View allAll Photos Tagged Frontman
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Ingrid Ferguson
Errol Brown MBE was a British-Jamaican singer and songwriter, best known as the frontman of the soul and funk band Hot Chocolate. In 2004, Brown received the Ivor Novello Award for Outstanding Contribution to British Music.
Brown was born in Kingston, Jamaica, but moved to the UK when he was twelve years old. His break in music came in 1969 when he recorded a version of John Lennon's "Give Peace a Chance" with a band called "Hot Chocolate Band". Unable to change the lyrics without Lennon's permission, he sent a copy to his record label, Apple, and the song was released with Lennon's approval.
The Hot Chocolate albums were produced by Mickie Most and recorded at the Rak Records studio. Brown left the group in 1985 to take a hiatus from music. He soon went on to have a solo career, achieving success in the clubs with the 1987 single "Body Rocking", produced by Richard James Burgess.
Brown was a supporter of the Conservative Party and performed at a party conference in the 1980s. In 1981, he performed at the wedding reception following the wedding of Prince Charles and Lady Diana Spencer, at Buckingham Palace.
Brown owned National Hunt horses, including Gainsay.
In 2003, Queen Elizabeth II named Brown a Member of the Order of the British Empire for "services to popular music for the United Kingdom". In 2004 he received an Ivor Novello Award for outstanding contributions to British music.
Brown died from liver cancer at his home in the Bahamas on 6 May 2015. He was survived by his wife Ginette and his two daughters, Colette and Leonie.
--https://en.wikipedia.org/wiki/Errol_Brown
∼
Singer,Songwriter. Born Lester Errol Brown. Best known as the lead singer of the British band Hot Chocolate.They had many hits during the 1970's and 1980's including "You Sexy Thing", "Emma","It Started with a Kiss", "So You Win Again" and "Brother Louie".
Inscription
M. B. E.
OUR BELOVED HUSBAND AND FATHER
IMMORTALIZED THROUGH HIS MUSIC
AND HIS BEAUTIFUL SPIRIT
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Klaus Eberhartinger, frontman of the band.
More here: www.szene1.at/user/centurioG/album/1618550
Canon 5D with EF 24-105/4 L IS USM
Collage of 3 takes at ISO 1600
Another shot of the unbelievably talented and brutal frontman for Fleshgod Apocalypse, Tommaso Riccardi.
Alessandro Fiori
TITLE: ATTENTO A ME STESSO
CATG N° URTO 1002
FORMAT CD
Jewel / Vinile gatefold
LABEL: URTOVOX
DISTR: AUDIOGLOBE-ITUNES
ORIGIN: ITALIA
Il disco solista è una nuova esperienza nella carriera musicale di Alessandro Fiori. Lo abbiamo conosciuto come fondatore, voce e frontman dei Mariposa, da anni faro nella scena musicale indipendente italiana, o con gli Amore, e con le sue altre collaborazioni eccellenti, come ”Betti Barsantini”, insieme a Marco Parente o ”Assodifiori” con Alessandro ”Asso” Stefana. Tutti questi progetti hanno in comune il suo comporre e scrivere canzoni, con lo stile di un cantautore moderno che riesce a coniugare una scrittura cruda, essenziale e al contempo poetica e visionaria.
Alessandro Fiori racconta storie dei nostri giorni e lo fa attingendo ai suoi tanti interessi e agli artisti (Raymond Carver, Julio Cortazar, il Jannacci di ”Giovanni Telegrafista”, Piero Ciampi, il primo Lucio Dalla, Ivan Graziani, Francis Bacon...) che in un modo o nell’altro ispirano le sue canzoni, i suoi scritti e la sua pittura.
Alessandro Fiori è uno dei giovani artisti più rappresentativi della scena musicale italiana, e difficilmente può essere accostato per stile ad altri. E’ lì col suo tocco dolce a mostrarti il lato impalpabile insieme a quello concreto e ruvido della nostra esistenza.
”Attento a me stesso” è un disco che descrive la consapevolezza che la morte è in essere senza sorpresa (qualcosa che c'è non ha da arrivare) e riflette sull'interrelazione tra abbandono e resistenza attraverso una curiosità ed un’arguzia lirica che ben si coniugano ad uno stile musicale assai originale e inconfondibile fin dai primi ascolti.
-Attento a me stesso (attentare / tentare di danneggiare qualcuno nella persona, nell'onore o negli averi) come abbandono;
-Attento a me stesso (fare attenzione / avere cura, riguardo, premura) come resistenza.
Non c'è vittoria (così come l'amore, che è accompagnamento: Fuori piove, Lungomare).
La sconfitta - contraltare di qualcosa che non esiste - è condizione di perenne disincanto (Abbandono, Labbra fredde) o ricordo che rende uniche le particolari sofferenze (Resistenza, La vasca).
Il disco, strutturato a mo’ di trittico pittorico, si apre con l'infinito spegnimento: Idrocarburi (che fa da prologo al disco) è l'estensione del tema de La luna ha molto tempo da buttare, brano contenuto nell' EP dei Mariposa Suzuki Bazuki del 2004.
Catino blu è paura atavica: le siringhe, il mostro di Firenze, l'esoterismo.
Fiaba contemporanea rappresenta l'ultimo e vano tentativo resistente.
Questi brani compongono il primo pannello.
Il secondo pannello (Lungomare, La vasca, Fuori piove, 2 cowboy per un parcheggio) è la parte del quotidiano, della ricerca di solitudine (Lungomare) e della paura della stessa (Fuori piove), della transitorietà fissata dal ricordo (La vasca - la vasca in questione è sita davanti alla stazione di Arezzo e gli spruzzi d'acqua bagnano la copia della chimera etrusca). 2 cowboy per un parcheggio è l'unico brano che fa due passi all'interno del mondo lavorativo/musicale.
Il terzo pannello si apre con Senza le dita, l'inutile ricerca di qualcosa che non c'è (vida es sueno, surrealismo spagnolo), la sgretolazione dei rapporti, la deriva nella dipendenza da qualcosa (“non ho colpe tesoro se sono sbronzo tutte le sere / questo andare dal quasi al mai più mette voglia di bere”) e da qualcuno.
Labbra fredde è la presa di coscienza della desolazione cittadina (“Lente giornate. Tutto superato.” Gottfried Benn) ed un sentito omaggio a Ivan Graziani (Agnese dolce Agnese è in assoluto il disco più ascoltato dal nostro negli ultimi 3 anni).
Lucyfer wash è una preghiera, una disperata richiesta d'aiuto nel climax della vulnerabilità, la minaccia della pazzia, la fine di tutto.
Con Trenino a cherosene, epilogo naif, si chiude il disco (“La vita è un mucchio di insignificanti e ironiche rovine”, Pier Paolo Pasolini).
É stato avvistato un disco solista, se raggiungerete il lungomare più vicino potrete vederlo anche voi.
Ma fate attenzione: così come gli alieni anche questo disco può rendervi addotti.
Registrato a Nave York da Alessandro "Asso" Stefana
Mixato all' Alpha Dept studio (BO) da Giacomo Fiorenza
Masterizzato a Lamaestà Mastering (MI) da Giovanni Versari
Suonato da
-ALESSANDRO FIORI: VOCE, PIANOFORTE, VIOLINO
-ALESSANDRO "ASSO" STEFANA: CHITARRE, BASSO
-MARCO PARENTE: BATTERIA
-ZENO DE ROSSI: BATTERIA
-DANILO GALLO: CONTRABBASSO
-ENRICO GABRIELLI:FIATI, VIBRAFONO.
BIOGRAFIA
Alessandro Fiori nasce ad Arezzo il 6/6/’76.
Compie studi musicali dall’età di 11 anni. Impara a suonare violino e pianoforte.
A 14 anni inizia a scrivere canzoni accompagnandosi con la chitarra del padre prima e col pianoforte poi.
Si diploma all’accademia d’arte drammatica “Piccolo Teatro Città di Arezzo”.
L’esperienza universitaria a Bologna non porta frutti se non l’intensificarsi dell’attività di scrittura di canzoni.
Nel 1999 fonda la band Mariposa con la quale ha all’attivo 9 dischi e più di 400 concerti.
Nel 2002 inizia a collaborare con il compositore Lorenzo Brusci (“Zarathustra” – Timet, 2002).
Nel 2004 fonda gli Amore, rock band di base a Firenze con la quale ha pubblicato 2 dischi.
Dal 2007 stringe un sodalizio artistico con Alessandro “Asso” Stefana (chitarrista con Vinicio Capossela, Mike Patton) e lavora come insegnante di teatro nelle scuole elementari del Mugello.
Viene ospitato in veste di violinista da alcuni colleghi musicisti come Andrea Chimenti (“Vietato Morire” - Soffici Dischi/Santeria, 2004) e Paolo Benvegnù (“Le labbra” - La pioggia, 2008).
Nel 2009 fonda con Marco Parente il duo Betti Barsantini.
“Attento a me stesso” (Urtovox, 2010), registrato con Alessandro Stefana, è il suo primo disco solista.
Dipinge e si diletta nella scrittura di poesie e racconti.
Label URTOVOX info@urtovox.it
Booking by LOCUSTA contact luca@locusta.net
uff stampa e promozione UNOMUNDO promo@unomundo.it
Management/Publishing A Buzz Supreme andrea@abuzzsupreme.it
Rock Band: Poison - Legendary Frontman - Age: 61
Friday Night Fun with Bret! - High Energy! - 2/23/24
"Celebrity Apprentice 3 Winner" w/ host Donald Trump
en.wikipedia.org/wiki/Bret_Michaels
-----Atlantic Ocean - off the Turks and Caicos Islands-----
*[left double-click for a closer-look - Day 2 - Deck Stage - 7:45 PM]
OK, so I've done the Sail-Away, the 'Port' in the Dominican Republic, and some sunrises/sunsets along this five-day cruise. NOW, it's time for: The Artists at Sea - Twenty Amazing Bands! Will be posting in no particular order: the wide stage-shots & then the verticals. This was our 7th consecutive Rock Legends Cruise. Epic Music Cruise. Enjoy.
Rock Legends Cruise XI - February 22nd-26th, 2024
------- Annual Rock Music Festival at Sea Benefit ---------
Independence of the Seas - Royal Caribbean Cruise Line
en.wikipedia.org/wiki/Independence_of_the_Seas
---- Miami - Dominican Republic - Miami - (five days) ----
20 Bands! - Five Day Party! - three stages! - 60 Shows!
Concerts all day-and-night from 10:00 AM to 2:00 AM
2024 Bands: Sammy Hagar & The Circle - Billy F Gibbons
Bret Michaels - Rick Springfield - Collective Soul - Geoff Tate
Jefferson Starship - Last In Line - The Immediate Family
The Kentucky Headhunters - Canned Heat - Mononeon
Vanessa Collier - Gary Hoey - Duane Betts & Palmetto Motel
Robert Jon & The Wreck - Anthony Gomes - Two Wolf
Mathew Curry - Jax Hallow - Gary Hoey's All Star Jam
*Rock Legends VII - (Feb 2019) - Cruise Video Montage
www.youtube.com/watch?v=3pIMWuGq2WI&feature=youtu.be&...
*ALL proceeds from ALL the Rock Legends Cruises go to NAHA :
Native American Heritage Association, a non-profit organization
dedicated to fighting hunger and providing basic life necessities
to families living on Reservations in South Dakota, U.S.A.
2024 Rock Legends Cruise XI slide-show: flic.kr/s/aHBqjBhjDw
*[this was our 7th consecutive (annual) Rock Legends Cruise
(1-year postponed w/ covid). We already booked RLC XII 2025
w/Robin Trower - Burton Cummings! Next year will be: 8 of 12!]
"And in the end, the love you take, is equal
to the love you make" ---Paul McCartney
Memorial services for iconic MOTÖRHEAD frontman Ian "Lemmy" Kilmister was held at the Rainbow Bar And Grill in West Hollywood, California 1-9-2016.
Lemmy, who celebrated his 70th birthday on Christmas Eve (December 24-2016), learned two days later, on December 26, that he was afflicted with an aggressive form of cancer. He died two days later, on December 28 at his home in Los Angeles.
MOTÖRHEADwas revered by both metal and punk fans, and Lemmy was considered an icon for his musical talent and his embodiment of the rock n’ roll lifestyle.
The Rainbow Bar And Grill on L.A.'s Sunset Strip was known as Lemmy's hangout, made it an obvious place for friends and family to say goodbye to the legend.
Read more at: www.blabbermouth.net/news/overhelming-response-to-lemmys-...
Rewire Festival 2016
Grote Kerk, Den Haag
Einstürzende Neubauten-frontman and former guitar player of Nick Cave & The Bad Seeds’ Blixa Bargeld (DE) and Italian composer Teho Teardo present their beautiful work together with a local string quartet. Their collaboration started in 2013 with their stunning record ‘Still Smiling’. This record consists of 12 ‘flexible’ songs, of which the arrangements form both a beautiful contrast as wel as a unity between acoustic string instruments and electronics. ‘The duo’s work comprises two albums; ‘Still Smiling’ in 2013 and ‘Spring’ in 2014.
Coldplay frontman Chris Martin gives it all during the band's Mylo Xyloto Tour at the Emirates Stadium, London.
Memorial services for iconic MOTÖRHEAD frontman Ian "Lemmy" Kilmister was held at the Rainbow Bar And Grill in West Hollywood, California 1-9-2016.
Lemmy, who celebrated his 70th birthday on Christmas Eve (December 24-2016), learned two days later, on December 26, that he was afflicted with an aggressive form of cancer. He died two days later, on December 28 at his home in Los Angeles.
MOTÖRHEADwas revered by both metal and punk fans, and Lemmy was considered an icon for his musical talent and his embodiment of the rock n’ roll lifestyle.
The Rainbow Bar And Grill on L.A.'s Sunset Strip was known as Lemmy's hangout, made it an obvious place for friends and family to say goodbye to the legend.
Read more at: www.blabbermouth.net/news/overhelming-response-to-lemmys-...
