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Fleet Foxes frontman Robin Pecknold perfoms solo at The San Diego Women's Club. He was the opening act for Joanna Newsom. Image is available for licensing. Email me max(at)maxdolberg.com or call the phone number on my website and we'll work it it out. Using photos anywhere without permission is stealing and causes bad breath.
In March 1970, most of Brown's mid-to-late 1960s road band walked out on him due to financial disputes, a development augured by the prior disbandment of the Famous Flames singing group for the same reason in 1968. Brown and erstwhile Famous Flames singer Bobby Byrd, who chose to remain in the band during this tumultuous period as co-frontman, effectively serving as a proto-hype man in live performances, recruited several members of the Pacemakers, a Cincinnati-based ensemble that included bassist Bootsy Collins and his brother, guitarist Phelps "Catfish" Collins; augmented by the remaining members of the 1960s road band, including Fred Wesley, who rejoined Brown's outfit in December 1970, and other newer musicians, they formed the nucleus of the J.B.'s, Brown's new backing ensemble.[58]
Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, "Get Up (I Feel Like Being a) Sex Machine". The song—with its off the beat play Brown called "The One"[58]—and other contemporaneous singles further cemented Brown's influence in the nascent genre of funk music. This iteration of the J.B.'s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins's use of LSD; a new lineup of the J.B.'s coalesced around Wesley, St. Clair Pinckney and drummer John Starks.
In 1971, Brown began recording for Polydor Records in a deal with Starday-King Records which included music publishing and Brown's back catalog.[59] Many of his sidemen and supporting players, including Fred Wesley & the J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label.
During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection to the presidency over Democratic candidate George McGovern.[60] The decision led to a boycott of his performances and, according to Brown, cost him a big portion of his black audience.[61] As a result, Brown's record sales and concerts in the United States were in a lull in 1973, as he failed to land a number-one R&B single that year. In 1973 he also faced problems with the IRS for failure to pay back taxes, charging he hadn't paid upwards of $4.5 million; five years earlier, the IRS had claimed he owed nearly $2 million.[62]
In 1973, Brown provided the score for the blaxploitation film Black Caesar. In 1974 he returned to the No. 1 spot on the R&B charts with "The Payback", with the parent album reaching the same spot on the album charts. He reached No. 1 two more times in 1974, with "My Thang" and "Papa Don't Take No Mess".[citation needed]
"Papa Don't Take No Mess" was his final single to reach the No. 1 spot on the R&B charts. His other Top Ten R&B hits during this latter period included "Funky President" (R&B No. 4) and "Get Up Offa That Thing" (R&B No. 4).
1975-2006: Later career
James Brown, 1977
Although his records were mainstays of the vanguard New York underground disco scene, exemplified by DJs such as David Mancuso and Francis Grasso, from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20.
After 1976's "Bodyheat", he failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, several longtime bandmates, including Wesley and Maceo Parker, had gradually pivoted to Parliament-Funkadelic, which reached its critical and commercial apogee in the mid-to-late 1970s. The emergence of disco forestalled Brown's success on the R&B charts, because its slicker, more commercial style had superseded his rawer, one-chord funk productions.
By the release of 1979's The Original Disco Man, Brown seldom contributed to the songwriting and production processes, leaving most of it to producer Brad Shapiro. This resulted in the song "It's Too Funky in Here" becoming Brown's most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was around this time that Brown changed the name of his band from the J.B.'s to the Soul Generals, or Soul G's. The band retained that name until his death.
Despite Brown's declining record sales, promoters Gary LoConti and Jim Rissmiller helped Brown sell out a string of residency shows at the Reseda Country Club in Los Angeles in early 1982. Brown's compromised commercial standing prevented him from charging a large fee. However, the great success of these shows marked a turning point for Brown's career, and soon he was back on top in Hollywood. Movies followed, including appearances in Doctor Detroit (1983) and Rocky IV (1985). He guest-starred in the Miami Vice episode "Missing Hours" (1987). Previously, Brown appeared alongside a litany of other Black musical luminaries in The Blues Brothers (1980).
In 1984, he teamed with rap musician Afrika Bambaataa on the song "Unity". A year later he signed with Scotti Brothers Records and issued the moderately successful album Gravity in 1986 with a popular song "How Do You Stop". It included Brown's final Top Ten pop hit, "Living in America", marking his first Top 40 entry since 1974 and his first Top Ten pop entry since 1968. Produced and written by Dan Hartman, it featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas, and was credited in the film as the Godfather of Soul. 1986 also saw the publication of his autobiography, James Brown: The Godfather of Soul, co-written with Bruce Tucker. In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America".
Brown performing in 1998
In 1988, Brown worked with the production team Full Force on the new jack swing-influenced I'm Real. It spawned his final two Top 10 R&B hits, "I'm Real" and "Static", which peaked at No. 2 and No. 5, respectively. Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose", the recording included on the compilation album In the Jungle Groove, became so popular at hip hop dance parties, especially for breakdance, during the early 1980s that hip hop pioneer Kurtis Blow called the song "the national anthem of hip hop".After his stint in prison during the late 1980s, Brown met Larry Fridie and Thomas Hart who produced the first James Brown biopic, entitled James Brown: The Man, the Message, the Music, released in 1992.[64] He returned to music with the album Love Over-Due in 1991. It included the single "(So Tired of Standing Still We Got to) Move On", which peaked at No. 48 on the R&B chart. His former record label Polydor released the four-CD box set Star Time, spanning Brown's career to date. Brown's release from prison prompted his former record labels to reissue his albums on CD, featuring additional tracks and commentary by music critics and historians.
In 1991, Brown appeared on rapper MC Hammer's video for "Too Legit to Quit". Hammer had been noted, alongside Big Daddy Kane, for bringing Brown's unique stage shows and their own energetic dance moves to the hip-hop generation. Both listed Brown as their idol. Both musicians sampled his work, with Hammer having sampled the rhythms from "Super Bad" for his song "Here Comes the Hammer", from his best-selling album Please Hammer, Don't Hurt 'Em. Big Daddy Kane sampled many times.
On June 10, 1991, James Brown and a star-filled line up performed before a crowd at the Wiltern Theatre in Los Angeles for a live pay-per-view at-home audience. James Brown: Living in America – Live! was the brainchild of Indiana producer Danny Hubbard. It featured M.C. Hammer as well as Bell Biv Devoe, Heavy D & the Boys, En Vogue, C+C Music Factory, Quincy Jones, Sherman Hemsley and Keenen Ivory Wayans. Ice-T, Tone Loc and Kool Moe Dee performed paying homage to Brown. This was Brown's first public performance since his parole from the South Carolina prison system in February. He had served two-and-a-half years of two concurrent six-year sentences for aggravated assault and other felonies.
