I read the news today oh, boy
About a lucky man who made the grade
And though the news was rather sad
Well, i just had to laugh
I saw the photograph
He blew his mind out in a car
He didn't notice that the lights had changed
A crowd of people stood and stared
They'd seen his face before
Nobody was really sure if he was from the house of lords

I saw a film today oh, boy
The english army had just won the war
A crowd of people turned away
But i just had to look
Having read the book
I love to turn you on.

Woke up, got out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up, i noticed i was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
Somebody spoke and i went into a dream
Ah

I read the news today oh, boy
Four thousand holes in blackburn, lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill the albert hall
I'd love to turn you on

Estou aqui pra deixar disponível pra download o álbum Guitar Boogie. O que é isto...?? Bem, você que não sabe, saberá agora:

Simplesmente, um álbum lançado (1971) com Eric Clapton, Jeff Beck e Jimmy Page, tocando blues intrumental... uma complilação. Mas, mesmo assim, é uma aula.

Presentinho pra vocês, aguardando o lançamento do álbum de estréia dos Moondogs.

Para baixar, clique no link, ao final da "ficha" do album...

Clique aqui para baixar: http://rapidshare.com/files/106536250/Guitar_Boogie_-_By_The_Sacred_Monster_.rar

(Retirado de: http://www.elblogdenits.com.ar/blog/)

Abraços a todos!

Keep on rockin'!!

En el último post de los Yardbirds preguntaba Aitor (http://multimelomanos.blogspot.com/) si Jeff Beck había hecho algo reseñable en los últimos años. Como no tengo ni puñetera idea traslado esta pregunta a mis rockólogos de cabecera (Moebius, Socioapatía, Rocks, Vogel y Mameluko) y así de paso me entero yo también. Si hay alguna perla de este hombre digna de rescatar del olvido en los últimos 20 años hacédnoslo saber.

Hace un par de años, mientras buscaba los fondos de las jarras de cerveza en uno de mis bares preferidos (el mítico Bar Bar o Bar de Juan) en Zaragoza, vi que en su recién estrenada tele de plasma salía un tipo versionando "A day in the life" y se me erizaron los pelos del cogote. Como siempre que algo despertaba mi interés melómano fui a preguntarle y me dijo que era Jeff Beck (veo muy mal, tengo alguna que otra dioptría). Más tarde descargué el video y vi (ya con mis gafas de conducir) que en el gran guitarrista ya asomaban patas de gallo, por lo que supongo será como pronto de finales de los 80. 

Perdí la vista (y nunca mejor dicho) a Beck después del álbum "Truth" de finales de los 60, un Lp tremendo en el que colaboraban Keith Moon, Rod Stewart y Ron Wood entre otros y en el que hay perlas como "You shook me", "Morning dew" o la espectacular "Beck's bolero" versionando a su manera el Bolero de Ravel.

Aquí va una de las mejores versiones de un tema de los Beatles que oí jamás:

"Beck employs a guitar, but the sound that emanates from the speakers sounds like no other. His left hand is moving up the neck, the fingers on his right hand are plucking the notes. And unlike Edward Van Halen, Clapton or Hendrix, he doesn't miss one fucking note. It's like watching Nadia Comaneci, a legendary Olympic athlete, scoring all 10's."

"I stared in awe. I got that tingle that made me go to the show in the seventies. I needed more of this religion."

"Do yourself a favor. Go see Jeff Beck. Because he's not going to be here forever, and when he kicks it'll be over. You'll be kicking yourself. That you had a chance to see the greatest guitarist of all time and you blew it."-Bob Lefsetz

Read Bob's USC night here.

If you're a music fan and not on Bob's email list I highly suggest joining. He often opens the mailbag of the emails people send him and today was from Widespread Panic's Dave Schools.

"It's funny, but for the last few nights Jimmy Herring and I (well, most of the band actually) have been wearing out a dvd a friend passed along of Jeff Beck's performance at Clapton's '07 Crossroads festival. And when I say wearing it out I mean it! We watch it every night, wishing that we had more footage of the man.

I have never passed up an opportunity to see Jeff Beck and I have seen him with a few different bands. His incredibly emotive playing always manages to get it's SOUL around the sound of the different musicians sharing the stage. Because Beck has matured to the point where he is talking with his guitar. Without even thinking about WHAT to play pure thought seems to ring out of that Strat: beauty, sadness, humor, and even primitive grunts and squonks are all part of his vocabulary.

And we are amazed....some of the rocking tunes have been part of our musical lives: Led Boots, Blue Wind, Freeway Jam...but it's the newer ones that really get us: Nadia, Angel Footsteps, Big Block, Behind The Veil, and like you mentioned, his emotional rendering of A Day In The Life. Heck, last time I saw him live he encored with a duet version of Somewhere Over The Rainbow and it damn near made me cry.

But the real reason I felt the need to respond to your blog was because of a point you often bring up: when you really FEEL what a musician is trying to say you feel compelled to tell EVERYBODY you know about it. Even if it is something as wonderfully simple as rediscovering an old flame like Jeff Beck.

My point being that last Sunday we played at The All Good Festival in West Virginia and there we were, asking EVERYBODY we saw if they had heard Jeff Beck lately. And if they hadn't we told them that they damn sure needed to! Oh to have been a fly on the wall when Jimmy Herring asked Derek Trucks if he had heard Jeff Beck lately. I mean these are two of the greatest and most expressive modern day guitarists talking about how NO ONE has the range of expression that Beck does.

So it was really pretty funny when your email blast came through late Sunday night. Sometimes things just happen at the right time."

TRUTHfully,

Dave Schools

Los Yardbirds fueron algo así como el semillero de Led Zeppelin. Y no sólo eso, además fueron el vivero de tres de los más grandes guitarristas de siempre: Eric Clapton, Jimmy Page y Jeff Beck. Era este último el que pertenecía a la banda cuando se grabó este "Evil hearted you". En todo caso siempre estuvo al frente Keith Relf, que luego deambularía por la escena con bandas menores.

Clapton se había ido antes por considerar que el tono de su música se estaba alejando del blues-rock que perseguía, sobre todo tras grabar "For your love". Aquí debo discrepar de Mano Lenta porque me parece una obra de muchísima calidad que otro día colgaré, fuese o no el sonido que él estaba buscando. No es para avergonzarse como hizo, ni mucho menos.

