshole parties" to promote his first solo album in twenty-six years. The disc, appropriately titled Asshole, includes contributions from Bob Dylan, Dave Navarro and the late Frank Zappa, and will be released May 18th.
During off-nights on the upcoming Kiss tour, Simmons, who claims to be "the world's biggest asshole," will take over a club, where only true assholes will be admitted. "No fakers allowed," says the fifty-four-year-old rocker. "And, of course, once you come in, you'll be given a certificate which will certify that you're a real asshole."
Simmons' winning personality didn't stop rock's most celebrated songwriter from working with him. The fruit of his and Dylan's collaboration is "Waiting for the Morning Light," a song Simmons had begun nine years earlier. "I called Bob Dylan cold one day," Simmons says. "I said, 'Hi Bob, it's Gene Simmons. Do you want to write a song together? And I was surprised to hear, 'Yeah, sure, come on.' So we got together at my house, and in one afternoon we came up with some chords that Bob put together and I sang a melody against it, and bingo: 'Waiting for the Morning Light.'"
Another years-in-the-making track is "Black Tongue," a song begun by Frank Zappa. "When Frank was alive, he invited me over to his home and I sat around with his family, and he was very gracious," Simmons recalls. "After he passed away, I asked his wife whether or not he had any unfinished songs, and [Zappa's son] Dweezil brought over a thirty-second tidbit of a piece originally called 'Black Tongue.'" Simmons then layered guitars, drums and vocals over it, and kept the title. He also invited the entire Zappa family -- wife Gail, Dweezil, daughter Moon, and son Ahmet -- to join him on background vocals, with Dweezil adding more guitar to his father's original part.
Asshole also features Simmons' own family. Shannon Tweed, his live-in girlfriend of twenty years, and her mother Louise sing on "Whatever Turns You On"; Simmons' fifteen-year-old son Nick sings on "Carnival of Souls"; and his eleven-year-old daughter Sophie sings on "Now That You're Gone."
The album's single is a cover of Prodigy's "Firestarter," featuring Jane's Addiction guitarist Navarro.
Simmons, who begins touring the U.S. with Kiss June 10th in San Antonio, has no plans to hit the road behind Asshole . . . yet. "If somebody stands up with a large enough check," he says, "I'll go out."
The Asshole track listing:
Asshole
Carnival of Souls
If I Had a Gun
Weapons
Waiting for the Morning Light
Whatever Turns You On
Sweet and Dirty Love
Beautiful
Dog
Now That You're Gone
Black Tongue
I Dream a Thousand Dreams
Firestarter
KAREN BLISS
(April 22, 2004)
interesting news item.....i`ve always admired gene simmons attitude to rock although i`ve never been that keen on kiss. as a frank zappa fan i`m certainly keen to hear the zappa/simmons collaboration track, "black tongue". :strumma:
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another interesting cream url
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Had the pleasure to see them live during their Goodbye Cream farewell tour. At that moment in time, they were as good as any band in the world.. Clapton had few rivals on the guitar, and Ginger Baker was easily the best drummer in the world
that would have been good.....i listen to a lot of jack bruce and ginger baker solo stuff but not much clapton these days....
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my favourite cream albums..." live cream vol 1 & 2"
the 10 minute version of "nsu" is a standout......
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What a band Cream were live! They were a world apart, just listen to the improvisational chemistry between the band members. This album remains one my most treasured possessions and that's for the musical value! It is on par if not better than the live portion of 'Wheels Of Fire'.l
apart from some of the bootleg stuff (e.g. the 19 minute NSU at Brandeis University) the Live Cream version of Sweet Wine is the ultimate of the officially released tracks - all 3 band members interacting and taking their lead turn - wonderful stuff, real Cream.
More than any other record, this album captures the interactive and improvisational strengths which made Cream such a powerful live band and dates from their best touring period (March 1968's Fillmore East and Winterland venues.
The earlier studio versions of 'NSU' and 'Sweet Wine' are trivialised by the sonic barrage launched here. In 'NSU' the jamming at times approaches the swirling density of Indian raga, while in 'Sweet Wine' Eric plays some of his most fiery rock guitar. He also gets to strut some excellent straight blues-playing on 'Sleepy Time Time' and 'Rolling and Tumbling.' Although Eric's subsequent concert career would prove that he plays best when backed by a conventional rhythm section, its fascinating to hear him in this aggressive free-for-all.
"we`d start off at one end and see each other at the other end"
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hawkwind : "doremi fasol latido" or "in search of space" .......the gods of pyschedelia and trippiness...it was my privilege to meet hawkwind leader and founder dave brock in the flesh, so to speak..one of my trippiest memories..
HAWKWIND:
- a U.K. space-rock band and is probably the most famous underground rock band in the world. They are known all over Europe and have a "cult"-like following all over the world. The band was founded in '69 by Dave Brock, Nik Turner et al as a musical result of the pyschedelic scene prevalent at the time. Hawkwind devoted itself to the central themes of psychedelia & sci-fi: LSD, hash, space, androids, aliens and the future. These themes have remained their primary focus. With the generous use of the synthesizer and tone/audio generator, Hawkwind practically created a genre of music that can be called: psychedelic space-rock. Their fan-base in the US, although not super-large - is nonetheless super-loyal.
What is this Hawkwind sound? Guitar under heavy delay "effect", ominous 2-part vocals, tons of reverb and delay, constant synth sweeps, constantly pushing synths to the limit. The music is often "barbaric", paganistic, and futurist full of a hard rock sound. Then again many songs are trance-inducing, with repetitious chord runs. Some of their music is often melodic and ambient.
It is the repetitious chord arrangements that make the music "mind altering"....these repititions allow for extended instrumental guitar and synth workouts. This invites the listener to "trip". Hawkwind's "acidic" space-rock style made them a big hit with "trippers", "stoners" and "heads". I will say right now that this music is even trippy without acid! Today, Hawkwind's mission is to enchant and entrance you into a fantasy world in the future....and they will take you there whether you listen to them "stoned" or "straight"!
HAWKWIND In Search Of Space
Doremi Fasol Latido
— Start your trip...
Aerosmith to perform
in Music & Entertainment News
Posted
ahhhh...they used to be so good though....
fav track " sweet emotion "
fav album " rocks "
Aerosmith - Rocks
They'd soon crash, and hard, thanks to their own excesses. But Rocks captures Aerosmith at a crazily driven peak of creativity; anyone who heard it and continued to dismiss them as mere Stones clones was just being willful. This is blues rock cranked up to Super70s stadium level, the sound of the Trans Am, or maybe the Porsches several of these guys (surprisingly) remember driving. The psychic battering they would succumb to on the next year's Draw the Line is foreshadowed in Joe Perry's "Combination," but he and Steven Tyler also celebrate the rock-star mythos on "Lick and a Promise." The party-fueled tension, the tension-fueled party.