ROCK MELONS
Rockmelons, often referred to as the Rockies, were an Australian pop/dance/R&B group formed in 1983 in Sydney.[1] Primary members are Bryon Jones, his brother Jonathon Jones and Raymond Medhurst.[1][2] They had two Australian top five hit singles in the early 1990s with "Ain't No Sunshine" and "That Word (L.O.V.E.)",[3] both sung by Deni Hines.[1] The associated album, Form 1 Planet, peaked at number 3 on the ARIA albums chart in 1992,[3] and was certified platinum in Australia.[4]
Career
1983–1986: Formation and early singles
The group concept was formed in 1983 at a warehouse party in Sydney when Raymond Medhurst (keyboards)[2] wanted a band to perform for a private party.[5] He contacted the Jones brothers Bryon (keyboards, bass guitar, backing vocals)[2] and Jonathon (keyboards, guitar, drums)[2] and Medhurst's schoolmate, Vincent Dale (keyboards)[2] to join.[1][5]
Sandi Chick (lead vocals) and Peter Kennard (guitar, percussion) entered in late 1983 and were followed closely by Geoffrey Stapleton (keyboards, guitar, percussion) (later in GANGgajang) in early 1984.[1][2] Stapleton had worked with the Jones brothers when they were in Les Ukeleles and No Heavy Lifting by recording their songs.[6] Vocalists Peter Blakeley and John Kenny (known to Stapleton in Adelaide) were brought in and with Stephen Allkins (operated turntables at gigs) made them a ten-piece.[1][2]
The group's first single, "Time Out (For Serious Fun)", was released on Phantom Records on 4 February 1985 with lead vocals by Chick. A second single, "Sweat It Out" was released in September of the same year with vocals by Blakeley. Chick and Stapleton left that year.
1987–1990: Tales of the City
1987 saw the arrival of Mary Azzopardi (backing vocals) and Wendy Matthews (vocals). The pattern of using different vocalists continued during the recording of their debut album. In June 1987, the group released "Rhymes", a cover of a 1974 song by Al Green with vocals by John Kenny. In November 1987, the group released "New Groove", which was followed by "What's It Gonna Be" in February 1988. All three singles peaked inside the Australian top 50. The album Tales of the City was released in May 1988 and peaked at number 9 on the Australian charts. Three further singles were released from the album in 1988.
At the ARIA Music Awards of 1989, Rockmelons shared the ARIA Award for Breakthrough Artist – Album with 1927's album ...ish.[7] The album peaked at number 6 on the Australian charts.[3][8]
By 1990 the Rockmelons were down to Medhurst and the Jones brothers after all others including founding member Dale had left.[1]
1991–2000: Form 1 Planet
In 1991, Rockmelons recruited vocalist Deni Hines and recorded their cover of Bill Withers' "Ain't No Sunshine", which reached number 5 in Australia in January 1992,[3] and was certified gold.[4] Their follow-up single "That Word (L.O.V.E.)" (written by B. Jones, J. Jones, Medhurst and Robin Smith)[9] reached number 4 in Australia,[3] and was also certified gold.[4] By 1992, Doug Williams had joined as a vocalist whilst Hines left to have success as a solo artist, with the "It's Alright" single (1995) peaking at #4 in Australia.[10] Rockmelons were nominated for ARIA Album of the Year award in 1993 for Form 1 Planet,[7] which peaked at number 3 in Australia in August 1992[3] and was certified platinum by ARIA.[4]
2001–2005: Rockies 3
Rockmelons' third album, Rockies 3 was released in October 2002. Rockmelons used eight different vocalists on the album.[8] The Jeremy Gregory lead single "All I Want Is You" was nominated for 2003 APRA Most Performed Dance Work.[11] Other vocalist were: Roxane LeBrasse, Darren Paul, Doug Williams, Emma Morton, Sydney Bouchaniche, and Evelyn Rubuen.[12]
Devin Townsend
Opening act for Dream Theater on the Top of the World Tour 2022
Le Palais des Sports, Paris, France | 25/04/2022
Live report soon on MusicWaves
Philippe Bareille
Raven - John Gallagher, Mike Heller
Le Bataclan, Paris, France | 15/10/2018
Live report soon on MusicWaves
Philippe Bareille
Op zaterdag 11 januari verzorgde Kasper Cornelus, frontman van 'Momma Said So', een akoestisch solo-optreden in onze bib.
Momma Said So is een beloftevolle, vierkoppige band afkomstig uit Avelgem. Ze schreven sinds december 2011 al een heel aantal prijzen op hun conto waaronder de tweede plaats op de 14e editie van Kunstbende in de categorie muziek. Eerder wonnen ze al de Kortrijkse voorronde en werden ze door de jury als 'meest interessante band van de dag' geprezen.
In een normale bezetting verzorgt Kasper Cornelus de zang. Zijn zus Hannah staat aan de contrabas, terwijl zijn neven Roel en Inti de drums en gitaar op zich nemen.
Shaârghot
On the Temple Stage
Hellfest Open Air 2019 - Day 2
14th edition
Clisson, France | 22/06/2019
Live report soon on MusicWaves
Philippe Bareille
Viza - K'noup Tomopoulos
The Unorthodox Revival
Le Trabendo, Paris, France | 28/05/2019
Live report soon on MusicWaves
Philippe Bareille
Rectal Smegma - Yannic
On the Altar Stage at Hellfest Open Air 2022 Part 1 - Day 2
15th Anniversary Edition
Clisson, France | 18/06/2022
Live report soon on MusicWaves
Philippe Bareille
In 2008 trad Joe Sumner, frontman van Fiction Plane, in de voetsporen van zijn vader (Sting) en speelde hij met zijn band op Pinkpop. Destijds had Fiction Plane een grote hit met 'Two Sisters'. Na 3 jaar radio-stilte volgt er begin 2015 een nieuw album waarvan ze op 11 oktober 2014 een voorproefje gaven in poppodium NIEUWE NOR in Heerlen. Support-act was Atlantic Attraction. Fotograaf: Roel Janssen
Shot of Amy, the frontman for the band Search.
Taken during the Search's concert with the guest appearance by Hujan. It was an awesome concert which definitely would be a memorable one! =) This is actually my first time shooting pictures during a concert, so do advice on how to improve! Thanks!
Location: Button Factory, Temple Bar, Dublin, Ireland.
Written by Fred Pollard, available online at furvormag.com/music-arts/19-music-arts/87/former-soup-dra...
