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#331
06-18-2015, 02:35 PM
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 'Abraxas' Santana (1970): Carlos Santana's shamanistic guitar served as the lodestar as his band brilliantly stirred in elements of rock, salsa, jazz and blues -- completely transforming Tito Puente's "Oye Como Va" and Fleetwood Mac's "Black Magic Woman" along the way. Read More: Top 100 '70s Rock Albums | http://ultimateclassicrock.com/70s-r...ckback=tsmclip 
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#332
06-18-2015, 03:12 PM
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Quote:
 Sorry for the sarcasm, but do we really need every insignificant mention of the band or its members that anyone comes across on the web posted here? Many (most?) of the new posts on this thread seem to come under that category. Really, what's the point?
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#333
06-18-2015, 03:53 PM
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#334
07-23-2015, 08:51 AM
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Top 10 Grateful Dead Shows
By Ben Djarum Feb. 14, 1970 Fillmore East, New York City "Swore we'd never had such times before..." The Grateful Dead's stand at the Fillmore East in February 1970 is the stuff of legend. On the 11th, Peter Green from Fleetwood Mac, Arthur Lee of Love, and the Allman Brothers Band jammed with the band on "Dark Star" and "Lovelight" On the 13th and the 14th, the band performed a single-set early show and then a longer late show with Weir, Garcia, and Pigpen performing an acoustic set in the center. The arguments for the 13th vs.14th are strong (the existing tapes from the 11th are incomplete) and both shows are extremely potent, but the 14th gets the upper hand, if only for the monumental "Lovelight." That Valentine's Day, just two years after the lysergic madness at the Carousel Ballroom (see above on our list of the Top 10 Grateful Dead Shows), the era of the "Primal Dead" came to an end. "The Eleven" would be played once more after this night and then never again. "Saint Stephen" would stick around through 1971 but would also drop from the repertoire. The Grateful Dead - Live - February 14, 1970 - Fillmore East, NY - Partial AUD video w/SBD audio Read More: Top 10 Grateful Dead Shows | http://ultimateclassicrock.com/top-1...ckback=tsmclip
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#335
07-27-2015, 12:03 AM
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[From a Vice article on Bill Graham] By Steve Baltin
http://noisey.vice.com/blog/bill-gra...volution-essay Through working on the posters, though, the artists did get to know Graham well. Byrd says, “I did see Bill often because I went to the Fillmore a lot.” Graham has a reputation for being a hard ass, which Byrd got to see firsthand at a show with an early incarnation of Fleetwood Mac. “A lot of people didn’t like him because we was very tough, and he could be very mean in not a bad way. He had certain things he required, and that was being on time, particularly the bands,” Byrd recalls. “I was there one night when Fleetwood Mac was late. They were like ten minutes late, and he went out on the stage and he said, ‘Okay, there’s no show tonight, you’ll get your money back at the box office.’ Then Fleetwood Mac showed up and said, ‘What the **** happened?’ He said, ‘You were ****ing late, and I don’t take that. This is a professional place, everybody goes home, I don’t make any money, you don’t make any money.’”
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#336
07-31-2015, 12:20 AM
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[From an article on Aerosmith's MGM show]
Las Vegas Review Journal, July 30, 2015 http://www.reviewjournal.com/enterta...ll-passing-new Or "Stop Messin' Around," originally by Fleetwood Mac — the Peter Green blues lineup, not the Buckingham-Nicks. Perry says that one earns a place right in there with "Love in an Elevator" and "Dude (Looks Like a Lady)" because of the role it played."I wouldn't be doing what I'm doing if I hadn't had the influence of (Green) and his playing and the way that band worked. That had a big influence on what I envisioned Aerosmith should be," Perry says."You can follow the trail back quite a ways and see where the influence comes from ... we're just one more part on the chain. There are bands that come up to me and say, 'You are the first rock show I went to and I wouldn't be playing guitar now.' " - See more at: http://www.reviewjournal.com/enterta....fjv0u2YS.dpuf
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#337
08-12-2015, 02:58 PM
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Carter Alan’s Rock ‘n’ Roll Diary: August 12 in Classic Rock History
August 12, 2015 1:00 AM CBS Local http://wzlx.cbslocal.com/2015/08/12/...-rock-history/ What else happened on this day in rock n’ roll history? Here’s the Rock N’ Roll Diary for August 12, from the College of Classic Rock Knowledge – 100.7 WZLX! •1967: Fleetwood Mac made its live debut at the Windsor Jazz and Blues Festival in England. They shared the stage that day with Cream, Donovan & Pink Floyd.
