Pre-Rumours MacNuggets

[vivfox]

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[vivfox]

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[vivfox]

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[vivfox]

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[michelej1]

Billboard by Maureen Clark, April 14, 2014

http://www.billboard.com/articles/news/6052278/john-mayall-why-did-you-go-exclusive-song-premiere

[Excerpt From an article discussing John Mayall's new album]

"I finally got ahold of some tapes that were made in the '60s of the lineup when Peter Green, John McVie and Mick Fleetwood were in the band," Mayall says. "I'll give those a listen, so that'll probably be the next one on Private Stash. That's a rare slice of history, just remarkable. That band was on fire. It's a wonderful piece of history."

[librax2]

Billboard by Maureen Clark, April 14, 2014

http://www.billboard.com/articles/news/6052278/john-mayall-why-did-you-go-exclusive-song-premiere

[Excerpt From an article discussing John Mayall's new album]

"I finally got ahold of some tapes that were made in the '60s of the lineup when Peter Green, John McVie and Mick Fleetwood were in the band," Mayall says. "I'll give those a listen, so that'll probably be the next one on Private Stash. That's a rare slice of history, just remarkable. That band was on fire. It's a wonderful piece of history."

Saw this and went looking on the Mayall site. No mention of this that I could find. I am anxiously waiting for this

[Richard B]

Although they have been performing this live most of last year, it is available to purchase off the Deluxe Edition of their new album, THE CAUTIONARY TALES OF MARK OLIVER EVERETT
iTunes/USA: https://itunes.apple.com/us/album/cautionary-tales-mark-oliver/id826948542
http://youtu.be/lFuk4dfzzeA

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[Dogon]

Originally Posted by michelej1
Billboard by Maureen Clark, April 14, 2014

http://www.billboard.com/articles/ne...-song-premiere

[Excerpt From an article discussing John Mayall's new album]

"I finally got ahold of some tapes that were made in the '60s of the lineup when Peter Green, John McVie and Mick Fleetwood were in the band," Mayall says. "I'll give those a listen, so that'll probably be the next one on Private Stash. That's a rare slice of history, just remarkable. That band was on fire. It's a wonderful piece of history."
Saw this and went looking on the Mayall site. No mention of this that I could find. I am anxiously waiting for this

[Dogon]

Here is a picture from the very moment when Tom Huissen of "John the Revelator" hands over the recordings, that he made from Bluesbreakers gigs in London during the spring in 1967, to John Mayall. It took place in Haarlem on March 26 this year when the today's Bluesbreakers line-up played a concert there.
There are 5 or 6 recorded gigs with the Mayall, Fleetwood, McVie & Peter Green line-up and that band "really was on fire" as Mayall stated!

Hopefully Mayall will release it promptly.

[BklynBlue]

Huissen taped parts of five different shows - including one with Aynsley Dunbar behind the drum kit.
Hopefully Mayall will release all the shows in their entirety though he might opt to cherry pick from the different shows, especially as many of the songs are repeated from show to show, with some naturally more successful than others.
Of course, for the fans, hearing the differences in the how the numbers were played on any given night is one of the things we most look forward to.

The recordings offer an extended look at Green early in his career as he is finding his voice, and sometimes struggling to meet the expectations of both his employer and the audience. There are times when one gets the feeling that he would rather not have to stretch out a number past what he believes is necessary, but simply has no other choice.
The most surprising example is on the two versions of ‘Chicago Line’ which include a break for a bass solo. You have to believe that this was Mayall’s idea and not McVie’s.

When these tapes first surfaced, a huge piece of the puzzle was filled in.

Still missing however, (and I have to believe that there are tapes out there) are any live recordings from April to August of 1970 just before and after Green left Fleetwood Mac.
The one off with Nick Pickett, the shows with Little Free Rock & Ginger Johnson and those with Nick Buck – these were done before the sessions for “End of the Game” (are they echoes of these sessions heard on that LP?) – were the live sets similar; strictly improve, all instrumental? Were any of the numbers built on familiar material? Were the sets structured around individual pieces or was it just a few numbers that flowed freely until they ran out of ideas?
I only hope that we can someday find out the answers…

[michelej1]

Oh Well[/I] is included]

UK News, Yahoo, July 14. 2014

https://uk.news.yahoo.com/greatest-guitar-riff-180318862.html#G2c5Xfq

Arctic Monkeys take on acts such as Guns N' Roses, Daft Punk and The Beatles in a search for the greatest guitar riff of all time.

In the hunt for the perfect combination of power chords, hammer-ons, pull-offs, double stops, string bending and whammy bars, a list of 100 tracks has been compiled by experts for BBC Radio 2, with artists as diverse as Buddy Holly, Pink Floyd, Isaac Hayes and Metallica also in the running.

But organisers have ruled that acts can only be represented just once in the list which means popular tracks such as Voodoo Child by Jimi Hendrix and Waterloo Sunset by The Kinks are edged out in favour of other songs.

And there is no place for stadium-filling rock heroes Muse, despite their song Plug-In Baby being ranked the greatest riff of the past few years in a poll of guitar players. It has now replaced Stairway To Heaven as one of the prime choices for musicians testing out new gear in guitar shops.

Although they were spoilt for choice for Led Zeppelin riffs, it was Whole Lotta Love which made the grade, Queen are listed for One Vision and Hendrix is represented by his work on Purple Haze.

No riff was allowed from a solo performer which was already included with a group, although musicians who had riffed on tracks by more than one act were allowed - meaning that Nile Rodgers' contributions to Daft Punk's Get Lucky and also Chic's Good Times were both allowed.

The most recent release on the list is last year's Do I Really Wanna Know? by Arctic Monkeys, with No One Knows by Queens Of The Stone Age and Seven Nation Army by the White Stripes leading the charge for the 21st century.

Tracks from the days when the electric guitar was coming into its own include C'mon Everbody by Eddie Cochran, Holly's Words Of Love, Rumble by Link Wray and Apache by British guitar pioneers The Shadows.

The varied list - which also includes Hocus Pocus by Dutch prog rock band Focus, Smells Like Teen Spirit by Nirvana, Blur's Song 2 and A Girl Like You by Edwyn Collins - was announced by Radio 2 presenter Simon Mayo.

And listeners are being invited to vote for their favourites at bbc.co.uk/radio2 with the top choices counted down during a programme on Bank Holiday Monday, August 25.

Jeff Smith, head of music at the station, said: "We've all been brought up with the most amazing guitar riffs throughout the history of pop music, but our trusty panel have drawn up a strong and eclectic mix we know our Radio 2 listeners are going to love."

The vote ties in with the guitar season which features on Radio 2, 6 Music and BBC4.

:: The top 100 in alphabetical order by song title:

20th Century Boy - T. Rex

A Girl Like You - Edwyn Collins

Ain't Talkin' 'Bout Love - Van Halen

Alive - Pearl Jam

All Right Now - Free

Apache - The Shadows

Are You Gonna Be My Girl - Jet

Are You Gonna Go My Way - Lenny Kravitz

Atomic - Blondie

Back In Black - AC/DC

Beat It - Michael Jackson

Block Buster! - Sweet

Bo Diddley - Bo Diddley

Bohemian Like You - The Dandy Warhols

Boom Boom - John Lee Hooker

Born To Be Wild - Steppenwolf

Born To Run - Bruce Springsteen

Boys Don't Cry - The Cure

C'mon Everybody - Eddie Cochran

Cannonball - The Breeders

Cigarettes & Alcohol - Oasis

Day Tripper - The Beatles

Do I Wanna Know? - Arctic Monkeys

Don't Fear The Reaper - Blue Oyster Cult

Don't Believe A Word - Thin Lizzy

Down Down - Status Quo

Enter Sandman - Metallica

Every Breath You Take - The Police

Eye Of The Tiger - Survivor

Fools Gold - The Stone Roses

Get Lucky - Daft Punk

Good Times - Chic

Hocus Pocus - Focus

How Soon Is Now? - The Smiths

I Can't Explain - The Who

(I Can't Get No) Satisfaction - The Rolling Stones

I Love Rock 'n' Roll - Joan Jett & The Blackhearts

Jack & Diane - John Mellencamp

Johnny B. Goode - Chuck Berry

Killing in The Name - Rage Against The Machine

Layla - Derek And The Dominoes

Life In The Fast Lane - Eagles

Livin' On A Prayer - Bon Jovi

Lonely Boy - The Black Keys

Long Live Rock 'n' Roll - Rainbow

Loser - Beck

Ma-Ma-Ma Belle - Electric Light Orchestra (ELO)

Mannish Boy - Muddy Waters

Marquee Moon - Television

Milk and Alcohol - Dr. Feelgood

Misirlou - Dick Dale

Money - Pink Floyd

Money For Nothing - Dire Straits

Motorcycle Emptiness - Manic Street Preachers

Mr Tambourine Man - The Byrds

My Sharona - The Knack

Need You Tonight - INXS

No One Knows - Queens of The Stone Age

No Surprises - Radiohead

Oh, Pretty Woman - Roy Orbison

[B]Oh Well - Fleetwood Mac

One Vision - Queen

Paranoid - Black Sabbath

Peter Gunn - Duane Eddy

Pretty Vacant - Sex Pistols

Pride (In The Name Of Love) - U2

Purple Haze - The Jimi Hendrix Experience

Rocks - Primal Scream

Rumble - Link Wray

Run To You - Bryan Adams

Running Down A Dream - Tom Petty

September - Earth, Wind & Fire

Seven Nation Army - White Stripes

Shakin' All Over - Johnny Kidd & The Pirates

Sharp Dressed Man - ZZ Top

She Sells Sanctuary - The Cult

Should I Stay Or Should I Go - The Clash

Smells Like Teen Spirit - Nirvana

Smoke On The Water - Deep Purple

Song 2 - Blur

Spoonman - Soundgarden

Stay With Me - Faces

Sunshine of Your Love - Cream

Sweet Child O' Mine - Guns N' Roses

Sweet Home Alabama - Lynyrd Skynyrd

Take Me Out - Franz Ferdinand

That Lady - The Isley Brothers

The One I Love - R.E.M.

The Riverboat Song - Ocean Colour Scene

The Spirit Of Radio - Rush

Theme From Shaft - Isaac Hayes

There She Goes - The La's

Unbelievable - EMF

Under The Bridge - Red Hot Chili Peppers

Walk This Way - Aerosmith (and Aerosmith & Run DMC)

Wheels - Foo Fighters

Whole Lotta Love - Led Zeppelin

Words of Love - Buddy Holly

You Really Got Me - The Kinks

Ziggy Stardust - David Bowie

[THD]

[QUOTE=michelej1;1134499][BBC-2 Radio picks the 100 greatest guitar riffs. Oh Well is included]

I think there is a TV prog also ,to be broadcast soon on BBC4

I would say, looking at the list, someone doesn't actually know the difference between a riff and a melody Smoke on the Water , OhWell , All Right Now are riffs but Apache and Waterloo Sunset (Even though ultimately not included ,and a great song by the way !I don't think so !!

Purple Haze I don't feel it is a riff based song (Fantastic as it is !)Whereas Voodoo Chile (?) or Foxy Lady are !

[THD]

Well The Joy of the Guitar Riff was shown last night on BBC 4 followed by Great Guitar Riffs at the BBC. As I predicted they didn’t know the difference between a riff and a tune and sometimes seemed to be saying that a guitar solo was a riff, or a guitar intro was a riff ! Well not in my (Song )book it isn’t ! So it ended up as a trawl through post war electric guitar styles- entertaining enough, but not what it said on the tin !

Some new stuff ,but also repeated footage of Dave Davies talking about slashing his speaker cone , and Tony Iommi telling of his industrial accident etc

Worse than that (,unless I fell asleep or was abducted by aliens for a minute or two,)there was no mention of Oh Well let alone Fleetwood Mac!! Heresy !!

How they could focus on Bohemian Rhapsody as a riff based song(well they could focus on it cause Brian May was one of the major interviewees and interesting he was too ) but completely ignore the Beatles and their major riffage -Ticket to Ride I feel Fine ,Paperback Writer, Come Together,Hey Bulldog ! Or perhaps some German Aristo hippies slipped something into my coffee, because , in the footage of Cream playing Sunshine of Your Love at one of their farewell concerts at the Royal Albert Hall (one of which I was at as it happens !) Eric Clapton managed to subliminally put on a wide lapelled orange jacket, mid guitar solo ,non subliminally wear it for a while , and then subliminally take it off before the final notes died away Meanwhile, Ginger Baker’ green kaftan thingy somehow morphed into a multi coloured psychedelic floral shirt and then back again Wow ! That’s something more than else ! Far out !Man! (I’ve got the Bad Sartorial Continuity Blues or in Ginger's case: blouse ! ) But Sunshine of Your Love is a riff song- I’ll give them that !

Ironically the prog that followed these two :More Guitar Heroes at the BBC, which has been shown before, and is not anything to do with this new rifffest (that’s a word with three f’s in a row that I’ve just invented !) seemed to contain more riff songs than the preceding one !

For UK viewers these two Riff progs will be repeated on Sunday night BBC4 and will be on iplayer

Blues power!

[sharksfan2000]

organisers have ruled that acts can only be represented just once in the list
If not for that rule, the list would have most likely included about 75 Rolling Stones riffs :laugh: Keith Richards has probably come up with more great guitar riffs than all the other bands on the list put together (yeah, I know he stole some of them from Chuck Berry, but still...).

[THD]

Keith Richards has probably come up with more great guitar riffs than all the other bands on the list put together (yeah, I know he stole some of them from Chuck Berry, but still...).

I absolutely agree with you Sharksfan , he has come up with some great ones He is The Riffmeister !. but the Joy of the Guitar Riff , if my memory is correct, used The Last Time, as a Stones example( which isn't a Stones song ,so the riff may not have been their addition ,and if it was, it was played by Brian Jones ,who probably invented it ?!) Also ,the prog broke it's own rules, and also mentioned and played Satisfaction (now that is a great riff !)
I would dissagree though that Mr Richard "comandeered " Chuck Berry's riffs, cause I dont classify (unlike the prog ) Chuck's intro(brilliant as it is ) as a true riff and I dont classify Chuck's major chord- major 6th blues shuffle as a riff and Chuck certainly didn't invent it anyway ( But he well deserves his place as an inventor,and pioneer of R&R - it was the way he played it and the very smart lyrics that he put to it and for his showmanship !)

[becca]

Yeah, Brian Jones was responsible for a lot of that extra something on most early Stones song. He taught Keith a lot. Without him the group was a bit murkier and grungier and I don't think as distinctive. Not to say Keith is being a Jimmy Page and allowing himself to take credit for things he didn't do, he is a cool guy and knows we're all basically one race under the skin. His solo recording 'Take It So Hard' is an all time favorite.

Tallying up riffs is a bore (and there are riffs from other instruments reinvented for guitar, especially that came from saxophone players) but you'd think Hank Marvin of The Shadows might figure extremely prominently! Sheesh. :shrug:

[sharksfan2000]

Joy of the Guitar Riff , if my memory is correct, used The Last Time, as a Stones example( which isn't a Stones song ,so the riff may not have been their addition ,and if it was, it was played by Brian Jones ,who probably invented it ?!)
Actually "The Last Time" is a Jagger/Richards song, though it borrowed a small part from "This May be the Last Time" by the Staple Singers. You're right that the riff on that song was played by Brian Jones.
The Rolling Stones - The Last Time (Charlie is my Darling - Ireland 1965) (https://www.youtube.com/watch?v=UhRjvYO-WsI)

Brian Jones also played the distinctive guitar part on "It's All Over Now". The Stones totally reworked that song - it was written by Bobby Womack, who passed away just a few weeks ago.
The Rolling Stones - It's All Over Now, T.A.M.I Show, 1964 (https://www.youtube.com/watch?v=IH0DxBIP3wE)

[THD]

Originally Posted by THD View Post
Joy of the Guitar Riff , if my memory is correct, used The Last Time, as a Stones example( which isn't a Stones song ,so the riff may not have been their addition ,and if it was, it was played by Brian Jones ,who probably invented it ?!)