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In March 1970, most of Brown's mid-to-late 1960s road band walked out on him due to financial disputes, a development augured by the prior disbandment of the Famous Flames singing group for the same reason in 1968. Brown and erstwhile Famous Flames singer Bobby Byrd, who chose to remain in the band during this tumultuous period as co-frontman, effectively serving as a proto-hype man in live performances, recruited several members of the Pacemakers, a Cincinnati-based ensemble that included bassist Bootsy Collins and his brother, guitarist Phelps "Catfish" Collins; augmented by the remaining members of the 1960s road band, including Fred Wesley, who rejoined Brown's outfit in December 1970, and other newer musicians, they formed the nucleus of the J.B.'s, Brown's new backing ensemble.[58]
Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, "Get Up (I Feel Like Being a) Sex Machine". The song—with its off the beat play Brown called "The One"[58]—and other contemporaneous singles further cemented Brown's influence in the nascent genre of funk music. This iteration of the J.B.'s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins's use of LSD; a new lineup of the J.B.'s coalesced around Wesley, St. Clair Pinckney and drummer John Starks.
In 1971, Brown began recording for Polydor Records in a deal with Starday-King Records which included music publishing and Brown's back catalog.[59] Many of his sidemen and supporting players, including Fred Wesley & the J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label.
During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection to the presidency over Democratic candidate George McGovern.[60] The decision led to a boycott of his performances and, according to Brown, cost him a big portion of his black audience.[61] As a result, Brown's record sales and concerts in the United States were in a lull in 1973, as he failed to land a number-one R&B single that year. In 1973 he also faced problems with the IRS for failure to pay back taxes, charging he hadn't paid upwards of $4.5 million; five years earlier, the IRS had claimed he owed nearly $2 million.[62]
In 1973, Brown provided the score for the blaxploitation film Black Caesar. In 1974 he returned to the No. 1 spot on the R&B charts with "The Payback", with the parent album reaching the same spot on the album charts. He reached No. 1 two more times in 1974, with "My Thang" and "Papa Don't Take No Mess".[citation needed]
"Papa Don't Take No Mess" was his final single to reach the No. 1 spot on the R&B charts. His other Top Ten R&B hits during this latter period included "Funky President" (R&B No. 4) and "Get Up Offa That Thing" (R&B No. 4).
1975-2006: Later career
James Brown, 1977
Although his records were mainstays of the vanguard New York underground disco scene, exemplified by DJs such as David Mancuso and Francis Grasso, from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20.
After 1976's "Bodyheat", he failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, several longtime bandmates, including Wesley and Maceo Parker, had gradually pivoted to Parliament-Funkadelic, which reached its critical and commercial apogee in the mid-to-late 1970s. The emergence of disco forestalled Brown's success on the R&B charts, because its slicker, more commercial style had superseded his rawer, one-chord funk productions.
By the release of 1979's The Original Disco Man, Brown seldom contributed to the songwriting and production processes, leaving most of it to producer Brad Shapiro. This resulted in the song "It's Too Funky in Here" becoming Brown's most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was around this time that Brown changed the name of his band from the J.B.'s to the Soul Generals, or Soul G's. The band retained that name until his death.
Despite Brown's declining record sales, promoters Gary LoConti and Jim Rissmiller helped Brown sell out a string of residency shows at the Reseda Country Club in Los Angeles in early 1982. Brown's compromised commercial standing prevented him from charging a large fee. However, the great success of these shows marked a turning point for Brown's career, and soon he was back on top in Hollywood. Movies followed, including appearances in Doctor Detroit (1983) and Rocky IV (1985). He guest-starred in the Miami Vice episode "Missing Hours" (1987). Previously, Brown appeared alongside a litany of other Black musical luminaries in The Blues Brothers (1980).
In 1984, he teamed with rap musician Afrika Bambaataa on the song "Unity". A year later he signed with Scotti Brothers Records and issued the moderately successful album Gravity in 1986 with a popular song "How Do You Stop". It included Brown's final Top Ten pop hit, "Living in America", marking his first Top 40 entry since 1974 and his first Top Ten pop entry since 1968. Produced and written by Dan Hartman, it featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas, and was credited in the film as the Godfather of Soul. 1986 also saw the publication of his autobiography, James Brown: The Godfather of Soul, co-written with Bruce Tucker. In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America".
Brown performing in 1998
In 1988, Brown worked with the production team Full Force on the new jack swing-influenced I'm Real. It spawned his final two Top 10 R&B hits, "I'm Real" and "Static", which peaked at No. 2 and No. 5, respectively. Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose", the recording included on the compilation album In the Jungle Groove, became so popular at hip hop dance parties, especially for breakdance, during the early 1980s that hip hop pioneer Kurtis Blow called the song "the national anthem of hip hop".After his stint in prison during the late 1980s, Brown met Larry Fridie and Thomas Hart who produced the first James Brown biopic, entitled James Brown: The Man, the Message, the Music, released in 1992.[64] He returned to music with the album Love Over-Due in 1991. It included the single "(So Tired of Standing Still We Got to) Move On", which peaked at No. 48 on the R&B chart. His former record label Polydor released the four-CD box set Star Time, spanning Brown's career to date. Brown's release from prison prompted his former record labels to reissue his albums on CD, featuring additional tracks and commentary by music critics and historians.
In 1991, Brown appeared on rapper MC Hammer's video for "Too Legit to Quit". Hammer had been noted, alongside Big Daddy Kane, for bringing Brown's unique stage shows and their own energetic dance moves to the hip-hop generation. Both listed Brown as their idol. Both musicians sampled his work, with Hammer having sampled the rhythms from "Super Bad" for his song "Here Comes the Hammer", from his best-selling album Please Hammer, Don't Hurt 'Em. Big Daddy Kane sampled many times.
On June 10, 1991, James Brown and a star-filled line up performed before a crowd at the Wiltern Theatre in Los Angeles for a live pay-per-view at-home audience. James Brown: Living in America – Live! was the brainchild of Indiana producer Danny Hubbard. It featured M.C. Hammer as well as Bell Biv Devoe, Heavy D & the Boys, En Vogue, C+C Music Factory, Quincy Jones, Sherman Hemsley and Keenen Ivory Wayans. Ice-T, Tone Loc and Kool Moe Dee performed paying homage to Brown. This was Brown's first public performance since his parole from the South Carolina prison system in February. He had served two-and-a-half years of two concurrent six-year sentences for aggravated assault and other felonies.