GOD PERVADES ALL.ALL KNOWY SAID NOT HERE TO HAVE YOUR SAY I ALL KNOWY AM OR AM HERE TO CHECK POWER WITH YOU OR BE DECIMATING YOU TO PROVE IT THE POWERS I HAVE ALL THE TIME BUT KNOW THE WE AS A LIMITS AS THE LIMITLESSEST.WE GAVE YOU ABSOLUTE ZERO THROUGH ULTRA--EINSTEIN HIS CO-INVENTOR RELATIVITY------INREACH AS A OBSERVER HE DESCRIBED IN HIS ESSAYS ONE AS A CHILD OF ONE BRINGING HIM TO BE THE RECORDER FROM ASSISTANT IT.OPPOSED BY SCIENTIFIC COMMUNITY AS A THINKER OF THE RELATIVITY NOT BUT ZERO REPORTS AS A WRITER WHO HAD BECOME WISER THAN MANY SO THEY WANTED HIM REPLACED TO MOUNT THE EMPLOYMENT PROVIDER POSSIBLE AS EXCELLENT IN AREAS THEY FELT NEEDING RESEARCHES TO MAKE THIS EARTH A AMNABLE PLANET TO LIVE LIKE A HEAVEN..POLATED BY THE WE AS A WRITER DOCTOR SSKOHLI IN THE YEAR NINETEEN THIRTY IN AN ESSAY DENOUNCING GANDHI'S AS A ASS AS A TAKING GOAT'S MILK OF NO QUALITY GOOD AS A ASSY AS A SHEPHEARDS AS A SAY AS A IS TO GIVE WEAK KNEES TO STRONG KNEED AS ASS TO BE TAKING THREE TOO LIKE LACED PARSIS DESECRATED AS MOST CHARMING TOO AS A SHY AS A LASSES LIKE A HUNGRY WOLVES LIKE PASTED ON HE BY WE NOT ENGLISH.
OUR INVENTION IN THE ROPE ARE THREE THOUSANDS.MADE BY THE OUR FRONTMAN MISTER M.S.KOHLII ALONE-NOT WITH OTHERS-AS A DEVELOPERS------AS A WE REACHING ALWAYS FIRST SINGLY THINKING THEN PERSUADING OTHERS AS A RISE AS A WE AS A HABIT TO EVOLVE A NATION AS THE NUMBER ONE ON THE PLANET AS A BORN AS A REPORTED BY PEOPLE TWO HUNDRED IN COURT MANIFESTOS GIVEN IN SINGLE AS A SINGLE HAPPENING WITH THEY AND THE POLICE IN A SINGLE GO ASK THE ME WE AS A SEEN AS A SEES AS A WE FROM THE THIS ASS A THIEF OF OUR THIRTY THOUSAND INVENTION IN THE NOT NOTING AS A ATMOSPHERE AS A WE TO BE AS A PROJECT AS-----AS A IT WE THE INTERNATIONAL WHAT WE THE WE THE SAR ANSH ON THE THIS EARTH AS A WE AS A SAAK TO THE HOND=EXISTANCE HERE SEEING UTTER FAILURES ASSY AS A TO WE ONLT..DEATH THREAT WE AS A DELHI IN COMING IF AS A STARTS AS A THESE SINCE SEVENTY SIX AS A ASSINGS AS A WE AS A NONE AS A THEY AS A HUNDREDS AS A WE TO DULLEN SPRAYING CYANIDE BEFORE OUR CAR SO WE DAZE AND STRIKE AS WAS AS A SHEIKH'S AND DIANA-CHARLES-ELI-II'S CAR TO DONE IN A FRANCE TUNNEL'S SAFE ENCLOSURE ALLOWING THEY TO BUILD UPWARDS A CONCENTRATION REAR IN FROM REAR SPRAYING AS WE DEVISED FOR TRACTORS AS A START AS A MACHINE WE'S AS A SERTER AS A TOO TO COMBINE AS TO LOWER COST AS A FACTOR NOT ASKED BUT THOUGHT OF AS A VERY POOR MADE TILL TWO WHEELER AND STICK TILL HARVESTER WE'S -----------AS A WE TO THEIVES BE AS A SERVICES GIVEN BY THESE THIEVES AS A SHRI K.K.PAUL AS A OMITAS AS A TOO WE TO UGC AS A DESIRES THEN NOT NURSED AS A DEPOSED BY THEY THREE FOUR FROM POSITION OURS FOR LIFE ELECTED BY ALL IN THE WORLD SEEING OUR ABOVE LIFE CONTRIBUTION THAT COULD LAST A BILLION YEARS AS A THESE THREE FOUR DECIMATED IN KILLING WE TAKING OUR ID CARDS AND PUTTING U.N. AND OTHERS AS A HUNDRED SEVENTY NATIONS IN CYANIDE UNDER KILLING THEIR ASSETS AS A WHATANS USING THEY AS A HEAD OF THE UNITED NATIONS AS JUSTIN AND LICENCING AUTHORITY SUPREME COURTS ALL AS A MOUNT.HAVING FINISHED WE ON THREE COUNTS ERLIER THE THEY AS A OMITA-----A DEPUTY SECRETARY OUR RAJPAL KAUR AS ASKING WE TO WRITE AS A SOLE LANDOWNER A NOTE TO JUNIORS AS A PRESIDENT INDIA .START A ARMY AGAINST WE'S OWNING THEIR COUNTRY..CALLING SOLE LANDOWNER WITH A HANDCUFF THREAT IF COMES NOT AS A START TO EXPLAIN WHY ARMY NOT BE HEAD AS A PROTECTOR OF LAND -----------ASKING HE TO COME WITH FAMILY OR ALL BE PUNISHED------ARRESTING HE IN TEN ON ENTRY-KILL IN THROWING HE IN CYANIDE AS A DEATH CERTAIN---------SEEING HE SURVIVING AS A GOD ASSEMBLING A HUNDRED THIRTY TOO NOT A ENTIRE PLATOON OF FIVE THOUSAND.ORDERING RAPES AS A SERIOUS OFFENCE KILLING CONFIDENCE OF OUR NICE godly WOMEN IN THE RACE HUMAN TELLING THEY CALL GOD OF EARTH MENTIONED ON THE CARD OF JUSTIN UNITED NATIONS GIVING HE HUMAN AS A EXISTING GOD A POSSIBLE FLING TO A WOMAN WHO PRAYS HE TO BE HERS TOO IN PLAY OF LIFE IN HE------THINKING A COMMON HUMAN AS A FEEL WILL ARRIVE IN HE MAY BE SOME DAY LEAVING HIS AUSTERITY TO BE IN ENJOY TOO OF LIFE AS IS TO A COMMON NOW BECAUSE OF HE THE HEAVEN GIVER FIRST OF THIS EARTH.HE WE SEE NEVER WOULD HAVE AS TOO THE WISE OF THE THESE LINE PUTTER WERE AS A ENTHUSERS AS A WE AGAINST TOO IN THE SAME MOMENT ERASURE OF THE WE AS A NON-ARMY UNIFORM WEARER MAJOR GENERAL OF UNITED NATIONS(1967)DUELY INSTRUCTED TO INDIA TOO TO MAKE HE IT AS A CONSCIOUS DECISION OF THE WORLD AS ASKING IT HE HEAD IT AS A OPPOSE AS A ABSOLUTE NOT SENT AS A IT BUT DONE IN PERSUE OF TWO AWARDS TO WE OF THE ORDER OF THE ARMY GENERAL BY THE ARMY AS A OPPOSED AS A FORCED WITHOUT THEY EVER ALLOWED TO CONDUCE WHAT IT AS A WISE IAS AS A THOUGHT AS A SWARMING THEY WITH A ORDER AS A ARMY GENERAL ABOVE ONE WE AS A GOD FORCED INTO IT AS A WE TO M.S.KOHLII A LIFE OR DEATH.BOTH AWARDS THROWN INTO DUST BIN BEFORE DEAD AS A BECOMING TIME AND AGAIN AND WE GOD THE SUPREME FORCE EARTH ENTERING AGAIN AND AGAIN FORCIBLY TO OPEN EYES OF THESE SCOUNDRELS ASKING THEY THROUGH HE STUDY WHAT GREAT WE DID AS TO BE GIVEN ALSO A HELIPAD,A OFFICE FOR SUMMER AS A GOVT CONSTRUCTED BUILDING IN SHIMLA/SIMLA AND TOO IN DELHI IF WE ASK PASSED BY PARLIAMENT AS A TWO HIGHEST TO A MAJOR GENERAL FIGHTING ALL ALONE A BATTLE AN ARMY CAN AS WE FOUGHT SINCE SIXTY BOMBING BY PAKISTAN AND WINNING FOUR MAJOR BATTLES ERLIER UNAWARDED AS A DECIMATION ENTIRE OF PAKISTAN AND IT AS THEY THREE FOUR ACTING TROUNCING THE GOVERNMENT IN INDIA AS A START THEIRS AS A TAKEOVERS.STEP THIRTY THOUSAND IN TILL HUNDRED SEVENTY COUNTRY AS A SYNDICATE THIRTY FOUR OF A CRORE MEN EACH AS A ARMY ON THE WORLD NOW THOUGH YOU DO NOT CARE SO WE DO.WRITING HERE HER AND HER SON'S DEATH GONE IN VAIN WERE UNLESS WE DO SO.AS A TRIBUTE OURS TO A MRS INDIRA GANDHI AS A HONEST AND TRUTH. SO TOO TOO TO THE HONORABLEMOST JACQUILINE TOO JOHN F TOO KILLED BY THESE AS WERE A RICHARD AS A DIRECTOR C.I.A. IN A WAR ON HONEST AND SERIOUS SOLVERS OF HUMANE PROVIDERS OF ECONOMY TO THE PLANET AS OF BRASH MEN ACTING TRADER EATING TOO OTHERS AS A DIETS.OUR DEARS AS A RICHARD NIXON AS A SAINT FROM POLATED SIN AND THIEF BY THESE THE WATERGATE ITSELF ALL STEPS TILL I CAN UNRAVEL TOO TO THE RIGHT IF WANT BUT NOW IN NO WASTING OF EVIDENCE TO BE IN ME AS A HABIT ME MYSELF BEING TOO IMPORTANT TOO TO ME AS A IS TO MY BODY MANNED BY SOUL .OUR DEAR LYNDON B.JOHNSON TOO KILLED BY THEM IN OFFICE WERE IN CYANIDE INSERT FIRST NOT TO HE THIRD AS A CONSTANT TILL HEART DIED TILL.
-following he asking multiple questions on how to do what to do etc. with no feel of what they are going to get....SO WE EXAMINE THEIR CONTRIBUTION AND ALLOCATION NEED.I GOD AS ALLOWED THEY THE QUESTION ASKERS ON BEHALF THE GOVERNMENT OFFICERS GIVEN DUTY OF DEVELOPING A PRODUCT SAID NOW AS A FALSER AS A IT AS NOTHING OF THAT SORT EVER CAME TO BE BY THE YEAR SIXTY SEVEN WHEN THEY ALL ALL AT ONCE MADE A PUTT AS A WARS AS A SPUTTER AS A NOT BUT AS A KUPUTRS AS A MURDEROUS WEAPONS OF THE THEY IN THE GOVERNMENT UNDER PRESSURE OF THE DHUSSARS HAVING TAKEN OVER CONTROLS AS A WE AS A AGAINST OF OUR CHARGE ACHIEVED BY OUR FRONT AS THE GOD WE THE GENERATOR LIKE GENERATING IDEAS IN THREE THOUSAND LINES OF THE COMMERCE THAT WE ADDED TO YOUR WORLD OF TWO TWENTY LINES NOT BUT TWENTY THREE AS A LISTABLE INCLUDING A GALTI HUI AS A TALKS AS A VERY POOR EXPRESSIONS AS A LANGUAGES WHICH TOO WE DEVELOPED THROUGH OUR DEVICES.WE GAVE WE AS A ONE ONLY AS A HE AT A LOWER LEVEL THIRTY SEVEN TIMES LOWER TILL NIL--------AT WHICH IDEA COMING STOPS.SO WE GAVE ONE ONLY WHO WE CONSIDE TO INVENTIONS HIS GIVEN.WE DO NOT TOUCH OTHERS IT IS NOT AS A CHORS GIVING NONE TOO IN THE RETURN AS IS PROHIBITED IN THE LAW.SO WE ASK WHY WE NOT IMPRISON THEY AS A OUR INHABITANT UNABLE TO ACHIEVE THEY THEIR ENDS INCLUDING THE EVERREADY AS A COMPANY OR KODAK OR A MICO PLUG OR A AGFA OR A ENTIRE INTERNET OR A ENTIRE GLASS BASED PRODUCTS INCLUDING MICROSCOPES TELESCOPES.THREE THOUSAND AS A LINES AS A THIRTY LAKH =THREE MILLION PRODUCTS AS A SALE OF LEGALLY TOO OTHERWISE TOO AS A WE AS A TO BE MAKING THEM ALL.OR LAY A CESS ALL HAVE TO PAY BASED ON UNPAID AS A WE AS A FOUR NOT ONE.THROUGH THE UNITED NATIONS.WHY DID UNITED NATIONS TAKE UP THE SALE OF OUR REGISTERED AS A FEW NOT MULTIPLE IN THE RANGE TWO THOUSAND PLUS THEN AS A MULTITUDE AS A LISTS AS A WE AS A NOT CIRCULATED BUT THEY THEIR AS A WE AS A KNOWLEDGE AS A TOO IN THE POLICE AS A RECORDS AS A IS WHICH IN CAN BE CONSULTED WE WILL IT AS A IT AS.ALL CASES OF THE BAZIGAR BE WE TO ASSOCIATED.THEIR VAKILS AS A WE AS A ASSED MOST PROBABLY AS A COOTERS OF OUR COURTS AS A WE AS A TO GIVING POISONS THROUGH OUR RELATIVES ON ZULM AS A FORCING THROUGH WE ON A ZULMS INTENSE A A VULGARS AS A DESERVING DEATHS AS A WE TO IN IT THE THEY BY ADMINISTERED WHETHER WE DIED OR NOT TOO BE ASCERTAINED FROM WE IN THE WHOLE TILL ATE TRY IN BEING TILL TILLERED TILLORY AS A WE AS A STORY BE PUBLISHED IN THE WE BY POINTED ALL NEWSPAPERS AS A WE AS A CHARGE IS THE WE AS A THE TOTAL LANDOWNER ON WHICH YOU ALL AS A ARE IN THE BUSINESSES WE BY COINED IN ORDER TO EVOLVE A EARTH WITH A JOB FOR EVERYONE SO THE OTHER TENDENCIES AS A IS AS A CHORS AS A DO NOT COME UP.