Actually "The Last Time" is a Jagger/Richards song, though it borrowed a small part from "This May be the Last Time" by the Staple Singers. You're right that the riff on that song was played by Brian Jones.
The Rolling Stones - The Last Time (Charlie is my Darling - Ireland 1965) (https://www.youtube.com/watch?v=UhRjvYO-WsI)

Brian Jones also played the distinctive guitar part on "It's All Over Now". The Stones totally reworked that song - it was written by Bobby Womack, who passed away just a few weeks ago.
The Rolling Stones - It's All Over Now, T.A.M.I Show, 1964 (https://www.youtube.com/watch?v=IH0DxBIP3wE)

I've just watched the repeats of the two riff progs on the BBC and my memory was not entirely correct (now there's a surprise !)

Firstly ,The Last Time was a full performance in the second prog Great Guitar Riffs at the BBC therefore I was wrong about there being two Stones songs mentioned in the first prog but it makes it even more shameful that the Stones only get a 3 second passing mention about Satisfaction in the whole prog(the Joy of Riff...) !

Secondly , the Cream doing Sunshine of Your Love was also a long performance in the Riff at the BBC and I was wrong about Ginger's shirt continuity- I now think the floral shirt was worn by a demented member of the audience doing some air drumming ( but I stand by Eric's off -on- off jacket !

Thirdly I think Brian Jones was a very interesting musician - played many instruments which gave those early Stones singles a distinctive flavour and The Stones was his band until it was hijacked , after all

Yep your right the last time is a Jagger /Richards composition I stand corrected !

I''ve now listened to the Staples singers version ,and the only real similarity is the melody (and lyric of course) of "Maybe the last tme I don't know" at the end of each verse, but there is no sign if the riff in any part of their song , so it must be |Brian's

[THD]

Tallying up riffs is a bore (and there are riffs from other instruments reinvented for guitar, especially that came from saxophone players) but you'd think Hank Marvin of The Shadows might figure extremely prominently! Sheesh. :shrug:

Becca ,Hank was extensively interviewed in the Joy of the Guitar riff programme, but the problem I have is that his compositions are not riff based at all His playing is brilliant and distinctive, and inspired a lot of guitarists including our own Peter Green His compositions are wonderful and original, but the BBC should be doing a one hour doc about him or about the Shadows, not trying to shoe horn him into a confused prog about Riffs(which itself wasn't long enough ! )

[sharksfan2000]

Originally Posted by THD View Post
Joy of the Guitar Riff , if my memory is correct, used The Last Time, as a Stones example( which isn't a Stones song ,so the riff may not have been their addition ,and if it was, it was played by Brian Jones ,who probably invented it ?!)



I've just watched the repeats of the two riff progs on the BBC and my memory was not entirely correct (now there's a surprise !)

Firstly ,The Last Time was a full performance in the second prog Great Guitar Riffs at the BBC therefore I was wrong about there being two Stones songs mentioned in the first prog but it makes it even more shameful that the Stones only get a 3 second passing mention about Satisfaction in the whole prog(the Joy of Riff...) !

Secondly , the Cream doing Sunshine of Your Love was also a long performance in the Riff at the BBC and I was wrong about Ginger's shirt continuity- I now think the floral shirt was worn by a demented member of the audience doing some air drumming ( but I stand by Eric's off -on- off jacket !

Thirdly I think Brian Jones was a very interesting musician - played many instruments which gave those early Stones singles a distinctive flavour and The Stones was his band until it was hijacked , after all

Yep your right the last time is a Jagger /Richards composition I stand corrected !

I''ve now listened to the Staples singers version ,and the only real similarity is the melody (and lyric of course) of "Maybe the last tme I don't know" at the end of each verse, but there is no sign if the riff in any part of their song , so it must be |Brian's
It's been written that to really hear Brian's vision of the Rolling Stones, you have to listen to their earliest studio recording, the IBC session from 11 March 1963. That was with the original six-member version of the band, including Ian Stewart on piano. One wonders how things might have gone differently if Stu hadn't been kicked out by manager Andrew Oldham. Of course, he did remain with the band as their road manager (and played on many of their recordings over the years) until his death in the mid-'80s.
The Rolling Stones - I.B.C. Sound Recording Studios (https://www.youtube.com/watch?v=_O0wqGcdU9c)

[FuzzyPlum]

Article from Examiner.com;
These songs topped the charts in the UK pop charts in the late 60's but lagged on the US charts;

http://www.examiner.com/article/these-songs-topped-the-uk-pop-charts-the-60s-but-lagged-on-u-s-charts?cid=rss

Somebody here is a Fleetwood Mac fan. Of the ten songs featured two are Fleetwood Mac. Albatross yes, but surely Oh Well never topped the UK charts did it?

"ALBATROSS" (Fleetwood Mac, 1968; U.S. No. 104): By the time Fleetwood Mac became familiar and popular with U.S. audiences in the mid-1970s, the original lineup had a string of successes in the UK after being formed as a British blues band in 1967. Group members until 1970 were guitarists Peter Green and Jeremy Spencer, drummer Mick Fleetwood and bass John McVie. This instrumental, written by Green, topped the UK charts in December 1968, but it only Bubbled Under the Hot 100 at No. 104 in the U.S., and in 1973, it returned to the UK charts at No. 2

"OH WELL" (Fleetwood Mac, 1969; U.S. No. 55): By 1975, after relocating to California and undergoing lineup changes -- including the addition of guitarist Lindsey Buckingham and vocalist Stevie Nicks -- the band finally caught on big-time in America. But still with the original lineup (see "Albatross" above), the band went to the top of the UK charts with this one, which was their first U.S. Billboard Hot 100 entry, though it only reached No. 55.

[BklynBlue]

'Oh Well' had entered the charts at number thirty-four the first week of October 1969.
It jumped twenty places to number fourteen the second week, and continued its climb, making it into the Top Ten at number nine the third week and number eight, the fourth.
The first week of November saw it leap to number four, and if finally topped out at number two (denied the top slot by The Archies’ ‘Sugar Sugar’ and Rolf Harris’ ‘Two Little Boys’ during the second and third weeks of that month, respectively). After that, it began a slow slide back down and finally fell off of the charts in the last week in December.

[becca]

That Rolf Harris has a lot to answer for if you ask me!

[lazy poker]

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hi, everybody!
up until now i've only seen excerpts of the "monster music mash" and this swedish (?) tv gig (youtube, dvd, vhs). does anybody know if the complete footage of these 2 shows is available anywhere out there? would be GREAT!
martin

[becca]

There were a couple of great vintage Yes releases on DVD a few years ago. One collected a bunch of German tv appearances with Peter Banks in the line up, and the other was a special Belgian or Danish (sorry, I forget which) program of losely linked videos at local locations (now with Steve Howe and Chris Squire wearing his old Granny Takes A Trip jacket from Tomorrow days). I would LOVE for Fleetwood Mac to get on the ball and put out similar DVDs from the blues era into the Welchian times! There is that one documentary video/DVD if you can find it with many great and sometimes long clips, they could easily rerelease that with full lenthg bonuses like the Realin' In The Years British Invasion series did with the Small Faces, Hollies etc. For people who are sometimes called money-grubbers they sure seem to miss many opportunities to release and re-release things.

[BklynBlue]

Twenty years ago there was a VHS release entitled “Fleetwood Mac – The Early Years” (Rhino Video1994) which compiled less than an hour’s worth of video performances of the Green-era Fleetwood Mac.
It was a slap-dash package, which simply strung the clips that they had in a somewhat chronological order, while providing no documentation as to where the footage came from, or when it was recorded.
Worse, especially in light of the short running time, for most of the shows that they pulled performances from, they left out one or more from the same show.

The DVD release “The Original Fleetwood Mac - The Early Years” (Image Entertainment 1999) appears to be out of print in the U.S. and the copies still in circulation are absurdly overpriced.

As to your specific question, the audio show that the performance clip of ‘Rattlesnake Shake’ (done for State owned Norsk Rikskringkasting of Norway) comes from is in circulation among fans, and another three of the songs from this broadcast, ‘I’m Worried’, ‘Like It This Way’ and ‘The World Keep On Turning’ were on the “Early Years” VHS / DVD listed above.

As mentioned, the latter three songs have been commercially available for twenty years, but the clip of ‘Rattlesnake Shake’ only recently (in relative terms) appeared on-line. If footage exists of any of the other numbers, it has yet to surface.

Similarly, ‘Oh Well’ was one of three numbers that FM performed on Monster Music Mash. For reasons unknown the other two numbers, ‘Like Crying’ and ‘Linda’ were included on the “Early Years” collection, while ‘Oh Well’ was left off. (there is a different, mimed performance of the song on the collection; perhaps they didn’t want two versions of the same song – as if that would have been a problem for fans!)

I agree with Becca that someone is missing an opportunity to put together a real compilation that would include all of the filmed appearances of the band leading up to the Buckingham / Nicks era.

Different collectors have already done this and many are happy to trade and share, but it would be nice to have consistent sound and visual quality for all of the different shows and (since this is never gonna happen) detailed notes providing context and other relevant information for the different clips.

One can dream….

[LesPaul7]

Right, and they are also sitting on all the other BBC recordings like You Need Love (Whole Lotta Love). In the book Strange Brew it is said early FM appeared on British TV a lot with performances of Green Manalishi, etc. Where are these?!?! If I recall, they even played One Sunny Day or Loving Kind...now that's rare!

[wetcamelfood]

(there is a different, mimed performance of the song on the collection; perhaps they didn’t want two versions of the same song – as if that would have been a problem for fans!)

AND if they really only wanted one Oh Well, it's kind of a slam dunk that it should've been the Monster Mash one, why they chose the mimed one I'll never know.

John

[GJK]

AND if they really only wanted one Oh Well, it's kind of a slam dunk that it should've been the Monster Mash one, why they chose the mimed one I'll never know.

John

And to WHAT (then unreleased live) version are they miming to?

GJK

[THD]

And to WHAT (then unreleased live) version are they miming to?

GJK

I believe that bands of this era sometimes had to go in specialy to record a track to which they would then mime on the show A complete waste of time, but union rules and all that stuff at the time meant they had to do it (of course that doesnt mean that they wouldnt try avoid wasting their time and get their manager slip a few quid to someone to say that the tape they presented to the show had just been specially recorded for that show when it was from elsewhere or taken from the master recording )

[wetcamelfood]

And to WHAT (then unreleased live) version are they miming to?

GJK

Boston Tea Party version, still love it and all but... :)

John

[LesPaul7]

AND if they really only wanted one Oh Well, it's kind of a slam dunk that it should've been the Monster Mash one, why they chose the mimed one I'll never know.

John

This one?

https://www.youtube.com/watch?v=RBU0ilZLQvI

It seems like Peter's vocal is live, and like THD said, I think they specifically recorded this for TV. It is stereo and pretty cool, different from the live at BBC with Peter Green on the resonator guitar.

[wetcamelfood]

This one?

https://www.youtube.com/watch?v=RBU0ilZLQvI

It seems like Peter's vocal is live, and like THD said, I think they specifically recorded this for TV. It is stereo and pretty cool, different from the live at BBC with Peter Green on the resonator guitar.

No, that's the one they shouldn't have used (and did use), the Boston Tea Party lip synch. I don't think those vocals are live, they sound just like the ones on the recording, IMHO.

THIS is the one they SHOULD'VE used:

https://www.youtube.com/watch?v=JEWjXjWT8Co

JMHO though. :)

John

[dansven]

No, that's the one they shouldn't have used (and did use), the Boston Tea Party lip synch. I don't think those vocals are live, they sound just like the ones on the recording, IMHO.

THIS is the one they SHOULD'VE used:

https://www.youtube.com/watch?v=JEWjXjWT8Co

JMHO though. :)

John

I love this one! :D
Definitely a live take. Just watch them f**k up right before the 2nd vocal break. Peter's laughing at the whole thing! :laugh:

[LesPaul7]

No, that's the one they shouldn't have used (and did use), the Boston Tea Party lip synch. I don't think those vocals are live, they sound just like the ones on the recording, IMHO.

THIS is the one they SHOULD'VE used:

https://www.youtube.com/watch?v=JEWjXjWT8Co

JMHO though. :)

John

So it must be an older, non-remastered version of Oh Well with no audience? I wonder what originally accompanied that clip when it aired, the studio version?

[LesPaul7]

Or was it indeed done after Boston 1970? The videos say that clip w/ Spencer was from 1969.

[BklynBlue]

The performance used on “The Original Fleetwood Mac” compilation video was most likely taped in early December, 1969, for a public access television show in Detroit. The band was there to play two nights at the East Town Theater with the Buddy Miles Express.

That would rule out the Boston Tea Party recordings for the source. More than likely they were going through the motions to a playback of the single. Problem was, the mikes in the studio were live, so Green’s voice is picked up, causing a slight “echo” on the vocal (guess he couldn’t / wouldn’t just mouth the words), which in fairness probably would have looked even worse.

[lazy poker]

the debate about the audio source used for the video in question shouldn't really be one.

first of all: you don't have to be a musician to notice that the guitars are not even plugged in - no cables at all! and these were the days long before any wireless systems were available. and although congas are clearly audible, nobody's playing 'em in the video. this confirms that the band is only miming to a playback.

secondly: just one comparison of the video sound with the "tea party" version makes clear that it's one and the same audio source. in the first few seconds of the song peter plays 3 consecutive bum notes - exactly the same ones he played in the boston version. next, the vocals during the first acappella break reveal the very same unevenness in levels - absolutely. such things are virtually impossible to be exactly repeated a second time. and there's not even an additional live vocal to be heard. it's ALL just mimed - nothing more.

so, you don't have to go any further than that to have the answer: there's definitely no doubt about the fact that the band mimed to the "boston tea party" playback for this video.

and, yes: i very much would've preferred the "monster mash" sequence of this song in the video compilation. one can only hope for a revised/updated/remastered version on dvd before we're all dead and gone . . .

martin

[BklynBlue]

While we can all agree that it is painfully obvious that they are miming the performances (on the video for ‘Rattlesnake Shake’ some smart-ass at the station actually put the words “Why isn’t this man drumming?’ over one of the shots where Fleetwood motions playing while coming nowhere near the skins or cymbals) there is no way that they were using the “Boston Tea Party” tapes for the source –

Logistically, and chronologically, it makes no sense: the show was filmed in Detroit around the time cited above, and those shows were prior to the ones in Boston – the bare-bones production would indicate that they would not (most likely, could not) have removed the audience’s cheers and sounds from the track and most importantly, if you watch the entire clip, after they have finished “playing”, you can hear the opening notes of ‘Oh Well, Pt. 2’.

The playback is the original studio recording

[LesPaul7]

So originally they mimed to the studio version of Oh Well and on the DVD the Boston version was dubbed in?

How about for Rattlesnake Shake from the Playboy Mansion? It is different from the studio version. For some reason I thought this to be pre-recorded for the show.

[lazy poker]

While we can all agree that it is painfully obvious that they are miming the performances (on the video for ‘Rattlesnake Shake’ some smart-ass at the station actually put the words “Why isn’t this man drumming?’ over one of the shots where Fleetwood motions playing while coming nowhere near the skins or cymbals) there is no way that they were using the “Boston Tea Party” tapes for the source –

Logistically, and chronologically, it makes no sense: the show was filmed in Detroit around the time cited above, and those shows were prior to the ones in Boston – the bare-bones production would indicate that they would not (most likely, could not) have removed the audience’s cheers and sounds from the track and most importantly, if you watch the entire clip, after they have finished “playing”, you can hear the opening notes of ‘Oh Well, Pt. 2’.

The playback is the original studio recording
hi, bklynblue!
seems we're talkin' about two different kettle of fish here. i was referring to this video:
https://www.youtube.com/watch?v=RBU0ilZLQvI
and this audio is definitely the "boston tea party" version. please correct me if i'm wrong, but i think this vid is the topic of discussion. i'd appreciate very much, if you could post a link to the version you're talking about.

[wetcamelfood]

How about for Rattlesnake Shake from the Playboy Mansion? It is different from the studio version. For some reason I thought this to be pre-recorded for the show.

That was performed live. :)

John

[wetcamelfood]

Re: Oh Well - I think LesPaul7 hit the mail on the head, originally they mimed to the studio version of Oh Well and on the DVD the Boston version was dubbed in.