ROCK MELONS
Rockmelons, often referred to as the Rockies, were an Australian pop/dance/R&B group formed in 1983 in Sydney.[1] Primary members are Bryon Jones, his brother Jonathon Jones and Raymond Medhurst.[1][2] They had two Australian top five hit singles in the early 1990s with "Ain't No Sunshine" and "That Word (L.O.V.E.)",[3] both sung by Deni Hines.[1] The associated album, Form 1 Planet, peaked at number 3 on the ARIA albums chart in 1992,[3] and was certified platinum in Australia.[4]
Career
1983–1986: Formation and early singles
The group concept was formed in 1983 at a warehouse party in Sydney when Raymond Medhurst (keyboards)[2] wanted a band to perform for a private party.[5] He contacted the Jones brothers Bryon (keyboards, bass guitar, backing vocals)[2] and Jonathon (keyboards, guitar, drums)[2] and Medhurst's schoolmate, Vincent Dale (keyboards)[2] to join.[1][5]
Sandi Chick (lead vocals) and Peter Kennard (guitar, percussion) entered in late 1983 and were followed closely by Geoffrey Stapleton (keyboards, guitar, percussion) (later in GANGgajang) in early 1984.[1][2] Stapleton had worked with the Jones brothers when they were in Les Ukeleles and No Heavy Lifting by recording their songs.[6] Vocalists Peter Blakeley and John Kenny (known to Stapleton in Adelaide) were brought in and with Stephen Allkins (operated turntables at gigs) made them a ten-piece.[1][2]
The group's first single, "Time Out (For Serious Fun)", was released on Phantom Records on 4 February 1985 with lead vocals by Chick. A second single, "Sweat It Out" was released in September of the same year with vocals by Blakeley. Chick and Stapleton left that year.
1987–1990: Tales of the City
1987 saw the arrival of Mary Azzopardi (backing vocals) and Wendy Matthews (vocals). The pattern of using different vocalists continued during the recording of their debut album. In June 1987, the group released "Rhymes", a cover of a 1974 song by Al Green with vocals by John Kenny. In November 1987, the group released "New Groove", which was followed by "What's It Gonna Be" in February 1988. All three singles peaked inside the Australian top 50. The album Tales of the City was released in May 1988 and peaked at number 9 on the Australian charts. Three further singles were released from the album in 1988.
At the ARIA Music Awards of 1989, Rockmelons shared the ARIA Award for Breakthrough Artist – Album with 1927's album ...ish.[7] The album peaked at number 6 on the Australian charts.[3][8]
By 1990 the Rockmelons were down to Medhurst and the Jones brothers after all others including founding member Dale had left.[1]
1991–2000: Form 1 Planet
In 1991, Rockmelons recruited vocalist Deni Hines and recorded their cover of Bill Withers' "Ain't No Sunshine", which reached number 5 in Australia in January 1992,[3] and was certified gold.[4] Their follow-up single "That Word (L.O.V.E.)" (written by B. Jones, J. Jones, Medhurst and Robin Smith)[9] reached number 4 in Australia,[3] and was also certified gold.[4] By 1992, Doug Williams had joined as a vocalist whilst Hines left to have success as a solo artist, with the "It's Alright" single (1995) peaking at #4 in Australia.[10] Rockmelons were nominated for ARIA Album of the Year award in 1993 for Form 1 Planet,[7] which peaked at number 3 in Australia in August 1992[3] and was certified platinum by ARIA.[4]
2001–2005: Rockies 3
Rockmelons' third album, Rockies 3 was released in October 2002. Rockmelons used eight different vocalists on the album.[8] The Jeremy Gregory lead single "All I Want Is You" was nominated for 2003 APRA Most Performed Dance Work.[11] Other vocalist were: Roxane LeBrasse, Darren Paul, Doug Williams, Emma Morton, Sydney Bouchaniche, and Evelyn Rubuen.[12]
In March 1970, most of Brown's mid-to-late 1960s road band walked out on him due to financial disputes, a development augured by the prior disbandment of the Famous Flames singing group for the same reason in 1968. Brown and erstwhile Famous Flames singer Bobby Byrd, who chose to remain in the band during this tumultuous period as co-frontman, effectively serving as a proto-hype man in live performances, recruited several members of the Pacemakers, a Cincinnati-based ensemble that included bassist Bootsy Collins and his brother, guitarist Phelps "Catfish" Collins; augmented by the remaining members of the 1960s road band, including Fred Wesley, who rejoined Brown's outfit in December 1970, and other newer musicians, they formed the nucleus of the J.B.'s, Brown's new backing ensemble.[58]
Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, "Get Up (I Feel Like Being a) Sex Machine". The song—with its off the beat play Brown called "The One"[58]—and other contemporaneous singles further cemented Brown's influence in the nascent genre of funk music. This iteration of the J.B.'s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins's use of LSD; a new lineup of the J.B.'s coalesced around Wesley, St. Clair Pinckney and drummer John Starks.
In 1971, Brown began recording for Polydor Records in a deal with Starday-King Records which included music publishing and Brown's back catalog.[59] Many of his sidemen and supporting players, including Fred Wesley & the J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label.
During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection to the presidency over Democratic candidate George McGovern.[60] The decision led to a boycott of his performances and, according to Brown, cost him a big portion of his black audience.[61] As a result, Brown's record sales and concerts in the United States were in a lull in 1973, as he failed to land a number-one R&B single that year. In 1973 he also faced problems with the IRS for failure to pay back taxes, charging he hadn't paid upwards of $4.5 million; five years earlier, the IRS had claimed he owed nearly $2 million.[62]
In 1973, Brown provided the score for the blaxploitation film Black Caesar. In 1974 he returned to the No. 1 spot on the R&B charts with "The Payback", with the parent album reaching the same spot on the album charts. He reached No. 1 two more times in 1974, with "My Thang" and "Papa Don't Take No Mess".[citation needed]
"Papa Don't Take No Mess" was his final single to reach the No. 1 spot on the R&B charts. His other Top Ten R&B hits during this latter period included "Funky President" (R&B No. 4) and "Get Up Offa That Thing" (R&B No. 4).
1975-2006: Later career
James Brown, 1977
Although his records were mainstays of the vanguard New York underground disco scene, exemplified by DJs such as David Mancuso and Francis Grasso, from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20.
After 1976's "Bodyheat", he failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, several longtime bandmates, including Wesley and Maceo Parker, had gradually pivoted to Parliament-Funkadelic, which reached its critical and commercial apogee in the mid-to-late 1970s. The emergence of disco forestalled Brown's success on the R&B charts, because its slicker, more commercial style had superseded his rawer, one-chord funk productions.
By the release of 1979's The Original Disco Man, Brown seldom contributed to the songwriting and production processes, leaving most of it to producer Brad Shapiro. This resulted in the song "It's Too Funky in Here" becoming Brown's most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was around this time that Brown changed the name of his band from the J.B.'s to the Soul Generals, or Soul G's. The band retained that name until his death.
Despite Brown's declining record sales, promoters Gary LoConti and Jim Rissmiller helped Brown sell out a string of residency shows at the Reseda Country Club in Los Angeles in early 1982. Brown's compromised commercial standing prevented him from charging a large fee. However, the great success of these shows marked a turning point for Brown's career, and soon he was back on top in Hollywood. Movies followed, including appearances in Doctor Detroit (1983) and Rocky IV (1985). He guest-starred in the Miami Vice episode "Missing Hours" (1987). Previously, Brown appeared alongside a litany of other Black musical luminaries in The Blues Brothers (1980).