Pero lo que me ocupa hoy es "Evil hearted you": una canción negra, sórdida, a medio camino entre la banda sonora de un spaghetti western o de una película de Tarantino. El sólo del mago Beck a los 1:29 es antológico:

Evil hearted you.
You always try to put me down,
With the things you do,
And words,
You spread around against me.

Evil hearted you.
You always try to put me down,
With the things you do,
And words,
You spread around against me,
About me.
What would you,
Do without me?
Smiling, beguiling,
You lead me on 'til all hope has gone

Blues revival started 40 years ago; its peak was experienced a couple of generations back in time.
Legendary bluesmen are getting old, both B.lues B.oy King and David "Honeyboy" Edwards aren’t boys anymore and played their farewell European tour recently.
Technology and computers are booming and today’s music discovers different influences with sounds often closer to a mathematical equation for a dancefloor than a vehicle for emotions. It’s not regret, just a remark.

Very few young blues bands are successful enough to attract the younger generation and in addition to good songs they have to use clever marketing strategies: a creative image curator, as the White Stripes, or a cool producer as The Black Keys. Even so, some interesting bands haven’t survived, 22-20s in England or Detroit's Soledad Brothers are just two recent examples.

Buddy Guy seems to have realized that he has a key role on the future of the blues. Today he has the authority, the knowledge, the technique and the presence to ferry the blues across the two millennia.
So true, during his latest tour instead of just playing his music he is touring blues history from its roots to rock.

“Buddy Guy is the perfect combination of R&B and hardcore rock and roll.”
(Slash)

“Buddy Guy ain't no trickster. He may appear surprised by his own instant ability but, clearly, he knows what's up.”
(Billy Gibbons – ZZ Top)

“Buddy Guy is an absolute monster”
(Jimmy Page)

More than a monster, today he looks like a peaceful old man. Smiley and funny, intense and patient, emotional and technically unequalled. He has a body language and a stage presence that make his concerts entertaining beyond the music.
He can play guitar with anything found on a stage. From a towel to a drum stick, he was soloing with his tooth when Jimi was a kid and tapping with his left hand sipping a tea with the right when Stanley Jordan wasn’t born.

“Geez, you can’t forget Buddy Guy. He transcended blues and started becoming theatre. It was high art, kind of like drama theatre when he played, you know. He was playing behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it in the same chord.”
(Jeff Beck)

Buddy is the grandfather I would want next to the fireplace to tell me blues stories.
As any respected bluesman, he hasn’t had an easy life.

Born in Louisiana “where nothing is too spicy or too hot” moved to Chicago as many of his “buddies”.
He joined Chess playing as session guitarist for almost everyone in the label from Muddy Waters to Koko Taylor.
His style was considered too loud to Chess standards to have some solo records.
Too much noise, too much feedback, too much.

Blues revival helped him.
Guy left Chess to move to Vanguard, his albums with Junior Wells are the quintessential sound of West Side Chicago. Chess, that haven’t published a single Buddy Guy album since, started to publish his recorded material on the wave of Brit-blues explosion.

“Jesus, that’s the shit you’ve been trying to sell me for the last 12 years, and now it’s sellin' like hotcakes!”
(Leonard Chess, Head of Chess records talking to Buddy Guy about Brit-Blues bands)

It didn’t last more then a decade before blues was forgotten again, it couldn’t get along with the eighties synth(etic) sound.
The blues albums from the eighties today sound overproduced, I dream listening to a Stevie Ray Vaughan album produced a couple of decades later by someone as Jack White.

It needed, as usual, Eric Clapton commitment to keep his blues alive. He called Guy to play for some Royal Albert Hall concerts along with Robert Cray on his blues band.

“Buddy Guy is by far and without a doubt the best guitar player alive...if you see him in person, the way he plays is beyond anyone. Total freedom of spirit, I guess… He really changed the course of rock and roll blues.”
(Eric Clapton)

Since then, Buddy Guy blues life revived to never drop again.

His Silvertone career in the nineties produced several excellent blues albums. From the Grammy winner Damn Right, I’ve got the Blues! to the wonderful rediscover of the Delta roots in Sweet Tea, containing a breathtaking cover of Juniour Kimbrough’s Done get old.

23 W.C. Handy awards, 5 Grammy awards, both Blues and Rock’n’Roll Hall of fame inductee, Buddy Guy is a living blues legend.

“Buddy Guy plays from a place that I've never heard anyone play.”
(Stevie Ray Vaughan)

“I didn't know a Strat could sound like that until I heard Buddy's tracks on the Blues From Big Bill's Copa Cabana album”
(Jeff Beck)

At 72, Buddy Guy incessantly tours from USA to Japan to European festivals including a recent and acclaimed Glastonbury performance. His shows more than proper concerts are accurate blues lessons.

He spans from Muddy Waters’ Hoochie Coochie man, so intense I had to stop photographing to sit down listening, to Cream's Strange Brew where the sound of Clapton's guitar materialize while he mimics his singing. From John Lee Hooker's classic Boom Boom to Jimi Hendrix's Voodoo child performed with all the tricks including the tooth solo.

“Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues… Such is Buddy’s mastery of the guitar that there is virtually no guitarist that he cannot imitate.”
(Bill Wyman)

His guitar is a board where he draws the scheme, he highlights the notes, he can play so quiet you can listen the beer being spilled at the nearby bar and turn so loud to make those glasses burst in pieces.

“Buddy can go from one end of the spectrum to another. He can play quieter than anybody I've ever heard, or wilder and louder than anybody I've ever heard. I play pretty loud a lot of times, but Buddy's tones are incredible…he pulls such emotion out of so little volume. Buddy just has this cool feel to everything he does."
(Stevie Ray Vaughan)

During his classic Damn Right, I’ve got the Blues he leaves the stage to walk among the ecstatic crowd with an interminable solo picking notes that apparently come out of a guitar but in reality origin straight from his heart. From the stalls to the women toilet, upstairs in the balcony then back down trough the mixer never arresting his flows of blue notes.

“It was the total manic abandon in Buddy's solos. They broke all boundaries. I just thought, this is more like it! Also, his solos weren't restricted to a three-minute pop format; they were long and really developed.”
(Jeff Beck)

Then there is a microphone. You can play the blues but singing the blues is a different matter. Humming It Feels like Rain he asks the people to sing along, he is not joking, he takes it seriously. Moaning about the heartless result roars “when they turn on the light I can see who is fucking up the song!”. He wants people to feel what he does; seeking for a resonance between his inner chord, his guitar’s chord and the thousands in front of him.