John

[BklynBlue]

LazyPoker,
Well, as Alice once said, “Curiouser and curiouser…” as with so many things related to the Green era Fleetwood Mac, it seems we have once again fallen down a rabbit hole –

All the clips that I have been able to find on YouTube do, as you say, feature the Boston Tea Party audio – this includes, the one used on “The Early Years” compilation released by Castle Communications – you can see the compilation in full here https://www.youtube.com/watch?v=yT_Sf-ARrBY (‘Oh Well’ begins around 40:55)

However, (there is always a however with these things, isn’t there…) I have a version on DVD which I received in a trade long ago on which the backing track is the original studio recording – the video is identical accept that it runs just a little bit longer after the number has stopped, and you hear the opening of “Pt. 2”.

It is my belief (your mileage my vary and I am very interested in what other people may think) that when the show was originally broadcast, it was done to the studio recording – again, the show was taped before the Boston Tea Party shows – when Castle Communications put together their compilation, they substituted the Tea Party recording because the Warner Brothers legal department told them they could not use the original song – another reason they dropped the “performance” of ‘Rattlesnake Shake’ from that show.

All of the other songs on the video compilation are either live, (thus unique and not "owned" by the label or from the Blue Horizon catalog, and God only knows who has the rights to those songs, so Castle Communications felt safe with those.

That said, I now have to figure out if the version of ‘The Green Manalishi’ used to end of the compilation is in any way unique or live (most likely) as the same restrictions would have applied…:distress:

Les Paul,
I have to go back to listen, but I would believe that for “Playboy After Dark” they did prerecord the numbers as that would have been standard practice for any television show at that time – but please don’t quote me on this until I have looked into it further - let's see if we can get to the bottom on one mystery first, before moving on to the others...

[lazy poker]

LazyPoker,
Well, as Alice once said, “Curiouser and curiouser…” as with so many things related to the Green era Fleetwood Mac, it seems we have once again fallen down a rabbit hole –

All the clips that I have been able to find on YouTube do, as you say, feature the Boston Tea Party audio – this includes, the one used on “The Early Years” compilation released by Castle Communications – you can see the compilation in full here https://www.youtube.com/watch?v=yT_Sf-ARrBY (‘Oh Well’ begins around 40:55)

However, (there is always a however with these things, isn’t there…) I have a version on DVD which I received in a trade long ago on which the backing track is the original studio recording – the video is identical accept that it runs just a little bit longer after the number has stopped, and you hear the opening of “Pt. 2”.

It is my belief (your mileage my vary and I am very interested in what other people may think) that when the show was originally broadcast, it was done to the studio recording – again, the show was taped before the Boston Tea Party shows – when Castle Communications put together their compilation, they substituted the Tea Party recording because the Warner Brothers legal department told them they could not use the original song – another reason they dropped the “performance” of ‘Rattlesnake Shake’ from that show.
. . . so we happily sorted this one out - thanxalot, bklynblue, for enlightenment! of course, i have a copy of the "early years", but i never saw this very same footage with the studio version audio, which is, as you say, nowhere to be found on the net. so, hopefully it's easy to understand my initial confusion on this matter. but now (on the grounds of the legal background info, to boot) i can see your point.
on to the next mystery . . . ;)

[wetcamelfood]

Re: Rattlesnake - Yeah I say "live" but I just meant unique to that video whether it be prerecorded or whatever. :)

John

[becca]

Not to add to any confusion, but I know sometimes people performed live vocals to studio backing tracks, including those used on the vinyl release. Sometimes they would perform to partial studio backing recordings (for example when the Hollies hit the steel drum break on Carrie Anne, they weren't going to be able to have a specialized steel drummer along never mind properly miked). Almost any combination you can imagine might have occurred somewhere. For radio appearances there was some musicians union technicality that made a percentage of the content have to be 'new' performances, and this is why there are so many BBC radio and Peel session collections around these days, although so often they are really not very different from the commercially released version at the time.

[sharksfan2000]

Re: Rattlesnake - Yeah I say "live" but I just meant unique to that video whether it be prerecorded or whatever. :)

John
I don't have any doubt that the "Rattlesnake Shake" Playboy After Dark performance is live. No question at all that the vocals are live, and they have their speaker cabinets up on stage with them - why would they haul them up there if they were playing to a pre-recorded instrumental track? Plus the performance is loose enough that I don't think they would have gone with it for a taped backing track.

Check out other Playboy After Dark clips on YouTube (The Byrds for example, an early performance with Clarence White in the band), and I think you'll see that these are truly live performances from that show.

[LesPaul7]

"In one of Fleetwood Mac's weirder promotional assignments, the group pre-records an insert for Hugh Hefner's syndicated TV show Playboy After Dark (show No. 37) at CBS Television City in Los Angeles. .....Fleetwood Mac rock their way through 'Rattlesnake Shake'. Green sings live while the band mimes to a pre-recorded backing track (different from the original recording) and it looks as if he's enjoying every minute of it." - Strange Brew by Christopher Hjort

Not sure what to make of it because it looks like the guys are playing, especially Fleetwood. That comedian did put his head next to a Fender amp, which doesn't make sense, so maybe they weren't on.

[sharksfan2000]

"In one of Fleetwood Mac's weirder promotional assignments, the group pre-records an insert for Hugh Hefner's syndicated TV show Playboy After Dark (show No. 37) at CBS Television City in Los Angeles. .....Fleetwood Mac rock their way through 'Rattlesnake Shake'. Green sings live while the band mimes to a pre-recorded backing track (different from the original recording) and it looks as if he's enjoying every minute of it." - Strange Brew by Christopher Hjort

Not sure what to make of it because it looks like the guys are playing, especially Fleetwood. That comedian did put his head next to a Fender amp, which doesn't make sense, so maybe they weren't on.
Thanks for looking that up in Hjort's book, LesPaul...I was going to do that but got lazy :o Still looks to me like it's live - if it isn't, they're doing the best job of miming to a pre-recorded track that I think I've ever seen. I imagine the amps (if they were on) had to have been set pretty low - certainly not to "11". :D

[BklynBlue]

Careful viewing of the “Playboy After Dark” footage would seem to indicate that the band had played live, but that the way it was edited left it not entirely in sync.
At the very end of the number, after the last of the vocals, it does not appear as if Fleetwood’s drumming is matched to the music – there are multiple cymbal shots and he can be seen bent over his tom-toms, just pounding away –
The shots of Artie Johnson with his head against the amps were also most likely shot separately – he cannot be seen on stage in any of the wider shots of the band playing (though that could also be due to dancers on the set)

There is also a brief segment, which I don’t believe is easily found on line, where Hefner, with Barbie Benton by his side, along with Don Adams and Artie Johnson bids the audience “good-night” until next week and ‘Albatross’ is heard playing in the background –

Between all of the talk, the briefness of the clip and the sound quality, it is impossible, (for me, anyway) to tell if it was the record playing or if they might have also taped the band performing that number also and went with the two more high energy numbers, ‘Rattlesnake Shake’ and ‘Coming Your Way’ instead (which would make sense to me)

[BklynBlue]

Spelunking down that rabbit hole once more –

As suspected, the original audio (the studio recording) on the promotional clip that the BBC used for broadcast of ‘The Green Manalishi (With the Two Prong Crown)’ was replaced by Castle Communications with a live performance, taken again, from the shows at the Boston Tea Party –

However (there’s that word again, Martin) Green’s spoken intro is not the one heard on “Live at the Boston Tea Party Vol.1” On the CD he says, “This is about the Devil.”

On the video, he introduces the song by title, “This is ‘The Green Manalishi’”. Nothing more. After that, the recordings are the same.

The title only intro is the one heard on the full length version of the song (16:34 vs. 12:56) that was first released on “Roots – The Original Fleetwood Mac Live in Concert”

I would have to believe that when compiling the Tea Party tapes for release, along with any number of other edits that were made on the material, (aesthetic choices made without any input from the artists) that they chose to splice in the intro from a different performance onto the head of the song – (maybe they thought it sounded cooler?)

Much as I love the music on the three CD set, it remains a source of frustration

[Macfanforever]

I got this 1980 Bob Welch interview from my friends website at American Radio History.

Bob Welch Modern Recording magazine in the studio interview.


The interview starts on page 44.

http://www.adrive.com/public/D6rkCP/Bob%20Welch%20Modern-Recording-1980-01.rar

[LesPaul7]

Awesome mag! Thanks for posting. Swaying the time frame to a few years earlier, I feel the Welch/Kirwan period will probably always remain a mystery, although I wish that era specifically was discussed more. Probably not going to happen because one guy wasn't invited to the Hall of Fame, and the other was too sick to make the trip.

[LesPaul7]

Spelunking down that rabbit hole once more –

As suspected, the original audio (the studio recording) on the promotional clip that the BBC used for broadcast of ‘The Green Manalishi (With the Two Prong Crown)’ was replaced by Castle Communications with a live performance, taken again, from the shows at the Boston Tea Party –

However (there’s that word again, Martin) Green’s spoken intro is not the one heard on “Live at the Boston Tea Party Vol.1” On the CD he says, “This is about the Devil.”

On the video, he introduces the song by title, “This is ‘The Green Manalishi’”. Nothing more. After that, the recordings are the same.

The title only intro is the one heard on the full length version of the song (16:34 vs. 12:56) that was first released on “Roots – The Original Fleetwood Mac Live in Concert”

I would have to believe that when compiling the Tea Party tapes for release, along with any number of other edits that were made on the material, (aesthetic choices made without any input from the artists) that they chose to splice in the intro from a different performance onto the head of the song – (maybe they thought it sounded cooler?)

Much as I love the music on the three CD set, it remains a source of frustration

Green Manalishi on the early years? Do they actually have a specific segment where they performed (mimed) this song that is commercially available? On my copy it's a mash-up of a different live performance.

[Author]

Careful viewing of the “Playboy After Dark” footage would seem to indicate that the band had played live, but that the way it was edited left it not entirely in sync.
At the very end of the number, after the last of the vocals, it does not appear as if Fleetwood’s drumming is matched to the music – there are multiple cymbal shots and he can be seen bent over his tom-toms, just pounding away –
The shots of Artie Johnson with his head against the amps were also most likely shot separately – he cannot be seen on stage in any of the wider shots of the band playing (though that could also be due to dancers on the set)

There is also a brief segment, which I don’t believe is easily found on line, where Hefner, with Barbie Benton by his side, along with Don Adams and Artie Johnson bids the audience “good-night” until next week and ‘Albatross’ is heard playing in the background –

Between all of the talk, the briefness of the clip and the sound quality, it is impossible, (for me, anyway) to tell if it was the record playing or if they might have also taped the band performing that number also and went with the two more high energy numbers, ‘Rattlesnake Shake’ and ‘Coming Your Way’ instead (which would make sense to me)
With regard to Playboy After Dark and sync vs. live: Careful viewing raises the question: are the guitars plugged in? Do not think so ...

[lazy poker]

With regard to Playboy After Dark and sync vs. live: Careful viewing raises the question: are the guitars plugged in? Do not think so ...
oh, yes - though it's not easy to check out (as the guitars' bottoms are rarely seen to where the jack inputs are), but i can't trace a connected cable. so, my bet is on a pre-recorded instrumental playback with a live vocal.

[becca]

Anyone have this particular DVD boot?

https://cdn.iofferphoto.com/img/item/526/864/648/o_fleetwood-mac-us-uk-tv-1968-1970-dvd-very-rare-cdc3.jpg

[lazy poker]

Anyone have this particular DVD boot?

https://cdn.iofferphoto.com/img/item/526/864/648/o_fleetwood-mac-us-uk-tv-1968-1970-dvd-very-rare-cdc3.jpg
i already asked the seller about the quality of the footage - but with no answer yet. not really a particularly low priced item, though. nevertheless i might give it a try, as i don't think there'll be another official release of that stuff. anyone out there who knows more about this item?

[dansven]

Anyone have this particular DVD boot?

https://cdn.iofferphoto.com/img/item/526/864/648/o_fleetwood-mac-us-uk-tv-1968-1970-dvd-very-rare-cdc3.jpg

I guess most of the songs are available on the old, official "Early Years" DVD and on other DVD bootlegs and Youtube.
I suspect "The Green Manalishi", "Black Magic Woman", "Coming Your Way" and "A Fool No More" are just a bunch of still photos played together with the music.

[BklynBlue]

Green Manalishi on the early years? Do they actually have a specific segment where they performed (mimed) this song that is commercially available? On my copy it's a mash-up of a different live performance.

I am basing this the information found in Christopher Hjort's book - he writes that on June 04, 1970, the song was featured on BBC-1's "Top of the Pops", saying that "...a montage is presumably assembled in the absence of a proper group performance."

As with the substitution of the audio on 'Rattlesnake Shake', the mash-up of clips they used was most likely one that Castle put together to pad out the running time, as much of the "performance" footage is recycled from the NRK television broadcast which they obviously had the rights to

[LesPaul7]

I am basing this the information found in Christopher Hjort's book - he writes that on June 04, 1970, the song was featured on BBC-1's "Top of the Pops", saying that "...a montage is presumably assembled in the absence of a proper group performance."

As with the substitution of the audio on 'Rattlesnake Shake', the mash-up of clips they used was most likely one that Castle put together to pad out the running time, as much of the "performance" footage is recycled from the NRK television broadcast which they obviously had the rights to

Ah yes, but on June 17th 1970, they surprisingly reunited to "lip-synch The Green Manalishi for tomorrow's Top of the Pops (BBC-1 TV) at Television Centre, White City, west London."

I take it this performance has never been released?

[BklynBlue]

To the best of my knowledge, (limited as it is) no it has not been released, placing it among a fairly large number of television appearances, both in Britain and throughout Europe that have never surfaced (at least amongst collectors I have been in contact with).

For me, one of the most intriguing of the missing performances, (the information on the taping again comes from Hjort) would be their appearance on How Late It Is (BBC-1) on May 09, 1969. Hjort has them performing Kirwan’s ‘Loving Kind’. This is a personal favorite of mine and as a studio version has yet to surface, it might be assumed they performed it live (or to a pre-recorded track, at the least)

The first live version caught on tape that I am aware of is from their set at the Buxton Progressive Blues Festival on September 26, 1969, almost four months later

[LesPaul7]

As soon as I started reading your post I thought of that example of Loving Kind. I don't understand why the BBC doesn't make this stuff commercially available, I thought Fleetwood said there would be a Live at the BBC Vol. 2 in the liner notes to the first cd.

To your knowledge, is there any live version of One Sunny Day that has surfaced?

[BklynBlue]

The chances are good that the video (and most likely) the audio of many of the televised appearances no longer exists - there have been many "Live at the BBC" collection by a large number of bands released over the years, including two for The Beatles, but again, these were all from radio broadcasts

the other problem of course, is clearing the release with everyone involved - thus, The Rolling Stones' BBC airshots remain available only on bootleg

As far as I know, the only version of 'One Sunny Day' out there is the studio version - should have been released as a single

[FuzzyPlum]

[QUOTE=michelej1;1134499][BBC-2 Radio picks the 100 greatest guitar riffs. Oh Well is included]

I think there is a TV prog also ,to be broadcast soon on BBC4

I would say, looking at the list, someone doesn't actually know the difference between a riff and a melody Smoke on the Water , OhWell , All Right Now are riffs but Apache and Waterloo Sunset (Even though ultimately not included ,and a great song by the way !I don't think so !!

Purple Haze I don't feel it is a riff based song (Fantastic as it is !)Whereas Voodoo Chile (?) or Foxy Lady are !

Whole Lotta Love voted number 1 guitar riff.
Oh Well came in a respectable 22- I hadn't expected it to come in so high. That's pretty good.

http://www.bbc.co.uk/radio2/chart/guitar-riffs

[michelej1]

[From an article complainting about commuting]

The Guardian 9-27-2014 by Lauren Laverne

http://www.theguardian.com/lifeandstyle/2014/sep/28/why-commuting-public-transport-makes-you-happy-lauren-laverne



No. Stoic, group silence is the only acceptable way to spend an hour in such intimate proximity to so very many strangers. It’s your journey to work, not a Robin Thicke video. But make no mistake: amid the silence, behind my blank expression, I am drinking deep and daily from a sustaining wellspring of joy. Yes, all the time – when the Victoria line is part suspended; when there’s a busker playing an unforgivable version of Fleetwood Mac’s “Albatross”; when the bloke opposite is inhaling an inexplicable 8am Pad Thai with all the expertise of a leaf blower, creating a vast arc of noodle backsplash and a pungent miasma that stretches the length of the entire carriage. Yes, then. Even when I can feel four distinct breaths on the back of my neck and can tell by the exhalation pattern that one of them is a dog’s.