IF NOT EARNING FROM SELLING THE SUGGESTIONS TAKEN FROM HE AND DEVELOPED BY THEY HAVING BENEFITED FROM THEY AS A FORCE AS A GENERATED AS A ARE THERE IN THE DELHI AS A CHOR BAZAR IN THE CAR AS A FEW AS A WE AS A ALWAYS IN THE REACH WE TO BE WAYLAID AS A WRITER OF THE EVIDENCES AS A AGAINST THEY THE CHOR.TODAY THEIR NUMBER IS THE DL 8C AH 3011.A AMBASSADOR LOOKING LIKE CAR AS A TRAVELLER AS A THREE MOST CHOR AS A CAR MECHANICS AS A HURT BEARING NOT BUT TOO IN THE MOST BADMASH AS HAVING BEEN RECEIVED BY ANIL NEXT DOOR SON IN LAW OF A POLICER WE SEE WHO WERE ADMINISTERED ARSENIC SULFIDE AS A POISONOUS SUBSTANCE TO HAVE HE SIGNS OF THAT POISONING IN THE CITY OF THE SONEPAT TOO MURTHAL WE TO HAVING BEEN A TROUBLE AS A WE AS A MADE THIRTY YEAR BACK COMPLAINTS BEING SUSPECTED TO BE FALSE AS A PROCESS SERVER AS A ARRIVED HOW BUT SO WRITTEN AS A CIVIL HOSPITAL AS A DISCHARGERS AS A WE AS A CIVIL AS A BEING TO DEATH.HIS WIFE IS BEING VISITED BY SIKHS OF AGE TWELVE TO THIRTY BY THE WAY WE NOT IT AS A THE SANSIS AS. AS A WE AS A IT IS A CASE OF A RAPES BY THEM.THEY WE SEE DISAPPEARING AS WE WROTE THE STORY OF A CID OFFICER OF THE RANK OF THE INSPECTOR NOT SENIOR.FROM I.B. SINCE EIGHT YEARS IN IT DUE CHAUTALA AS A THIEF OF OUR PROPERTY ALONGWITH THE A.S. BRAR GROUP.WHO AS PER BADAL IS HIS BROTHER BEING SON OF THE DEVI LAL HIS FATHER IN THE PRE-PARTITION DAYS AS WELL WE ASK THE PROOF OF HE BEING A INDIAN. TWICE DISCARDED AS A CHANDIGARH COURT AS A IT AS A CASES AS A FOUR BY THE YEJDI SAID YAD JI AS A NAME AS.WHO WE SAY WERE A PAKISTANI OF THE TRIBE SANSI SMUGGLERS.HERE WE DEPOSIT NOT BUT TOO IN THE REACH OF THE THESE TOO TO THEY THE THESE DIRTY GIRLS A A SAY THEIRS AS A WE AS A NUT.
TILL 1955 THE ROPES WERE ,
BUT THEY WERE MADE FROM ANIMAL SKIN OR INTESTINE.IN THE PLANET EARTH.
THERE IS NO ESCAPE.
TODAY ROPE IS MADE FROM SYNTHETIC SUBSTANCES ALL OF THE MAKE WE.
WE CITE THE U.N. COURT .THE WE TODAY LEARNT THE ROPE MAKING FROM SANN PLANT .THEN IN A MONTH IN THE SAME FILE IS THE WE AS A SANN AS A DIFFERENT IS.THEN A THIRD AS A WE AS A TOKRI MAKING IS AS A SMALL.OVERTAKEN BY MONEY DEFICIENT DACOITY IN THE THEIR VEIN A LANCERS AS A AFFECTING THE DELHI WERE A TWENTY LAKH SANSIS.INCURSED AS A SIKH AS.BY THE GANGSTER OF THE TRIBE DAANVEER AS A SEMANTIC SPERM DONORS AS A BAZI SHOWY AS A WE AS AVERY VERY A YOGIS INVOLVED IN SIDHIS AS A ACHIEVED WHAT THEY CALLED JADU=MAGIC OR BAZI OF THEY THE BAZIGARS AS A INCLUDED IN THE FUND SPENDING OF OURS TO TRAIN THE WE LOOKING FALLEN FROM THE BIWI LIKE A SMALL----NOT INVESTIGATED THAT IT WERE BECAUSE OF THEM..APPLYING VARIOUS PRODUCTS THAT COULD INFLUENCE MIND BODY SOUL AS A POISON PLANT BASED,SNAKE BASED,OTHER ANIMAL LIKE SEH BASED,GOH BASED AS A GOH CATCHERS,AS A HYOSCYAMUS,AS A SHEH OF THE SNEHS NOT BUT TOO IN THE APPLY GOT OF THE WATER LIKE ARK OF THE SAMUNDRI JHAGG AS A DEAD SEA AS A COLLECTED AND SOLD EVEN NOW TILL AS A VERY VERY NERVE WRECKING POISON OPENLY IN INDIA AS ARE A TWENTY THOUSAND OTHERS POTENTIATING HOUSE BREAKING WITHOUT LOOKING LIKE.BY INTRODUCING A LITTLE POISON ON A DOORBELL,DOOR OR A WIREMESH WHEREFROM IT GOES INTO HOUSE AFFECTING ALL RESIDENTS.GENERALLY WITHIN A MONTH TOO IF THEIR CONCENTRATION IS.KILLING A FAMILY.REMOVED .THE HOUSE READY FOR SALE IS AS A SUCH OR RENOMINATED RENOVATED BY A LEGAL DEVICE AS A LETTER CONFISCATED AS A WE AS A SHOWED AS A WE AS A SUPERIOR IN THE POLICE WE.IN THE CITY OF THE DELHI IN THE MONTH OF THE THIS JANUARY TOO IN THE SIXTY THREE WE AS A INFORM IN TOO IN THE W AS A KNOWN ESCAPE IN NOT BUT THERE NOT AS A WE AS A SEEN HERE TOO IN THE CITY MOHALI TWO TIMES WRITTEN AS A INVESTIGATED BUT NOT ANY ACTIVITY VISIBLE WAS.CITY POLICE OFFICE SHIFTED FROM HERE FROM NEAR WE SO WE DO NOT GO THERE AS WE DID.IN CASES AS A IT AS A WE AS A VERY VERY ALERT AS A WERE DOING A SERVICE TO DEVELOP POLICE.HOWEVER WE ARE WE AS A NONE BUT SO REPORTED BY THE THEIR OWN ENEMIES.
WE=GOD OF ALL THE ORIGINAL EVOLVER OF ALL POSSIBLE TO BE AWARDED AS ONE PARTY FOR THE CONTRIBUTION CONSIDERING INPUT OF GOD IN ALL THOUGHT THAT LEAD TO INVENTIONS,NEW THOUGHTS,IDEAS,CULTURES,GAMES-----------ALL THAT COMES FROM A BRAIN INVOLVED COMPLETELY IN SOLVING DIFFICULT PROBLEMS EVOLVING INVENTIONS---------INTENSELY PLOUGHING MIND BODY SOUL INTO IT LOOKING FOR SOLUTIONS TO GOD AND ALL DATA ALREADY ON RECORD ALL BROUGHT INTO EXISTANCE BY THE MOTHER NATURE NOT OR ALL OR SOME AMBITIOUS EXISTING ON A PLANET INTERESTED IN CORNERING OR LISTING A SOLUTION EVOLVED BY A INTENSELY RESEARCHING EVOLVER INVENTING OR SUGGESTING AS A NEW THOUGHT EQUALING A INVENTION ITSELF WORTHY OF THE SCIENTIFIC EVALUATION AS A THOUGHT OF THE TIMES AS A SOLUTION TO SOME OR MORE OR ALL THE POSSIBLE PROBLEMS AS A BASIS AS A EVALUATION FOR IN THE VIEW OF THE GOD OF ALL AS THE OVERALL AUTHORITY IN REACH OF ALL SOLUTIONS TO ALL AT ALL TIMES LETTING THE SOLUTION TO THE INTENSELY RESEARCHING IN AREAS VISITED BY HE SHE .IN EVOLVE HE SHE COMES AS A SECOND SECONDARY IF EVALUATED BY COSMOS LATER THAN EVOLVE.BUT IS PRIMARY IF LOOKED FROM THE ANGLE OF THE PLANET AS A PHYSICAL REALITY HAPPENING BEFORE IT ..AS WHICH IT IS RECORDED OR ASSIMILATED BY SOME THIEVES.......AS ALSO SOMETIMES COMES TO LIGHT AT OTHER ESCAPES.WE GOD EVER EVERYTHING OURS TO BE LISTED AS A OURS.AS ALSO OF THE ACHIEVER WHO COMES TO ACHIEVE.ANY OTHER TO ASCRIBE PER WE IS A CRIME ABSOLUTE.THE MONIES AS A ASCRIBES AS A EXCHANGES EXHIBITED IN ANY PHYSICAL AS A IS A COURT OR A GOVERNMENT DEPARTMENT,POLICE RECORD/POTLI/FILE,UNIVERSITY PAPER,POLL RECORDS AS A IS A PERMANENT RECORDS AS A RACE ANY INFRINGE OF THE SAME WE CONSIDE TO THE WE AGAINST A ACTION,AS A ACTIVITY AS A DEATH ASA PENAL ACTION AS A NECESSITY AS IS AGAINST A R.C. PAUL WHOSE SERVICES WERE CANCELLED BY THE DELHI MAGISTRATE FOR HAND IN THE RAPISTS AS RESTRAINING THE PARTY CALLED TO ATTEND A CASE IN THE HIGH COURT LISTED THE COURT OF THE UNION WERE THAT HE HIS WIFE GOT CONDUCTED IN THE GREED GIVEN NOT BUT TOO...THAT THAT PARTY WERE OWNER WORLD LAND SOLD BY CHRISTIAN COUNTRIES TO THE SON THEIRS EXCHANGE AS A MATTER NOT FINDING MONEYS ENOUGH TO PAY SUCH EVALUA ALREADY FOUND TO HAVE PAID FULLY THE PRICE OF THE LAND OF EARTH AT THE VALUE CITED AS A EXCHANGED UNDERHAND FROM LAW AS A HIGHEST MARKET VALUES AS A THREE THOUSAND TIMES MORE VALUES GIVEN BY THE THIS COURT AS A WRONG COURT TOO IN THE JUSTICE AGAINST WE THE SIKHS WHO OWN THEM AS A CULTURE AS A ONE BELONGING TO A SIKH RELIGION AS A EXPLANATION SAID TIME AND AGAIN AS A STRONGLY BUILT SOME TWENTY MEN TO A SINGLE SEXED AS A SEVEN NIGHT WOMAN SHE HERS AS A IN THE PRESENCE OF HER HUSBAND AS A GOVT HEAD OF THE POLICE IN THE INDIA AS A SAIDS NOW AS A THANEDAR AS A LEVEL AS A IT IN THE WRITING IN THE YEAR HE WERE THERE THEN.AS A MAGISTRATE'S NOTES WILL CLARIFY OUR ACCUSE.THANEDAR AS A SUB INSPECTOR.IN IT WE ACCUSE THE RC PAUL AS A RETIRED MAN HOW AND HOW NOT A KRISHAN KANT PAUL AS A MAN WE GOT MULTIPLE ADVANTAGES AS A NEXT DOOR NEIGHBOURER DUE THE REQUESTS AND POLITE APPROACHES OF HIS MOTHER TO US.TO US CURRENT THREAT OF OUR SON TO DEATH IS AS A ADVERTISEMENT INSERT IN THE OUR SIDE NOT BUT TOO VISIBLE TOO TO THE FLICKR TEAM AS A SUBSIDED AS A SERVICE WINDOW TO WE BEING CLOSED BY THE THEY THE DIVISION TAKER AS A SUBSERVIENT TO DEATHS AS A WE AS A SERVE BE IN THE TIME WE FEEL FIT.WE ASK THE GOVERNMENT OF INDIA CENTRAL AS A FULCRUM AS A
EVALUATE THE MATTER IN THE RESEARCH AND ANALYSIS WING OF THE POLICE.IT IS BY WE MADE AND TOO BECAUSE OF A SYSTEM OF POLICE WE AS A SUGGESTED IT AS A TOO WE BY TO THE P.M. INDIRA GANDHI AS TOO TO KEEP AN EYE ON THE P.M.s.AND ALL ELSE TAKING ACTION AGAINST THEY DIRECTLY OR OTHERWISE AS A CIN AS A METHOD POLICE IS USING OR STOPPING THEY WITHOUT IT.IN SERIOUS LAPSE OF DUTY AS A ABSENTING IS FROM OFFICE FOR MORE THAN A HOUR IN THE OFFICE TIME.OR NOT SEEING TO IT THAT A BASIC TRUTH IS.AND ANY DEVIATE UNDER PRESSURE IS SEEN AND ACTED,FASTESTS AS A POLICER JAMES BONDS..GIVEN THE AUTHORITY OVERALL.GIVEN A NAME RESEARCH ANALYSIS BY WE ON RECORDS ALL DIRECTLY TO THE PRIME MINISTER IN NEED OF A SUPREME COURT AS A LICENCE FROM WE THE LICENCING AUTHORITY PUT INTERNATIONALLY BY THE UNITED NATIONS.
IN OUR CONSIDERATION THE ACTUAL OWNER ALL IS THE PLANET NOT PEOPLE OR OTHER LIVING ON IT NOT BUT THE GOD.HE IS THE FIRST TO BE ASCRIBED ANY EVOLVE.IN ANY LINE OF SCIENTIFIC OR OTHER RESEARCH.LOGICAL OR NOT REACHED THROUGH CLEAR LINES OF LOGIC NOT EVEN-COMING AS A FLASH FROM THE GOD AS IS THE HUNDRED PERCENT.
THIS WAS CLEAR TO THE PEOPLE OF THE PLANET TILL A FEW UNINTELLIGENTS CAME UPON A SCHEME TO TAKEOVER ALL OF ALL IN THE PLANET INTO THEIR OWN HANDS.
POLICE IS AT FAULT FOR OVERLOOKING.
IT OVERLOOKED TWO COMPLAINTS FIRST.OF THE THEFT OF THE CARDS OF GREAT IMPORTANCE AS CARDS OF A POSITION.IMPLYING THAT ANY GHONCHU=ILLICITER CAN USE IT AS A MISUSES AS A MANY TIMES OVER AND ABOVE THE WHOLE EARTH IN AUTHORITY.AS WE SAW IN THE COMPLAINT FIRST DATED THREE OF THE TWENTY THREE WE.WE HERE WE AS A IS.IS TO BE INTERPOLATED LEST THE POLICE FROM DATA SLIPS.IT IS THE LOOSE MADE ORGAN ON THE ROCK READY TO BE PUNISHED FOR ANY AND ALL IN THE WE AS A SECONDARY TOO NOT PRIMARY IMPORTANCE.IN BEING OFFICIAL SENIORMOST AS A COUNTRY INDIA AS A DEMOCRACY TOO EXPRESSED AS A PARLIAMENT IN THE DATE SEVENTH OF THE SEVENTY FOUR AFTER A MEMBER OF THE RAJYA SABHA MADE A MATTER IN WRITING AS A BRIEFESTS AS A NOT BUT ATTACHED THE COURT PAPERS WHICH WE AS A S.S.KOHLI A SENIORMOST U.G.C. PROFESSOR GAVE NOT BUT TOO SAID AS AS A SIN IN CYANIDED =POISONED BY THE POLICER MISTER K.K.PAUL AS A NAMED CROOK FRONT-CROOKS OVERTAKEN MAN AS--OVERTAKEN FROM THE DATE OF THE TWO OF THE SIXTH MONTH OF THE YEAR SIXTY NINE------THROUGH A MAN KNOWN TO HIM AS OUR FAMILY MISTER D.I.S.KOHLII.NEVER TO BE CONSULTED ESPECIALLY IF KNOWN IN CYANIDING THE AUTHORITY TO JOIN OTHER IN PERSUADES SOMEHOW IN THE PHYSICALITY.AS WAS A K.K.PAUL TO CLEAR BUT AS A THREATENED TILL MOTHER,SISTER AND SEXES THREE BEFORE HE TO HIS WIFE BY THE D.I.S.KOHLI SAID BY SEXING ASSAULTER AS A CROOKS INTERESTED IN TAKING HIS POSITION CLEARLY MENTIONED IF JOINING THEN NOT OTHERWISE ASSAULTS IN HIS PRESENCE AS A CAUGHT BY SOME AND AS A SEXES BY SOME TO CONTINUE WERE ON HIM NOT HIS WIFE IN HIS PRESENCE.HIS MIND ADDICTED WERE BY INJECTION OF CHEMICAL .HE OVERTAKEN IN IT ALLOWED ..THINKING WILL REPORT BUT DID NOT SO THE STATE AS A IT THIS MATTER THE STATE OWNER ALLOWING THE DEMOCRACY IN THE STATE CAME TO HAPPEN.D.I.S.KOHLI/KOHLII TOO A CATCH FAR LESSER THAN THE POLICER HOW WERE IS A POINT WE DISCUSS.
