From Burlesque to Bohemia: Quintessential
By Stephanie Lynne Thorburn.
This special testimonial in my Rock.com blogs is dedicated to
the life-work of philanthropist and ex-RSO Records President, Dr. David English.
The testimonial will feature at the inception of my dedicated bio. for Captain English & friends, titled 'From Burlesque to Bohemia: Seminal Bunbury Tales'. The text will be scribed with love and care to Captain English and all…Continue
The Rolling Stones From the Vault - Live At the Tokyo Dome 1990 is the latest release in the band's From the Vault series of live recordings. Previously, the band had released Hampton Coliseum Live 1981, Live in L.A. forum 1975, the Marquee Club Live 1971 and a U.S.-only release of Hyde Park Live 1969.
This 2-CD/DVD new release showcases the band in prime form as they run through a set that includes classics such as "Ruby Tuesday," "Honky Tonk Women," ""Paint It Black" and "20,000 Light years From Home" as well as more standards such as "Happy," "Start Me Up" and "Miss You."
in late August 1989, the Stones had just completed their Steel Wheels Tour. Less than two months later, the band flew to Japan for the first time. They performed before 55,000 crazed fans at the massive Tokyo Dome. This would be bassist Billy Wyman's final tour with the group and this is a fitting sendoff for the original member.
Even when the Stones are bad, they're better than any other rock band out there. Their performance here is energetic and frenzied and features one remarkable song after another.
“It was the first time we’d ever played in Japan,” Mick Jagger told Google Play. "We weren’t allowed to go there, because they wouldn’t let us in after some visa and drug problems.” Pressure from fans eventually convinced authorities to let them play. “I always figured they were making a big mistake,” Keith Richards added. “It only made people wonder why you weren’t letting us in. What are you scared of? We’re just a bunch of guitar players for Christ’s sake.”
The live DVD here has been carefully restored and remixed by Bob…Continue
There is a rumor going around that the Stones or Zeppelin have laid claim to the greatest rock band in the world. Don't believe it. When the Who were in their prime - as they were on this live recording from the Isle of Wight Festival in 1970 - they were the most spectacular band in the world. Nobody could touch them and thankfully we have this remarkable document to remind us just how untouchable they were.
Recorded at the Isle of Wight Festival on August 29, 1970, this was previously released in 1996 as a double CD and a DVD was also issued. But this three-album set pressed on 180gram vinyl in red, white and blue and limited to 1,000 copies contains material never before made available on any commercial recording.
This was only the band's second show for what would be a 15-month tour supporting Tommy. Most of the key songs from the rock opera were represented here but they also showcased new material such as "Water," "I Don't Even Know Myself" and "Naked Eye," songs which had been earmarked for a project called Lifehouse. That album was never completed but it did lay the groundwork for what would become Who's Next.
The Who recorded Live at Leeds right around this time and though that may have been an even more extraordinary live album than Live at the Isle of Wight, this performance is nothing short of astounding. Pete Townshend, Roger Daltrey and the late Keith Moon and John Entwistle brought 600,000 fans to their feet with this show. Though their set began at 2:00 a.m., they channeled endless amounts of energy to create a miraculous set.
Jimi Hendrix, the Moody Blues and Emerson, Lake & Palmer also played at this show and they all performed wonderfully. But ask anybody who really knows - and certainly…Continue
As a former member of the Blind Boys of Alabama, Sam Butler shared the stage with several other gifted singers including Roscoe Robinson and the recently-deceased Bishop Billy Bowers. But here on Raise Your Hands! Butler takes center stage and anoints a beautiful collection of songs with his own singular gospel touch.
Here, he interprets songs by Eric Clapton ("Presence of the Lord"), Bruce Springsteen ("Heaven's Wall"), Van Morrison ("Full Force Gale"), Nick Cave "God's Hotel") and Curtis Mayfield ("Wherever You Leadeth"). Besides playing with the Blind Boys of Alabama for many years, Butler has mixed it up with Keith Richards and Steely Dan's Donald Fagen but here for the first time he eschews the role of sideman to bask beneath the spotlight.
Backed simply by a trio of session stalwarts - Roosevelt Collier on pedal steel guitar, Marco Giovino on drums and double bassist Viktor Krauss - Butler has created an immediacy in the music that is sometimes lacking in gospel. There are no strings, horns or background choirs to muddy the arrangements and what comes through are sugar-sweet vocals and dancing guitars.
In other words, this isn't your traditional gospel. If you're looking for something outside of those normal boundaries, take a listen to Butler. He will rouse you, rock you and move you all at the same time.
Lee Michaels would come out onstage sitting behind his Hammond B-3 organ. Behind him sat drummer Bartholomew Eugene Smith-Frost - Frosty - and on occasion Joel Larson from the Grass Roots. There was never anyone else up there and you wondered, "How is an organ alone going to fill up the sound?" But then he would launch into one of his songs such as "Hello" or "Heighty Hi."and the room would fill with swelling keyboard riffs and thunderous drum grooves and you'd never ask that question again.
Here, the music that made Lee Michaels such an important figure back in the late '60s and early '70s has been gathered together for the first compilation of his in print in five years. This coincides with the extensive 7-CD box set arriving on November 20th.