[michelej1]

Jan 17 2015 02:15:01
Mothers project is our labour of love ; Erdington rock club Mothers played host to illustrious names such as Black Sabbath, Led Zeppelin, The Who and Pink Floyd during its three- year reign. GRAHAM YOUNG looks at efforts to keep the spirit of the club alive
Jan. 17 (Birmingham Mail) -- MORE than 300 items of memorabilia are to go on display to keep the spirit of Birmingham's legendary rock club Mothers alive.

And, if the day is as successful as the organisers believe it will be, it is hoped to turn the exhibition into an annual event.

Motor trade worker Dave Gordon has been collecting posters, books, flyers and records relating to the former club in Erdington for three years.

"I've had to put my 13-year-old daughter in with her younger brother so that I can use her bedroom to store it all," he says.

"We're just getting the word out now about the day and I expect people to find even more things we can display.

"Although admission is free, I'm having copies made of some of the Mothers posters - the originals are probably worth Pounds 900 to Pounds 1,000 - to help to raise money for the local church."

Mothers only ran for three years, from 1968-71.

But during that time the greatest names in rock forged their talents there, including Black Sabbath, Led Zeppelin, The Who, Deep Purple, Free, Traffic, Marc Bolan, Jimi Hendrix and Pink Floyd.

Now 49, Dave learned about the Birmingham club's role in the birthplace of heavy rock through his late father, Ron Crowe.

Dave, who has his stepfather's surname, says: "My dad is buried at St Barnabas' Church and it's in the hall there where we will be having the exhibition.

"I was brought up on the stories about Mothers, which included The Who's drummer Keith Moon collapsing with heat exhaustion.

"He was carried into a dressing room and had a jug of cold water poured all over him.

"But then they sat on his legs to make him wait 10 minutes before trying to get back on to the stage. If there was one band I wish I could have seen play there, it would have to be Led Zeppelin. Drummer Jason Bonham apparently used to go up there twice a week with Robert Plant when they weren't touring, just to watch these other bands."

Dave was working for a community radio station three years ago when he realised the Mothers story ought to be better preserved - and he's now hoping that legendary guitarists David Gilmore (Pink Floyd) and Tony Iommi (Black Sabbath) will be able to turn their acknowledged interest in the project into personal visits on the day of the exhibition.

"Mothers is an amazing part of our rock history," says Dave.

"I think it's important for Birmingham that somebody tries to make ago of it and "The club is now a shop and the owners have agreed to allow tours of the building on the day so that people can see where the stage was, where the bar was and so on." One item Dave has is an undated letter signed by John Peel which says: 'I remember a wonderful Fleetwood Mac gig at which Peter Green, before over- indulgence in acid sidelined him, and at the time one of the few musicians who seemed to have retained a sense of humour, doing a Stan Webb.

'Stan (Chickenshack) used to leap into the audience to play his guitar solos and Pete, who had obviously witnessed this, put on a monkey mask (for Stan was not an object of great beauty) and did the same. I thought it was really funny at the time. I also remember the night on which the Floyd played and did the best ever version of Set The Controls For The Heart Of The Sun.

'I used to have a tape of it, but it was nicked by a discerning burglar ten years later. I sometimes get mail from younger people who live in Erdington and are amazed to hear that for a few years, the best club in Britain - and it was, because I went to most of them - was right there in Dave is being helped with the exhibition by Adrian Howell, who is organising young live bands for the day to give them a flavour of continuing the legacy.

Fiona Pritchard, wife of Dave Pritchard from The Idle Race (the forerunner of The Move, ELO and Wizzard), is rounding up names from the past. Names hoping to attend include Charlie Grimmer (Wizzard), Tony Iommi's guitarist cousin Paul Eastment (Velvet Fogg) and Norman Haines, lead singer with The Locomotive. Names sounded out about attending or contributing memories include Pete Townshend (The Who), Steve Gibbons, Roger Lomas (The Selector), Horace Painter (The Specials) and Pete Brown, the songwriter and unofficial fourth member of Cream.

[aleuzzi]

[From an article complainting about commuting]

The Guardian 9-27-2014 by Lauren Laverne

http://www.theguardian.com/lifeandstyle/2014/sep/28/why-commuting-public-transport-makes-you-happy-lauren-laverne



No. Stoic, group silence is the only acceptable way to spend an hour in such intimate proximity to so very many strangers. It’s your journey to work, not a Robin Thicke video. But make no mistake: amid the silence, behind my blank expression, I am drinking deep and daily from a sustaining wellspring of joy. Yes, all the time – when the Victoria line is part suspended; when there’s a busker playing an unforgivable version of Fleetwood Mac’s “Albatross”; when the bloke opposite is inhaling an inexplicable 8am Pad Thai with all the expertise of a leaf blower, creating a vast arc of noodle backsplash and a pungent miasma that stretches the length of the entire carriage. Yes, then. Even when I can feel four distinct breaths on the back of my neck and can tell by the exhalation pattern that one of them is a dog’s.

I don't understand a word of this.

[jeremy spencer]

"I think it's important for Birmingham that somebody tries to make ago of it and "The club is now a shop and the owners have agreed to allow tours of the building on the day so that people can see where the stage was, where the bar was and so on." One item Dave has is an undated letter signed by John Peel which says: 'I remember a wonderful Fleetwood Mac gig at which Peter Green, before over- indulgence in acid sidelined him, and at the time one of the few musicians who seemed to have retained a sense of humour, doing a Stan Webb.

'Stan (Chickenshack) used to leap into the audience to play his guitar solos and Pete, who had obviously witnessed this, put on a monkey mask (for Stan was not an object of great beauty) and did the same.


Actually, Pete's monkey-mask thing was not a take on Stan Webb, but Buddy Guy, who was the first blues guitarist to pull off that stage antic. Pete would disappear off stage and at most gigs, John McVie would announce 'Ladies and gentlemen, Buddy Guy!' It would be regarded as being totally unPC today, of course!
Stan Webb, being a Buddy Guy aficionado, included this stunt in CS's show.

[wetcamelfood]

"I think it's important for Birmingham that somebody tries to make ago of it and "The club is now a shop and the owners have agreed to allow tours of the building on the day so that people can see where the stage was, where the bar was and so on." One item Dave has is an undated letter signed by John Peel which says: 'I remember a wonderful Fleetwood Mac gig at which Peter Green, before over- indulgence in acid sidelined him, and at the time one of the few musicians who seemed to have retained a sense of humour, doing a Stan Webb.

'Stan (Chickenshack) used to leap into the audience to play his guitar solos and Pete, who had obviously witnessed this, put on a monkey mask (for Stan was not an object of great beauty) and did the same.


Actually, Pete's monkey-mask thing was not a take on Stan Webb, but Buddy Guy, who was the first blues guitarist to pull off that stage antic. Pete would disappear off stage and at most gigs, John McVie would announce 'Ladies and gentlemen, Buddy Guy!' It would be regarded as being totally unPC today, of course!
Stan Webb, being a Buddy Guy aficionado, included this stunt in CS's show.

Ah! I had wondered about this, it makes more sense now. :)

John

[SisterNightroad]

Top 10 Martin Birch Albums
by Eduardo Rivadavia


Like many of history’s greatest music producers, Martin Birch prefers to maintain a low profile, working behind-the-scenes of his star clients to the point we had to dig a little deeper just to confirm his birth date of Dec. 27, 1948. But we hope Mr. Birch won’t hold our curiosity against us, since we aim to praise his incomparable career achievements as perhaps the greatest producer/engineer in hard rock and heavy metal history. Just flip through our ensuing list of Top 10 Martin Birch Albums and we’re sure you too will be amazed at the stunning collection of all-time classics that bear his imprimatur.

10
‘Then Play On’ (1969)
Fleetwood Mac


Martin Birch was just a humble studio engineer for what is arguably the greatest studio album recorded by Peter Green-era Fleetwood Mac. But we think it’s telling that this future producer’s first major credit came on such a pivotal release, headlined by a guitarist whose talents would influence so many of Birch’s future clients.



9
‘Argus’ (1972)
Wishbone Ash


The same thought process applies to Wishbone Ash’s third studio platter, ‘Argus,’ which Birch engineered in 1972, just as his career was really starting to take off. After all, one can only assume that the experience of recording Ted Turner and Andy Powell’s mellifluous twin-guitar interplay came in very handy when Iron Maiden rang Birch’s number almost one decade later.



8
‘Fire of Unknown Origin’ (1981)
Blue Oyster Cult


Martin Birch was firmly established as one of hard rock’s premier producers by 1981, when he helped Long Islanders Blue Oyster Cult resurrect their flagging career via their stunning return-to-form, ‘Fire of Unknown Origin,’ which featured the No. 1 rock single, ‘Burnin’ for You’ and a song best known for its inclusion in the ‘Heavy Metal’ soundtrack, ‘Veteran of the Psychic Wars.’



7
‘Killers’ (1981)
Iron Maiden


No list of the Top Ten Martin Birch Albums would be complete without several mentions of Iron Maiden — the New Wave of British Heavy Metal champions who worked with Birch until his 1992 retirement. In fact, we could almost fill this entire list with such examples, but we’ll start by calling out the band’s sophomore triumph, ’Killers,’ where Martin’s presence led to instant improvements over the previous year’s rough-sounding debut.



6
‘Saints & Sinners’ (1982)
Whitesnake


Another band that absolutely depended on Martin Birch’s production guidance for the better part of its career was David Coverdale’s Whitesnake — beginning with the group’s modest 1978 debut, ‘Trouble,’ and then arguably improving, year after year, until (and even beyond) 1982’s stellar ‘Saints & Sinners.’ That’s eight albums in all, including the double ‘Live…in the Heart of the City.’



5
‘Machine Head’ (1972)
Deep Purple


Can you say all-time classic? Look up the definition in a dictionary and you may find a picture of Deep Purple’s signature album, ‘Machine Head,’ which was ostensibly produced by the band but with the help of their trusty engineer, Martin Birch. Indeed, there’s little doubt it was this album’s massive global success that took Birch’s career to the next level, and ensured a more prestigious producer’s credit in years to come.



4
‘Burn’ (1974)
Deep Purple


Deep Purple counted on Birch yet again a couple of years later on 1974’s absolutely superb ‘Burn.’ The LP, which nearly equaled ‘Machine Head’s’ genius, saw Martin Birch help break in new boys Coverdale and Glenn Hughes without missing a single beat. And to think we’ve still got three spots to go in our list of Top Ten Martin Birch Albums.



3
‘Rising’ (1976)
Rainbow


And we don’t even have to leave the Purple camp to find one of them, thanks to ‘Rainbow Rising,’ one of three seminal heavy metal releases (four, if you count ’77’s ‘On Stage') that were produced by Martin Birch for Rainbow, guitarist Ritchie Blackmore’s Ronnie James Dio-fronted musical endeavor after leaving Deep Purple. Once voted the No. 1 heavy metal album of all-time by Kerrang! magazine, ‘Rising’ may be approaching its 40th anniversary, but its legend and influence just keep rising and rising every year.



2
‘Heaven and Hell’ (1980)
Black Sabbath


The next stop on Ronnie James Dio’s remarkable career will conveniently bring us to the next yardstick in Martin Birch’s own exceptional trajectory, as the two men’s destinies converged once again in 1980 to aid in the unlikely resurrection of Black Sabbath. The resulting ‘Heaven and Hell’ was quickly proclaimed a heavy metal landmark, and thus, as much as any other album, it cemented Martin Birch’s name atop the Mount Everest of heavy rock producers, with another decade of impeccable work still ahead.



1
‘The Number of the Beast’ (1982)
Iron Maiden


And we’ll celebrate the '80s and simultaneously wrap up our list of Top Ten Martin Birch Albums with ‘The Number of the Beast,’ a release that many experts and fans alike still view as the gold standard for both the band and producer who collaborated on it. Although Maiden and Birch would carry on delivering winner after winner in LP’s like ‘Piece of Mind,’ ’Powerslave’ and ‘Seventh Son of a Seventh Son,’ the tone and template for this incredible partnership (and, by extension, most of the ‘80s metal aesthetic) was undoubtedly set on this amazing record.





Read More: Top 10 Martin Birch Albums | http://ultimateclassicrock.com/martin-birch-albums/?trackback=tsmclip

[michelej1]

Fellowship Inn

http://i300.photobucket.com/albums/nn2/michelej1/Pub_zpsidnhbdvx.jpg (http://s300.photobucket.com/user/michelej1/media/Pub_zpsidnhbdvx.jpg.html)

The pub, built in the 1920s in Bellingham, London, has been in serious disrepair since the 1980s, according to the Heritage Lottery Fund

The pub's large theatre (pictured) was once graced by bands including Fleetwood Mac and John Mayall’s Bluesbreakers

Read more: http://www.dailymail.co.uk/news/article-2963260/The-18million-lifeline-Historic-buildings-reduced-crumbling-relics-years-neglect-line-Lottery-boost-return-former-glory.html#ixzz3SXn0IACB
Follow us: @MailOnline on Twitter | DailyMail on Facebook

[michelej1]

[From an article on the Frank Freeman reunion]

Frank Freeman reunion: Clubbers who got their kicks on the A456By Bethan Bell

BBC News

http://i300.photobucket.com/albums/nn2/michelej1/freddies-montage_zpskjp5dacx.jpg (http://s300.photobucket.com/user/michelej1/media/freddies-montage_zpskjp5dacx.jpg.html)

http://www.bbc.com/news/uk-england-hereford-worcester-31538490

Performers at Frank Freeman's included (clockwise from top left) Simon Nicholl from Fairport Convention, Captain Beefheart, Judy Dyble from Fairport Convention, Pete Drumond and Mick Fleetwood

[michelej1]

Stereogum by James Rettig, February 22, 2015

Fort Lean – “Travellin” (Jeremy Spencer Band Cover)

Brooklyn rockers Fort Lean have shared a cover of Jeremy Spencer Band’s “Travellin'” as a teaser for their long-gestating debut album, Quiet Day. “Jeremy Spencer was a guitar player in the initial incarnation of Fleetwood Mac, mostly known for abruptly disappearing while they were on tour in LA and joining a religious cult,” guitarist Zach Fried explained to Brooklyn Vegan. “This might be his greatest contribution to the world of music, I listen to this song a lot.” Hear their dreamy take on the track below.

[SisterNightroad]

Top 100 ’60s Rock Albums
by Ultimate Classic Rock Staff

http://wac.450f.edgecastcdn.net/80450F/ultimateclassicrock.com/files/2015/03/60sLogo.jpg

The Top 100 ’60s Rock Albums represent the moment when popular music came of age. In the earliest part of the decade, bands were still regularly referencing earlier sounds and themes. By the middle, something powerful and distinct was happening, which is why the latter part of the ’60s weighs so heavily on our list. A number of bands evolved alongside fast-emerging trends of blues rock, folk rock, psychedelia and hard rock, adding new complexities to the music even as the songs themselves became more topical. If there’s a thread running through the Top 100 ’60s Rock Albums and this period of intense change, it has to do with the forward-thinking artists who managed to echo and, in some cases, advance the zeitgeist. Along the way, legends were made.


http://wac.450f.edgecastcdn.net/80450F/ultimateclassicrock.com/files/2015/03/56-Fleetwood-Mac-Peter-Greens-Fleetwood-Mac.jpg

'Peter Green's Fleetwood Mac'
Fleetwood Mac (1968): Green, who had met Mick Fleetwood and John McVie as members of John Mayall’s Bluesbreakers, later descended into mental illness – opening the door for a more mainstream turn by the band. There is much to recommend for blues lovers, however, in these gritty early recordings.




Read More: Top 100 '60s Rock Albums | http://ultimateclassicrock.com/60s-rock-albums/?trackback=tsmclip

[FuzzyPlum]

Mac lads bring Green to the Green

http://www.lep.co.uk/what-s-on/music/mac-lads-bring-green-to-the-green-1-7262811

The Early Mac Band, BJ’s Rock in the Blues Club, The Minstrel in Eaves Green

As the name implies the roots of this band are in the classic music of Peter Green’s Fleetwood Mac, much of which was performed to perfection. From the Leeds area, they are Luke Smithson on vocals and guitar, Joel Dowson on guitar, Ol Jessop on bass with Peter Tallent on drums and vocals. The band began the set with a tribute to the original Fleetwood Mac. They played the most haunting version of Albatross I have heard, which was well appreciated by the audience.