THE SECOND
BLOOMINGTON, Minn. — Scott Weiland, the former frontman for the Stone Temple Pilots and Velvet Revolver, has died. He was 48.
The singer’s manager, Tom Vitorino, confirmed the death to The Associated Press early Friday morning. Vitorino said he learned of Weiland’s death from his t...
figmedia.com/2015/12/04/scott-weiland-former-lead-singer-...
Arcturus - ICS Vortex, Knut Magne Valle, Hugh "Skoll" Mingay, Jan Axel "Hellhammer" Blomberg
On the Temple Stage at Hellfest Open Air 2022 Part 2 - Day 3
15th Anniversary Edition
Clisson, France | 25/06/2022
Live report soon on MusicWaves
Philippe Bareille
The Lamb Lies Down on Broadway is the sixth studio album by the English progressive rock band Genesis. It was released as a double album on 18 November 1974 by Charisma Records and is their last to feature original frontman Peter Gabriel. It peaked at No. 10 on the UK Albums Chart and No. 41 on the Billboard 200 in the US.
While the band worked on new material at Hedley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. The album was marked by increased tensions within the band as Gabriel, who insisted on writing all of the lyrics, temporarily left to work with filmmaker William Friedkin and needed time to be with his family. Most of the songs were developed by the rest of the band through jam sessions and were put down at Glaspant Manor in Wales using a mobile studio.
The album received a mixed critical reaction at first, but it gained acclaim in subsequent years and has a cult following. The songs "Counting Out Time" and "The Carpet Crawlers" were released as singles in the UK in 1974 and 1975, respectively; both failed to chart. A single of "The Lamb Lies Down on Broadway" was released in the US. Genesis promoted the album with their 1974–75 tour across North America and Europe, playing the album in its entirety. The album reached Gold certification in the UK and the US. The album was remastered in 1994 and 2007, the latter as part of the Genesis 1970–1975 box set which contains a 5.1 surround sound mix and bonus material.
Before discussions were held regarding the album's contents, the band decided to record a double album, for the extended format would give them the opportunity to improvise and put down more of their musical ideas ] A single album with songs telling "bits" of a story was an option that did not appeal to them.Banks thought Genesis had gained a strong enough following by this point to put out two albums' worth of material that their fans would be willing to listen to. They had wanted to produce a concept album that told a story for some time, and Rutherford pitched an idea based on the fantasy novel The Little Prince by Antoine de Saint-Exupéry, but Gabriel disagreed as he thought it was "too twee" and believed "prancing around in fairyland was rapidly becoming obsolete".
Gabriel presented the group with a more complicated and surreal story about Rael, a Puerto Rican youth in New York City, and his spiritual journey of self-discovery and identity as he encounters several bizarre incidents and characters along the way. Gabriel had first thought of the story while touring North America in the previous year, and pitched a synopsis to the group "until they agreed to do the whole thing". It was more detailed and obscure in its initial form, until Gabriel refined it and made Rael the central character. Seeking a name that had "no traceable ethnic origins", he chose the name 'Rael', but later realised the Who had previously used that on The Who Sell Out (1967); this annoyed him at first, but he stuck to the choice.
As the band searched for a name they realised that "Ra" was common in male names in various nationalities. Gabriel was inspired by a variety of sources for the story, including the novel and musical West Side Story, "a kind of punk" twist to the Christian allegory Pilgrim's Progress (1678), the works of Swiss psychologist Carl Jung, and the surreal Western film El Topo (1971) by Alejandro Jodorowsky.[18] In contrast to Selling England by the Pound, which contained strong English themes, Gabriel made a conscious effort to avoid repetition by portraying American imagery, with references to Caryl Chessman, Lenny Bruce, Groucho Marx, Marshall McLuhan, Howard Hughes, Evel Knievel and the Ku Klux Klan. He also expressed some concern over the album's title, but noted that the lamb itself is purely symbolic and a catalyst for the peculiar events that occur.[14]
Much of the album was written at Headley Grange.
During the writing sessions at Headley Grange, Gabriel found himself separated from the rest of the band, which caused some friction. He insisted that having devised the concept he should write the lyrics, leaving the majority of the music in the charge of his bandmates. This was a departure from the band's usual method of songwriting; lyrical contributions on previous albums had always involved the other members.
This situation left Gabriel often secluded in one room writing the lyrics, and the remaining four rehearsing in another. In one instance Gabriel was unable to meet a scheduled deadline to have the lyrics finished, leaving Rutherford and Banks to write words for "The Light Dies Down on Broadway". At other times, Banks and Hackett suggested lyrics they thought would fit their songs better, "The Lamia" and "Here Comes the Supernatural Anaesthetist" respectively, which Gabriel rebuffed.
Further disagreements arose during the writing period when Gabriel accepted an invitation from film producer William Friedkin to write a screenplay; Friedkin had taken a liking to the surreal story by Gabriel that had been printed on the sleeve of Genesis Live (1973). Collins then pitched the idea of having the new studio album be purely instrumental, thinking it would favour the other members as Gabriel had made some of their earlier songs too lyrically dense, but the idea was rejected by the rest of the group. However, Gabriel's offer from Friedkin soon came to nothing and he resumed working on the album. Matters were complicated further when Gabriel spent additional time away in London when his first wife Jill underwent a risky and difficult birth of their first child in July 1974, leaving Gabriel often travelling back and forth. Rutherford later admitted that he and Banks were "horribly unsupportive" of Gabriel during this time,and Gabriel saw this as the beginning of his eventual departure from Genesis
The New York Dolls are an American glam punk band formed in New York City, United States in 1971. In 2004 the band reformed with three of their original members, two of whom, David Johansen and Sylvain Sylvain, continue on today and released a new album in 2006. The original bassist, Arthur Kane died shortly after their first reunion concert.
The band's protopunk sound prefigured much of what was to come in the punk rock era; their visual style influenced the look of many new wave and 1980s-era glam metal groups, and they began the local New York scene that later spawned the Ramones, Blondie, Television, and Talking Heads.
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called “the Pox” in 1968. After the frontman quit, Murcia and Sylvain started a clothing business across the street from a doll repair shop called the New York Doll Hospital. Sylvain claimed inspired them to come up with the name for their future band. In 1970 they formed a band again and they recruited Thunders to join on bass though Sylvain ended up teaching him to play guitar, they called themselves the ‘Dolls’. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rivets who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band known as Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided he no longer wanted to be the front man, Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel.
The band was influenced by vintage rhythm and blues, the early Rolling Stones, classic American girl group songs, and anarchic post-psychedelic bands such as the MC5 and the Stooges, as well as then-current glam rockers such as Marc Bolan. They did it their own way, creating something which critic Stephen Thomas Erlewine wrote "doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge.". Despite their impeccable rock/punk/glam credentials, the band`s sound was also formed by blues and soul influences, as evidenced by Johansen`s bluesy harmonica and their choice of cover versions - their version of Bo Diddley`s `Pills` appears on `New York Dolls` and The Drells `There`s Gonna Be a Showdown` and Sonny Boy Williamson`s `Don`t start Me Talking` are among the four cover versions on `Too Much Too Soon`. Their previously unreleased covers of Otis Redding`s `Don`t Mess With Cupid` and Muddy Water`s `Hoochie Coochie Man` later surfaced on `Lipstick Killers` and `I`m a Human Being` respectively. The black music influence was particularly important for Johansen, whose subsequent career included work with jazz man Big Jay McNeely and blues man Hubert Sumlin.
As a frontman, Johansen's aggression, wit and energy made up for what was a slightly one-dimensional singing voice, while Thunders's lead playing was compared to the slashing of a knife-fight. Their repertoire was mostly written by Johansen (he used the name David Jo Hansen at the time) and Thunders and occasionally by Johansen and Sylvain. The songs were a series of vignettes about life in the New York underground. After getting a manager and attracting some music industry interest, the band got a break when Rod Stewart invited them to open for him at a London (then glam rock's capital city) concert. Shortly thereafter, Murcia died of accidental suffocation at age 21 after he passed out from drugs and alcohol.
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who would go on to play with Richard Hell and Ramones under the stage name "Marky Ramone") and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. New York Dolls was produced by former Nazz guitarist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording, everybody was debating how to do the mix. sales were sluggish, especially in the glam-resistant middle US, and Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers.
The Dolls still polarised America's mass rock audience (a Creem magazine poll landed them wins as the best and the worst new group of 1973), but at the 'large capacity club' level, they toured the US to some satisfaction. The Dolls also toured Europe, and whilst appearing on UK TV, host Bob Harris of the BBC's Old Grey Whistle Test famously derided the group as "mock rock", comparing them unfavourably with the Rolling Stones in the same way The Monkees had been with the Beatles, as their unoriginal, upstart clones. Though Harris and much of the 'old guard' of rock journalists and critics were unimpressed, young rock fans throughout the UK disagreed, and the New York Dolls' straightforward music and outrageous attitude were later cited as key influences on punk rock.
For their next album the quintet opted for producer George (Shadow) Morton, whose productions for the Shangri-Las and other girl groups in the mid-1960s had been among the band's favorites, for 1974's Too Much Too Soon. Mercury dropped the Dolls not long after the second album. In 1975, foundering in drug abuse and interpersonal spats as the opportunities dried up, the band briefly recruited Malcolm McLaren as their new manager. The kind of provocative stunts McLaren later made work for the Sex Pistols blew up in the Dolls' faces. Dressing the band in red leather for performances with a Soviet flag backdrop was no substitute for the original sex-drugs outrage of glam rock.
Break-up
Thunders and Nolan left in 1975 while on tour in Florida. They formed The Heartbreakers with bassist Richard Hell who had left Television the same week. After a few shows they added guitarist Walter Lure and few month later replaced Hell with Billy Rath. They participated in the “Anarchy Tour” with the Sex Pistols, The Clash and The Damned in Britain in 1976, while the other Dolls recruited replacements (including Blackie Lawless a childhood friend of Kane's who replaced Thunders for the remainder of the Florida tour) and continued until 1977. The Heartbreakers recorded one British-only studio album and a few odds-and-ends live sets (including a memorable set from a Max's Kansas City show) before splintering into an on-and-off concern.
Thunders continued to tour and record throughout the 1980s, releasing one solo album (So Alone on which Sex Pistols Steve Jones and Paul Cook played) and several sets of covers and a few originals. He died in New Orleans in 1991, of an alleged heroin and methadone overdose, although there are signs that he may have been murdered over a drug-related dispute, and that the police didn't properly investigate what appeared to just be the death of another junkie. It has also come to light that he suffered from leukemia. Nolan died a few months later in 1992, following a stroke, brought about by bacterial meningitis.
Johansen started a solo career after the Dolls broke up, and Sylvain was a member of his band for much of this time. Several Johansen-Sylvain songs never made it to vinyl until Johansen's solo albums: e.g., "Funky But Chic", "Girls", and "Frenchette". His fourth solo album, a concert set called Live it Up, contained a medley of The Animals' "We Gotta Get Out of This Place," "Don't Bring Me Down," and "It's My Life."
Johansen had his greatest commercial success portraying the fictional lounge lizard/singer Buster Poindexter, who mixed comedy with a kitschy hybrid of soul and tropical pop. Under Buster Poindexter's name, Johansen finally made a chart-topping single: one of the 1980s' biggest dance hits, "Hot Hot Hot." He also hosted a variety show on VH1 as Poindexter, then moved on to folk and blues with David Johansen and the Harry Smiths through the '90s. A posthumous New York Dolls album (made up of early demo tapes of the Murcia-Sylvain line-up) was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006.
Syl Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a cab driver in New York, which he later described as the worst job on earth. In the early 1990s he moved to Los Angeles and recorded one album called "Sleep Baby Doll", on Fishhead Records. His bandmates on that record were: Brian Keats on drums (Dave Vanian's Phantom Chords), Speediejohn Carlucci on bass (ex- Fuzztones), & Olivier Le Baron on lead guitar. Guest appearances by Frankie Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as "New York's Au Go Go".
Influence
The band influenced a whole era of musicians and bands such as Kiss, Hanoi Rocks, Blondie, The Clash, Ramones, Dead Boys, Mötley Crüe, Guns N' Roses, The Damned, The Smiths, and Japan. They were also a large influence on various members of the Sex Pistols, especially guitarist Steve Jones, who later said that on looking back at his movement on stage, felt embarrassed at how much he copied Johnny Thunders' style. The Pistols' manager, Malcolm McLaren, briefly managed the Dolls towards the end of their career.
They were also a major influence on the rock music scene in New York City, having accumulated a devoted cult following during their career. By the time the New York Dolls had disbanded, Ira Robbins writes that they "singlehandedly began the local New York scene that later spawned the Ramones, Blondie, Television, Talking Heads and others. A classic case of the whole being greater than the sum of its parts, the Dolls were much more than just a band. Their devoted original audience became the petri dish of a scene; they emulated their heroes and formed groups in their image."
It should be noted that their influence was not confined to the legions of soundalikes - Morrisey of The Smiths and REMs Michael Stipe and Peter Buck are noted for their Dolls enthusiasms, Stipe being one of the guests on the re-union CD and Morrissey (as `Steven Morrissey` having written a book about them in his pre-Smiths days.