In 1984, he teamed with rap musician Afrika Bambaataa on the song "Unity". A year later he signed with Scotti Brothers Records and issued the moderately successful album Gravity in 1986 with a popular song "How Do You Stop". It included Brown's final Top Ten pop hit, "Living in America", marking his first Top 40 entry since 1974 and his first Top Ten pop entry since 1968. Produced and written by Dan Hartman, it featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas, and was credited in the film as the Godfather of Soul. 1986 also saw the publication of his autobiography, James Brown: The Godfather of Soul, co-written with Bruce Tucker. In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America".
Brown performing in 1998
In 1988, Brown worked with the production team Full Force on the new jack swing-influenced I'm Real. It spawned his final two Top 10 R&B hits, "I'm Real" and "Static", which peaked at No. 2 and No. 5, respectively. Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose", the recording included on the compilation album In the Jungle Groove, became so popular at hip hop dance parties, especially for breakdance, during the early 1980s that hip hop pioneer Kurtis Blow called the song "the national anthem of hip hop".After his stint in prison during the late 1980s, Brown met Larry Fridie and Thomas Hart who produced the first James Brown biopic, entitled James Brown: The Man, the Message, the Music, released in 1992.[64] He returned to music with the album Love Over-Due in 1991. It included the single "(So Tired of Standing Still We Got to) Move On", which peaked at No. 48 on the R&B chart. His former record label Polydor released the four-CD box set Star Time, spanning Brown's career to date. Brown's release from prison prompted his former record labels to reissue his albums on CD, featuring additional tracks and commentary by music critics and historians.
In 1991, Brown appeared on rapper MC Hammer's video for "Too Legit to Quit". Hammer had been noted, alongside Big Daddy Kane, for bringing Brown's unique stage shows and their own energetic dance moves to the hip-hop generation. Both listed Brown as their idol. Both musicians sampled his work, with Hammer having sampled the rhythms from "Super Bad" for his song "Here Comes the Hammer", from his best-selling album Please Hammer, Don't Hurt 'Em. Big Daddy Kane sampled many times.
On June 10, 1991, James Brown and a star-filled line up performed before a crowd at the Wiltern Theatre in Los Angeles for a live pay-per-view at-home audience. James Brown: Living in America – Live! was the brainchild of Indiana producer Danny Hubbard. It featured M.C. Hammer as well as Bell Biv Devoe, Heavy D & the Boys, En Vogue, C+C Music Factory, Quincy Jones, Sherman Hemsley and Keenen Ivory Wayans. Ice-T, Tone Loc and Kool Moe Dee performed paying homage to Brown. This was Brown's first public performance since his parole from the South Carolina prison system in February. He had served two-and-a-half years of two concurrent six-year sentences for aggravated assault and other felonies.
ROCK MELONS
Rockmelons, often referred to as the Rockies, were an Australian pop/dance/R&B group formed in 1983 in Sydney.[1] Primary members are Bryon Jones, his brother Jonathon Jones and Raymond Medhurst.[1][2] They had two Australian top five hit singles in the early 1990s with "Ain't No Sunshine" and "That Word (L.O.V.E.)",[3] both sung by Deni Hines.[1] The associated album, Form 1 Planet, peaked at number 3 on the ARIA albums chart in 1992,[3] and was certified platinum in Australia.[4]
Career
1983–1986: Formation and early singles
The group concept was formed in 1983 at a warehouse party in Sydney when Raymond Medhurst (keyboards)[2] wanted a band to perform for a private party.[5] He contacted the Jones brothers Bryon (keyboards, bass guitar, backing vocals)[2] and Jonathon (keyboards, guitar, drums)[2] and Medhurst's schoolmate, Vincent Dale (keyboards)[2] to join.[1][5]
Sandi Chick (lead vocals) and Peter Kennard (guitar, percussion) entered in late 1983 and were followed closely by Geoffrey Stapleton (keyboards, guitar, percussion) (later in GANGgajang) in early 1984.[1][2] Stapleton had worked with the Jones brothers when they were in Les Ukeleles and No Heavy Lifting by recording their songs.[6] Vocalists Peter Blakeley and John Kenny (known to Stapleton in Adelaide) were brought in and with Stephen Allkins (operated turntables at gigs) made them a ten-piece.[1][2]
The group's first single, "Time Out (For Serious Fun)", was released on Phantom Records on 4 February 1985 with lead vocals by Chick. A second single, "Sweat It Out" was released in September of the same year with vocals by Blakeley. Chick and Stapleton left that year.
1987–1990: Tales of the City
1987 saw the arrival of Mary Azzopardi (backing vocals) and Wendy Matthews (vocals). The pattern of using different vocalists continued during the recording of their debut album. In June 1987, the group released "Rhymes", a cover of a 1974 song by Al Green with vocals by John Kenny. In November 1987, the group released "New Groove", which was followed by "What's It Gonna Be" in February 1988. All three singles peaked inside the Australian top 50. The album Tales of the City was released in May 1988 and peaked at number 9 on the Australian charts. Three further singles were released from the album in 1988.
At the ARIA Music Awards of 1989, Rockmelons shared the ARIA Award for Breakthrough Artist – Album with 1927's album ...ish.[7] The album peaked at number 6 on the Australian charts.[3][8]
By 1990 the Rockmelons were down to Medhurst and the Jones brothers after all others including founding member Dale had left.[1]
1991–2000: Form 1 Planet
In 1991, Rockmelons recruited vocalist Deni Hines and recorded their cover of Bill Withers' "Ain't No Sunshine", which reached number 5 in Australia in January 1992,[3] and was certified gold.[4] Their follow-up single "That Word (L.O.V.E.)" (written by B. Jones, J. Jones, Medhurst and Robin Smith)[9] reached number 4 in Australia,[3] and was also certified gold.[4] By 1992, Doug Williams had joined as a vocalist whilst Hines left to have success as a solo artist, with the "It's Alright" single (1995) peaking at #4 in Australia.[10] Rockmelons were nominated for ARIA Album of the Year award in 1993 for Form 1 Planet,[7] which peaked at number 3 in Australia in August 1992[3] and was certified platinum by ARIA.[4]
2001–2005: Rockies 3
Rockmelons' third album, Rockies 3 was released in October 2002. Rockmelons used eight different vocalists on the album.[8] The Jeremy Gregory lead single "All I Want Is You" was nominated for 2003 APRA Most Performed Dance Work.[11] Other vocalist were: Roxane LeBrasse, Darren Paul, Doug Williams, Emma Morton, Sydney Bouchaniche, and Evelyn Rubuen.[12]
In March 1970, most of Brown's mid-to-late 1960s road band walked out on him due to financial disputes, a development augured by the prior disbandment of the Famous Flames singing group for the same reason in 1968. Brown and erstwhile Famous Flames singer Bobby Byrd, who chose to remain in the band during this tumultuous period as co-frontman, effectively serving as a proto-hype man in live performances, recruited several members of the Pacemakers, a Cincinnati-based ensemble that included bassist Bootsy Collins and his brother, guitarist Phelps "Catfish" Collins; augmented by the remaining members of the 1960s road band, including Fred Wesley, who rejoined Brown's outfit in December 1970, and other newer musicians, they formed the nucleus of the J.B.'s, Brown's new backing ensemble.[58]
Shortly following their first performance together, the band entered the studio to record the Brown-Byrd composition, "Get Up (I Feel Like Being a) Sex Machine". The song—with its off the beat play Brown called "The One"[58]—and other contemporaneous singles further cemented Brown's influence in the nascent genre of funk music. This iteration of the J.B.'s dissolved after a March 1971 European tour (documented on the 1991 archival release Love Power Peace) due to additional money disputes and Bootsy Collins's use of LSD; a new lineup of the J.B.'s coalesced around Wesley, St. Clair Pinckney and drummer John Starks.