With If You Be My Baby, a slow powerful 12 bar blues, the two guitarist complemented each other brilliantly. A touch of Garry Moore completed the first, well put together set. The second set brought us foot tapping 12 bar standard blues with Peter Green’s Stop Messing Around, then on to a classic Hendrix number Little Wing, to which the guys did real justice. Performing in their own style, the band played the classic Robert Johnson number Crossroads, which led on to another Hendrix classic of Hey Joe.Returning to the Fleetwood Mac flavour with a great take of Oh Well and one of my favourite tracks ever, Need Your Love So Bad, followed by Black Magic Woman, superb!

The final numbers, It’s All Over Now and a stomping version of Johnny Be Good, got the dancers up. A great end to an enjoyable evening.

[SisterNightroad]

35 Years Ago: Whitesnake Declare Themselves ‘Ready an’ Willing’ For A Breakthrough
By Eduardo Rivadavia May 31, 2015 10:12 AM

By the time Whitesnake unveiled their third studio long-player, Ready an’ Willing, on May 31, 1980, David Coverdale’s crew of English blues rockers had already been alive and kicking for a couple of years. But to say they’d achieved true stardom would be something of an overstatement.
Instead, it was Ready an’ Willing that signaled the career turning point they’d been working towards, as it climbed into the U.K. Top 10 and became Whitesnake’s first effort to even chart outside their homeland. The catalyst for all this being the group’s first bona fide hit single in “Fool for Your Loving,” and perhaps some timely upgrades to their lineup, too, with the arrival of former Deep Purple drummer Ian Paice.
By joining up, Paice was of course reuniting with his erstwhile Purple bandmates, Coverdale and organist Jon Lord, and simply adding his formidable talents to those of guitarists Bernie Marsden and Micky Moody, plus bassist Neil Murray — all of which elevated the band’s creative and performing powers to the next level.
This upgrade was perfectly apparent in album standouts like the sharp-tongued “Sweet Talker,” the slowly building “Ain’t Gonna Cry No More,” the bluesy balladry of “Blind Man” (reworked from Coverdale’s solo LP), and that groove monster of a title track.
But enough of our opinions and reminisces. Here’s what Ultimate Classic Rock’s own Matt Wardlaw learned about the period surrounding Ready an’ Willing’s recording and release, from a candid interview with former Whitesnake guitarist Bernie Marsden:


Did the album come together pretty easily?

Yeah, because we had Martin Birch in the studio, the secret weapon as I used to call him. He was dead on the money. He knew. He’d been there with the whole thing with Fleetwood Mac and Deep Purple — we all understood each other and never had to say much. He’d say, I’m ready for a solo” and I’d do a solo and I’d say, “Okay, shall we do it [again]?” and he’d say, “Thank you, I’ve got it” and he was right usually. You learn to trust people like that.



Read More: 35 Years Ago: Whitesnake Declare Themselves 'Ready an' Willing' For A Breakthrough | http://ultimateclassicrock.com/whitesnake-ready-an-willing/?trackback=tsmclip

[michelej1]

[Excerpt from an article about Bob Hall]

The Southern Reporter Saturday 13 June 2015

http://www.thesouthernreporter.co.uk/what-s-on/music-gigs/boogie-woogie-in-rolling-hills-1-3799283

In the 1970s and 80s Bob led headlining bands Tramp and Rocket 88, whose sidemen included Jack Bruce of Cream, Charlie Watts of The Rolling Stones, and Mick Fleetwood and Danny Kirwan of Fleetwood Mac. In 1991 and 1993 he won the British Blues Connection Instrumentalist of the Year award.

[lazy poker]

[Excerpt from an article about Bob Hall]

The Southern Reporter Saturday 13 June 2015

http://www.thesouthernreporter.co.uk/what-s-on/music-gigs/boogie-woogie-in-rolling-hills-1-3799283

In the 1970s and 80s Bob led headlining bands Tramp and Rocket 88, whose sidemen included Jack Bruce of Cream, Charlie Watts of The Rolling Stones, and Mick Fleetwood and Danny Kirwan of Fleetwood Mac. In 1991 and 1993 he won the British Blues Connection Instrumentalist of the Year award.
please correct me if i'm wrong, but i got the impression that you haven't heard of tramp up until now, have you?!

tramp was a sort of loose band project (don't know if they ever played live) that - to the best of my knowledge - recorded 2 albums: the eponymous first album in 1969 (on music man records) and "put a record on" in 1974 (on the spark label). core members were dave kelly, his sister jo-anne, pianist bob hall, danny kirwan, bob brunning and mick fleetwood. the first album is definitely the best as it's a more down-to earth blues-based affair than it's follow-up. the vocals were shared by the kelly siblings, brunning and fleetwood provided a solid rhythm section with hall and kirwan both shining on piano and guitar respectively.

while "put a record on" can easily be neglected (imho), "tramp" is a truly rewarding album for any serious fan of the early mac and their off-shoots.
martin

p.s. as for tramp on cd - all cd editions so far (as far as i know) are just easily detectable vinyl rips. i'm glad i still own a vinyl copy of that first album in near mint condition - the original music man release fetches prices up to 200 gbp, even the re-release on spark can go for up to 120 gbp! so happy hunting . . . !

[SisterNightroad]

http://s14.postimg.org/aa1amywxd/12_Abraxas.jpg

'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-rock-albums/?trackback=tsmclip

[sharksfan2000]

http://s14.postimg.org/aa1amywxd/12_Abraxas.jpg

'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-rock-albums/?trackback=tsmclip
Wow, Santana covered "Black Magic Woman"? I had no idea! :rolleyes:

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?

[SisterNightroad]

http://s24.postimg.org/per26gd11/Gif_127.gif

[SisterNightroad]

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.

<iframe width="854" height="510" src="https://www.youtube.com/embed/gmPhb-tWgBg" frameborder="0" allowfullscreen></iframe>
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-10-grateful-dead-shows/?trackback=tsmclip

[michelej1]

[From a Vice article on Bill Graham] By Steve Baltin

http://noisey.vice.com/blog/bill-graham-rock-and-roll-revolution-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.’”

[michelej1]

[From an article on Aerosmith's MGM show]

Las Vegas Review Journal, July 30, 2015

http://www.reviewjournal.com/entertainment/music/old-aerosmith-songs-still-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/entertainment/music/old-aerosmith-songs-still-passing-new#sthash.fjv0u2YS.dpuf

[michelej1]

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/carter-alans-rock-n-roll-diary-august-12-in-classic-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.

[sharksfan2000]

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/carter-alans-rock-n-roll-diary-august-12-in-classic-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.

So many times I've seen this incorrect date for the band's debut performance - their debut was actually on August 13th. This error has been repeated over and over...no reason to let it continue here.

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.

http://40.media.tumblr.com/01add433ea7662756f6c31b66d1a5084/tumblr_nsmgme1oVa1qll1ero1_500.jpg

[SisterNightroad]

Left-Handed Rock Stars

https://xavisownexperience.files.wordpress.com/2013/03/gary-moore-jo-hale.jpeg

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-handed-rock-stars/?trackback=tsmclip

[SisterNightroad]

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/september-13-rock-history/?trackback=tsmclip

[mzero]

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.



News Anniversaries:
John Lennon plays his first solo show (1970)


Read More: This Day in Rock History: September 13 | http://ultimateclassicrock.com/september-13-rock-history/?trackback=tsmclip

i could have sworn that live peace in toronto was in 1969. z

[SisterNightroad]

i could have sworn that live peace in toronto was in 1969. z
In effect they rectified here: http://ultimateclassicrock.com/john-lennon-toronto-concert/

[SisterNightroad]

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/september-18-rock-history/?trackback=tsmclip

[SisterNightroad]

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/santana-abraxas/?trackback=tsmclip

[SisterNightroad]

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-metal-born-1970/?trackback=tsmclip

[michelej1]

'Fargo' Tunes 1: Billy Thorpe & Fleetwood Mac

http://communityvoices.post-gazette.com/arts-entertainment-living/get-rhythm/item/39592-fargo-tunes-1-billy-thorpe-fleetwood-mac

Tuesday, 13 October 2015 Written by Rich Kienzle, Community Voices

No SPOILERS

Tuesday's Season Two premiere of FX's Fargo, which earned critical acclaim for its complex stories of crime in the upper Midwest, inspired by the now-classic Coen Brothers movie, was an impressive kic-off. It also had two songs on the soundtrack, one from 1979, the year in which the season is set, and another from a decade earlier by an early incarnation of one of rock's most respected bands.

It was a decade earlier than the setting for this season of Fargo, and represented a far different Fleetwood Mac than the better known Christine McVie-Lindsey Buckingham-Stevie Nicks lineup responsible for Rumours and the rest. This group was the original blues band guitarist Peter Green formed with Mick Fleetwood and John McVie, who like Green, were former members of John Mayall's Bluesbreakers in 1968. Green had replaced Eric Clapton in the Bluesbreakers. Singer-slide guitarist Jeremy Spencer, originally an Elmore James revivalist, was part of the original quartet. Guitarist Danny Kirwan joined the band late that year. "Oh Well," like the instrumental "Albatross," were Green compositions that went far afield from the band's roots in the music of Freddie King, B.B. King and Elmore James.
A live "Oh Well" from the BBC TV show Old Grey Whistle Test. And yes, Green was an awe-inspiring guitarist in his own right, one who battled drugs and mental issues for years and has resurfaced in the past few years, still a formidable player. Christine McVie would join the band in 1970.

[SisterNightroad]

This Day in Rock History: October 15
By Zach Martin October 15, 2015 12:07 AM

<iframe width="630" height="354" src="https://www.youtube.com/embed/kNixWLNRUZ0" frameborder="0" allowfullscreen></iframe>

Neil Young‘s live release Time Fades Away followed a disastrous tour that saw his all-star band basically fall apart over 62 shows. Talking Heads, on the other hand, subsequently released Stop Making Sense while on a huge roll after their most ambitious tour ever. Bob Welch also stepped to the fore for Fleetwood Mac‘s Mystery to Me.

News Anniversaries:
The Beatles record together for the first time (1960)
Jimi Hendrix signs first big contract (1965)

Album Anniversaries:
Fleetwood Mac – Mystery to Me (1973)
Grateful Dead – Wake of the Flood (1973)
Neil Young – Time Fades Away (1973)
Toto – Toto (1978)
AC/DC – Jailbreak (1984)
Talking Heads – Stop Making Sense (1984)
Julian Lennon – Valotte (1984)
Joe Satriani – Surfing with the Alien (1987)



Read More: This Day in Rock History: October 15 | http://ultimateclassicrock.com/october-15-rock-history/?trackback=tsmclip

[michelej1]

[Oh Well is heard in Fargo Season 2]

By Yvonne Villareal Los Angeles Times, October 18, 2015

Excerpt from an interview with Noah Hawley, Cape Cod Times

http://www.capecodtimes.com/article/20151018/ENTERTAINMENTLIFE/151019656

Q: Music, particularly when it comes to period dramas, is a big component to eliciting the feel of the time. How hard is it, though, to have it serve a purpose when you don’t know if that same music will be there when people are streaming it or watching it on DVDs? And also, how do you do it without relying on the obvious?

A: You know, the music of the era is really iconic. But it’s also overused a lot. So the question becomes how do you find cues that are really powerful. So we have this Fleetwood Mac cue, “Oh well,” which is pre-Lindsey Buckingham Fleetwood Mac. It’s a great, powerful guitar-driven song and I made the decision to sort of, when we hit the ‘70s, to hit this Malaise speech from Jimmy Carter. He has that Southern oracle power, and when you set music to it, and we’re showing you documentary footage from the time, there’s a power to it that puts you immediately in that place in time.
But for me, it’s not just about rock songs from the ‘70s. You’ll hear over the course of the season, all kinds of music from different eras, and from around the world. One of the things that’s most interesting is when you see how the ‘70s was interpreted in Italy or France or Africa — that music that is sort of distilled down into other places.

[michelej1]

In the new Tom Petty biography by Warren Zanes, Tony Dimitrades mentions,

"In those days, many of the managers were scoundrels, and the record companies were even more blatant in screwing the artists. So Bernard Sheridan and Co. became known for helping artists get out of their contracts. For instance, Fleetwood Mac, the early Fleetwood Mac, was on Andrew Loog Oldham's Immediate Records, which was going bankrupt, and they needed us to get them off the label."

[michelej1]

[So, is Chili D a hotshot? ]

Mailbag: Readers share their favorite Long Beach concerts
By Tim Grobaty, Long Beach Press Telegram

http://www.presstelegram.com/general-news/20151122/mailbag-readers-share-their-favorite-long-beach-concerts

POSTED: 11/22/15, 5:20 PM PST Press Telegram


Hotshot guitarist Steve Denison caught a taping of a Fleetwood Mac show, with Bob Welch in the lineup, in 1974. Arthur Wild, of the old Dynamite Gangbusters, saw the Kirshner lineup of the Ohio Players, Kool & the Gang, the Commodores, the New York Dolls and UFO. Wild seems to recall those acts were all on the same bill.

[michelej1]

The secret Coen Brothers references hidden in the ‘Fargo’ soundtrack
By Andrea Morabito December 7, 2015 | 4:28pm


New York Post 12/7/2015 by Andrea Morabito

http://nypost.com/2015/12/07/the-secret-coen-brothers-references-hidden-in-the-fargo-soundtrack/

The Peter Green-era Fleetwood Mac song plays in the background of the premiere’s opening sequence as news footage of Jimmy Carter’s 1979 “Crisis of Confidence” speech and images of gasoline lines, serial killer John Waynce Gacy’s mug shot and social unrest sets the scene for the second bloody “Fargo” installment.

[SisterNightroad]

Like Cream or Fleetwood Mac ... proved they could dish out unadulterated blues with the best of 'em.

Read More: 10 Best Ten Years After Songs | http://ultimateclassicrock.com/ten-years-after-songs/?trackback=tsmclip

[SisterNightroad]

To Play and Play Again: How Frank Sinatra’s Thirst for Creative Freedom Led to Some of Classic Rock’s Greatest Records
By Jeff Giles February 13, 2016 11:00 AM

Reprise also worked as a sort of de facto farm system for Warners, incubating early efforts from future stars like Michael Franks, Al Jarreau, and Fleetwood Mac, and distributed an assortment of smaller imprints such as Bearsville (home to Todd Rundgren and NRBQ) and the Beach Boys‘ Brother Records.


Read More: To Play and Play Again: How Frank Sinatra's Thirst for Creative Freedom Led to Some of Classic Rock's Greatest Records | http://ultimateclassicrock.com/reprise-records-history/?trackback=tsmclip

[SisterNightroad]

Black Sabbath Lineup Changes: A Complete Guide

1978: Tony Iommi / Bill Ward / Geezer Butler / Dave Walker
Chafing under the band’s constraints and hoping to launch a solo career, Osbourne quit Sabbath in November 1977, forcing Butler, Iommi, and Ward to find a new singer just as they were scheduled to re-enter the studio. They quickly selected Fleetwood Mac veteran Dave Walker, who made his first (and last) appearance with Black Sabbath in January 1978.



Read More: Black Sabbath Lineup Changes: A Complete Guide | http://ultimateclassicrock.com/black-sabbath-lineup-changes/#photogallery-1=20?trackback=tsmclip

[SisterNightroad]

Top 10 Green Songs
By Matthew Wilkening

It may not be easy being green, but as this list of green songs demonstrates, it’s simple enough to write about it. There are dozens of great classic rock tracks written from an emerald-tinted mind-set. In honor of St. Patrick’s Day, we’ve selected 10 of the best, as artists from Fleetwood Mac to Creedence Clearwater Revival and Steely Dan sing about green eyes, earrings, rivers, and whatever the heck a “manalishi” is.