Reunion
UK singer-songwriter Morrissey organized a reunion of the three surviving band members (Johansen, Sylvain, and Kane) for the Meltdown Festival in 2004. Morrissey is a long-time fan of the band; in the 1970s, he headed their fan club in the UK. The reunion led to a live LP and DVD on Morrissey's Attack label, and a film, New York Doll, showing Kane's point of view of the genesis of the reunion contrasted against the backdrop of his conversion to The Church of Jesus Christ of Latter-day Saints. However, future plans were affected when the news came of Arthur Kane's unexpected death on July 13, 2004 from leukemia. During 2004 they played several festivals in the UK, and just like the old days, they were as notable for their extravagant behavior as their raucous performances.
In July 2005, the two surviving members announced a tour and a new album, titled One Day It Will Please Us to Remember Even This. Released on July 25, 2006 the album features guitarist Steve Conte, bassist Sami Yaffa (formerly of Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert before some 9,000 fans at New York's Seaport Music], on a bill with the Brooklyn-based indie band Tralala.
In October 2006 the band embarked on a UK tour, with Sylvain Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before', we turn that around 'cos we've got such a great live, rock n'roll show".[3]
In November 2006 the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show", about 20 live gigs with numerous other bands. These shows have been very well-received and well-attended as well. The band plays a mix of their newest album as well as older favorites. In April 2007, the band played in Australia, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix. On September 22, 2007, New York Dolls was removed from the current artists section of Roadrunner Records' website, signifying the groups split with the label. The band are scheduled to play the O2 Wireless Festival in Hyde Park, London on July 4, 2008 with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008.
Lounge On The Farm - Kent’s bestest festival, ‘Lounge On The Farm’ returns for it’s third outing on the weekend of 11-13th July 2008, even bigger and bolder than ever before, and with an increased capacity. 2007’s event established LOTF as a heavyweight festival with a uniquely local twist and 2008 is set to take the extravaganza to the next level. Set in the idyllic surrounds of Merton Farm in Canterbury, ‘Lounge On The Farm’s rustic charms will play host to 160 bands spread across 6 stages, from local heroes and cutting edge acts to renowned heavy hitters.
Ukraine UA (Instagram) Andriy Hlyvniuk, a frontman of the Ukrainian band @boomboxfamily, joined the Territorial Defense unit in Kyiv. He got ingured in the face from the mortar shelling. If there were no war in Ukraine, he would definitely gather a full stadium or concert hall. Like many other artists and stars who turned into soldiers to defend our land via t.me/UkraineArmyForce/35159 #russia #russian #army #military #ukraine #ukrainian #war #worldwar #ww3 #ww #ucraina #russland #russia #militare #guerra #krieg #війни #война #guerre #ukraine #украина #ucrania #україна #Rusia #Росія #Россия #Russie #ukrainearmy
at the 112th Versailles Pumpkin Show! versaillespumpkinshow.com/
www.facebook.com/thenewbalanceband
please also view → flic.kr/p/peWsr6 → loathing the lighting (4)...
The Amazing Race frontman Phil Keoghan, a loyal Cantabrian, was feeling the pain of Christchurch yesterday as he walked its streets.
He is in the city to film a personal reaction to the quake which will screen tomorrow on the prime time news bulletins of US network CBS, the channel which screens his hit show The Amazing Race.
"You are never going to take the fight out of a Cantabrian – but people here are really scared. This is brutal."
No, not the band with frontman Phil Collins. I'm talking Genesis. Like, out of the Bible. Creation. Raw, unbridled, unfiltered creation.
We saw lava. Of course, it wasn't really a front seat -- more like deep mezzanine -- but hey, lava's lava.
We hiked out over Kalapana, a town that was eaten by lava not that many years ago -- we walked 10-15 minutes with a number of other lava-seeking pilgrims over some mildly treacherous terrain (made moreso by our nocturnal jaunt back).
At the end we could all witness a great gusting plume of steam rising from the ocean where the lava tumbled off a cliff and into the sea. No lava could actually be discerned, though -- just the steam, just the great geyser of white.
Ahh, but then, the sun sets. Night falls.
At which point, the plume takes on a pregnant orange glow as the illumination of the vomiting fire refuses to be denied. Still no actual lava, tho.
Except! Then!
Lava!
Just a spatter of it -- luckily, a spatter I caught on camera during its two seconds of existence.
Yeah, yeah, the picture sucks, I know. It's eaten by noise. It was dark, whaddya gonna do? I had no tripod. Just me and my shaky hands and wobbly knees.
Still, it gives an idea, doesn't it?
It looks and feels a bit like the Apocalypse, but it's really more like Genesis. Of course, the Big Island is also handy evidence disproving that particular book of the Bible, really. I mean, "God created the world in seven days," ehhh, no. The world's still baking, folks. New ground is being made every day here on the Big Island. The making process never stopped -- seven days is just a blink of time's unyielding eye.
...
Anyway. Tomorrow, we leave Volcano and head back to the dry side of the island.
I had poke (pronounced poh-kay) tonight.
I met a very old man who was a very good photographer and knew Photoshop. He gave me tips.
I saw a mongoose.
I sang a song about "Baby Diapermeat."
Hawaii is awesome.
More later.
Playing host to the rescheduled Foo Fighters concert at Wembley (that was cancelled after frontman Dave Grohl broke his leg falling off stage at a show in Gothenburg, Sweden), the National Bowl in Milton Keynes came alive on Sunday, September 6, 2015 with the sound of 65,000 screaming fans. Following sets from rock duo Royal Blood and the eclectic propo-punk icon Iggy Pop, the Foos knew they had to deliver. From the moment the curtain sucked into a black hole vortex to the end of the show, it was obvious it was going to be one hell of a night to remember. Debra, Karl and I had arrived relatively early for the show and, being among the first to enter the MK Bowl, were offered "Inner Pit" passes. Issued on a first-come-first-serve basis, these gave fenced-off access to the stage and were an excellent surprise. We had a great view of the day's action and I was well positioned for photographs. "All My Life" opened the two and a half hour set, with Grohl spending the entire show seated on a most gloriously over-the-top throne, designed by Grohl himself and adorned by guitar necks. It transported the front-man up and down the runway, and was in itself a crowd pleaser! I have wanted to see the Foo Fighters for about two decades - and desperate to do so since "Wasting Light"- and they did not disappoint. A shredding version of "White Limo" alone justified the ticket price, and the rest was a wonderful (and sometimes nostalgic) tour through their back-catalogue. All in all, it was a triumphant, heart-warming singalong set that showed why, for so many, the Foo Fighters have been the soundtrack to the last two decades. Here's the Foo Fighters' set list for the Milton Keynes "Broken Leg" concert.
If I was desperate to see the Foo Fighters, I was absolutely aching to see 69 year old rock legend, Iggy Pop. I narrowly missed one of his gigs in Amsterdam at the end of 1978 and, after this initial disappointment, Iggy stayed on my Bucket List through the late-80's in London, the 90's in Prague and the naughties in the UK. When he was in town, I was always travelling, had other commitments or just had bad luck (i.e. the cancellation of the Foo's concert at Wembley in June where Iggy was on the supporting bill). Well, I finally got to see James Newell Osterberg, Jr. in full, topless, action in Milton Keynes on a fine evening in September 2015! Iggy brought his old school punk snarl to the party, prompting mass singalongs to classic tunes, some of which he penned with his old mate David Bowie in Berlin in the 70's. If I'm still as active as Iggy when I'm almost 70, I'll be more than happy! He made fine use of the runway before him, skipping, kicking, twisting and turning as only Iggy can. He took a breather every now and then, but Iggy still has more energy than any new breed act you care to mention. Fucking hell - he's the man that wrote "Lust for Life"! The snot-noses in the audience didn't know what hit them :-) FYI, here's the Iggy Pop's set list for the night.
A wonderful, sunny day and balmy evening with my family, and a fine way to celebrate the 32nd anniversary of my first date with my future-wife on September 7, 1983.
Most of the people on stage are the male voice choir (38 of them) who did an amazing job backing/supporting Elbow at Meltdown 2008 - Royal Festival Hall, Southbank Centre on 16th June 2008.
Elbow's lead singer Guy Garvey collectively called them Geoff!
See You Tube video - www.youtube.com/watch?v=kaNM2BTlj9w
Elbow are an English band from Manchester, who have been active from the late 1990s.
Acclaimed for their innovative sound and frontman Guy Garvey's candid, evocative lyrics, Elbow has received vast critical acclaim and been endorsed by major artists Blur, R.E.M. and U2. The Velvet Underground's co-founder John Cale selected Elbow's "Switching Off" as one of his eight chosen records on the BBC's "Desert Island Discs" radio programme. Commercial success, however, has yet to match Elbow's critical acclaim and status among fans.
Lead singer Guy Garvey met guitarist Mark Potter at a Sixth Form College in 1990 at the age of 16. Potter asked Garvey to sing in a band he was in with drummer Richard Jupp and bassist Pete Turner. Together, the four men formed the band Mr Soft. (The name was later changed to Soft.) Mark Potter's brother Craig Potter joined the band soon after on keyboards. By 1997, they had changed their name a third time to Elbow, signed a deal with Island Records, and recorded their debut album with producer Steve Osborne. However, when Island was bought out by major label Universal, the band was dropped in a mass cull and the album never released.
They continued to record on the iconic independent label Uglyman, and released The Noisebox EP, The Newborn EP, and The Any Day Now EP, which were given extensive airplay by BBC Radio 1 .
Their debut album, Asleep in the Back, released on V2 in 2001, was hailed as a seminal album of the new millennium, gaining them a Mercury Music Prize nomination and a BRIT Award nomination. Their second album, Cast of Thousands - a reference to their performance at Glastonbury in 2002, when they recorded thousands of people singing, "We still believe in love, so fuck you" - sealed their reputation as innovators in UK music when released in 2003.
In 2004, Elbow went on an unofficial tour of Cuba, becoming the first British band ever to play a concert outside Havana. The tour was made into a short film by British documentary maker Irshad Ashraf. In the same year, their song Fallen Angel appeared in the film 9 Songs, notable as being regarded as the most sexually explicit film ever to be awarded an 18 Certificate by the British Board of Film Classification.
Elbow's innovation in the studio has invited work with other bands, notably Editors and I Am Kloot, the latter whose debut album was produced by Guy Garvey. Their third album, Leaders of the Free World, was entirely self-produced at Blueprint Studios in Salford, a space the band hired for the duration of their recording sessions. They teamed up with video artists The Soup Collective to produce an integrated music and video DVD. However, despite furthur critical acclaim, the album faltered commercially, and soon the band were dropped from V2 in 2006. They have since signed to Fiction Records.
The band contributed the song "Snowball" to the 2005 War Child benefit album Help: a Day in the Life. In addition, an unreleased track titled "Beats For Two" was used in the closing titles of the 2004 film Inside I'm Dancing. Garvey also returned to I Am Kloot as co-producer for their single "Maybe I Should." He continues to work closely with Manchester indie label Skinny Dog.
Their album Leaders of the Free World has been mentioned a couple of times in the final two Inspector Rebus-novels.
The band completed their fourth studio album, The Seldom Seen Kid in late 2007. The band self-produced, mixed and recorded the album themselves without other outside help.
Their acoustic cover of Destiny's Child's "Independent Women", recorded exclusively for a BBC Radio 1 session, was turned into a popular web animation by Rathergood.com's Joel Veitch. The animation features a band of flat-capped kittens "performing" the song.
The band is named after a line in the BBC TV mini-series The Singing Detective which says that the word "elbow" is the most sensuous word in the English language, not for its definition, but for how it feels to say it.
Some personal reviews;
"If I never go to another gig again I could die happy after last night! From start to finish an amazing night, Fleet Foxes supported and were brilliant, very funny and very talented guys.
Then Elbow, Guy walked on wearing all black and a trilby (this is relevant for later), started with Station Approach and that set the tone for the rest of the show, the fact that the venue was seated mad no difference to the incredilble atmosphere. Guy waved to his family who were in the Roayl Box, then we had Bones of You, Leaders of The Free World (dedicated to George W), Grounds for Divorce, Mirrorball (with 3 mirrorballs sitting on the stage, creating a great effect), The Loneliness of a Tower Crane Driver and Great Expectations.
As Great Expectations finished, what sounded like a tape of Any Day Now started in the background, it was a choir of 35 blokes, dressed all in black wearing trilby's. They had all been recruited specifically for this show and had 2 days practice. Guy called them Geoff not sure which. Geoff stayed for the rest of the show.
Next was Starlings, with trumpeteers in 4 of the boxes at the side of the stage as well as the guys on the stage, and the mixing desk man. Followed by a song they had only played once live before, because "we are shit at it, and if Geoff wasn't here we wouldn't try it" Presuming Ed (Rest Easy). Some Riot was next and a storming version of Newborn which got a standing ovation. Geoff was still joining in with every song.
Then Grace Under Pressure, which Guy cocked up after Geof had started it off, the song finished with Geoff and Guy giving each other the finger Stops was the penultimate song, before the whole crowd stood up for One Day Like This, which blew the roof off the Festival Hall.
I didn't think I had the words to describe this gig, but I have waffled on now. Amazing."
"Can we have a whip round to get a coach to ferry Geoff (Jeff?) to Glastonbury?"
"Thats the first time i have seen them as a headliners.I took my friend along,him only knowing one song,he was in tears,he couldnt speak.the loneliness of a tower crane driver,the tears were running down my face .
geoff you were fantastic,such a special night,a special band.everyone rocking at the end."
"I went with my wife, the balcony was rocking!! She must have cried at least three times during the course of the gig.
The only time in my life i've being to a gig that has made me feel so emotional, i thought i was going to burst into tears."
"Thank you for Elbow for a night a lot of people will never forget"
"I feel so priviledged to have seen them play 'Presuming Ed'....well all of that evening, but especially that song as it was a one off.
Craig walked off the stage part way through Newborn, and even though Guy had said to us all you don't need to scuttle off to the toilet discreetly(as it was a seated gig, and more obvious when people went in or out) just go for it, I thought surely Craig wasn't that desperate to go in the middle of Newborn? but he soon emerged high up in the wall above Guy to be seated with his back to us on a massive organ to finish the last part of the song...amazing!
One day like this ended with all the Geoffs coming to the middle of the stage and then they were tossing their trilby hats at the audience, and some general hat throwing went on through the rest of the song.
I have one of Geoffs hats with me now, and a set list.
Oh, and thanks Geoff for bringing something extra to Elbow's music last night."
"Last night's gig was fantastic. I haven't been to such an uplifting performance in ages. Great songs, great performances. The choir and the arrangements really did the Seldom Seen Kid tracks justice. What a way to start the week!"