"...and when he sings, it's just compounded. Girls fall over and sweat and die! Every once in a while I get the chance to play with Buddy, and he gets me every time, because we could try to go to Mars on guitars but then he'll start singing, sing a couple of lines, and then stick the mike in front of me! What are you gonna do? What is a person gonna do?!”
(Stevie Ray Vaughan)

Blues isn't emotional for everyone, either you are in or out, there is no grey zone, no way to get into if you don't feel it. That ain't no problem or, as Buddy Guy made it clear accepting the Hall of Fame induction:

“If you don’t think you have the blues, just keep living.”
(Buddy Guy)

Some of his music is on his [myspace] [website] [Buddy's Legends]

Photo tip

Bad Luck is a recurrent them in blues symbology. It appears and comes back in myriad of lyrics and is against bad luck that voodoos and pagan rites transferred into the most wonderful blues songs.
So, it is not surprising that bad luck hit me with a couple of diabolic intervention during Buddy Guy concert. Some pictures spoilt by the magic influx of some devilish entity.

I haven’t gave up hope, just a bit of creativity and I created a place for them. A “photo tip” to share with all photographers the frustration of that perfect shot that was messed up by some supernatural reason!
Don’t despair folks, it happens, but it’ll come a day when luck is back on your side.

I still resist suggesting burst mode , even if it is a competent solution, I believe risk is to obtain impersonal, uninspired results.
During the three songs slot I often hear state-of-the-art DSLR shutters shooting continuously, pursuing the statistical hope of a good snapshot out of a multitude.

I am old fashion, still waiting for the right moment, right frame, right feel. I still have to count up to 36 before rushing to change the film which isn't always possible. In the end, I am still photographing, not filming with a SLR.

While I search for a better tip, my suggestion is to keep listening to the blues and take note of the voodoo recipes you meet. If you come up with something useful, you are very welcome to share!

Mick Jones was a skinny kid living with his grandmother in a London apartment when rock ’n’ roll changed his life. Against the gray backdrop of working class early seventies London, he fell in love with the flash of Mott the Hoople, David Bowie, and T. Rex. But it was the New York Dolls who convinced him to pick up a guitar. Inspired by Johnny Thunders, Jones saved up for a Les Paul Junior, locked himself in his bedroom, and taught himself to play. A few years later, he would form the Clash.

The perfect musical partner for the much missed Joe Strummer, Jones would weave his guitar lines around Strummer’s driving rhythm guitar, the skittering, powerhouse drumming of the brilliant Topper Headon, and the thunderous bass of Paul Simonon. When the band broke up, several years later, they left behind a sprawling collection of some of the best rock ’n’ roll ever made, including the staggering London Calling. In New York,the soft-spoken and thoughtful Jones took time out for this rare interview.

"Did I say Jeff Beck twice?"
I was lucky. I grew up in a time of so many great guitarists. I loved all of them, but my favorite was Mick Ronson. And Jeff Beck. And Keith Richards. But you have to say Pete Townshend, and Jimmy Page, and Eric Clapton (laughs). Did I miss anybody? Did I say Jeff Beck? Did I say him twice? I hope so! He’s that good (laughs).

I spent like a year in the bedroom, playing along to all of those people, copying them. And then I set off on my own as a rhythm guitarist. That’s what happens with guitar players. You start off copying and playing like the people you admire, and then you start to carve out your own style.

My first proper guitar was a Les Paul Junior. I saved for months, till I had enough money. I had to have a Junior, because of Johnny Thunders. The New York Dolls came along and made a massive impact on all of us. They came to play really early on in London, so we got a chance to see them. I saw them on the Old Grey Whistle Test, but I saw them live too. They were supporting the Faces at Wembley Stadium. I went to that show. I must have been 13 or 14, that perfect influential age, when you’re really gonna be changed. And I was! I pretended to be Johnny Thunders for a bit.

"That was it for me"
My maternal grandmother mainly brought me up. At that time, I was living with my grandmother, her sister, and her sister-in-law. That was very strange, growing up with three old ladies. When I started dressing like Johnny Thunders, they were a bit worried, to be quite honest. But I assured them that everything was okay (laughs).

"Let’s see if we can get Joe"
I was always going to auditions. That was a big part of my life. I was going for auditions as a rhythm guitarist, but there weren’t that many jobs for that. You had to be able to do a little bit more than just play rhythm. I played in some smaller bands. I didn’t play live much, just a few gigs, but I knew I wanted to do it.

I saw Joe play with the 101ers many times. They were nearly at the point of being the best group in London. They were lumped in with the pub rock scene, but they were really a squat band, from the squatting communities. Joe was part of that scene, which was very big in the early ’70s. And we’d seen them many times.

But even before the Dolls, I used to follow bands around. I followed Mott the Hoople up and down the country. I’d go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came around. I’d jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me.

Joe had already made it in our eyes, you know? It took a lot of courage to get him to join our group, since we hadn’t done anything. But luckily, Joe had seen the Sex Pistols. They had supported him in the 101ers at the Nashville Rooms a couple of times. Joe had seen the new thing coming in. He obviously wanted to be a part of it, and that was to our advantage because we were part of that, Paul and I.

We went to see him play with the 101ers, at the Golden Lion in Fullham. Afterwards, Bernhard, our manager, went round the back and talked to him and made him the offer. We were in the squat in Shepherd’s Bush, and he brought Joe around a couple days later.

He had seen us out a few times, either at his gigs or in the dole queue (laughs). We were in the dole queue looking across at him—glaring—and he thought we were gonna start a fight with him. But we were actually looking in awe because we’d seen him play the other night! So we’d seen each other before, but he had obviously noticed us as well. We just thought he was the best guy out there. We were looking for a singer and said, “Let’s see if we can get Joe.”

"We were drifting away from those Love You songs"
We fell into it very quickly. We started work on the first day. One of the first ones we did was “I’m So Bored with the USA.” Joe and I just played a couple of each other’s numbers, and Joe made that famous addition. I played my song for him and he changed it from “I’m So Bored with You” to “I’m So Bored with the USA.” He took the “You” and put the “S” and the “A” in there, and that changed everything!