1
‘The Green Manalishi (With the Two Prong Crown)’
Fleetwood Mac


From: Single (1970)
So, who decided this song is the greenest of all green songs? A couple of legendary outfits named Judas Priest and the Melvins, that’s who! “Green Manalishi” is a raw, hard-hitting number from Fleetwood Mac‘s Peter Green-fronted era about a woman who just can’t be resisted, has been re-interpreted by many groups over time. That list includes both Judas Priest in 1978 and the Melvins in 1997, and that tips the emerald scales ever so slightly in Fleetwood Mac’s favor.



Read More: Top 10 Green Songs | http://ultimateclassicrock.com/green-songs/?trackback=tsmclip

[THD]

Top 10 Green Songs
By Matthew Wilkening

whatever the heck a “manalishi” is.

1
‘The Green Manalishi (With the Two Prong Crown)’
Fleetwood Mac


From: Single (1970)
! “Green Manalishi” is a raw, hard-hitting number from Fleetwood Mac‘s Peter Green-fronted era about a woman who just can’t be resisted,

Read More: Top 10 Green Songs | http://ultimateclassicrock.com/green-songs/?trackback=tsmclip

It is quite evident that the writer does not know what the song is about at all ,let alone what a Green Manalishi is !

[SisterNightroad]

It is quite evident that the writer does not know what the song is about at all ,let alone what a Green Manalishi is !
Yes. But probably this stems from the reinterpretation of the song by Judas Priest and Melvins.

[FuzzyPlum]

It is quite evident that the writer does not know what the song is about at all ,let alone what a Green Manalishi is !

Yes, I'd assumed it was pretty much common knowledge what it is about. Otherwise, surely if you are going to write a piece then you'd take a minute to quickly look it up...a very useful thing this internet.

[THD]

Yes, I'd assumed it was pretty much common knowledge what it is about. Otherwise, surely if you are going to write a piece then you'd take a minute to quickly look it up...a very useful thing this internet.

Too right Fuzzy !!

[SisterNightroad]

Listen to Joe Perry’s New Solo Song With Terry Reid, ‘I’ll Do Happiness’

Reid has been a consistent presence in rock music, even if he never had a breakout hit in the States. He served as an opening act for the Rolling Stones, Cream, Fleetwood Mac and Jethro Tull during their prime.



Read More: Listen to Joe Perry's New Solo Song With Terry Reid, 'I'll Do Happiness' | http://ultimateclassicrock.com/joe-perry-ill-do-happiness/?trackback=tsmclip

[FuzzyPlum]

Pink Floyd, Fleetwood Mac and Status Quo at one Nottingham festival but only 2,000 fans turned up
Nottingham Post | Posted: May 22, 2016
http://www.nottinghampost.com/Pink-Floyd-Fleetwood-Mac-Status-Quo-Nottingham-2/story-29304458-detail/story.html

By Peter Pheasant


IT was on May 10, 1969, that Notts County played host to an 11-hour pop and blues festival at Meadow Lane, Nottingham, which featured Pink Floyd, Fleetwood Mac, the Tremeloes, the Move and Status Quo.

Only around 2,000 people attended out of a possible 40,000 stadium capacity, prompting organiser Roger Jackson to moan afterwards: "Young people don't know what's good for them. They've let us down dismally."

According to Evening Post reporter Tony Willmett, Cardiff trio Love Sculpture were the only group from a list that also featured Van Der Graaf Generator, Keef Hartley, Marmalade, Duster Bennett, Dream Police and guest DJs John Peel and Ed Stewart who had the crowd screaming for more.

Willmett described Georgie Fame and his band as "easily the quality act of the festival" and finished his report with a comment on Pink Floyd, who closed the show with a set that the reporter claimed "sent everybody home with their minds reeling".

One bystander said: "They're either brilliant or they're conning us."

John Moon, of Old Basford, was 16 at the time and travelled from Shirebrook. He recalled: "I set off around 9am and got there just in time to see Fleetwood Mac, just coming on around noon, I think."I was well into blues rock and psychedelia, so it was a great bill for me.

"I was supposed to be picked up at 9pm by my friend's parents but, as Pink Floyd had just gone on, I was not budging an inch and they had to wait for the next 90 minutes... rebel or what... they were not happy!"

"I am not sure if all these acts played as per programme but I loved Fleetwood Mac, Keef Hartley with two great jamming guitarists (first two LPs only) and Floyd took me into another dimension completely... and that was just on tea and a hot dog!

"Sad that Syd (Barrett) was not there, though, replaced by some long-haired guy. I remember not being impressed.

"I remember the pop groups getting booed but everyone was in good spirits and sang along. Georgie Fame did a very pro set, early boogie from Status Quo, which I never thought would catch on! I just wanted Pictures Of Matchstick Men, and more weird stuff."

M Kinton, from Giltbrook, recalled: "The weather was awful, as it poured with rain virtually all day. Perhaps this put people off.

"Fleetwood Mac kicked things off, as they had a gig booked later that day elsewhere. A fabulous band with the outstanding Peter Green on lead guitar.

"It was just a pity the reception and crowd were so quiet, as they played a great set.

"Love Sculpture did a classic version of Sabre Dance. The Move, also in good voice and always a good live band to see. Pink Floyd finished off the festival with a storming set, with Set The Controls For The Heart Of The Sun, and were followed by a giant fireworks display.

"A super festival and not a bad band all day. A very, very memorable day. Probably the best all-day music festival Nottingham has ever seen."

However, it was not the last all-dayer around that time. On July 12, 1969, Nottingham Racecourse staged a 12-hour prog-rock festival featuring the Nice, Eclection, Yes, King Crimson, Juniors Eyes, Edgar Broughton Band, Idle Race, Status Quo, Caravan and Streets Of Sadness, all compered by John Peel.

The following year, on July 25, 1970, the venue switched to Victoria Embankment, where Family, Taste, Atomic Rooster, Mungo Jerry, Anno Domini and Aztec City were on a bill described as "Woodstock comes to Nottingham".

[michelej1]

The World's Greatest Guitar Solos!


4:50 pm on 28 June 2016 Radio New Zealand

http://www.radionz.co.nz/national/programmes/afternoons/audio/201806196/the-world's-greatest-guitar-solos

Peter Green, Fleetwood Mac: Albatross

This got a big reaction from our audience. It features Peter Green on guitar who had left John Mayall with two other ex Mayall band members: Mick Fleetwood and John McVie. Released as a single in 1968, it topped the charts.

There’s an interesting story about the 1959 Sunburst Les Paul guitar Peter Green used to play back in the day of Fleetwood Mac. Green used it on many of his big hits including 'Oh Well, Black Magic Woman' and 'Man of the World'. He sold it to Gary Moore from Thin Lizzy (and a stellar solo career).

Gary played the 1959 Sunburst he bought from Peter Green for his entire career, eventually putting it up for sale. It was on the market for a few years before Kirk Hammett from Metallica paid an undisclosed sum for it… the guitar is unique in that one of the pick-ups was wired in the wrong way around, giving it a unique tone. Moore died in 2011 aged 58. This solo is an excerpt from his hit 'Parisienne Walkways' recorded live. It was his signature song performed on a signature guitar.

Gary Moore: Parisienne Walkways

Gary played the 1959 Sunburst he bought from Peter Green for his entire career, eventually putting it up for sale. It was on the market for a few years before Kirk Hammett from Metallica paid an undisclosed sum for it… the guitar is unique in that one of the pick-ups was wired in the wrong way around, giving it a unique tone. Moore died in 2011 aged 58. This solo is an excerpt from his hit 'Parisienne Walkways' recorded live. It was his signature song performed on a signature guitar.

[michelej1]

[Excerpt from Buffalo News review of Hollywood Vampires]

July 10, 2016 By Aaron Besecker

http://buffalo.com/2016/07/10/featured/hollywood-vampires-rocks-the-night/

Throughout, the supergroup was tight. The band used Fleetwood Mac’s “Stop Messin Around” to showcase its members’ musicianship. Perry sang lead vocal. Cooper took a harmonica solo. Depp – who doesn’t appear to be just an actor trying to play a role and fit in as a musician – and the other guitarists also took solos.

[SisterNightroad]

50 Years Ago: John Mayall Enlists a New Member for ‘Blues Breakers With Eric Clapton’

<iframe width="630" height="473" src="https://www.youtube.com/embed/1-fD9fD61kA" frameborder="0" allowfullscreen></iframe>

John Mayall and Eric Clapton were both relatively well known when they joined up for an album in July 1966. But Blues Breakers With Eric Clapton took both artists’ careers to new levels and set them on their paths to their respective futures.
Clapton was fresh from the Yardbirds, the blues band he quit in disgust after they reached the Top 10 with the pop song “For Your Love” in 1965. Mayall was a beloved British blues singer, pianist and harmonica player with one album released under his name, a live record from the previous year that included bassist John McVie, just one year away from co-founding Fleetwood Mac with fellow future Bluesbreakers Mick Fleetwood and Peter Green.
Like Mayall’s debut album, Blues Breakers With Eric Clapton was supposed to be a concert recording. The 32-year-old felt that the band played best in front of an audience, which fed into his musicians’ performances. But the recording turned out to be unusable, so the group, once again with McVie on bass, went into a London studio in April 1966 and recorded a mix of covers and some originals penned by Mayall and Clapton. A dozen of them ended up on the album.
And even though Mayall’s name is on the cover, with Clapton given a featured spot, there’s no mistaking who the album belongs to. Unlike the harsher tones on the Yardbirds records, Clapton’s playing here is clear, precise and warm — everything that would make him a “god” to his growing legion of fans in the U.K. Blues Breakers With Eric Clapton marks the beginning of the guitarist’s legend. British blues rock starts here too.
Clapton sings only one song on the LP, a cover of Robert Johnson’s “Ramblin’ on My Mind,” but his solos dominate the rest of the record. Freddie King’s “Hideaway” is all clipped notes and bluesy shuffle until Clapton stomps his way to the end. A sweaty, rumbling take on Ray Charles’ “What’d I Say” turns into the sort of rave-up Clapton made famous with the Yardbirds. And the stripped-down “Ramblin’ on My Mind” is both a signature update and tribute to his lifelong musical inspiration.
The band — drummer Hughie Flint rounded out the quartet, and a horn section was later added to a few cuts — amplifies the traditional (and primarily Chicago blues) music, stamping it as something entirely original while keeping its roots firmly intact. It’s a deft move that helped ignite the era’s infatuation with blues-based rock music. (Jimi Hendrix, for one, was a huge fan of the record.)
But this lineup didn’t last long. While Mayall went on to record dozens of albums over the years with some of England’s best musicians, he and Clapton recorded together only once more, on 1971’s Back to the Roots LP. Clapton felt stifled in the Bluesbreakers and was looking for something new. Shortly after the release of Blues Breakers With Eric Clapton, bassist Jack Bruce briefly joined the Bluesbreakers. It wouldn’t be long before he and Clapton, along with Bruce’s old Graham Bond Organisation bandmate Ginger Baker, were in a new group, Cream. Green, who was originally a Bluesbreaker before Clapton, then replaced Clapton, until he left for good with a couple more Bluesbreakers to form Fleetwood Mac.
And that’s pretty much Mayall’s legacy. Clapton once referred to him as a father figure, and his stature, and longevity, within the British music community attests to this. Pretty much every British blues musician from the period has played with Mayall, who was knighted in 2005, at some point during their careers. Blues Breakers With Eric Clapton reached the Top 10 in the U.K., kickstarting Mayall’s career and igniting Clapton’s. It didn’t chart in the U.S., but its influence over the years has long been secured. Every guitarist who’s ever played a Gibson Les Paul with warm, stinging fluidity owes a debt to this album. A huge one.



Read More: 50 Years Ago: John Mayall Enlists a New Member for 'Blues Breakers With Eric Clapton' | http://ultimateclassicrock.com/blues-breakers-with-eric-clapton/?trackback=tsmclip

[michelej1]

From an article about Nettlebed Esoteric Fayre, August 15, 2016

http://www.henleystandard.co.uk/entertainment/story.php?id=246320

“Fleetwood Mac used to do these things in Reading — pick these odd places to do a gig rather than just going round the circuit. So that’s what I loved about Nettlebed — it seemed such a weird place to put it on. It’s just great.”

[SisterNightroad]

Blues legend to restart village Rockabella club

ROCKABELLA Rhythm & Blues Club in Beckington will start the year in style this weekend with a gig from blues legend and Fleetwood Mac producer, Mike Vernon.
Mike Vernon is a legend of the British and American Blues scene, the founder of Blue Horizon Records, the man behind John Mayall’s Beano and Hard Road albums, producer of Fleetwood Mac’s early albums, and has worked with many more famous artists.
He will play with his band The Mighty Combo at Beckington Village Hall from 7.30pm this Saturday, 18th February. Tickets cost £15 each and are available from www.rockabella.org


http://www.frometimes.co.uk/2017/02/14/blues-legend-to-restart-village-rockabella-club/

[SisterNightroad]

‘Godfather of the Blues’ John Mayall, 83, announces new London shows

Name an artist who has done more to shape the direction of modern music and you’ll be hard-pressed to pick out anyone with such a significant contribution under his belt as John Mayall.
He is one of the most prolific British musicians of all time in any genre, let alone that which has given him the prestigious title, ‘Godfather of the Blues’.
Having amassed more than 60 albums over a career spanning six decades, the legendary Mayall is now set to embark on a massive UK tour – featuring an eye-catching double header at the Cadogan Hall in Chelsea.
The shows follow on from the release of his latest record, Talk About That – remarkably, his 65th album of original material.
At the ripe age of 83, Mayall is one of music’s longest-serving veterans. But if there is one style that grants the player the opportunity to age gracefully, it is certainly the blues.
“A certain maturity sets in after you’ve been playing for so long,” Mayall said in a 2011 interview with No Depression magazine, when asked how his approach had changed over the decades.
“You know yourself better and what works, and I think the experience you have with your tools of the trade – which in my case are keyboards, harmonica and sometimes the guitar, shows over time as you become more assured.
“You express yourself through the music and the longer you play, the more assured you get and the more refined your expression is.”
There have been fewer greater champions of the blues during the 20th – and 21st – centuries.
But Mayall has never quite received the kind of popular acclaim that his incredible body of work deserves.
In fact, in the minds of part-time fans, his fame has come more from the musicians he has mentored than his own work.
The likes of Eric Clapton, Mick Taylor and Fleetwood Mac’s Peter Green all featured in various line-ups of his legendary 60s supergroup John Mayall and the Bluesbreakers, and the icons of the era casually drop his name as a key influence on the scene.
Alongside his work with some of rock’s future greats, Mayall found fame across the pond.
He was heralded for his innovations in jazz and rock as well as his beloved blues, and scooped a Grammy for his 1993 album Wake Up Call, which featured guest appearances from Taylor, Mavis Staples and Buddy Guy.
Lauded with critical acclaim throughout his career, Mayall was awarded an OBE for services to British music in 2005 and was inducted – albeit long overdue – into the Blues Hall of Fame last year.
This crowning moment came eight years after Mayall officially retired the Bluesbreakers name. But he is now touring again as a trio with bass player George Rzab and drummer Jay Davenport. And his songs remain as dynamic and bold as ever.
Despite being an ever-present at each turning point in the genre’s illustrious history, Mayall has resisted the lures of technology.
His current shows are stripped-back blues affairs, often with very little equipment on stage.
“We sometimes play on the same bill with other acts that have mountains of equipment – two giant keyboards, speakers all over the place, you know, banks of monitors all over the stage – and we have virtually nothing,” he says. “We’re pretty minimalistic.”
Even without the fully-charged stage setup behind him, Mayall remains one of the most powerful players in the game.
John Mayall and his band will perform along with special guests the Buddy Whittington Band at the Cadogan Hall on November 2 and 3.



https://www.londonnewsonline.co.uk/18946/godfather-blues-john-mayall-83-announces-new-london-shows/

[FuzzyPlum]

B24/7

Music: Interview: Sari Schorr
https://www.bristol247.com/culture/music/interview-sari-schorr/


Sari Schorr’s debut album A Force of Nature was produced by Mike Vernon whose credits include Fleetwood Mac, John Mayall & the Blues Breakers, David Bowie, Savoy Brown, Chicken Shack, Eric Clapton, Peter Green, Christine McVie and Ten Years After; Sari Schorr’s band the Engine Room includes Innes Sibun (former Robert Plant guitarist); Sari Schorr is a marathon runner, animal rights activist and aspiring vegan; Sari Schorr currently lives in Brooklyn, New York with her husband and rescued pit bull triplets; Sari Schorr is playing the Lantern on Thursday 16th March as part of the Blues and Jazz festival; Sari Schorr is the latest artist to submit to the vinyl enquirer.