"Would only be repeating what other people have said about previous gigs - they were simply awesome! But here's a few things that made last night's gig particularly special:
-The choir, "Geoff"
-The way the RFH was lit up during 'Mirrorball'
-Craig legging it up to and playing the RFH pipe organ during 'Newborn'
-The kids in the boxes playing brass on 'Starlings'
-'Grace Under Pressure'
-The whole venue on it's feet for 'One Day Like This' and the stage filled with people and voices."
Review from Musicomh.com
Elbow + Fleet Foxes @ Royal Festival Hall, London, 16 June 2008
We live in an unfair world. It's a world whose leaders permit, and sometimes perpetuate, famine, war, suffering and the return of Steps. A world in which a defining moment in the career of one of the greatest bands that Britain has produced in a generation can be overshadowed completely by a bunch of sappy MOR balladeers playing a free gig a couple of miles south.
Mancunians Elbow are that rarest of breeds - a British band that just keeps getting better with every passing year and album. Lead singer Guy Garvey's troupe just keep on delivering innovative, understated and jaw-droppingly beautiful records. So while all eyes in the industry were on Coldplay's Brixton Academy show, Elbow, in the fine company of current buzz band Fleet Foxes, were staging their own masterpiece at the far more salubrious Royal Festival Hall.
Plaudits have showered down upon openers Fleet Foxes like the rain that is certain to drench the Glastonbury crowds next week. Everywhere you look, music journalists are dusting off their 'Big Book of Arcade Fire Cliches' to herald the arrival of the new baroque pop messiahs.
Luckily, the band are the real deal, kicking off with a jaw-dropping acapella version of Sun It Rises, filling a venue that Brian Wilson has called his 'spiritual home' with a pitch-perfect Beach Boys homage. Much has been made of the band's folky elements, but they prove they can rock out with the best of them - Your Protector is as good a backwoods stomp as you'll find outside of a Kings of Leon record, while set highlight White Winter Hymnal begins as a nursery rhyme-simple chant before morphing into a soaring, Love-esque harmony that transports you to the snowbound mountains and forests Pecknold eulogises.
After a set of such precocious excellence, old hands Elbow need to pull something special out of the bag to avoid being foreshadowed by their support act. And, incredibly, they do, to quite comprehensively show the young pretenders who's boss. Despite the scruffy, shambling exterior, Elbow have always bought a certain amount of panache to their concerts and the group turn in a performance that is simply stunning in its emotional intensity.
The band, with Garvey nattily attired in a black suit and bowler hat, dispense with the noise early. The victorious chant of Station Approach bounces around the Festival Hall like a terrace chant, while the creepy Bones Of You sees him pugilistically rolling up his sleeves as if to take on the world. This he does a few seconds later, dedicating the caustic Leaders of the Free World to 'London's special guest' George Bush.
It's easy to forget how good a band Elbow really are. It seems they've always been with us - despite having only released four records - ploughing a lone miserable furrow while contemporaries like go supernova.
Halfway through, the band takes a step back to welcome onto the stage a thirty-strong male voice choir, all dressed identically to the frontman. As the never-ending stream of mini-Garveys troop on stage, they chant the unmistakable introduction to early single Anyday Now over and over, and the band slide into the song. It's a piece of pure theatre, bettered almost immediately during Starlings. After the lights drop, and the song's electronica opening thrums around the auditorium, Garvey, bassist Pete Turner and guitarist Mark Potter are picked out in spotlights as they play a single note trumpet fanfare directed to the venue's royal box. In the box are another group of trumpeters, playing the fanfare back to them. It's one of those moments of audience interaction that Elbow seem remarkably good at.
If the rest of the concert failed to live up to this moment, it is understandable. However, the quality never drops - Grace Under Pressure's 'We still believe in love, So fuck you' coda is beautiful in its simplicity, New Born sees keyboardist Craig Potter climbing up into the now-illuminated organ behind the stage like a long-haired phantom of the opera, drawing a standing ovation from every member of the audience.
During set closer One Day Like This the choir march to the front of the stage and hundreds of the crowd rush to meet them. As they finish, they place their hats on members of the audience's heads, as if they are anointing their disciples, and Guy Garvey thanks the fans for 'the gig of their lives'. It's hard to disagree with the sentiment.
- Rob Watson
Here's your chance to see The Killers' frontman Brandon Flowers in a solo concert at The Cosmopolitan of Las Vegas on December 15th! We're doing weekly ticket giveaways through December 15, 2010.
TO WIN THIS WEEK: Answer this week's question correctly and enter by sending ONE (1) email to CosmopolitanLV[at]gmail.com with:
SUBJECT LINE: “THE COSMOPOLITAN BRANDON FLOWERS CONCERT TICKET GIVEAWAY”
And in the body of the email include:
- Your real/legal first and last name, date of birth; AND
- The answer to this week's question
- For Twitter followers: Please include your twitter handle/username
- For Facebook "fans": Please provide your Facebook name if it's different from your real/legal name
THIS WEEK'S QUESTION/CHALLENGE: Two Truths and a Lie. Correctly identify which one of the following three statements is a "lie"/false:
1. Brandon Flowers was born in Nevada.
2. Brandon Flowers named his first solo album “Flamingo” after a casino & road in Las Vegas.
3. Hot Fuss was released on June 7, 2005.
===========================================================================
Each week, 20 winners will be selected at random from the entries that have ALL the required information stated above AND the correct answer. Entries will not be acknowledged or returned. The Cosmopolitan assumes no responsibility for lost, late or misdirected entries. Limit one entry per person for each Promotion Period. For full details, see OFFICIAL RULES.
PLEASE NOTE: By participating in this ticket giveaway promotion and providing an email address, entrants agree to and grant permission to The Cosmopolitan of Las Vegas to email company updates and announcements (you can unsubscribe at any time).
===========================================================================
This ticket giveaway is in no way sponsored, endorsed or administered by, or associated with Flickr, Facebook or Twitter.
The New York Dolls are an American glam punk band formed in New York City, United States in 1971. In 2004 the band reformed with three of their original members, two of whom, David Johansen and Sylvain Sylvain, continue on today and released a new album in 2006. The original bassist, Arthur Kane died shortly after their first reunion concert.
The band's protopunk sound prefigured much of what was to come in the punk rock era; their visual style influenced the look of many new wave and 1980s-era glam metal groups, and they began the local New York scene that later spawned the Ramones, Blondie, Television, and Talking Heads.
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called “the Pox” in 1968. After the frontman quit, Murcia and Sylvain started a clothing business across the street from a doll repair shop called the New York Doll Hospital. Sylvain claimed inspired them to come up with the name for their future band. In 1970 they formed a band again and they recruited Thunders to join on bass though Sylvain ended up teaching him to play guitar, they called themselves the ‘Dolls’. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rivets who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band known as Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided he no longer wanted to be the front man, Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel.
The band was influenced by vintage rhythm and blues, the early Rolling Stones, classic American girl group songs, and anarchic post-psychedelic bands such as the MC5 and the Stooges, as well as then-current glam rockers such as Marc Bolan. They did it their own way, creating something which critic Stephen Thomas Erlewine wrote "doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge.". Despite their impeccable rock/punk/glam credentials, the band`s sound was also formed by blues and soul influences, as evidenced by Johansen`s bluesy harmonica and their choice of cover versions - their version of Bo Diddley`s `Pills` appears on `New York Dolls` and The Drells `There`s Gonna Be a Showdown` and Sonny Boy Williamson`s `Don`t start Me Talking` are among the four cover versions on `Too Much Too Soon`. Their previously unreleased covers of Otis Redding`s `Don`t Mess With Cupid` and Muddy Water`s `Hoochie Coochie Man` later surfaced on `Lipstick Killers` and `I`m a Human Being` respectively. The black music influence was particularly important for Johansen, whose subsequent career included work with jazz man Big Jay McNeely and blues man Hubert Sumlin.
As a frontman, Johansen's aggression, wit and energy made up for what was a slightly one-dimensional singing voice, while Thunders's lead playing was compared to the slashing of a knife-fight. Their repertoire was mostly written by Johansen (he used the name David Jo Hansen at the time) and Thunders and occasionally by Johansen and Sylvain. The songs were a series of vignettes about life in the New York underground. After getting a manager and attracting some music industry interest, the band got a break when Rod Stewart invited them to open for him at a London (then glam rock's capital city) concert. Shortly thereafter, Murcia died of accidental suffocation at age 21 after he passed out from drugs and alcohol.
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who would go on to play with Richard Hell and Ramones under the stage name "Marky Ramone") and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. New York Dolls was produced by former Nazz guitarist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording, everybody was debating how to do the mix. sales were sluggish, especially in the glam-resistant middle US, and Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers.
The Dolls still polarised America's mass rock audience (a Creem magazine poll landed them wins as the best and the worst new group of 1973), but at the 'large capacity club' level, they toured the US to some satisfaction. The Dolls also toured Europe, and whilst appearing on UK TV, host Bob Harris of the BBC's Old Grey Whistle Test famously derided the group as "mock rock", comparing them unfavourably with the Rolling Stones in the same way The Monkees had been with the Beatles, as their unoriginal, upstart clones. Though Harris and much of the 'old guard' of rock journalists and critics were unimpressed, young rock fans throughout the UK disagreed, and the New York Dolls' straightforward music and outrageous attitude were later cited as key influences on punk rock.
For their next album the quintet opted for producer George (Shadow) Morton, whose productions for the Shangri-Las and other girl groups in the mid-1960s had been among the band's favorites, for 1974's Too Much Too Soon. Mercury dropped the Dolls not long after the second album. In 1975, foundering in drug abuse and interpersonal spats as the opportunities dried up, the band briefly recruited Malcolm McLaren as their new manager. The kind of provocative stunts McLaren later made work for the Sex Pistols blew up in the Dolls' faces. Dressing the band in red leather for performances with a Soviet flag backdrop was no substitute for the original sex-drugs outrage of glam rock.
Break-up
Thunders and Nolan left in 1975 while on tour in Florida. They formed The Heartbreakers with bassist Richard Hell who had left Television the same week. After a few shows they added guitarist Walter Lure and few month later replaced Hell with Billy Rath. They participated in the “Anarchy Tour” with the Sex Pistols, The Clash and The Damned in Britain in 1976, while the other Dolls recruited replacements (including Blackie Lawless a childhood friend of Kane's who replaced Thunders for the remainder of the Florida tour) and continued until 1977. The Heartbreakers recorded one British-only studio album and a few odds-and-ends live sets (including a memorable set from a Max's Kansas City show) before splintering into an on-and-off concern.
Thunders continued to tour and record throughout the 1980s, releasing one solo album (So Alone on which Sex Pistols Steve Jones and Paul Cook played) and several sets of covers and a few originals. He died in New Orleans in 1991, of an alleged heroin and methadone overdose, although there are signs that he may have been murdered over a drug-related dispute, and that the police didn't properly investigate what appeared to just be the death of another junkie. It has also come to light that he suffered from leukemia. Nolan died a few months later in 1992, following a stroke, brought about by bacterial meningitis.
Johansen started a solo career after the Dolls broke up, and Sylvain was a member of his band for much of this time. Several Johansen-Sylvain songs never made it to vinyl until Johansen's solo albums: e.g., "Funky But Chic", "Girls", and "Frenchette". His fourth solo album, a concert set called Live it Up, contained a medley of The Animals' "We Gotta Get Out of This Place," "Don't Bring Me Down," and "It's My Life."
Johansen had his greatest commercial success portraying the fictional lounge lizard/singer Buster Poindexter, who mixed comedy with a kitschy hybrid of soul and tropical pop. Under Buster Poindexter's name, Johansen finally made a chart-topping single: one of the 1980s' biggest dance hits, "Hot Hot Hot." He also hosted a variety show on VH1 as Poindexter, then moved on to folk and blues with David Johansen and the Harry Smiths through the '90s. A posthumous New York Dolls album (made up of early demo tapes of the Murcia-Sylvain line-up) was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006.
Syl Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a cab driver in New York, which he later described as the worst job on earth. In the early 1990s he moved to Los Angeles and recorded one album called "Sleep Baby Doll", on Fishhead Records. His bandmates on that record were: Brian Keats on drums (Dave Vanian's Phantom Chords), Speediejohn Carlucci on bass (ex- Fuzztones), & Olivier Le Baron on lead guitar. Guest appearances by Frankie Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as "New York's Au Go Go".
Influence
The band influenced a whole era of musicians and bands such as Kiss, Hanoi Rocks, Blondie, The Clash, Ramones, Dead Boys, Mötley Crüe, Guns N' Roses, The Damned, The Smiths, and Japan. They were also a large influence on various members of the Sex Pistols, especially guitarist Steve Jones, who later said that on looking back at his movement on stage, felt embarrassed at how much he copied Johnny Thunders' style. The Pistols' manager, Malcolm McLaren, briefly managed the Dolls towards the end of their career.
They were also a major influence on the rock music scene in New York City, having accumulated a devoted cult following during their career. By the time the New York Dolls had disbanded, Ira Robbins writes that they "singlehandedly began the local New York scene that later spawned the Ramones, Blondie, Television, Talking Heads and others. A classic case of the whole being greater than the sum of its parts, the Dolls were much more than just a band. Their devoted original audience became the petri dish of a scene; they emulated their heroes and formed groups in their image."
It should be noted that their influence was not confined to the legions of soundalikes - Morrisey of The Smiths and REMs Michael Stipe and Peter Buck are noted for their Dolls enthusiasms, Stipe being one of the guests on the re-union CD and Morrissey (as `Steven Morrissey` having written a book about them in his pre-Smiths days.
Reunion
UK singer-songwriter Morrissey organized a reunion of the three surviving band members (Johansen, Sylvain, and Kane) for the Meltdown Festival in 2004. Morrissey is a long-time fan of the band; in the 1970s, he headed their fan club in the UK. The reunion led to a live LP and DVD on Morrissey's Attack label, and a film, New York Doll, showing Kane's point of view of the genesis of the reunion contrasted against the backdrop of his conversion to The Church of Jesus Christ of Latter-day Saints. However, future plans were affected when the news came of Arthur Kane's unexpected death on July 13, 2004 from leukemia. During 2004 they played several festivals in the UK, and just like the old days, they were as notable for their extravagant behavior as their raucous performances.
In July 2005, the two surviving members announced a tour and a new album, titled One Day It Will Please Us to Remember Even This. Released on July 25, 2006 the album features guitarist Steve Conte, bassist Sami Yaffa (formerly of Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert before some 9,000 fans at New York's Seaport Music], on a bill with the Brooklyn-based indie band Tralala.
In October 2006 the band embarked on a UK tour, with Sylvain Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before', we turn that around 'cos we've got such a great live, rock n'roll show".[3]
In November 2006 the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show", about 20 live gigs with numerous other bands. These shows have been very well-received and well-attended as well. The band plays a mix of their newest album as well as older favorites. In April 2007, the band played in Australia, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix. On September 22, 2007, New York Dolls was removed from the current artists section of Roadrunner Records' website, signifying the groups split with the label. The band are scheduled to play the O2 Wireless Festival in Hyde Park, London on July 4, 2008 with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008.