We were drifting away from those “love you” songs to something that meant more. We started to write about what was going on and what was affecting us. It was very natural. It wasn’t contrived in any way. We just started to focus. We had a very peculiar kind of schooling in the Clash. It was a bit like being in the army or something. Our manager said, “You’re gonna have a hard time for the next few years.” He kept us lean and hungry, kept us on our toes. We had to find out what we were about.

Most groups don’t have that kind of background very often now. They just go in for fame or something. But we had this very almost Communist Army thing or something. It was very unusual, but I think it kept us in very good stead. Like before we could play a note, we had to paint the studio! Our rehearsal studio needed painting. Our manager said, “You can’t do any playing until you paint the bloody studio.” And that was how the paint-splattered period started! We were painting, and it dripped on our clothes, and we went onstage like that.

Lots of things just happened by good fortune. Even the way that the group clicked. We all brought something slightly different, but we made up a great whole. Topper was amazing, and Paul became such a great bass player. After the start! We became so frustrated with him trying to learn bass that we painted the notes on the neck. We’d just shout out the chords and he’d go to it. But he soon became a very good bass player in his own right.

"We didn't care about nothing"
I like the first Clash album the best. It’s kind of pure. I played the Junior through a big 4x12 cabinet, and when we recorded it, we didn’t care about nothing. We didn’t really care to even care about it. So it’s kind of raw. We were struggling with our instruments, and it made it more alive. With my playing and Joe’s playing, it was the sweet and the sour. See, Joe was a left-handed player but he played right-handedly, so his most dexterous hand was the opposite. That contributed considerably to his strumming style. That’s why it is so specific to him. But I think that is true of all people: You sound like yourself. Playing guitar is a further expression of your inner self. When you play you sound like no one else. You sound like you.

The songs on the first album are sort of mini-operas. I’ve always been lucky enough to put it together in a way that will make it hold together, but still changing within that togetherness. So it doesn’t really sound like bits. Now I hear arrangements more in my head, but then I did it all on the guitar. But it was very natural with the Clash. It was very instinctual. Even the stuff we did on the stage—we just seemed to have a telepathic understanding. We played off each other, and we always seemed to know what the other was doing.

"Can we have Bo Diddley?"
In America, the record company said we could have anybody we wanted to support us. We said, “Can we have Bo Diddley?” They said, “Ooh, we don’t know about that.” He was fantastic! We had Lee Dorsey as well. And Screamin’ Jay Hawkins—he came out of a coffin every night. When Grandmaster Flash supported us at the Bond’s shows in New York, they were booed! Joe was quite upset. He went out onstage and yelled at the audience. He said, “Come on! You’re not being fair. You have to give them a chance!”

Jukeboxes were quite important in our story. Especially the jukebox in our rehearsal room and the jukebox in the studio in San Francisco, where we recorded the second album. We played all the music we liked, and we’d hear all the records first on jukeboxes. On the jukebox in our rehearsal room, we’d have a lot of those records we covered. Like “Revolution Rock” and “Wrong ’Em Boyo,” a lot of reggae records, and probably Vince Taylor’s “Brand New Cadillac.” And it was on the jukebox in San Francisco that we first heard “I Fought the Law.” And we would try to copy it, but bring something of our own to it.

"The bigger we got, the worse it seemed to get for us"
Even after we made London Calling, Joe was still squatting, and I was still living in the flat with my Gran. I kept leaving and then going back to my Gran’s. That’s why Joe wrote “Lost in the Supermarket.” He wrote it with me in mind, which is really a touching thing. Everybody thinks I wrote that one, because I sing it, but Joe wrote it for me. It’s not completely accurate, though. We didn’t have a hedge (laughs).

It was kind of weird, getting as popular as we were and still living back home with my grandmother. But somehow it helped, in a way. That was our big problem all the time, really. The bigger we got the worse it seemed to get for us (laughs). It is a very strange irony. You’d think we’d be getting on great, but it got scary.

We were always battling with contradictions, but when we got big, we were faced with big contradictions. It was almost at the point of compromise. And that was a big factor towards breaking up. That, and we never had any time off, and we lived on top of each other for like six or seven years. We got dog tired and fed up. When we were struggling, it definitely held us together. “Come on! Where are we going? We’re going to the top!” We had all that drive, and just like anybody we had good intentions.

But you get compromised. You can’t beat it. We did okay, considering the things we had to contend with. Compared to most groups, we did great. But trying to deal with those contradictions was the worst. On the one hand, there was what we were singing about, and then we were becoming more and more, and bigger and bigger. And it’s like, what’s there? There’s more. And then there’s more after that. And then it is like, well hold on a minute, don’t we have enough? So we were in crisis most of the time. The more we worked, the more screwed we were.

"Suddenly it'll all fall into place"
My favorites are still the Juniors. I had a great Les Paul Standard, a sunburst one. And then I had a black Custom, and a white Custom. And then the big white hollowbody for London Calling. But I still play the Juniors today.

The thing about guitar playing is that you have to do it all the time. That’s how you get good at something—by doing it every day. I do music every day. There’s a work ethic to it, and also it is very mathematical. It is lovely when you realize that the same chord that you are playing down there is up there in a different configuration. It all clicks into place sometimes. You just keep going at it, and going at it, and then suddenly it’ll all fall into place and it’s wonderful. Like a puzzle you solve.

-Ari Surdoval

The Clash performing "White Man (In Hammersmith Palais) at the Capitol Theater in Passaic, New Jersey, 1980.

For someone who has spent the past 30 years in the most famous rock ’n’ roll band of all time, Ronnie Wood really doesn’t get the credit he deserves. He never has. It’s probably the crowd he runs with.

In the mid-’60s, after a short stint with influential Pop-art rockers the Creation, of “Making Time” fame, Wood was drafted to play bass in the Jeff Beck Group, Beck’s post-Yardbirds solo outing. Along with an unknown singer named Rod Stewart, the group released Beck-ola and Truth—groundbreaking albums that blueprinted the English interpretation of Chicago blues, and made way for the coming of hard rock and heavy metal.

But it was in the early ’70s, when Ronnie and Rod joined Brit soul sensations the Small Faces, that Wood’s astounding guitar playing was first truly showcased. Abbreviating the band name to the Faces, the band released three powerhouse records—Long Player, A Nod is As Good as a Wink … To a Blind Horse, and Ooh La La. From the screaming, sleazy bar rock of “Stay With Me” and “You’re So Rude” to tender, fragile ballads like “If I’m On the Late Side” and “Debris,” penned by the great Ronnie Lane, the Faces could have an audience tearing out the seats one second and crying in their beers the next.