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#338
08-12-2015, 08:27 PM
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Quote:
Besides the incorrect date for Fleetwood Mac's debut (you can see the correct date from the Festival poster below), I've seen it written several places that Pink Floyd actually never showed up for their scheduled performance on the 12th. 
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#339
08-16-2015, 11:29 AM
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Left-Handed Rock Stars
 Gary Moore Gary Moore spent the early part of his career creating massive riffs and blazing solos in rock bands like Thin Lizzy and Skid Row before settling into more blues flavored tunes in his later life. Whatever music he was conjuring forth from an iconic Les Paul that he bought off Fleetwood Mac's Peter Green, he did so as yet another left-handed convert to a right-handed form of playing. Read More: Left-Handed Rock Stars | http://ultimateclassicrock.com/left-...ckback=tsmclip
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#340
09-13-2015, 05:17 AM
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This Day in Rock History: September 13
By Zach Martin September 13, 2015 5:11 AM On this day in rock history, John Lennon gave his first solo performance at the Toronto Rock and Roll Festival. Eric Clapton played lead guitar in the group, which was christened “Plastic Ono Band.” They rehearsed a handful of songs on the plane from England. Elton John played in front of 400,000 people on the Great Lawn in New York’s Central Park. The concert became famous as the one in which John performed “Your Song” while dressed as Donald Duck. Six records hit shelves on Sept. 13. Yes‘ Close to the Edge, one of the most celebrated albums in progressive rock, was released in 1972. Fleetwood Mac‘s Heroes Are Hard to Find would be their last before hiring Stevie Nicks and Lindsey Buckingham. Dokken‘s second album, Tooth and Nail, featured the hits “Into the Fire,” “Alone Again” and “Just Got Lucky.” Animalize, the second album of Kiss‘ “unmasked” era, came out in 1984, with Paul Stanley taking on a greater role than on previous efforts. New Jersey was Bon Jovi‘s follow-up to the massively successful Slippery When Wet. Phil Collins‘ 2010 release, Going Back, was a tribute to his Motown roots. Lynyrd Skynyrd guitarist Steve Gaines was born in 1949. Gaines was killed in the 1977 plane crash that claimed the limes of two other band members, including front man Ronnie Van Zant. Former Chicago singer Peter Cetera is also celebrating a birthday today. Watch an exciting recap of many of the day’s biggest rock anniversaries above, narrated by our radio host Zach Martin. And learn more about these important events by clicking the links below. News Anniversaries: John Lennon plays his first solo show (1970) Elton John performs in Central Park (1980) Album Anniversaries: Yes, Close to the Edge (1972) Fleetwood Mac, Heroes Are Hard to Find (1974) Dokken, Tooth and Nail (1984) Kiss, Animalize (1984) Bon Jovi, New Jersey (1988) Phil Collins, Going Back (2010) Birthdays: Peter Cetera (1944) Steve Gaines (1949) Read More: This Day in Rock History: September 13 | http://ultimateclassicrock.com/septe...ckback=tsmclip
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#341
09-14-2015, 11:30 PM
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#342
09-15-2015, 07:47 AM
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#343
09-18-2015, 06:28 AM
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This Day in Rock History: September 18
By Zach Martin September 18, 2015 12:05 AM On this day in rock history, Jimi Hendrix passed away from choking on his own vomit after overdosing on sleeping pills. The guitar legend, one of the many rockers who died at the age of 27, was discovered by his girlfriend in her London apartment. Black Sabbath put out their second album, Paranoid, but only in the U.K. The record, which contained classics like “War Pigs,” “Iron Man” and the title track, wouldn’t get a U.S. release until early 1971. Fleetwood Mac‘s Kiln House, their fourth effort, saw them move even further away from traditional blues and adopt a sound that paid tribute to their favorite ’50s rock n’ rollers. Bob Dylan ended a creative drought with Oh Mercy. The Daniel Lanois-produced record was hailed as Dylan’s best in years. In 1983, to coincide with the release of their newest album, Lick It Up, Kiss did something new: They appeared on MTV without their famous makeup. They would stay “unmasked” until the reunion of the original lineup in 1996. Four years later, coincidentally, they gave us Crazy Nights. It featured a synth-heavy production that fit in with what was on the radio at the times, and “Crazy Crazy Nights” became their highest-charting single in Britain, topping out at No. 4. Watch an exciting recap of many of the day’s biggest rock anniversaries above, narrated by our radio host Zach Martin. And learn more about these important events by clicking the links below. News Anniversaries: Jimi Hendrix dies (1970) Kiss remove their makeup (1983) Album Anniversaries: Fleetwood Mac, Kiln House (1970) Black Sabbath, Paranoid (1970) Kiss, Lick It Up (1983) Kiss, Crazy Nights (1987) Bob Dylan, Oh Mercy (1989) Read More: This Day in Rock History: September 18 | http://ultimateclassicrock.com/septe...ckback=tsmclip