Lounge On The Farm - Kent’s bestest festival, ‘Lounge On The Farm’ returns for it’s third outing on the weekend of 11-13th July 2008, even bigger and bolder than ever before, and with an increased capacity. 2007’s event established LOTF as a heavyweight festival with a uniquely local twist and 2008 is set to take the extravaganza to the next level. Set in the idyllic surrounds of Merton Farm in Canterbury, ‘Lounge On The Farm’s rustic charms will play host to 160 bands spread across 6 stages, from local heroes and cutting edge acts to renowned heavy hitters.
Knocked Loose - Bryan Garris
On the Main 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
Playing host to the rescheduled Foo Fighters concert at Wembley (that was cancelled after frontman Dave Grohl broke his leg falling off stage at a show in Gothenburg, Sweden), the National Bowl in Milton Keynes came alive on Sunday, September 6, 2015 with the sound of 65,000 screaming fans. Following sets from rock duo Royal Blood and the eclectic propo-punk icon Iggy Pop, the Foos knew they had to deliver. From the moment the curtain sucked into a black hole vortex to the end of the show, it was obvious it was going to be one hell of a night to remember. Debra, Karl and I had arrived relatively early for the show and, being among the first to enter the MK Bowl, were offered "Inner Pit" passes. Issued on a first-come-first-serve basis, these gave fenced-off access to the stage and were an excellent surprise. We had a great view of the day's action and I was well positioned for photographs. "All My Life" opened the two and a half hour set, with Grohl spending the entire show seated on a most gloriously over-the-top throne, designed by Grohl himself and adorned by guitar necks. It transported the front-man up and down the runway, and was in itself a crowd pleaser! I have wanted to see the Foo Fighters for about two decades - and desperate to do so since "Wasting Light"- and they did not disappoint. A shredding version of "White Limo" alone justified the ticket price, and the rest was a wonderful (and sometimes nostalgic) tour through their back-catalogue. All in all, it was a triumphant, heart-warming singalong set that showed why, for so many, the Foo Fighters have been the soundtrack to the last two decades. Here's the Foo Fighters' set list for the Milton Keynes "Broken Leg" concert.
If I was desperate to see the Foo Fighters, I was absolutely aching to see 69 year old rock legend, Iggy Pop. I narrowly missed one of his gigs in Amsterdam at the end of 1978 and, after this initial disappointment, Iggy stayed on my Bucket List through the late-80's in London, the 90's in Prague and the naughties in the UK. When he was in town, I was always travelling, had other commitments or just had bad luck (i.e. the cancellation of the Foo's concert at Wembley in June where Iggy was on the supporting bill). Well, I finally got to see James Newell Osterberg, Jr. in full, topless, action in Milton Keynes on a fine evening in September 2015! Iggy brought his old school punk snarl to the party, prompting mass singalongs to classic tunes, some of which he penned with his old mate David Bowie in Berlin in the 70's. If I'm still as active as Iggy when I'm almost 70, I'll be more than happy! He made fine use of the runway before him, skipping, kicking, twisting and turning as only Iggy can. He took a breather every now and then, but Iggy still has more energy than any new breed act you care to mention. Fucking hell - he's the man that wrote "Lust for Life"! The snot-noses in the audience didn't know what hit them :-) FYI, here's the Iggy Pop's set list for the night.
A wonderful, sunny day and balmy evening with my family, and a fine way to celebrate the 32nd anniversary of my first date with my future-wife on September 7, 1983.
Elbow are an English band from Manchester, who have been active from the late 1990s.
See You Tube video - www.youtube.com/watch?v=kaNM2BTlj9w
Acclaimed for their innovative sound and frontman Guy Garvey's candid, evocative lyrics, Elbow has received vast critical acclaim and been endorsed by major artists Blur, R.E.M. and U2. The Velvet Underground's co-founder John Cale selected Elbow's "Switching Off" as one of his eight chosen records on the BBC's "Desert Island Discs" radio programme. Commercial success, however, has yet to match Elbow's critical acclaim and status among fans.
Lead singer Guy Garvey met guitarist Mark Potter at a Sixth Form College in 1990 at the age of 16. Potter asked Garvey to sing in a band he was in with drummer Richard Jupp and bassist Pete Turner. Together, the four men formed the band Mr Soft. (The name was later changed to Soft.) Mark Potter's brother Craig Potter joined the band soon after on keyboards. By 1997, they had changed their name a third time to Elbow, signed a deal with Island Records, and recorded their debut album with producer Steve Osborne. However, when Island was bought out by major label Universal, the band was dropped in a mass cull and the album never released.
They continued to record on the iconic independent label Uglyman, and released The Noisebox EP, The Newborn EP, and The Any Day Now EP, which were given extensive airplay by BBC Radio 1 .
Their debut album, Asleep in the Back, released on V2 in 2001, was hailed as a seminal album of the new millennium, gaining them a Mercury Music Prize nomination and a BRIT Award nomination. Their second album, Cast of Thousands - a reference to their performance at Glastonbury in 2002, when they recorded thousands of people singing, "We still believe in love, so fuck you" - sealed their reputation as innovators in UK music when released in 2003.
In 2004, Elbow went on an unofficial tour of Cuba, becoming the first British band ever to play a concert outside Havana. The tour was made into a short film by British documentary maker Irshad Ashraf. In the same year, their song Fallen Angel appeared in the film 9 Songs, notable as being regarded as the most sexually explicit film ever to be awarded an 18 Certificate by the British Board of Film Classification.
Elbow's innovation in the studio has invited work with other bands, notably Editors and I Am Kloot, the latter whose debut album was produced by Guy Garvey. Their third album, Leaders of the Free World, was entirely self-produced at Blueprint Studios in Salford, a space the band hired for the duration of their recording sessions. They teamed up with video artists The Soup Collective to produce an integrated music and video DVD. However, despite furthur critical acclaim, the album faltered commercially, and soon the band were dropped from V2 in 2006. They have since signed to Fiction Records.
The band contributed the song "Snowball" to the 2005 War Child benefit album Help: a Day in the Life. In addition, an unreleased track titled "Beats For Two" was used in the closing titles of the 2004 film Inside I'm Dancing. Garvey also returned to I Am Kloot as co-producer for their single "Maybe I Should." He continues to work closely with Manchester indie label Skinny Dog.
Their album Leaders of the Free World has been mentioned a couple of times in the final two Inspector Rebus-novels.
The band completed their fourth studio album, The Seldom Seen Kid in late 2007. The band self-produced, mixed and recorded the album themselves without other outside help.
Their acoustic cover of Destiny's Child's "Independent Women", recorded exclusively for a BBC Radio 1 session, was turned into a popular web animation by Rathergood.com's Joel Veitch. The animation features a band of flat-capped kittens "performing" the song.
The band is named after a line in the BBC TV mini-series The Singing Detective which says that the word "elbow" is the most sensuous word in the English language, not for its definition, but for how it feels to say it.
Some personal reviews;
"If I never go to another gig again I could die happy after last night! From start to finish an amazing night, Fleet Foxes supported and were brilliant, very funny and very talented guys.
Then Elbow, Guy walked on wearing all black and a trilby (this is relevant for later), started with Station Approach and that set the tone for the rest of the show, the fact that the venue was seated mad no difference to the incredilble atmosphere. Guy waved to his family who were in the Roayl Box, then we had Bones of You, Leaders of The Free World (dedicated to George W), Grounds for Divorce, Mirrorball (with 3 mirrorballs sitting on the stage, creating a great effect), The Loneliness of a Tower Crane Driver and Great Expectations.
As Great Expectations finished, what sounded like a tape of Any Day Now started in the background, it was a choir of 35 blokes, dressed all in black wearing trilby's. They had all been recruited specifically for this show and had 2 days practice. Guy called them Geoff not sure which. Geoff stayed for the rest of the show.
Next was Starlings, with trumpeteers in 4 of the boxes at the side of the stage as well as the guys on the stage, and the mixing desk man. Followed by a song they had only played once live before, because "we are shit at it, and if Geoff wasn't here we wouldn't try it" Presuming Ed (Rest Easy). Some Riot was next and a storming version of Newborn which got a standing ovation. Geoff was still joining in with every song.
Then Grace Under Pressure, which Guy cocked up after Geof had started it off, the song finished with Geoff and Guy giving each other the finger Stops was the penultimate song, before the whole crowd stood up for One Day Like This, which blew the roof off the Festival Hall.
I didn't think I had the words to describe this gig, but I have waffled on now. Amazing."
"Can we have a whip round to get a coach to ferry Geoff (Jeff?) to Glastonbury?"
"Thats the first time i have seen them as a headliners.I took my friend along,him only knowing one song,he was in tears,he couldnt speak.the loneliness of a tower crane driver,the tears were running down my face .
geoff you were fantastic,such a special night,a special band.everyone rocking at the end."
"I went with my wife, the balcony was rocking!! She must have cried at least three times during the course of the gig.
The only time in my life i've being to a gig that has made me feel so emotional, i thought i was going to burst into tears."
"Thank you for Elbow for a night a lot of people will never forget"
"I feel so priviledged to have seen them play 'Presuming Ed'....well all of that evening, but especially that song as it was a one off.
Craig walked off the stage part way through Newborn, and even though Guy had said to us all you don't need to scuttle off to the toilet discreetly(as it was a seated gig, and more obvious when people went in or out) just go for it, I thought surely Craig wasn't that desperate to go in the middle of Newborn? but he soon emerged high up in the wall above Guy to be seated with his back to us on a massive organ to finish the last part of the song...amazing!
One day like this ended with all the Geoffs coming to the middle of the stage and then they were tossing their trilby hats at the audience, and some general hat throwing went on through the rest of the song.
I have one of Geoffs hats with me now, and a set list.
Oh, and thanks Geoff for bringing something extra to Elbow's music last night."
"Last night's gig was fantastic. I haven't been to such an uplifting performance in ages. Great songs, great performances. The choir and the arrangements really did the Seldom Seen Kid tracks justice. What a way to start the week!"
"Would only be repeating what other people have said about previous gigs - they were simply awesome! But here's a few things that made last night's gig particularly special:
-The choir, "Geoff"
-The way the RFH was lit up during 'Mirrorball'
-Craig legging it up to and playing the RFH pipe organ during 'Newborn'
-The kids in the boxes playing brass on 'Starlings'
-'Grace Under Pressure'
-The whole venue on it's feet for 'One Day Like This' and the stage filled with people and voices."
Review from Musicomh.com
Elbow + Fleet Foxes @ Royal Festival Hall, London, 16 June 2008
We live in an unfair world. It's a world whose leaders permit, and sometimes perpetuate, famine, war, suffering and the return of Steps. A world in which a defining moment in the career of one of the greatest bands that Britain has produced in a generation can be overshadowed completely by a bunch of sappy MOR balladeers playing a free gig a couple of miles south.
Mancunians Elbow are that rarest of breeds - a British band that just keeps getting better with every passing year and album. Lead singer Guy Garvey's troupe just keep on delivering innovative, understated and jaw-droppingly beautiful records. So while all eyes in the industry were on Coldplay's Brixton Academy show, Elbow, in the fine company of current buzz band Fleet Foxes, were staging their own masterpiece at the far more salubrious Royal Festival Hall.
Plaudits have showered down upon openers Fleet Foxes like the rain that is certain to drench the Glastonbury crowds next week. Everywhere you look, music journalists are dusting off their 'Big Book of Arcade Fire Cliches' to herald the arrival of the new baroque pop messiahs.
Luckily, the band are the real deal, kicking off with a jaw-dropping acapella version of Sun It Rises, filling a venue that Brian Wilson has called his 'spiritual home' with a pitch-perfect Beach Boys homage. Much has been made of the band's folky elements, but they prove they can rock out with the best of them - Your Protector is as good a backwoods stomp as you'll find outside of a Kings of Leon record, while set highlight White Winter Hymnal begins as a nursery rhyme-simple chant before morphing into a soaring, Love-esque harmony that transports you to the snowbound mountains and forests Pecknold eulogises.
After a set of such precocious excellence, old hands Elbow need to pull something special out of the bag to avoid being foreshadowed by their support act. And, incredibly, they do, to quite comprehensively show the young pretenders who's boss. Despite the scruffy, shambling exterior, Elbow have always bought a certain amount of panache to their concerts and the group turn in a performance that is simply stunning in its emotional intensity.
The band, with Garvey nattily attired in a black suit and bowler hat, dispense with the noise early. The victorious chant of Station Approach bounces around the Festival Hall like a terrace chant, while the creepy Bones Of You sees him pugilistically rolling up his sleeves as if to take on the world. This he does a few seconds later, dedicating the caustic Leaders of the Free World to 'London's special guest' George Bush.
It's easy to forget how good a band Elbow really are. It seems they've always been with us - despite having only released four records - ploughing a lone miserable furrow while contemporaries like go supernova.
Halfway through, the band takes a step back to welcome onto the stage a thirty-strong male voice choir, all dressed identically to the frontman. As the never-ending stream of mini-Garveys troop on stage, they chant the unmistakable introduction to early single Anyday Now over and over, and the band slide into the song. It's a piece of pure theatre, bettered almost immediately during Starlings. After the lights drop, and the song's electronica opening thrums around the auditorium, Garvey, bassist Pete Turner and guitarist Mark Potter are picked out in spotlights as they play a single note trumpet fanfare directed to the venue's royal box. In the box are another group of trumpeters, playing the fanfare back to them. It's one of those moments of audience interaction that Elbow seem remarkably good at.
If the rest of the concert failed to live up to this moment, it is understandable. However, the quality never drops - Grace Under Pressure's 'We still believe in love, So fuck you' coda is beautiful in its simplicity, New Born sees keyboardist Craig Potter climbing up into the now-illuminated organ behind the stage like a long-haired phantom of the opera, drawing a standing ovation from every member of the audience.
During set closer One Day Like This the choir march to the front of the stage and hundreds of the crowd rush to meet them. As they finish, they place their hats on members of the audience's heads, as if they are anointing their disciples, and Guy Garvey thanks the fans for 'the gig of their lives'. It's hard to disagree with the sentiment.
- Rob Watson
Memorial services for iconic MOTÖRHEAD frontman Ian "Lemmy" Kilmister was held at the Rainbow Bar And Grill in West Hollywood, California 1-9-2016.
Lemmy, who celebrated his 70th birthday on Christmas Eve (December 24-2016), learned two days later, on December 26, that he was afflicted with an aggressive form of cancer. He died two days later, on December 28 at his home in Los Angeles.