With a legendary, booze-soaked live show, the band was a rolling, five-year blowout, musically driven by Wood’s beautifully disheveled playing. Reversing the guitar trend of the early ’70s, Ronnie’s cranked, open-tuned guitar would blast out ear-shattering, overdriven rhythm, then clean up for sweet, melodic leads. With amazing slide playing, and slinky, tremolo-drenched shuffles, Wood’s playing with the Faces is a revelation: loose and grooving, always in the pocket, seemingly effortless. And when Wood closes the last Faces album with a vulnerable and heartfelt vocal performance on “Ooh La La”—his first on record, delivered while the band watched laughing from the control booth—the vulnerability of his voice and his swirling acoustic guitar lines perfectly underscore the regret in Ronnie Lane’s lyrics, becoming a fitting goodbye to the band. I wish that I knew what I know now when I was younger, Wood sings. I wish that I knew what I know now when I was stronger.

After the Faces crumbled under the weight of Rod Stewart’s solo popularity in America, Wood contributed some beautiful acoustic and slide guitar to Stewart’s great early records, highlighting songs like “Gasoline Alley” and “Every Picture Tells a Story.” And then he got the call.

There’s no talking about Ron Wood without talking about the Rolling Stones. After all, the band has been his musical home since 1976. Called into the band by close friend Keith Richards, Wood replaced the dazzlingly fluid Mick Taylor. Wood came in blazing, adding a much-needed dose of humor and enthusiasm to the band, which was in a dark period of addiction, infighting, and minimal output. From the tough swagger of “Hand of Fate” to the dirty Chuck Berry boogie of “Star Star” and the stomping “It’s Only Rock and Roll,” Wood gave the Stones the full Faces treatment. By the time of the fast and ragged Some Girls, Wood was showcasing his full range of talents, from the soul slink of “Beast of Burden” to the lap steel sweetness of “Far Away Eyes.”

The surest way to discover a musical ignoramus—besides some idiotic impression of Bob Dylan’s singing—is when someone dismisses Wood as a pale imitation of Keith Richards. Those are rock ’n’ roll fighting words. For the past three decades, Wood and Richards have honed what they call the ancient art of weaving. Lead and rhythm parts spiral in and out of each other, as the two guitarists swerve and slide through the songs—delicately connected, creating and releasing tension, gracefully sliding through the melody and dancing around the rhythm.

It doesn’t happen because they are so similar—it happens because they are so different, and they can meet on the shared ground of the music they love. Richards is all Chuck Berry stomp and Muddy Waters sparseness. When the open-G chords chime from his guitar, it is clear that Richards is going back to Robert Johnson, going deep into the blues and early rock ’n’ roll that he has championed his whole life. Ronnie comes in, swinging, from the other end of American music—with sweet, slippery Memphis soul doublestops that recall Steve Cropper, Cornell Dupree, and Bobby Womack. Together, they meet at their shared love of Studio One Jamaican rhythm and crying, honky tonk ballads. Then they steep it all in some of the most incredible rock ’n’ roll songs ever written. And while the Stones may never have realized, the way Rod Stewart seemed to, just what a treasure they have found with Wood, they wouldn’t be the Stones without him.

Ronnie has recently gotten a little glimmer of the spotlight with the release of the new two-disc compilation Ronnie Wood Anthology: The Essential Crossexion. Wood’s work is broken down in two sections. The first disc compiles the best songs from his loose, good-natured solo albums of the early 70s, and the second disc is a career retrospective of his work in some of the best bands ever. The set goes all the way back to Wood’s first band, the Birds, and up to his fiery guitar workouts on “Black Limousine” from Tattoo You. It is an endearing portrait of an incredible career, as Wood’s ragged-but-right guitar playing and scratchy, earnest vocals tell the whole rowdy, weary story of his never-ending party.

-Ari Surdoval

Ron Wood and Keith Richards performing "Sure the One You Need" in 1974, with Ian MacLagan on piano.

Me encantaría entusiasmarte...

"...y aunque la noticia era bastante triste,
bueno, yo me tuve que reír..."

Me encantaría entusiasmarte...

También tiene que ver que no sabia moverme dentro de wordpress, (lo cual debería darme un poco de pena siendo diseñador). Total no hay nada que un infructuoso "surfing" a altas horas de la madrugada no solucione al pasar de los días para todos aquellos que tenemos este habito.

"...me desperté, me caí de la cama,
arrastré el peine por mi cabeza..."

Me encantaría entusiasmarte...

Siempre estoy asociando mis vivencias con la música, con las películas y la infinidad de personajes que habitan en el fondo de un vaso, en el tubo de tinta de una pluma o en aquellos sueños mas raros. Podrá sonar un poco melancólico, pero siempre he considerado la tristeza como belleza, porque después de ella sigue la felicidad, y el Centro de la Ciudad de México, donde radico, ofrece esta dicotomía; melancolía y amor; calles grises de un lunes y alamedas plenas de domingo. Una tarde lluviosa con "Gloomy Sunday" de fondo, cenizas amontonandose en el cenicero, una botella en el suelo y la vaga idea de aventarse por el balcón o un buen día de chacharear en calles y museos, mojar el gañote en "el tio Pepe" e irse de lounge a República de Cuba.

"...me bebí una taza,
y mirando hacia arriba me di cuenta que estaba atrasado..."

Me encantaría entusiasmarte...

¿Que ofrece este blog? Nada. Una historia simple, una historia aburrida, una historia como mía o la tuya quizás... el simple punto de vista de tu vecino de la Ciudad de los Palacios... No importa, mientras la guitarra no deje de llorar. "Sugarplum fairy, sugarplum fairy"

"...encontré el camino de subida por las escaleras y me fumé un cigarrillo,
y alguien habló y entré en un sueño..."

Me encantaría entusiasmarte...