What was the first record you ever bought and where did you buy it?

It was Led Zeppelin’s Physical Graffiti. I bought it at my favourite grungy record store in New York. I was such a good customer, the owner let me run a tab and pay when I had saved up enough money.

What was the most recent record you bought and where did you buy it?

I bought Phoebe Snow’s Something Real last night. My manager mention Phoebe and it made me long for her voice. I was fortunate enough to have known Phoebe. She was a beautiful soul. I have many of her albums back in NY. I bought this one for the second time on iTunes.

What record do you stick on the deck to sooth your soul?

I always keep Billie Holiday nearby. The melancholy soulfulness of her voice grounds and soothes me.

Have you bought a record on the basis of a great single and then been disappointed by the rest of the album? If so, tell us all about it…

For me, Guns N’ Roses’ Chinese Democracy fell short and felt fragmented. But, to be fair, making a great album is a monumental task, even for a legendary band. So, the occasional run off the rails far outweighs the rewards when those brilliant albums do get made.

What record do you turn up to maximum to get in to that party mood?

King King Live – the first ever live album from the band. I love this album because it really captures the raw, intense energy of this great band.

If we had the ability to land you at the recording of one classic LP so you could witness the whole recording process, what would you choose and why?

I’d take a ride in a time machine back to 1968. I’d sneak into the studio with Peter Green, Mick Fleetwood, John McVie, Jeremy Spencer and their producer Mike Vernon to witness history in the making as they recorded Fleetwood Mac. Having spent a lot of time in the studio with Mike, I’d love to see him work his magic with Fleetwood Mac during those very first recordings they ever did together. It must have been amazing.

Ever bought a record solely because you liked the sleeve? If so, what was it and did it delight you or disappoint you?

I do it all the time. If a cover speaks to me, I’ll take a leap of faith because I’m always on the lookout for something interesting. I discovered Wilco when the cover of Yankee Hotel Foxtrot appealed to me.

Oh no, your house is burning down and you can only rescue one record! What would it be and why?

Led Zeppelin, The Complete Studio Recordings, even if that’s cheating a bit. This innovative band really inspired me and influenced my song writing. Not to mention, Robert Plant is one of my favourite singers of all times.

What’s your favourite record sleeve? Tell us all about it (and whether or not the music gives you as much pleasure as the sleeve).

The iconic cover of Pink Floyd’s, Dark Side of the Moon by Storm Thorgerson. It’s one of my favourites because of it of its minimalist design and thought provoking image. The triangle symbolizes thought and ambition. It is a piece of music art history.

Morbidity alert: what record would you like played at your funeral?

I’ll stay with Pink Floyd here and say The Great Gig in the Sky, what else could it be?

[SisterNightroad]

Someone posted a decent quality version of the whole Live at The Roxy concert of Bob Welch in 1981 with Italian subtitles:

<iframe width="854" height="480" src="https://www.youtube.com/embed/clhiO1QhlqQ" frameborder="0" allowfullscreen></iframe>

[SisterNightroad]

Potent Pairings: How to Sound Like Fleetwood Mac

<iframe width="936" height="527" src="https://www.youtube.com/embed/ilhu9vPy7Ls" frameborder="0" allowfullscreen></iframe>

Disclaimer: Our Potent Pairing series aims to get you in the ballpark of the sounds on your favorite recordings using affordable, accessible pedals. The pedals featured are not the exact pieces of gear used on the recordings.

Since their original formation in the late-'60s and through various personnel changes and iterations, British–American band Fleetwood Mac has remained a hugely influential mainstay in rock music.

Their 1977 release Rumours has sold over 40 million copies to date, placing it eighth on the list of the highest–selling albums of all time behind the likes of Michael Jackson, Pink Floyd, and the Bee Gees.

Today, we're paying homage to Fleetwood Mac with another installment of our Potent Pedal Pairings series. Watch the video above for our overview of how to nail the band's seminal sounds with common guitar effects, and be sure to take a look at our library of other Potent Pairings videos here.

Click on any of the pedal graphics below for more on each of these pedals.

"Oh Well"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_oh-well.jpg


"Albatross"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_albatross.jpg

"Rhiannon"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_rhiannon.jpg

"Dreams"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_dreams.jpg


"Go Your Own Way"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_go-your-own-way.jpg

"Silver Springs"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_silver-springs.jpg

"Big Love"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_big-love.jpg



https://reverb.com/news/potent-pairings-how-to-sound-like-fleetwood-mac

[sue]

God old Ken Bruce (BbcRadio 2) played Ebony Eyes recently (can't remember exact day)...
Hardly anyone plays this....
Ken also played Peacekeeper, which he often plays.

[lazy poker]

. . . thanks for sharing, sister n. - at least for the first 2 songs. ;)
interesting as this may be, it's far more interesting that messrs. green and kirwan didn't use (and didn't need) such gadgets to achieve their sounds. as far as i know the sounds came solely from their fingers through their guitars and amps (apart from a wah pedal at times)!

[SisterNightroad]

Love Letter To A Record: Jesse Redwing On ‘The Best Of The Original Fleetwood Mac’

Many of us can link a certain album to pivotal moments in our lives. Whether it’s the first record you bought with your own money, the chord you first learnt to play on guitar, the song that soundtracked your first kiss, the album that got you those awkward and painful pubescent years or the one that set off light bulbs in your brain and inspired you to take a big leap of faith into the unknown – music is often the catalyst for change in our lives and can even help shape who we become.

In this series, Music Feeds asks artists to reflect on their relationship with music and share with us stories about the effect music has had on their lives.

Here are their love letters to records that forever changed their lives.

Jesse Redwing: Fleetwood Mac — ‘The Best Of The Original Fleetwood Mac’

Roses are red, violets are blue,
My heart is Green, Peter Green that is!

Is it weird that my dad introduced us?

When he gave me the Best Of The Original Fleetwood Mac album, all I cared about was skateboarding and punk rock. You showed me a white boy could truly be the “most sensitive guitar player I ever heard”. (I found out later B.B. King said it, but I was already thinking it).

Your sweet licks lulled me to sleep at night and woke me with a punch each morning. The subtle elegance and pure force of emotion of your playing and singing got me through those awkward years of teenage angst.

Isn’t love a funny thing? It can be born out of a silly mistake… Like when you took your Les Paul apart to see how it worked and put it back with the pickup in backwards. Who knew it could make your tone so distinct and purring?! Mmmm that tone makes me tingle in all the right places!


I know I’ll never be as sensitive as you were, Peter; I’ll keep blundering along like all the other poor white boys who picked up a guitar and started bashing away. As Sonny Boy Williamson said about the Yardbirds, “These boys wanna play the blues real bad, and they do!”

I’ll never forgive the German hippies who fed you all those drugs. I know they just wanted a piece of you and I can’t blame them for that! But they ripped out the irrepressible spirit of the blues that made Fleetwood Mac bigger than the Who and the Stones for a fleeting moment in the late ’60s, and left you in a state of burnt out acid psychosis!

The ignorant may only know the cocaine-fuelled (albeit somewhat brilliant) pop music of late ’70s, ’80s Fleetwood Mac. Perhaps you foreshadowed your own demise by naming the band after the rhythm section so they could go on after you flamed out like the shooting star you were.

If you’re reading this, Peter, please pick up your Les Paul and come back to us! Your playing will always live in my heart and my fingers any time I pick up a guitar.

All my love,
Jesse Redwing



Read more at http://musicfeeds.com.au/features/love-letter-record-jesse-redwing-best-original-fleetwood-mac/#a7zUs2JYF7WzC37O.99

[lazy poker]

Love Letter To A Record: Jesse Redwing On ‘The Best Of The Original Fleetwood Mac’
. . . boy, this is nearly heartbreaking to read - what an appropriate love letter!
thanks so much for sharing, sister n.!
:thumbsup:

[SisterNightroad]

. . . thanks for sharing, sister n. - at least for the first 2 songs. ;)
interesting as this may be, it's far more interesting that messrs. green and kirwan didn't use (and didn't need) such gadgets to achieve their sounds. as far as i know the sounds came solely from their fingers through their guitars and amps (apart from a wah pedal at times)!

. . . boy, this is nearly heartbreaking to read - what an appropriate love letter!
thanks so much for sharing, sister n.!
:thumbsup:

No problem, I'm at your service (metaphorically).
However I didn't know of that Greatest Hits and I couldn't find anything about it searching in the board either, it's strange because it seems a good collection.

[lazy poker]

(. . .) I didn't know of that Greatest Hits and I couldn't find anything about it searching in the board either, it's strange because it seems a good collection.
. . . this seems to be it - obviously an australasian only compy:
https://www.discogs.com/Fleetwood-Mac-The-Best-Of-The-Original-Fleetwood-Mac/master/616053

[SisterNightroad]

Was Elvis a thief? Yes! No! Maybe? Music stars weigh in on Presley's legacy

Was Elvis Presley a thief?

Absolutely, say Aerosmith singer Steven Tyler.

“If I could sit down with Elvis,” Tyler said, “I'd smack him in the face for not giving credit to all those black musicians.”

Definitely not, counters Boz Scaggs.

“Elvis was no more a thief than any other artist I know,” Scaggs said.

Maybe yes, maybe no, muses Matchbox Twenty singer Rob Thomas.

“I think he was an innocent thief,” Thomas said. “He didn’t realize he wasn’t supposed to steal.”

The full remarks of Thomas, Tyler and Scaggs appear below in this article, along with comments about Elvis from other musicians evaluating his legacy.

Of course, asking if he was a thief is a provocative question. But, 40 years after his death, it’s still a relevant one in the case of this Mississippi-truck-driver-turned-global-superstar, whose career ignited in the mid-1950s.

Three of Elvis’ landmark early recordings — "All Shook Up," "Don't Be Cruel" and "Return to Sender" — were written by Otis Blackwell, who also wrote the Jerry Lee Lewis classics “Great Balls of Fire” and “Breathless.”

Elvis’ versions were almost identical to how Blackwell sang them on his demonstration recordings. But Elvis could reach an enormous national audience, and did.

African-American artists like Blackwell were relegated to so-called “race music” record labels and radio stations, at a time when much of the U.S. was still segregated.

While Elvis was a fan of country music, he was even more inspired by blues, gospel and rhythm-and-blues, including the Memphis radio shows hosted by such local disc jockeys as B.B. King and Rufus Thomas, both of whom also sang live during their broadcasts. Elvis heard this same music played live at the black nightclubs he frequented as a teenager and young adult.

Pre-Elvis Elvis meets Ike Turner

Ike Turner, a largely unsung rock pioneer, recalled in a 1997 Union-Tribune interview how Presley would come to see him perform in Memphis.

"I knew Elvis before he became Elvis," said Turner, a longtime San Diego County resident who died in 2007. In the early 1950s, he recorded for Sun Records, the same label that signed Elvis in 1954.

Sun honcho Sam Phillips had been searching for “a white man with the Negro sound and the Negro feel.” He hit pay-dirt with Elvis, who took plenty of mental notes in the Memphis clubs where Turner and other greats performed for black audiences.

"Elvis used to drive a gravel truck, and park it by the back entrance of the West Memphis club where I was playing,” Turner recalled in his Union-Tribune interview.

“He was a nice guy, a likable guy. He would come in, and I'd smile and pull my piano out so he could sit there and people in the club wouldn't see him. I used to hide him behind the piano, because it was a black club and it was segregated.

"He'd come once or twice a week; I didn't even know he was going to other (black Memphis) clubs. Matt Murphy and Little Junior Parker were playing at this same club as me. The way (Elvis) moved his legs when he was singing, he got from me, because I'd do that when I played piano. And a lot of the stuff he and Jerry Lee Lewis did was copied off Pinetop (Perkins) and what we were doing.

“It was easier for them (to succeed), because they were white… But everybody, in some way, was influenced by somebody (else)."

Elvis’ first release for Sun Records, in 1954, was his deeply reverent version of “That’s Alright Mama” by bluesman Arthur “Big Boy” Crudup, whose songs “So Glad You’re Mine” and “My Baby Left Me” Elvis recorded soon thereafter.

Many of Elvis’ other classic early recordings were also cover versions of songs by great black artists. They included Little Junior Parker's "Mystery Train,” Arthur Gunter's "Baby Let's Play House," Kokomo Arnold's "Milkcow Blues Boogie," “Good Rockin’ Tonight,” Ivory Joe Hunter's "I Need You So," Jesse Stone’s “Money Honey” and Smiley Lewis' “One Night (of Sin)" (whose title was toned down to "One Night With You" in the Elvis version.)

The new 3-CD Sony Legacy box set, “A Boy From Tupelo — The Complete 1953-1955 Recordings” features many of these songs and is a treasure trove for those seeking to hear Elvis in his early years.

Bono weighs in on Elvis

"What's interesting to me is the very early Elvis," U2 singer Bono said in a 1997 Union-Tribune interview. "And if you want to be academic about it, he did what the civil-rights movement didn't and couldn't. He jammed together two cultures, and in that spastic dance of his, you could actually see that fusion and that energy.

"And that is, in the end, what's great about America, the sex of the place. To me, as the century ends, that (sexuality) is one of the defining moments of it. And that's why rock 'n' roll is valuable — it has the rhythm and the hips of African music, and the melody of European music."

Those hips — read pelvic thrusts and gyrations — were copied from the black artists Elvis studied so carefully in Memphis nightclubs. And the suggestiveness of those stage moves ensured that Elvis’ 1956 debut performance on the Ed Sullivan show was broadcast to TV viewers with camera angles that only showed Elvis from the waist up.

When he performed his first 1957 concert at the Pan Pacific Auditorium in Los Angeles, reviews described his performance as "a terrible popular twist on darkest Africa's fertility tom-tom displays," and "far too indecent to mention in any detail."

Such narrow-minded reviews notwithstanding, Elvis owed much of his success to the fact that he was a white man performing black music for a mass white audience largely unwilling to accept — let alone support — rock and R&B performed by its black originators.

In a series of new and previous Union-Tribune interviews, we asked an array of artists from across the musical spectrum to evaluate Elvis, his originality (or lack thereof) and his legacy. Here’s what they told us…

Boz Scaggs: “Elvis was no more a thief than any other artist I know. No more, no less. We all come from someplace.”

Aerosmith singer Steven Tyler: "If I could sit down with Elvis, I'd smack him in the face for not giving credit to all those black musicians. For years I've been struggling with that. You know, he was a great man, but he maliciously — or maybe unconsciously — took all the credit."

Matchbox Twenty singer Rob Thomas: “Yeah, but I think he was an innocent thief — he didn’t realize he wasn’t supposed to steal. In his mind, I think he thought he was taking what he loved and paying homage. In some ways, he was a product of a fog of ignorance that existed in the 1950s. Had he been part of a more aware decade, he would have been one of the more aware people.”

Jane’s Addiction guitarist Dave Navarro: "I respect what Elvis did, but I'm pretty much indifferent to the whole thing. There aren't that many artists that have affected me on a deep level and he's not one of them. Even though I'm aware that he's influenced people who influenced people who influenced me, when it comes to feeling connected, I'm just not."

Fleetwood Mac drummer Mick Fleetwood: "The reality is that black R&B and blues was the instigator that sparked this whole fire. You can't listen to any music now without tracing the umbilical cord back to blues and R&B. It's just a fact."

Neo-soul singer Maxwell: “It’s a very touchy subject. Because it’s like it was appropriation, but there was a certain window that was opened that never would have been opened without people like Elvis and The Beatles. They were into the grooves and soul of black music and introduced it to the world at large. And then the world caught on to the original artists Elvis and The Beatles were inspired by. So it was kind of like a civil rights breakthrough, as I see it.”

Jon Bon Jovi: "I loved him, but I don't want to be him. He was the first prisoner of rock 'n' roll and it was self-inflected wounds that he died of at 42... I don't want it to end and I don't want to be the fat guy in the white suit. Elvis died from the inside out."

Former Sex Pistols’ singer John Lydon (a/k/a Johnny Rotten): "Elvis is absolutely irrelevant. He was something my parents liked, so I naturally dismissed him. I've never been overly fond of rock `n' roll anyway, (although) I don't wish death on anyone. I've had far more awful examples (than Elvis) right up close and personal to really bother about someone like him."