MOTÖRHEADwas revered by both metal and punk fans, and Lemmy was considered an icon for his musical talent and his embodiment of the rock n’ roll lifestyle.
The Rainbow Bar And Grill on L.A.'s Sunset Strip was known as Lemmy's hangout, made it an obvious place for friends and family to say goodbye to the legend.
Read more at: www.blabbermouth.net/news/overhelming-response-to-lemmys-...
Ghost - Tobias Forge
A Pale Tour named Death
Le Zénith de Paris, Paris, France | 07/02/2019
Live report soon on MusicWaves
Philippe Bareille
The New York Dolls are an American glam punk band formed in New York City, United States in 1971. In 2004 the band reformed with three of their original members, two of whom, David Johansen and Sylvain Sylvain, continue on today and released a new album in 2006. The original bassist, Arthur Kane died shortly after their first reunion concert.
The band's protopunk sound prefigured much of what was to come in the punk rock era; their visual style influenced the look of many new wave and 1980s-era glam metal groups, and they began the local New York scene that later spawned the Ramones, Blondie, Television, and Talking Heads.
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called “the Pox” in 1968. After the frontman quit, Murcia and Sylvain started a clothing business across the street from a doll repair shop called the New York Doll Hospital. Sylvain claimed inspired them to come up with the name for their future band. In 1970 they formed a band again and they recruited Thunders to join on bass though Sylvain ended up teaching him to play guitar, they called themselves the ‘Dolls’. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rivets who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band known as Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided he no longer wanted to be the front man, Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel.
The band was influenced by vintage rhythm and blues, the early Rolling Stones, classic American girl group songs, and anarchic post-psychedelic bands such as the MC5 and the Stooges, as well as then-current glam rockers such as Marc Bolan. They did it their own way, creating something which critic Stephen Thomas Erlewine wrote "doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge.". Despite their impeccable rock/punk/glam credentials, the band`s sound was also formed by blues and soul influences, as evidenced by Johansen`s bluesy harmonica and their choice of cover versions - their version of Bo Diddley`s `Pills` appears on `New York Dolls` and The Drells `There`s Gonna Be a Showdown` and Sonny Boy Williamson`s `Don`t start Me Talking` are among the four cover versions on `Too Much Too Soon`. Their previously unreleased covers of Otis Redding`s `Don`t Mess With Cupid` and Muddy Water`s `Hoochie Coochie Man` later surfaced on `Lipstick Killers` and `I`m a Human Being` respectively. The black music influence was particularly important for Johansen, whose subsequent career included work with jazz man Big Jay McNeely and blues man Hubert Sumlin.
As a frontman, Johansen's aggression, wit and energy made up for what was a slightly one-dimensional singing voice, while Thunders's lead playing was compared to the slashing of a knife-fight. Their repertoire was mostly written by Johansen (he used the name David Jo Hansen at the time) and Thunders and occasionally by Johansen and Sylvain. The songs were a series of vignettes about life in the New York underground. After getting a manager and attracting some music industry interest, the band got a break when Rod Stewart invited them to open for him at a London (then glam rock's capital city) concert. Shortly thereafter, Murcia died of accidental suffocation at age 21 after he passed out from drugs and alcohol.
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who would go on to play with Richard Hell and Ramones under the stage name "Marky Ramone") and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. New York Dolls was produced by former Nazz guitarist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording, everybody was debating how to do the mix. sales were sluggish, especially in the glam-resistant middle US, and Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers.
The Dolls still polarised America's mass rock audience (a Creem magazine poll landed them wins as the best and the worst new group of 1973), but at the 'large capacity club' level, they toured the US to some satisfaction. The Dolls also toured Europe, and whilst appearing on UK TV, host Bob Harris of the BBC's Old Grey Whistle Test famously derided the group as "mock rock", comparing them unfavourably with the Rolling Stones in the same way The Monkees had been with the Beatles, as their unoriginal, upstart clones. Though Harris and much of the 'old guard' of rock journalists and critics were unimpressed, young rock fans throughout the UK disagreed, and the New York Dolls' straightforward music and outrageous attitude were later cited as key influences on punk rock.
For their next album the quintet opted for producer George (Shadow) Morton, whose productions for the Shangri-Las and other girl groups in the mid-1960s had been among the band's favorites, for 1974's Too Much Too Soon. Mercury dropped the Dolls not long after the second album. In 1975, foundering in drug abuse and interpersonal spats as the opportunities dried up, the band briefly recruited Malcolm McLaren as their new manager. The kind of provocative stunts McLaren later made work for the Sex Pistols blew up in the Dolls' faces. Dressing the band in red leather for performances with a Soviet flag backdrop was no substitute for the original sex-drugs outrage of glam rock.
Break-up
Thunders and Nolan left in 1975 while on tour in Florida. They formed The Heartbreakers with bassist Richard Hell who had left Television the same week. After a few shows they added guitarist Walter Lure and few month later replaced Hell with Billy Rath. They participated in the “Anarchy Tour” with the Sex Pistols, The Clash and The Damned in Britain in 1976, while the other Dolls recruited replacements (including Blackie Lawless a childhood friend of Kane's who replaced Thunders for the remainder of the Florida tour) and continued until 1977. The Heartbreakers recorded one British-only studio album and a few odds-and-ends live sets (including a memorable set from a Max's Kansas City show) before splintering into an on-and-off concern.
Thunders continued to tour and record throughout the 1980s, releasing one solo album (So Alone on which Sex Pistols Steve Jones and Paul Cook played) and several sets of covers and a few originals. He died in New Orleans in 1991, of an alleged heroin and methadone overdose, although there are signs that he may have been murdered over a drug-related dispute, and that the police didn't properly investigate what appeared to just be the death of another junkie. It has also come to light that he suffered from leukemia. Nolan died a few months later in 1992, following a stroke, brought about by bacterial meningitis.
Johansen started a solo career after the Dolls broke up, and Sylvain was a member of his band for much of this time. Several Johansen-Sylvain songs never made it to vinyl until Johansen's solo albums: e.g., "Funky But Chic", "Girls", and "Frenchette". His fourth solo album, a concert set called Live it Up, contained a medley of The Animals' "We Gotta Get Out of This Place," "Don't Bring Me Down," and "It's My Life."
Johansen had his greatest commercial success portraying the fictional lounge lizard/singer Buster Poindexter, who mixed comedy with a kitschy hybrid of soul and tropical pop. Under Buster Poindexter's name, Johansen finally made a chart-topping single: one of the 1980s' biggest dance hits, "Hot Hot Hot." He also hosted a variety show on VH1 as Poindexter, then moved on to folk and blues with David Johansen and the Harry Smiths through the '90s. A posthumous New York Dolls album (made up of early demo tapes of the Murcia-Sylvain line-up) was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006.
Syl Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a cab driver in New York, which he later described as the worst job on earth. In the early 1990s he moved to Los Angeles and recorded one album called "Sleep Baby Doll", on Fishhead Records. His bandmates on that record were: Brian Keats on drums (Dave Vanian's Phantom Chords), Speediejohn Carlucci on bass (ex- Fuzztones), & Olivier Le Baron on lead guitar. Guest appearances by Frankie Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as "New York's Au Go Go".
Influence
The band influenced a whole era of musicians and bands such as Kiss, Hanoi Rocks, Blondie, The Clash, Ramones, Dead Boys, Mötley Crüe, Guns N' Roses, The Damned, The Smiths, and Japan. They were also a large influence on various members of the Sex Pistols, especially guitarist Steve Jones, who later said that on looking back at his movement on stage, felt embarrassed at how much he copied Johnny Thunders' style. The Pistols' manager, Malcolm McLaren, briefly managed the Dolls towards the end of their career.
They were also a major influence on the rock music scene in New York City, having accumulated a devoted cult following during their career. By the time the New York Dolls had disbanded, Ira Robbins writes that they "singlehandedly began the local New York scene that later spawned the Ramones, Blondie, Television, Talking Heads and others. A classic case of the whole being greater than the sum of its parts, the Dolls were much more than just a band. Their devoted original audience became the petri dish of a scene; they emulated their heroes and formed groups in their image."
It should be noted that their influence was not confined to the legions of soundalikes - Morrisey of The Smiths and REMs Michael Stipe and Peter Buck are noted for their Dolls enthusiasms, Stipe being one of the guests on the re-union CD and Morrissey (as `Steven Morrissey` having written a book about them in his pre-Smiths days.
Reunion
UK singer-songwriter Morrissey organized a reunion of the three surviving band members (Johansen, Sylvain, and Kane) for the Meltdown Festival in 2004. Morrissey is a long-time fan of the band; in the 1970s, he headed their fan club in the UK. The reunion led to a live LP and DVD on Morrissey's Attack label, and a film, New York Doll, showing Kane's point of view of the genesis of the reunion contrasted against the backdrop of his conversion to The Church of Jesus Christ of Latter-day Saints. However, future plans were affected when the news came of Arthur Kane's unexpected death on July 13, 2004 from leukemia. During 2004 they played several festivals in the UK, and just like the old days, they were as notable for their extravagant behavior as their raucous performances.
In July 2005, the two surviving members announced a tour and a new album, titled One Day It Will Please Us to Remember Even This. Released on July 25, 2006 the album features guitarist Steve Conte, bassist Sami Yaffa (formerly of Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert before some 9,000 fans at New York's Seaport Music], on a bill with the Brooklyn-based indie band Tralala.
In October 2006 the band embarked on a UK tour, with Sylvain Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before', we turn that around 'cos we've got such a great live, rock n'roll show".[3]
In November 2006 the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show", about 20 live gigs with numerous other bands. These shows have been very well-received and well-attended as well. The band plays a mix of their newest album as well as older favorites. In April 2007, the band played in Australia, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix. On September 22, 2007, New York Dolls was removed from the current artists section of Roadrunner Records' website, signifying the groups split with the label. The band are scheduled to play the O2 Wireless Festival in Hyde Park, London on July 4, 2008 with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008.
Lounge On The Farm - Kent’s bestest festival, ‘Lounge On The Farm’ returns for it’s third outing on the weekend of 11-13th July 2008, even bigger and bolder than ever before, and with an increased capacity. 2007’s event established LOTF as a heavyweight festival with a uniquely local twist and 2008 is set to take the extravaganza to the next level. Set in the idyllic surrounds of Merton Farm in Canterbury, ‘Lounge On The Farm’s rustic charms will play host to 160 bands spread across 6 stages, from local heroes and cutting edge acts to renowned heavy hitters.
Goo Goo Dolls' frontman, John Rzeznik, performed their latest single, "Come To Me" at Alice Now and Zen concert. You can hear this song here.
www.youtube.com/user/thegoogoodolls
Camera Canon EOS 5D Mark III
Lens EF 135mm F2L USM
Extender EF 1.4x III
Exposure 0.003 sec (1/400)
Aperture f/2.8
Focal Length 189 mm
ISO Speed 100
Exposure Bias 0 EV
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Frontman Kyle Wilson of the band Milagres performing in the pop venue Paard van Troje in The Hague at the Walk the Line festival 2012. Walk the Line is a annual two-day music event with national and international acts at different locations throughout the city centre of The Hague, the Netherlands. The festival has a wide ranging line-up from singer-songwriters to electronic music, as well as cross over styles such as rock, blues, Americana and soul. It’s a festival for alternative pop, rock and dance fanatics.
---
Walk the Line festival is een tweedaags indoor muziekevenement van de makers van Crossing Border met hoogstaande alternatieve muziek voor breed georiënteerde, muzikale avonturiers. Het festival presenteerde op 11 en 12 mei rond de Grote Markt in Den Haag tientallen optredens door veelbelovende (inter)nationale bands, acts en dj's: beloftes van morgen, giganten van de underground, singer-songwriters, poppy rockmuziek, rockende indie, uptempo folk-'n'-roll, dance-acts en vuige electro.
Flogging Molly frontman Dave King, presiding over his subjects. King is a phenomenal subject on stage. I think he threw his hands up like this on three separate occasions during as many songs while we shot.
What I wouldn't give for some big, bad arena lights blowing up in the background, though. Come on LD, sometimes you gotta hit it from the back, too.
Check out the full set, bigger images, and the complete with shooting notes at ishootshows.com/.
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
So much romantic joy I had with such wonderful music throughout my years in the 90s... thank you John Wetton and Asia band!! <3 Love you all!! RIP
Bandmate Geoff Downes made a public statement on the band’s Facebook page, saying Wetton “will be remembered as one of the world’s finest musical talents, and I for one of many was wholly blessed by his influence. It was a massive privilege for me to have worked with this genius so closely on our numerous projects together over the years.”
We regret to announce that iconic singer, John Wetton, passed away in his sleep this morning.
uk.news.yahoo.com/john-wetton-asia-frontman-dies-67-19280...
Coldplay frontman Chris Martin smiles as he walks through a blast of colourful confetti during a show in Vancouver on April 21st, 2012.
www.mauriceli.com | info@mauriceli.com | @maurice | facebook
Rewire Festival 2016
Grote Kerk, Den Haag
Einstürzende Neubauten-frontman and former guitar player of Nick Cave & The Bad Seeds’ Blixa Bargeld (DE) and Italian composer Teho Teardo present their beautiful work together with a local string quartet. Their collaboration started in 2013 with their stunning record ‘Still Smiling’. This record consists of 12 ‘flexible’ songs, of which the arrangements form both a beautiful contrast as wel as a unity between acoustic string instruments and electronics. ‘The duo’s work comprises two albums; ‘Still Smiling’ in 2013 and ‘Spring’ in 2014.
Memorial services for iconic MOTÖRHEAD frontman Ian "Lemmy" Kilmister was held at the Rainbow Bar And Grill in West Hollywood, California 1-9-2016.
Lemmy, who celebrated his 70th birthday on Christmas Eve (December 24-2016), learned two days later, on December 26, that he was afflicted with an aggressive form of cancer. He died two days later, on December 28 at his home in Los Angeles.
MOTÖRHEADwas revered by both metal and punk fans, and Lemmy was considered an icon for his musical talent and his embodiment of the rock n’ roll lifestyle.
The Rainbow Bar And Grill on L.A.'s Sunset Strip was known as Lemmy's hangout, made it an obvious place for friends and family to say goodbye to the legend.
Read more at: www.blabbermouth.net/news/overhelming-response-to-lemmys-...
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Chris Cornell
Soundgarden and Audioslave frontman Chris Cornell played his first show at London’s historic Royal Albert Hall in support of fifth solo album Higher Truth, the tour similar in style to his 2011 Songbook tour, with Cornell playing stripped-back renditions of a selection of songs from his Soundgarden, Audioslave, Temple Of The Dog and solo material mixed with covers on a range of acoustic guitars, this time accompanied by Bryan Gibson on cello, keyboards and mandolin ...
Read the rest of this review with more photos over at RockShot Magazine.