Comenze haciendo remembranza de "Un día en la vida", una de las mejores canciones de la historia del rock experimental y esta en mi Top 10 de The Beatles. Una historia tipo "Pulp Fiction", con dos historias diferentes (entrelazadas con otras) que es imposible no juntarlas, como si Lennon comenzara a contarnos el final y McCartney acabara relatandonos el principio. Es imposible no imaginarselas como un principio-fin, vida-muerte, catarsis-tranquilidad. Es impactante, es devastadora, esos 5.34 minutos que dura la canción marcan un antes y un después en la vida de la gente. Un "cadáver exquisito" que perdurara por la eternidad.

[audio="http://www.goear.com/files/sst4/c1ef34f3482cefd05f50e305bdeb21dc.mp3"] All you need is rock: "Descargala"

"A day in the life"
Lennon/McCartney
Interprete: The Beatles
Album: Cirque du Soleil - Love

Stevie Ray Vaughan

"Pride & Joy"

(1983)

Stevie Ray Vaughan was (still is) one of my favourite guitarist/blues singers of all time. When he died in a helicopter accident in 1990 it was devastating news, not only for his fans, but also what music had lost that fateful day. Eric Clapton was meant to have caught that flight, but he gave it up for Vaughan, his friend. And if that was not bad enough, Clapton lost his 4 year old son the following year, falling from a 53 story apartment.

It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood.

Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre. When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, "Love Struck Baby" and "Pride and Joy," then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's "Tell Me," before building to the climax of "Dirty Pool" and "I'm Crying." Vaughan caps the entire thing with "Lenny," a lyrical, jazzy tribute to his wife. It becomes clear that Vaughan's true achievement was finding something personal and emotional by fusing different elements of his idols. Sometimes the borrowing was overt, and other times subtle, but it all blended together into a style that recalled the past while seizing the excitement and essence of the present. ~ Stephen Thomas Erlewine, [All Music Guide]

On January 3, 1990, Vaughan gave an AA speech and addressed the Aquarius Chapter of Alcoholics Anonymous. On January 30, 1990, Vaughan made his first appearance on MTV Unplugged, sharing the stage with Joe Satriani.

During the final weeks before his death, Stevie spoke of singing beginning to hurt him with a condition he liked to call "hamburger throat". He had accupuncture done to his neck, but had to take cortisone shots to relieve the pain, which made his face puff up.

The next morning on August 26, 1990, Vaughan had what was described as a "horrible" nightmare. He dreamt that he was at his own funeral and saw thousands of mourners. He felt "terrified, yet almost peaceful". He shared this story with his bandmates and some trusted crew members. The band played that night, as bass player Tommy Shannon hopped a helicopter already back to Chicago.

After the 15-minute jam, the lights went up and the musicians went backstage to trade compliments. Clapton and Vaughan talked about future dates in London to pay a tribute to Jimi Hendrix.

The musicians expected a long bus ride back to Chicago. Vaughan was informed by a member of Clapton's crew that three seats were open on one of the helicopters returning to Chicago with Clapton's crew, enough for Vaughan, Jimmie Vaughan, and Jimmie Vaughan's wife Connie. It turned out there was only one seat left, which Stevie Ray Vaughan requested from his brother, who obliged. Stevie strapped himself next to Clapton's crew. It was 12:44 am. Pilot Jeffrey Browne guided the copter off the ground as the lights flashed below. Seconds later, the pilot banked the copter into a 300-foot high hill with the twisted metal scattered over an area of 200 square feet. Various pieces of metal from the copter had gotten caught in Stevie's aorta, which made him start losing blood. As there were no cries for help, no fire, or no witnesses, Vaughan officially died at 12:44:09 am of excessive blood loss. No one realized that the crash had occurred until the helicopter failed to arrive in Chicago, and the wreckage was only found with the help of its locator beacon. The main cause of the crash was believed to be pilot error. Chris Layton, Jimmie and his wife were waiting for their copter so they could leave. However they hadn't found out about the news until they returned to the motel in Chicago. The next morning Stevie Ray Vaughan's brother Jimmie and good friend Eric Clapton were called to identify the bodies.

For Joe Satriani see Number 688
For Double Trouble see Number 899
For Eric Clapton see Number 537
For Jimi Hendrix see Number 718

What did Rolling Stone think of Stevie Ray Vaughan?

For David Bowie see Number 634

Lyrics to the song

Previous Song 591 ..... Next Song 593

Tags:Stevie Ray Vaughan, 1983, Blues, Eric Clapton, Howlin Wolf, Joe Satriani, Jimmie Vaughan, Double Trouble, Buddy Guy, Robert Cray, Jimmi Hendrix, Eagles, David Bowie, Jeff Beck, YouTube, Music Video, Rolling Stone Magazine, Crowbarred, New Zealand, Crowbarred Unleashed, The Definitive 1000 Songs Of All Time, Mellow Mix Volume 1

Rangiora

Jeff Beck, English musician (The Yardbirds)

Welche weltweite Anerkennung dieses große Talent erfährt, zeigt unter anderem ein nun bestätigter Termin in ihrer Heimat USA: A Fine Frenzy wird neben den Multi-Grammy Gewinnern Burt Bacharach, Jeff Beck, Kurt Elling, Natalie Cole, Chris Botti, Dave Grusin und Tom Jones auf der „Grammy Foundation Starry Night“ zu Ehren von George Martin am 12.07.08 auftreten.

A Fine Frenzy - hier die Album-CD bestellen

Mit ihrer nächsten Single Auskopplung „Come On, Come Out“ im Gepäck, kehren A Fine Frenzy aber dann auch endlich wieder nach Deutschland zurück.

A Fine Frenzy werden ihm Rahmen des renommierten SWR3 New Pop Festivals 2008 vom 18.09. bis 20.09.2008 in Baden-Baden die deutschen Fans erneut verzaubern.

Links
http://de.wikipedia.org/wiki/A_Fine_Frenzy
http://www.afinefrenzy.de/
http://www.myspace.com/afinefrenzy
http://www.emimusic.de/afinefrenzy

Quellen: © EMI Music Germany GmbH & Co.KG /
Urheberrecht gilt auch im Internet: Verlinken erlaubt, Kopieren verboten

By to co chronne, stało się nieuchronne.

Koleje moich myśli, w przeładunkowych stacjach moich odczuć, obrały już jeden kierunek. Ostatnie podczepy, gwizdki lizaki w górę i w dół… Rytuał nawigacji został ukończony. Jadę zanurzony w szczegóły o spotkaniu, a poza oknem widzę projekcję podróży.