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#344
09-23-2015, 11:33 AM
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45 Years Ago: Santana Deliver a Latin Rock Masterpiece, ‘Abraxas’
By Corbin Reiff September 23, 2015 8:41 AM Most people aren’t aware, but the two biggest standouts on the record, “Black Magic Woman” and “Oye Como Va” are actually covers of other artist’s songs. “Black Magic Woman” which reached No. 4 on the Billboard Hot 100, was originally a Fleetwood Mac composition written by Peter Green. In fact, in the years after he quit Fleetwood Mac and had given most of his money away, the royalties from Santana’s version of his song was one of Green’s biggest sources of continued income. Read More: 45 Years Ago: Santana Deliver a Latin Rock Masterpiece, 'Abraxas' | http://ultimateclassicrock.com/santa...ckback=tsmclip
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#345
10-01-2015, 01:23 PM
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1970: The Year Heavy Metal Was Born
By Eduardo Rivadavia Tolling church bells and pouring rain are sounds typically associated with funerals. They also marked the birth of heavy metal, after being used as the introduction to Black Sabbath’s eponymous 1970 debut. But did Black Sabbath really invent heavy metal? Well, obviously not all by themselves, and not right away. Years would pass before the “heavy metal” description actually stuck with listeners, or was even accepted by many of the bands involved. But most of the genre’s fundamental musical ingredients, lyric themes, and even its outcast status as rock and roll’s bastard offspring, were crystallized on Sabbath’s first album. Prior to 1970 and Black Sabbath’s arrival, the sounds that we now recognize as the building blocks for heavy metal were both scattered and accidental, making it impossible to pinpoint any other album or band as the genre’s absolute Ground Zero. From the start of the British Invasion came the Who (Live at Leeds was, coincidentally, recorded the day after Sabbath’s debut was released), the Yardbirds and the Kinks, all of whom were incorporating distortion and feedback into their records as far back as the mid-’60s. Metal’s roots in heavy blues came from Cream, the Jeff Beck Group, Iron Butterfly, Vanilla Fudge and, of course, Jimi Hendrix and Led Zeppelin. Add to that group Steppenwolf, who are credited with coining the phrase “heavy metal” in “Born to Be Wild.” Together, these acts proved that this sound was, in fact, commercially viable. Perhaps the only group that came close to capturing heavy metal’s fatalistic outlook, sheer volume, and anti-social nature prior to 1970 was San Francisco’s Blue Cheer on 1968′s thunderous Vincebus Eruptum. And yet, not even they hit the heavy metal bulls-eye. At the same time, one should never underestimate the importance of the period’s improving amplification technology, led by the newly developed Marshall stack. That brings us back to 1970, and Black Sabbath’s paradigm-shifting first album. Within months, record stores across the globe would be infiltrated by dozens of releases that are seen today as cornerstones of heavy metal, delivered by bands that both predated Sabbath and followed in their wake. Chief among the former category, perhaps, were Deep Purple, which had already produced three studio albums. They scored a major U.S. hit with “Hush” in 1968, and then dabbled in symphonic rock with 1969′s Concerto for Group and Orchestra, only to reinvent themselves behind the incomparable guitar virtuosity of leader Ritchie Blackmore for 1970’s pivotal In Rock. Deep Purple would complete the holy trinity of British heavy rock, along with Black Sabbath and Led Zeppelin – who, ironically, turned to folkier sounds with their third LP in 1970, though not before unleashing the driving Viking metal opener “Immigrant Song.” Other late-‘60s Brit contenders seeking to capitalize on this hot new musical style included Steve Marriott’s always-fiery Humble Pie (see “One-Eyed Trouser-Snake Rhumba”), Roy Wood’s post-psych, pre-prog ensemble the Move (“Brontosaurus”), and more adventurous blues outfits like Peter Green’s Fleetwood Mac (“The Green Manalishi”), Rory Gallagher’s Taste (“What’s Going On”), Tony McPhee’s Groundhogs (“Strange Town”) and Free, via the spartan power chords of “All Right Now.” Why, even rock chameleon-in-waiting David Bowie let his budding guitar hero Mick Ronson go berserk on 1970’s The Man Who Sold the World (witness “She Shook Me Cold”), a proto-metal classic by most any definition. Furthermore, numerous groups