In 1971, Brown began recording for Polydor Records in a deal with Starday-King Records which included music publishing and Brown's back catalog.[59] Many of his sidemen and supporting players, including Fred Wesley & the J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and former rival Hank Ballard, released records on the People label.
During the 1972 presidential election, James Brown openly proclaimed his support of Richard Nixon for reelection to the presidency over Democratic candidate George McGovern.[60] The decision led to a boycott of his performances and, according to Brown, cost him a big portion of his black audience.[61] As a result, Brown's record sales and concerts in the United States were in a lull in 1973, as he failed to land a number-one R&B single that year. In 1973 he also faced problems with the IRS for failure to pay back taxes, charging he hadn't paid upwards of $4.5 million; five years earlier, the IRS had claimed he owed nearly $2 million.[62]
In 1973, Brown provided the score for the blaxploitation film Black Caesar. In 1974 he returned to the No. 1 spot on the R&B charts with "The Payback", with the parent album reaching the same spot on the album charts. He reached No. 1 two more times in 1974, with "My Thang" and "Papa Don't Take No Mess".[citation needed]
"Papa Don't Take No Mess" was his final single to reach the No. 1 spot on the R&B charts. His other Top Ten R&B hits during this latter period included "Funky President" (R&B No. 4) and "Get Up Offa That Thing" (R&B No. 4).
1975-2006: Later career
James Brown, 1977
Although his records were mainstays of the vanguard New York underground disco scene, exemplified by DJs such as David Mancuso and Francis Grasso, from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20.
After 1976's "Bodyheat", he failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, several longtime bandmates, including Wesley and Maceo Parker, had gradually pivoted to Parliament-Funkadelic, which reached its critical and commercial apogee in the mid-to-late 1970s. The emergence of disco forestalled Brown's success on the R&B charts, because its slicker, more commercial style had superseded his rawer, one-chord funk productions.
By the release of 1979's The Original Disco Man, Brown seldom contributed to the songwriting and production processes, leaving most of it to producer Brad Shapiro. This resulted in the song "It's Too Funky in Here" becoming Brown's most successful single in this period. After two more albums failed to chart, Brown left Polydor in 1981. It was around this time that Brown changed the name of his band from the J.B.'s to the Soul Generals, or Soul G's. The band retained that name until his death.
Despite Brown's declining record sales, promoters Gary LoConti and Jim Rissmiller helped Brown sell out a string of residency shows at the Reseda Country Club in Los Angeles in early 1982. Brown's compromised commercial standing prevented him from charging a large fee. However, the great success of these shows marked a turning point for Brown's career, and soon he was back on top in Hollywood. Movies followed, including appearances in Doctor Detroit (1983) and Rocky IV (1985). He guest-starred in the Miami Vice episode "Missing Hours" (1987). Previously, Brown appeared alongside a litany of other Black musical luminaries in The Blues Brothers (1980).
In 1984, he teamed with rap musician Afrika Bambaataa on the song "Unity". A year later he signed with Scotti Brothers Records and issued the moderately successful album Gravity in 1986 with a popular song "How Do You Stop". It included Brown's final Top Ten pop hit, "Living in America", marking his first Top 40 entry since 1974 and his first Top Ten pop entry since 1968. Produced and written by Dan Hartman, it featured prominently on the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas, and was credited in the film as the Godfather of Soul. 1986 also saw the publication of his autobiography, James Brown: The Godfather of Soul, co-written with Bruce Tucker. In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America".
Brown performing in 1998
In 1988, Brown worked with the production team Full Force on the new jack swing-influenced I'm Real. It spawned his final two Top 10 R&B hits, "I'm Real" and "Static", which peaked at No. 2 and No. 5, respectively. Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose", the recording included on the compilation album In the Jungle Groove, became so popular at hip hop dance parties, especially for breakdance, during the early 1980s that hip hop pioneer Kurtis Blow called the song "the national anthem of hip hop".After his stint in prison during the late 1980s, Brown met Larry Fridie and Thomas Hart who produced the first James Brown biopic, entitled James Brown: The Man, the Message, the Music, released in 1992.[64] He returned to music with the album Love Over-Due in 1991. It included the single "(So Tired of Standing Still We Got to) Move On", which peaked at No. 48 on the R&B chart. His former record label Polydor released the four-CD box set Star Time, spanning Brown's career to date. Brown's release from prison prompted his former record labels to reissue his albums on CD, featuring additional tracks and commentary by music critics and historians.
In 1991, Brown appeared on rapper MC Hammer's video for "Too Legit to Quit". Hammer had been noted, alongside Big Daddy Kane, for bringing Brown's unique stage shows and their own energetic dance moves to the hip-hop generation. Both listed Brown as their idol. Both musicians sampled his work, with Hammer having sampled the rhythms from "Super Bad" for his song "Here Comes the Hammer", from his best-selling album Please Hammer, Don't Hurt 'Em. Big Daddy Kane sampled many times.
On June 10, 1991, James Brown and a star-filled line up performed before a crowd at the Wiltern Theatre in Los Angeles for a live pay-per-view at-home audience. James Brown: Living in America – Live! was the brainchild of Indiana producer Danny Hubbard. It featured M.C. Hammer as well as Bell Biv Devoe, Heavy D & the Boys, En Vogue, C+C Music Factory, Quincy Jones, Sherman Hemsley and Keenen Ivory Wayans. Ice-T, Tone Loc and Kool Moe Dee performed paying homage to Brown. This was Brown's first public performance since his parole from the South Carolina prison system in February. He had served two-and-a-half years of two concurrent six-year sentences for aggravated assault and other felonies.