Okruchy zaszłych wspomnień, nigdy nie będą mi tak towarzyszyć, jak myśl o Tobie. Zgubiłem strzępy przedawnionych spraw, odebrałem złym emocjom wiele spraw. Nadaję torom sens, opadają mijane szlabany, by blokować głupotę i strach, ale ja jadę tam, by rozszyfrować Twój znak.

Pomyślałem, że przecież możesz nie być na tej stacji, gdzie chce wysiąść. Nie mam wyjścia pojadę dalej, być może za wcześnie, albo za późno. Ja nie szukam niczego, ja Cię uwielbiam człowieku…

Kiedy na stacji, o której myślałem nie było nikogo i nie czas było wysiadać, zrobiło mi się bardzo smutno. Schowałem się za gazetą obojętności, aby w ukryciu odpłakać swój żal.

Mijały kolejne stacje, opadła gazeta, a z nią wszelkie wyczytane rewelacje. Zwolnione tempo moich oczu naostrzyło widok Twój. Siedziałaś naprzeciw mnie! Moja dusza tak krzyknęła, że zatrzymałem cały skład. Byłaś już tak blisko, jakby we mnie. Zrozumiałem, że to szczęście, to Twój znak.

+++

Rod Stewart Jeff Beck People Get Ready

this is classic

Su música distaba mucho de lo que conocimos posteriormente, pero... por algo hay que empezar.

El presentador del concurso, en un momento dado, le pregunta sobre la profesión a la que le gustaría dedicarse en un futuro. Jimmy contesta que le gustaría dedicarse a las investigaciones de biología, cosa que muchos agradecemos que no haya hecho, aunque queden bacterias sin descubrir por su culpa.

Aunque no creais que Jimmy encauzó su vida en la música comenzando por las guitarras, no. También pasó una temporada en el grupo The Yardbirds tocando...¡La batería! Corría el año 1966:

Del grupo The Yardbirds salieron tres de los mejores guitarristas de todos los tiempos: Eric Clapton, Jeff Beck y Jimmy Page. En el siguiente video vamos a ver el extracto de la película "Blow Up" del mismo año 1966 ambientada en el swinging London de la época, con Jimmy Page -esta vez a la guitarra- y Jeff Beck mano a mano:

Con Eric Clapton en 1965 -impagable video-:

Algunos piensan que Jimmy hizo un pacto con Satanás para llegar a tocar la guitarra con tanta destreza, seguro que no sabían el tiempo que llevaba el hombre tocándola:

Por si acaso probó con el "violín":

Actualmente Led Zeppelin han vuelto a reunirse recupernado gran parte de la "magia" del pasado. Jimmy Page recuerda mucho a Bilbo Bolsón:

Por lo que se ve el señor Mano Lenta también tiene un pasado curioso, más de lo que hemos visto. Seguiremos informando...

Original Story

This is what makes a great rock & roll guitar sound: an irresistible riff; a solo or jam that takes you higher every time you hear it; the final power chord that pins you to the wall and makes you hit "play" again and again. Every song here has those thrills. But these are rock's greatest guitar moments because of what's inside the notes: hunger, fury, despair and joy, often all at once. You hear the blues, gospel and rockabilly that came before, transormed by the need to say something new and loud, right away. Rock & roll has been the sound of independence for half a century. The guitar is still its essential, liberating voice. These are the 100 reasons why.

The 100 Greatest Guitar Songs of All Time

1. "Johnny B. Goode," Chuck Berry

2. "Purple Haze," The Jimi Hendrix Experience (1967)

3. "Crossroads" Cream (1968)

4. "You Really Got Me" The Kinks (1964)

5. "Brown Sugar" The Rolling Stones (1971)

6. "Eruption" Van Halen (1978)

7. "While My Guitar Gently Weeps" The Beatles (1968)

8. "Stairway to Heaven" Led Zepplin (1971)

9. "Statesboro Blues" The Allman Brothers Band (1971)

10. "Smells Like Teen Spirit" Nirvana (1991)

11. "Whole Lotta Love" Led Zeppelin (1969)

12. "Voodoo Child (Slight Return)" The Jimi Hendrix Experience (1968)

13. "Layla" Derek and the Dominos (1970)

14. "Born to Run" Bruce Springsteen (1975)

15. "My Generation" The Who (1965)

16. "Cowgirl in the Sand" Neil Young with Crazy Horse (1969)

17. "Black Sabbath" Black Sabbath (1970)

18. "Blitzkrieg Bop" Ramones (1976)

19. "Purple Rain" Prince and the Revolution (1984)

20. "People Get Ready" The Impressions (1965)

21. "Seven Nation Army" The White Stripes (2003)

22. "A Hard Day's Night" The Beatles (1964)

23. "Over Under Sideways Down" The Yardbirds (1966)

24. "Killing In The Name Of" Rage Against The Machine (1992)

25. "Can't You Hear Me Knocking" The Rolling Stones (1971)

26. "How Blue Can you Get" B.B. King (1965)

27. "Look Over Yonders Wall" The Paul Butterfield Blues Band (1965)

28. "Where the Streets Have No Name" U2 (1987)

29. "Back in Black" AC/DC (1980)

30. "(We're Gonna) Rock Around the Clock" Bill Haley and His Comets (1954)

31. "Keep Yourself Alive" Queen (1973)

32. "Sultans of Swing" Dire Straits (1978)

33. "Master of Puppets" Metallica (1986)

34. "Walk This Way" Aerosmith (1975)

35. "1969" The Stooges (1969)

36. "Interstellar Overdrive" Pink Floyd (1967)

37. "That's All Right" Elvis Presley (1954)

38. "Stay With Me" The Faces (1971)

39. "Black Magic Woman" Santana (1970)

40. "I Can See for Miles" The Who (1967)

41. "Marquee Moon" Television (1977)

42. "Hideaway" John Mayall and the Bluesbreakers (1966)

43. "Holidays in the Sun" The Sex Pistols (1977)

44. "Dig Me Out" Sleater-Kinne (1997)

45. "I Saw Her Standing There" The Beatles (1963)

46. "Miserlou" Dick Dale and the Del-Tones (1962)

47. "Panama" Van Halen (1984)

48. "London Calling" The Clash (1980)

49. "Machine Gun" Jimi Hendrix (1970)

50. "Debaser" Pixies (1989)

51. "Crazy Train" Ozzy Osbourne (1981)

52. "My Iron Lung" Radiohead (1995)