straddled the still-fine line between heavy metal and progressive rock that year, including Ian Anderson’s indefinable Jethro Tull (“Alive and Well and Living In”), the twin-guitar fueled Wishbone Ash (“Lady Whiskey”), the John Du Cann-led Atomic Rooster (“Death Walks Behind You”), and the oft-overlooked Stray (“All in Your Mind”) and May Blitz (“Smoking My Day Away”). Then there were promising rookie bands, like future Deep Purple member Glenn Hughes‘ fast-burning Trapeze (Medusa) and perhaps the fourth most important British metal band during those early years, Uriah Heep. Founded midway through 1970 by chief songwriter, keyboardist and guitarist Ken Hensley after his departure from the improbably named Toe Fat (see “That’s My Love for You”), Uriah Heep would spend many years nipping at the heels of Black Sabbath, Deep Purple and Led Zeppelin with formidable LPs and classic songs like “Gypsy” and “Bird of Prey.” Meanwhile, in America, heavy metal took on just as many forms over the course of 1970. Here too, there were numerous holdovers from the ‘60s taking their best shot at the changing musical currents, including power trios like Leslie West’s Mountain (“Mississippi Queen”), Joe Walsh’s James Gang (“The Bomber”) and Grand Funk Railroad. The ultimate people’s band, Grand Funk churned out one of the year’s absolute heaviest riffs on “Sin’s a Good Man’s Brother.” Another faction was comprised of bands that were still transitioning between late ‘60s psychedelia and early ‘70s art rock, such as Detroit acid-cases Power of Zeus (“It Could be Me”) and Frijid Pink (“I Want to be Your Lover”), Texan combos Bloodrock (“D.O.A.”) and Josefus (“Dead Man”), not to mention far more obscure outfits like Minnesota’s Lightning (“Prelude to Opus IV”) and New Jersey’s Sainte Anthony’s Fyre (“Love Over Me”). Meanwhile, the quasi-supergroup Cactus (check out the insanely heavy “Let Me Swim”) had assembled around the erstwhile Vanilla Fudge rhythm section of Tim Bogert and Carmine Appice, and, perhaps more than any other band, exemplified the older generation’s efforts to stay relevant. On the other hand, no U.S.-bred group represented the next generation better than Sir Lord Baltimore. Once criminally obscure, now widely championed, these Brooklyn-based rockers probably delivered the first genuine American heavy metal album in 1970’s seminal Kingdom Come, boasting retroactively worshiped rave-ups like “Master Heartache,” “Lady of Fire” and the doom-laden title track. Here’s how pervasive heavy metal became within the span of one short year: Even Billy Joel made an ill-advised but mercifully brief foray into the genre by way of the widely maligned Attila (see “Wonder Woman”), where he ran his Hammond organ through a Marshall stack. From Canada came the precocious Warpig (“Melody With Balls”). Germany gave us the eclectic Jeronimo (“Highjack”), the Krautrock-leaning Nosferatu (“Highway”) and the as-yet-unsigned Scorpions. Scandinavia had Norway’s Titanic (“Searchin’”), Sweden’s November (“Mount Everest”) and Denmark’s eccentric Pan (“If”) and the misleadingly named Blues Addicts (“Hailow”). Japan produced the fabulously named Flower Travellin’ Band, which covered “Black Sabbath” on 1970’s Anywhere LP, before developing their own heavy and eccentric material in years to come. There were scores more, as underground heavy rock bands sprung up everywhere – including acts with curious monikers like Aardvark, Pax, Lyd, the Damnation of Adam Blessing, and Bulbous Creation. By then, however, Black Sabbath had released their second LP of 1970, Paranoid. Its cornerstone classics like “War Pigs,” “Iron Man” and the frenzied title track consolidated heavy metal’s definitive musical blueprint, while proving the group’s revolutionary vision was no fluke. Instead, the flood gates had been opened. In addition to follow-ups from Black Sabbath, Deep Purple, Uriah Heep and others, 1971 then saw the emergence of key new groups like Budgie, Dust, Bang, Nazareth, Thin Lizzy, Pink Fairies and Leaf Hound even as future Motorhead icon Lemmy hooked up with space rockers Hawkwind. By 1972, Blue Oyster Cult had arrived, followed by Montrose, Aerosmith and others in 1973, and then Judas Priest in 1974. But it can all be traced back to 1970: the year heavy metal was born. Read More: 1970: The Year Heavy Metal Was Born | http://ultimateclassicrock.com/heavy...ckback=tsmclip
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Blues: The British Connection by Bob Brunning
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1960s Pop - Hardcover By Brunning, Bob - GOOD
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Bob Brunning Sound Trackers Music Series Hardcover 6 Book Lot Pop, Metal, Reggae
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Heavy Metal - Hardcover By Brunning, Bob - GOOD
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Blues : The British Connection Paperback Bob Brunning
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