ROCK MELONS
Rockmelons, often referred to as the Rockies, were an Australian pop/dance/R&B group formed in 1983 in Sydney.[1] Primary members are Bryon Jones, his brother Jonathon Jones and Raymond Medhurst.[1][2] They had two Australian top five hit singles in the early 1990s with "Ain't No Sunshine" and "That Word (L.O.V.E.)",[3] both sung by Deni Hines.[1] The associated album, Form 1 Planet, peaked at number 3 on the ARIA albums chart in 1992,[3] and was certified platinum in Australia.[4]
Career
1983–1986: Formation and early singles
The group concept was formed in 1983 at a warehouse party in Sydney when Raymond Medhurst (keyboards)[2] wanted a band to perform for a private party.[5] He contacted the Jones brothers Bryon (keyboards, bass guitar, backing vocals)[2] and Jonathon (keyboards, guitar, drums)[2] and Medhurst's schoolmate, Vincent Dale (keyboards)[2] to join.[1][5]
Sandi Chick (lead vocals) and Peter Kennard (guitar, percussion) entered in late 1983 and were followed closely by Geoffrey Stapleton (keyboards, guitar, percussion) (later in GANGgajang) in early 1984.[1][2] Stapleton had worked with the Jones brothers when they were in Les Ukeleles and No Heavy Lifting by recording their songs.[6] Vocalists Peter Blakeley and John Kenny (known to Stapleton in Adelaide) were brought in and with Stephen Allkins (operated turntables at gigs) made them a ten-piece.[1][2]
The group's first single, "Time Out (For Serious Fun)", was released on Phantom Records on 4 February 1985 with lead vocals by Chick. A second single, "Sweat It Out" was released in September of the same year with vocals by Blakeley. Chick and Stapleton left that year.
1987–1990: Tales of the City
1987 saw the arrival of Mary Azzopardi (backing vocals) and Wendy Matthews (vocals). The pattern of using different vocalists continued during the recording of their debut album. In June 1987, the group released "Rhymes", a cover of a 1974 song by Al Green with vocals by John Kenny. In November 1987, the group released "New Groove", which was followed by "What's It Gonna Be" in February 1988. All three singles peaked inside the Australian top 50. The album Tales of the City was released in May 1988 and peaked at number 9 on the Australian charts. Three further singles were released from the album in 1988.
At the ARIA Music Awards of 1989, Rockmelons shared the ARIA Award for Breakthrough Artist – Album with 1927's album ...ish.[7] The album peaked at number 6 on the Australian charts.[3][8]
By 1990 the Rockmelons were down to Medhurst and the Jones brothers after all others including founding member Dale had left.[1]
1991–2000: Form 1 Planet
In 1991, Rockmelons recruited vocalist Deni Hines and recorded their cover of Bill Withers' "Ain't No Sunshine", which reached number 5 in Australia in January 1992,[3] and was certified gold.[4] Their follow-up single "That Word (L.O.V.E.)" (written by B. Jones, J. Jones, Medhurst and Robin Smith)[9] reached number 4 in Australia,[3] and was also certified gold.[4] By 1992, Doug Williams had joined as a vocalist whilst Hines left to have success as a solo artist, with the "It's Alright" single (1995) peaking at #4 in Australia.[10] Rockmelons were nominated for ARIA Album of the Year award in 1993 for Form 1 Planet,[7] which peaked at number 3 in Australia in August 1992[3] and was certified platinum by ARIA.[4]
2001–2005: Rockies 3
Rockmelons' third album, Rockies 3 was released in October 2002. Rockmelons used eight different vocalists on the album.[8] The Jeremy Gregory lead single "All I Want Is You" was nominated for 2003 APRA Most Performed Dance Work.[11] Other vocalist were: Roxane LeBrasse, Darren Paul, Doug Williams, Emma Morton, Sydney Bouchaniche, and Evelyn Rubuen.[12]
In 2008 trad Joe Sumner, frontman van Fiction Plane, in de voetsporen van zijn vader (Sting) en speelde hij met zijn band op Pinkpop. Destijds had Fiction Plane een grote hit met 'Two Sisters'. Na 3 jaar radio-stilte volgt er begin 2015 een nieuw album waarvan ze op 11 oktober 2014 een voorproefje gaven in poppodium NIEUWE NOR in Heerlen. Support-act was Atlantic Attraction. Fotograaf: Roel Janssen
Tenorsaxophone, alto saxophano and vocals/guitar;
Members and frontman of Koffie;
Vondelpark Openluchttheater, Amsterdam,
August 14th, 2016;
© co broerse
Slipknot - Corey Taylor
On the Main Stage at Hellfest Open Air 2023 - Day 4
Clisson, France | 18/06/2023
Live report soon on MusicWaves
Philippe Bareille
#Polenta🇮🇹 #PieveDiSanDonatoInPolenta🇮🇹 #PolentaItalia🇮🇹 #PieveDiSanDonatoInPolenta #Italy🇮🇹 #Italy #JoelSe #joelsepel #JOELESEPEL #js #cn #gg #CrumbleNot #GIUSEPPEGUARINO #guarinogiuseppe #JoeleSepelInPolenta #sonodotatoventiquattrocentimetri #frontman🎼 #Roquero🎼 #rockero🎼 #bestmusician #SINGER #BESTSINGER #GIFTEDXXL #sondotato #AnimalOfTheStage #Sognatore #WhatABoy #TheMusician🎼 #performer🎤 twitter.com/JoelSepelJOELSE joele-sepel-joelse.tumblr.com/ joelse-joelesepel.tumblr.com/ vero.co/joelsejoelesepel twitter.com/JSepel www.instagram.com/joelsepel_joelse/?hl=it www.instagram.com/joelsepel/?hl=it www.pinterest.it/joelejoelsepel/ www.flickr.com/people/188550413@N05/ www.flickr.com/photos/185144450@N06/ www.flickr.com/photos/185462329@N06/ www.flickr.com/photos/146695172@N03/ vero.co/joelsepeljoelse
Dirty Shirt - Barastean Gabriel, Róbert Gergely, Pal Novelli
Letcho Drom Tour 2019: Part 1
Le Petit Bain, Paris, France | 29/03/2019
Live report soon on MusicWaves
Philippe Bareille
Ready Art Brut ?, fragt Frontman Eddie Argos vor jedem Song. Wir fragen: Ready Lakeside? Bereit fuer so viel Coolness, Stil und very britischen Sprechgesang? Seid ihr bereit um zu tanzen? Diese fuenf Londoner geben dir das Gefuehl die Babyshambles und The Streets gleichzeitig zu sehen. Eine Mischung der sich niemand entziehen kann, exklusiv diesen Sommer am Lakeside.