53. "Born on the Bayou" Creedence Clearwater Revival (1969)

54. "Little Wing" Stevie Ray Vaughan (1991)

55. "White Room" Cream (1968)

56. "Eight Miles High" The Byrds (1966)

57. "Dark Star" Grateful Dead (1969)

58. "Rumble" Link Wray (1958)

59. "Freeway Jam" Jeff Beck (1975)

60. "Maggot Brain" Funkadelic (1971)

61. "Soul Man" Sam and Dave (1967)

62. "Born Under a Bad Sign" Albert King (1967)

63. "Sweet Child O' Mine" Guns n' Roses (1987)

64. "Freebird" Lyrnyrd Skynyrd (1973)

65. "Message in a Bottle" The Police (1979)

66. "Texas Flood" Stevie Ray Vaughan (1983)

67. "Adam Raised a Cain" Bruce Springsteen (1978)

68. "The Thrill is Gone" B.B. King (1969)

69. "Money" Pink Floyd (1973)

70. "Bullet With Butterfly Wings" Smashing Pumpkins (1995)

71. "Take It or Leave It" The Strokes (2001)

72. "Say It Ain't So" Weezer (1994)

73. "Summertime Blues" Blue Cheer (1968)

74. "La Grange" ZZ Top (1973)

75. "Willie the Pimp" Frank Zappa (1969)

76. "American Girl" Tom Petty and the Heartbreakers (1976)

77. "Even Flow" Pearl Jam (1991)

78. "Stone Crazy" Buddy Guy (1970)

79. "Silver Rocket" Sonic Youth (1988)

80. "Kid Charlemagne" Steely Dan (1976)

81. "Beat It" Michael Jackson (1982)

82. "Walk — Don't Run" The Ventures (1960)

83. "What I Got" Sublime (1996)

84. "Gravity" John Mayer (2006)

85. "You Enjoy Myself" Phish (1988)

86. "I Ain't Superstitious" Jeff Beck (1968)

87. "Red" King Crimson (1974)

88. "Mona" Quicksilver Messenger Service (1969)

89. "I Love Rock N Roll" Joan Jett and the Blackhearts (1981)

90. "How Soon Is Now?" The Smiths (1985)

91. "Drunkship of Lanterns" The Mars Volta (2003)

92. "Memo from Turner" Mick Jagger (1970)

93. "Only Shallow" My Bloody Valentine (1991)

94. "Money for Nothing" Dire Straits (1984)

95. "Omaha" Moby Grape (1967)

96. "New Day Rising" Husker Du (1985)

97. "No One Knows" Queens of the Stone Age (2002)

98. "Under the Bridge" Red Hot Chili Peppers (1991)

99. "Run Thru" My Morning Jacket (2003)

100. "Vicarious" Tool (2006)

El Blues es el mejor sentimiento que puede inundarte cuando cualquier tipo de tristeza te intenta cubrir.

Ronnie Lane was born in the east end of London, and from an early age, he wanted to be a musician. Meeting drummer Kenney Jones at 16, Lane formed his first band, the Outkasts with him initially on guitar, but quickly switching to bass. Lane soon met Steve Marriott and together with Jones and Jimmy Winston, they formed the Small Faces in 1965. In 1972, Lane broke from the Small Faces to embark on a solo career. During that time, he hooked up with Pete Townsend to record an album called Rough Mix that was released in 1977. It was during the Rough Mix sessions that Lane discovered he was suffering from Multiple Sclerosis, which barely slowed him down for a bit as he continued to tour and record. In fact he spent most of those days as a gypsy minstrel, traveling the highways of England playing acoustically along the way. In 1983, Lane's then girlfriend, Boo Oldfield helped arrange an MS benefit concert (A.R.M.S Concert) that featured performances by Eric Clapton, Jimmy Page, Jeff Beck, Bill Wyman, Charlie Watts, Jones and Andy Fairweather-Low. Joe Cocker and Paul Rodgers were added to a US tour. Suffering from the effects of MS, Lane moved to the better climate of Austin TX, where he continued to work with the likes of Alejandro Escovedo. Since he wasn't earning royalties from his days with the Small Faces, friends like Jimmy Page and Rod Stewart generously helped with the medical bills. Kenney Jones and Ian McLagan were able to arrange Small Faces royalty payments to Lane, before he died of pneumonia as a result of the MS on June 4, 1997.

Mickie Most (with Suzi Quatro on his left in photo) was an English producer and label owner who had a run of Number One hits with a stable of artists that included the Animals, Donovan, Suzi Quatro and Herman's Hermits.  Most started his career as a performer in London coffee houses where he met future partner and Led Zeppelin manager, Peter Grant.  He had a semi-successful run during the late '50s and early '60s but grew tired of the touring so he explored opportunities on the business side of music.  He started out in sales and merchandising and soon landed a gig in production at Columbia Records.  His first act was a little band he found called the Animals who he helped record a worldwide hit with "House Of The Rising Sun," and in turn received a Grammy for Producer Of The Year in 1964.  Then came Herman's Hermits who had a string of hits that at one time rivaled the Beatles.   Other artists he recorded included Lulu, Jeff Beck, the Seekers, Nancy Sinatra, the Yardbirds and Brenda Lee.   In 1968, Most partnered with Peter Grant to open RAK Management and a year later, RAK Publishing and RAK Records.  Artists signed to RAK Records included Suzy Quatro, Sweet, Hot Chocolate, and Chris Spedding.  By the '80s, he had discovered Kim Wilde and produced her worldwide smash, "Kids In America."  And later appeared as a harsh judge on a British television talent program called New Faces, which no doubt helped create a future television star by the name of Simon Cowell.  Most died of mesothelioma, a cancer generally associated with the exposure to asbestos.

JEFFERSON AIRPLANE- JEFFERSON STARSHIP-

Great Society- Take Me To A Circus Tent

Quality Rock & Roll Airplane style.

Hello from the Windy Airplane Center:

Rain with wind and a bit of rain with wind and maybe some wind with rain.  How are you?  Things are fine here and you'll enjoy the rock from the vaults this time around.  Here we go..........

KBC Band-

Circa 9/10-9/13/85 Santa Cruz County Fair, Watsonville, California

Barry Lowenthal subs for Darrel Verdusco on drums as we check out

PLANES (Years before it appeared on the Airplane reunion 89 LP)

Ready to go to