This 20-song collection contains the hits including "Heighty Hi" and "Do You Know What I Mean" as well as other important album tracks and radio standbys such as "Keep the Circle Turning," "The War," and "Goodbye, Goodbye."
English music newspaper Sounds called Michaels "the ultimate power organist" and though Keith Emerson might take umbrage at that title, he readily deserved it. The keyboardist combined blues, jazz, classical and rocked it in a way nobody else ever had. An excellent and emotional vocalist, it was no surprise Michaels racked up multiple hits and also became an in-demand sideman for the likes of Jimi Hendrix.
Michaels walked away from the business by the end of the '70s but thankfully we still have his music to keep his legend alive.
Tune into this all new exclusive interview with former Black Sabbath drummer Bill Ward on this episode of The Eddie Trunk Podcast. In addition to explaining his turmoil with Black Sabbath and The Osbournes, the legendary drummer discusses his time in Black Sabbath, recording Heaven & Hell, struggling with alcoholism & the road to his current sobriety, his artwork, new record Accountable Beasts, and more!
BY TOM BEAUJOUR, RICHARD BIENSTOCK, CHUCK EDDY, REED FISCHER, KORY GROW, MAURA JOHNSTON, CHRISTOPHER R. WEINGARTEN October 13, 2015
Catchy, concise and more committed to getting parties rolling or groping groupies than conquering Valhalla or thinking depressive thoughts, what first passed as metal on Eighties MTV didn't have much in common with what gets called metal now — or even what had mostly been called metal in the Seventies. Visually flamboyant and prone to shout-along hooks in ways that made them saleable in a video-single format, bands like Def Leppard, Quiet Riot, Twisted Sister and Ratt owed way more to British glam-rock or Aerosmith than to Black Sabbath. In any other era they might've just been labeled "hard rock," but at some point somebody came up with the probably pejorative term "hair-metal," and the name stuck. As did the music, at least through the rest of the decade — and most of it grew increasingly prettified and prefabricated, until it didn't.
Readers' Poll: The 10 Greatest Hair Metal Songs »
Swept under history's rug and summarily dismissed as fake when thrash and grunge came along, hair-metal's been out of the spotlight long enough by now to be forgiven for all but its sleaziest sins. More holds up musically than you might guess: Trimming this list to a mere 50 albums was so tough that in the long run Guns N' Roses had to be disqualified for transcending the form and W.A.S.P. for sounding too legitimately heavy. Timewise, the perimeters were clearer: mid Eighties to early Nineties, pretty much. Call them superficial, but blasting these is still a headbanger's ball. By Chuck Eddy
Lord Tracy, 'Deaf Gods Of Babylon' (1989)
Lord Tracy - Deaf Gods Of Babylon
From Tennessee among other locations, and fronted by a fellow named Terry Blaze who'd previously fronted Pantera when they were still a glam band, Lord Tracy were as refreshingly…
When members of MonkeyJunk are asked, "Are you a blues band?" they take a collective breath, look at each other and in chorus fashion reply, "Yes and no." It is a confusing answer but an honest one. Yes, the trio - vocalist/guitarist Steve Marriner, lead guitarist Tony D and drummer Matt Sobb - employ blues riffs and blues harmonics but the threesome is much more than that.
What "that" is spills all over their new CD, Moon Turn Red. The blues is drowned in rock on such tracks as "Hot Hot papa," "Live Another Day," "Lucky One" and others. Additionally, there are elements of country, jazz, and straight up rock and roll.
What makes MonkeyJunk's music so interesting and different is the substitution of a baritone guitar in place of a normal four-string bass. Marriner rolls out a bottom end while at the same time churning out harmonic riffs that act as counterparts for the main guitar lines.
A truly fascinating band and mindblowing CD. Way more than just a blues band, MonkeyJunk has brought the disparate elements of their sound together on Moon Turn Red to create a truly modern-sounding sonic tapestry.
One of the greatest rock blues trios of all time, Taste was an important component of the mid-'60s English blues boom. Led by Irishman Rory Gallagher, the band fused searing guitar licks with a rhythm section that brought to mind flashes of Cream and even Led Zeppelin. Though the trio only released two albums in 1969 and 1970 before folding - at which point Gallagher moved ahead with his own solo career - there can be no overlooking the importance of the group.
Before disbanding, Taste appeared at the legendary Isle of Wight Festival on August 28, 1970. That performance is captured here in a documentary DVD that also includes footage of Rory's brother and road manager Donal as well as illuminating comments from Queen's Brian May, U2's Bono, jazz guitarist Larry Coryell and Bob Geldof.
The original concert was shot on 16mm and that footage has been restored and the audio remixed for this 2015 release. Besides the actual set list, there are bonus features including three songs from the Beat Club in 1970 and P3 music videos.
Rory plays brilliantly as he tosses out one striking lick after another. No one ever made the Stratocaster sound the way he did. In fact, when Jimi Hendrix was questioned about being the greatest guitar player in the world he said, "I don't know. Why don't you go and ask Rory Gallagher."
The great Irish guitarist left us far too early back in June 1995 at the young age of 47. But…Continue