Till Lindemann
On the Main Stage at Hellfest Open Air 2025 - Day 1
Clisson, France | 19/06/2025
Live report soon on MusicWaves
Philippe Bareille
Kontrust - Michael "Mike" Wolff, Julia ivanova, Stefan Lichtenberger
On the Main Stage at Hellfest Open Air 2022 Part 1 - Day 3
15th Anniversary Edition
Clisson, France | 19/06/2022
Live report soon on MusicWaves
Philippe Bareille
Hypocrisy - Peter Tägtgren
Opening act for Amon Amarth on the Berserker World Tour 2019
Le Zénith de Paris, Paris, France | 25/11/2019
Live report soon on MusicWaves
Philippe Bareille
Chris Ford, frontman of Christopher the Conquered, performs his finale during the 15-hour show on Saturday, Feb. 4, 2012, at The Space.
Photo: David Derong/Iowa State Daily
Hyrgal
On the Temple Stage
Hellfest Open Air 2019 - Day 3
14th edition
Clisson, France | 23/06/2019
Live report soon on MusicWaves
Philippe Bareille
Shaârghot
On the Temple Stage
Hellfest Open Air 2019 - Day 2
14th edition
Clisson, France | 22/06/2019
Live report soon on MusicWaves
Philippe Bareille
In 2008 trad Joe Sumner, frontman van Fiction Plane, in de voetsporen van zijn vader (Sting) en speelde hij met zijn band op Pinkpop. Destijds had Fiction Plane een grote hit met 'Two Sisters'. Na 3 jaar radio-stilte volgt er begin 2015 een nieuw album waarvan ze op 11 oktober 2014 een voorproefje gaven in poppodium NIEUWE NOR in Heerlen. Support-act was Atlantic Attraction. Fotograaf: Sharik Derksen.
Dark Tranquillity - Mikael Stanne, Johan Reinholdz, Joey Concepcion, Christian Jansson, Joakim Strandberg-Nilsson, Martin Brändström
Moment Tour
L'Elysée Montmartre, Paris, France | 24/04/2022
Live report soon on MusicWaves
Philippe Bareille
Bloodywood - Raoul Kerr
On the Main Stage at Hellfest Open Air 2023 - Day 3
Clisson, France | 17/06/2023
Live report soon on MusicWaves
Philippe Bareille
Ministry - Al Jourgensen
Knotfest 2019, Clisson, France | 20/06/2019
Live report soon on MusicWaves
Philippe Bareille
#Schönbrunn🇦🇹 #Wien🇦🇹 #Schönbrunn #Wien #Austria #Wean🆔 #joelse #JOELSEPEL #joelesepel #JS #cn #gg #CRUMBLENOT #GIUSEPPEGUARINO #guarinogiuseppe #songcomposer #sonodotatoventiquattrocentimetri #frontman #hardrocker #rockcomposer #besthardrockperformer #bestcomposer #BESTSINGER #THEXXLGIFTED #dotato24 #animaledelpalco #whataboy #WhatTheGuy #TheSicilianMusician #performer🎼 twitter.com/JoelSepelJOELSE joele-sepel-joelse.tumblr.com/ joelse-joelesepel.tumblr.com/ vero.co/joelsejoelesepel twitter.com/JSepel www.instagram.com/joelsepel_joelse/?hl=it www.instagram.com/joelsepel/?hl=it www.pinterest.it/joelejoelsepel/ www.flickr.com/people/188550413@N05/ www.flickr.com/photos/185144450@N06/ www.flickr.com/photos/185462329@N06/ www.flickr.com/photos/146695172@N03/ vero.co/joelsepeljoelse
Guitar;
Frontman of the Eef Albers Trio during his masterclass;
23th TAKE OFF Music Event;
Kleine Zaal Podium Duycker, Hoofddorp,
June 10th, 2017;
© co broerse
Shot of Noh, the frontman for the band Hujan.
Taken during the Search's concert with the guest appearance by Hujan. It was an awesome concert which definitely would be a memorable one! =) This is actually my first time shooting pictures during a concert, so do advice on how to improve! Thanks!
Location: Button Factory, Temple Bar, Dublin, Ireland.
Frontman with the Pepperpots at Oswestry Music Live 2008, quite an animated character, very exciting to watch
Dark Tranquillity - Mikael Stanne, Joey Concepcion
Moment Tour
L'Elysée Montmartre, Paris, France | 24/04/2022
Live report soon on MusicWaves
Philippe Bareille
The Casualties - David Rodriguez, Marc "Meggers" Eggers
On the Warzone Stage at Hellfest Open Air 2024 - Day 3
Clisson, France | 29/06/2024
Live report soon on MusicWaves
Philippe Bareille
#Fano🇮🇹 #Fanum🇮🇹 #FanoMarche🇮🇹 #Fano #Italy🇮🇹 #JoelSe #joelsepel #JOELESEPEL #js #CN #gg #CrumbleNot #GIUSEPPEGUARINO #guarinogiuseppe #JoeleSepelInFano #sonodotatoventiquattrocentimetri #frontman🎼 #Roquero #rockero🎼 #bestmusician #SINGER #BESTSINGER #GIFTEDXXL #sonodotato #AnimalOfTheStage #Dreamer #WhatADude #TheMusician🎤 #performer🎤 twitter.com/JoelSepelJOELSE joele-sepel-joelse.tumblr.com/ joelse-joelesepel.tumblr.com/ vero.co/joelsejoelesepel twitter.com/JSepel www.instagram.com/joelsepel_joelse/?hl=it www.instagram.com/joelsepel/?hl=it www.pinterest.it/joelejoelsepel/ www.flickr.com/people/188550413@N05/ www.flickr.com/photos/185144450@N06/ www.flickr.com/photos/185462329@N06/ www.flickr.com/photos/146695172@N03/ vero.co/joelsepeljoelse
#Fano🇮🇹 #Fanum🇮🇹 #FanoMarche🇮🇹 #Fano #Italy🇮🇹 #JoelSe #joelsepel #JOELESEPEL #js #CN #gg #CrumbleNot #GIUSEPPEGUARINO #guarinogiuseppe #JoeleSepelInFano #sonodotatoventiquattrocentimetri #frontman🎼 #Roquero #rockero🎼 #bestmusician #SINGER #BESTSINGER #GIFTEDXXL #sonodotato #AnimalOfTheStage #Dreamer #WhatADude #TheMusician🎤 #performer🎤 twitter.com/JoelSepelJOELSE joele-sepel-joelse.tumblr.com/ joelse-joelesepel.tumblr.com/ vero.co/joelsejoelesepel twitter.com/JSepel www.instagram.com/joelsepel_joelse/?hl=it www.instagram.com/joelsepel/?hl=it www.pinterest.it/joelejoelsepel/ www.flickr.com/people/188550413@N05/ www.flickr.com/photos/185144450@N06/ www.flickr.com/photos/185462329@N06/ www.flickr.com/photos/146695172@N03/ vero.co/joelsepeljoelse