Jazz saxophonist Branford Marsalis: “All great music is thievery. Beethoven stole from Haydn, and everybody stole from Bach. Charlie Parker stole from Lester Young, who stole from Frankie Trumbauer. People who like Elvis don’t want to hear the facts.”

Jazz trumpeter Wynton Marsalis: "To me, Elvis represented somebody who — because our country was not ready then to embrace the black artist and make them No. 1 — became No. 1 because of his rendition of what some black people sounded like. What made it distasteful is that we had people who could do it better than him, but who couldn't be accepted at that time because of the color of their skin."

San Diego guitar great Mike Keneally: "It took me forever to even understand his appeal; he was never a topic of study for me. He was so ubiquitous, I figured there were so many other more obscure things I should devote myself to. So I never heard the original Sun recordings until a few years ago and that stuff just kicked my ass completely. Regardless of whether he was an innovator or not, the fact that he was the catalyst for that stuff is enough to put him in the pantheon of giants."

Tony Bennett: "Elvis was the first Coca-Cola bottle, the first human Coca-Cola bottle. He was just marketed that way. I met him once at Paramount Studios. He was a gorgeous Adonis of a man and a great guy, very, very elegant looking. He looked like a Greek statue. More than that, he was very warm and nice. But when you hear him, it's not like Nat King Cole singing a song. When you listen to Elvis, it’s almost like country music, there's a simplistic unreality to it all."

Jethro Tull mastermind Ian Anderson: "Well, I went to see Elvis at one of his comeback dates in Las Vegas in 1969. Seeing him in Vegas, in his white jumpsuit, was very interesting, in terms of seeing how music that starts off with a fire in somebody's belly ends up being an inferno in somebody's wallet. It was pure show-biz. And although he worked hard and well that night, he gave the impression of a man not in total control of his chemical future. He seemed to only give lip service to the essence of his songs."

Alice Cooper: "I think everybody puts a little of Elvis into their show. I was invited to come up and meet him in 1971 in Vegas. I got in this private elevator and it was Chubby Checker, Linda Lovelace, Liza Minnelli and me, going up to see Elvis. He walked in and was really looking good, he wasn't overweight or drugged out. He said, `You're the guy with the snake, aren't you? That's really cool.' Then he takes me in the kitchen, puts a loaded .38 gun in my hand, and says: `I'll show you how to disarm somebody.' He didn't hurt me, but he knocked me to the floor with one of his karate chops."

Quincy Jones: "Before Elvis, white pop music was `The Ballad of Davy Crockett' and `How Much Is That Doggy in the Window?' Then Elvis came on (the Tommy- and Jimmy Dorsey-hosted CBS-TV show) `Stage Time' in 1956, and they wouldn't shoot him below the waist because they still couldn't handle anybody shaking their (rear) — black or white. And the show got 8,000 letters about his performance. I could see it then, I thought: `Things are going to change because they've discovered how to emotionally feel music.' This had been happening with black music forever, but this was the first time young white kids did. It was amazing to watch."

John Oates of Hall & Oates: “I think the story of American music — jazz, blues and how all those styles evolved — is a story of appropriation across the board, from the very beginning. How far do you want to go? Do you want to take it back to Africa, and say American-born slaves appropriated music that they got from their ancestors and re-imagined and re-crafted it as part of their lives and American experience? And, then, the next step was that white Americans heard and re-created and re-imagined the same music. It goes on and on, and I think it’s the history of American popular music. It’s really built upon the shoulders of everything that came before.”



http://www.sandiegouniontribune.com/entertainment/music/sd-et-music-elvis-thief-20170805-story.html

[SisterNightroad]

Carter Alan’s Rock N’ Roll Diary: August 14 in Classic Rock History

In 1987 Boston played Night #2 in the band’s historic nine-night run at the Centrum in Worcester. What Boston band opened the show?

ANSWER: Farrenheit

What else happened on this day in rock n’ roll history? Here’s the Rock N’ Roll Diary for August 14th, from the College of Classic Rock Knowledge – 100.7 WZLX!

Celebrating a birthday today is David Crosby!
1965: The Beatles, in the U.S. for a tour of North America, taped a return appearance on The Ed Sullivan Show which was broadcast on Sept. 12th.
1970: Steven Stills was arrested in a La Jolla, California motel room for possession of cocaine and barbiturates. Police found Stills crawling in the hallway.
1981: The Rolling Stones began rehearsals at Longview Farm in Brookfield, MA for their upcoming tour.
1995: Members of the Grateful Dead met and decided to cancel their already-scheduled fall tour of the U.S. in the wake of Jerry Garcia’s death.
2003: A blackout hitting the northeastern United States forced numerous artists, including Aerosmith, Kiss and Bob Dylan to cancel shows.
2003: Scott Weiland of Stone Temple pilots was sentenced to three years probation on this day following his arrest that May for drug possession.
Checking the WZLX ticket stash…
1972: Savoy Brown played the Sunset Series on Boston Common with Fleetwood Mac opening up.
1983: Cheap Trick, Blackfoot and the Joe Perry Project headlined Summer Jam at New England Dragway in Epping, NH.
1987: Boston played night #2 in their historic nine-night sellout at the Worcester Centrum.
1998: Pete Townshend played a solo show at Harbourlights.



http://wzlx.cbslocal.com/2017/08/14/carter-alans-rock-n-roll-diary-august-14-in-classic-rock-history-3/

[SisterNightroad]

Hear Lorde Praise Peter Green-Era Fleetwood Mac, Classic Rock Love on 'WTF'
"Graham Nash is for the ladies," says Lorde of her favorite CSNY member on 'WTF With Marc Maron'

Lorde explained how her synesthesia caused her to listen to lots of classic rock albums in a recent interview on WTF With Marc Maron. "Synesthesia is like when senses overlap," she explained. "You know what's quite good for synesthesia? Weirdly guitar music is not so overwhelming. I could listen to Neil Young or even Fleetwood Mac."

Lorde disappeared down a rock-geek rabbit hole with Maron. The pair discussed the Peter Green edition of Fleetwood Mac vs. the Buckingham/Nicks edition – "I'm obsessed with Fleetwood Mac Peter Green … It's the greatest **** ever," Lorde said. She also talked about her favorite member of Crosby, Stills, Nash & Young. ("Graham Nash is for the ladies.")

"I love the Mamas and the Papas," Lorde added, jumping quickly from one L.A.-based, harmony-heavy act to another, "but that gets a little intense for me synesthesia-wise. There's this crazy modulation going on, all of a sudden we're in a different key. That can get crazy."

Lorde contrasted the making of those classic LPs – session players, live instruments – with her own process, which centers around a small number of individuals (her, producer Jack Antonoff) and heavy use of electronics. "I come from that culture of no one having any instruments," she told Maron. "Sounds come from computers. There's something kind of communist about it."

She stuck to the "communist" ideal when making her second album, even though she could afford to work in a more expensive fashion. "By that point, people were like, 'oh, should we show you some rich stuff?'" she said. "They show you the rich mixing desk. You're like, this doesn't feel like any kid could [have it] – I love the idea of any kid getting the same set of cracked plug-ins that they steal from the internet. That's how we made the song that won us a Grammy ['Royals']. It's literally cracked plug-ins."

"We didn't pay for pro-tools still for like a year after that," she added. "Don't worry, Pro Tools, we pay now."


To listen to the episode click here: http://www.wtfpod.com/podcast/episode-844-lorde



http://www.rollingstone.com/music/news/hear-lorde-praise-peter-green-era-fleetwood-mac-on-wtf-w501650

[SisterNightroad]

Hugh Hefner On TV: Hip, Cutting Edge Music + Comedy.

Playboy Magazine founder Hugh Hefner, who died Wednesday at 91, left an immeasurable impact on American society and culture in a multitude of areas. He was a visionary of the sexual revolution but also the social changes that roiled the 60's. Over the next few days, everyone will reflect and discuss those impacts which began in the 50's with Playboy's beginning and continued—despite the steep decline of magazine popularity that forced a retrenchment—until the end.
Hefner also brought cutting edge music and comedy of various eras into mainstream American living rooms twice in a decade on two syndicated late night TV shows.
Playboy's Penthouse ran from 1959-1960. Its successor, Playboy After Dark, was produced from 1968-1970. Both captured an intimate feel. While they appeared to be taped in Hefner's lavish digs, both were produced at TV studios in Chicago (Penthouse) and LA (After Dark).
Penthouse offered the best jazz and pop music, plus cutting edge comics like Lenny Bruce. After Dark reflected the seachanges in American pop and rock music. In both cases, his guest rosters were diverse, featuring African-American performers rarely seen on network TV. At ease with musicians, Hef asked intelligent questions, allowing them to answer at length. No Ed Sullivan banality here. What follows are samples from both shows. There's plenty more on YouTube.

Playboy After Dark:

January 8, 1970: Fleetwood Mac: "Rattlesnake Shake" and "Coming Your Way." Not the Tusk-era Mac, but the intermediate version. Founder Peter Green is doing lead guitar and vocals. The other guitarists are Danny Kirwan and Jeremy Spencer with the Mick Fleetwood-John McVie rhythm section. Note Hef calls them "the Fleetwood Mac."

<iframe width="400" height="300" src="https://www.youtube.com/embed/0FJ17x0IoKs" frameborder="0" allowfullscreen></iframe>


http://communityvoices.post-gazette.com/arts-entertainment-living/get-rhythm/item/41112-hugh-hefner-on-tv-hip-cutting-edge-music-comedy

[SisterNightroad]

Why I Love Mick Fleetwood

Mick Fleetwood is not a good drummer. By his own admission, that is. Nobody agrees with him.

Mick has a signature drumming style, such that at 19 I could pick out his hand in the work of Susanna Hoffs, on her comeback album, in the track called Falling. He has experimented for decades, as on the delicate brushwork of Tusk, the off-rhythm, off-tempo stuff he brings out on Go Your Own Way. And yet he learnt his trade as a blues specialist in London in the early 1960s. His saving grace? He actually owned his own drums.

Back then, anyone with a drumkit could pretty much find a band desperate enough to take them on. He roamed the streets of London, staying with his actor sister in Cheyne Walk, Chelsea. Bands were not imaginative back then. Peter Bardens, his neighbour, offered him a job in his band, the, er, Cheynes. However, that circle of musicians swirled some more, and eventually brought Mick into touch with Peter Green, the powerhouse who drove Fleetwood Mac until that German acid trip from which he never returned.

A proper English gentleman, Mick has always dressed like an Elizabethan dandy. His personal style has left its mark on many Mac album covers. He knows everyone in the UK and the US, does Mick. He played with Rod Stewart, the Rolling Stones, Clapton, when they were absolutely at the start of their journeys. Here he is having a stroll in London with another neighbour, Marianne Faithfull.

As a non-writing drummer for hire, Mick has never felt financially secure. All the serious money from his most famous album, Rumours, went to Lindsey, Stevie and Christine. This insecurity forced him to step forwards to keep the band together, sometimes as manager, others as simply the anchor. Apart from a little detour that involved him with Traffic’s Dave Mason and the ever-gorgeous Bekka Bramlett in the 1990s, the Rumours lineup remains intact.

Mick had a perfect ear for talent, discovering Lindsey Buckingham in a studio in Los Angeles in late 1974. Lindsey, as we all now know, refused the offer. Unless his girlfriend could join Fleetwood Mac too. Most of all, at 70, Mick is still out there rocking his socks off. Cheers, Mick.


https://thezreview.com/2017/10/15/love-mick-fleetwood/

[SisterNightroad]

Today in rock history; Big Star's Alex Chilton is born, Beach Boys' Dennis Wilson drowns and more
Another Miami Pop Festival, plus a hit for The Doors.

Today in rock history: on this date in 1968, the Miami Pop Festival took place in south Florida marking the second rock and roll event of its kind to occur on the east coast. The three-day concert took place at Gulfstream Park, a horse racing ground in Hallandale, Florida just north of Miami. The estimated attendance for the event was right about 100,000 paying patrons who came to see acts like Joni Mitchell, Grateful Dead, Terry Reid, Steppenwolf, Marvin Gaye, Fleetwood Mac and Chuck Berry. Admission price for the event was a whopping $7. (Yes, there were two, unrelated, "Miami Pop Festivals." Read about the May 1968 iteration below.)


https://www.cltampa.com/music/music-news/article/20987104/today-in-rock-history-big-stars-alex-chilton-is-born-beach-boys-dennis-wilson-drowns-and-more

[SisterNightroad]

Tony Calder, Music Promoter Who Worked With Beatles, Rolling Stones, Dies (Report)
Tony Calder (below left) partnered with Andrew Loog Oldham (right) to form IMAGE, Immediate Records

https://pmcvariety.files.wordpress.com/2018/01/tony-calder.jpg

Pioneering British music promoter, manager and PR agent Tony Calder, best known for his work with groups like the Beatles and the Rolling Stones, died on Jan. 2 at the age of 74, according to reports. His innovative methods helped promote many of the U.K.’s largest acts for more than 50 years.

Calder started his career in the early ’60s at Decca Records where he met his eventual business partner, famed Rolling Stones manager Andrew Loog Oldham. In his time at Decca Calder met and worked with Brian Epstein, Seymour Stein and the Beatles. And, in 1962, he was assigned to promote the Fab Four’s first single “Love Me Do.” He sent hundreds of copies of the single to clubs, forcing record stores to stock the single and helping kick-start one of history’s most significant musical movements.

A year later, Calder and Oldham started IMAGE, an independent PR company that handled management for the Rolling Stones and eventually promoted the Beach Boys and Freddie and the Dreamers. The partners also formed one of the U.K.’s first and most controversial independent labels, Immediate Records. They signed artists such as Rod Stewart, Fleetwood Mac and Small Faces before shuttering in 1970, but remained at the center of a number of legal battles over unpaid royalties for decades.

In 1965 Calder undertook his sole venture into production when he stepped in for Oldham to work with Marianne Faithfull, producing two of her hits, “Come and Stay With Me” and “This Little Bird,” which reached 4th and 6th on the U.K. charts.

In the ’70s Calder signed groups like the Bay City Rollers and Black Sabbath, and eventually managed Eddy Grant for the most successful period of his career, eventually helping form Grant’s label — Ice Records. It is Calder who is credited with saving Grant’s “I Don’t Wanna Dance” from being a forgotten demo when he pushed for its release as a single.

Through the ’80s and ’90s Calder remained ever-present in the industry, forming the Big Wave group in ’88 and promoting three consecutive U.K. number ones for Jive Bunny and the Mastermixers. In 1994 he paired once again with Oldham when the two wrote the biography “Abba: The Name of the Game.” Calder finished his career with a return stint as Eddy Grant’s manager.

According to reports, Calder died of complications from pneumonia at the Chelsea and Westminster Hospital in London.

Oldham told Variety: “Tony Calder helped me create Immediate Records; he had many other accomplishments. The fact that, via Immediate, we were able to create an example for the future was an achievement. Tony had ears and balls. I loved him and he will be missed.”


http://variety.com/2018/music/news/tony-calder-music-promoter-beatles-rolling-stones-dies-dead-1202652035/

[SisterNightroad]

How Fleetwood Mac's 'Mascot' Harold Nearly Got The Band Thrown In Jail

There have been many incarnations of Fleetwood Mac over the years, but no former bandmate is more notorious than Harold — the 'mascot' that nearly got the group thrown in jail during their early days.

Back then, the group was struggling to stand out from the other British blues bands at the time. So they naturally decided that the best way to catch people's attention would be to put a "massive" dildo on Mick Fleetwood's drum kit during gigs.

"We wanted to stand out from all the other Englishmen playing traditional blues, so we never held back," Fleetwood later said. "I used to play with a massive dildo stuck to the top of my bass drum so the thing would wiggle front and centre through the entire set."

The salacious prop became so common that they nicknamed it Harold and treated it like a mascot. But Harold's touring days came to an abrupt halt when a performance in Texas nearly ended with them getting locked up for obscene behavior.

"Harold's showbiz life came to a crashing end at an American Southern Baptist college, where we were very nearly arrested for his performance," Fleetwood added. "Poor Harold was too much for them and, much to my wife's chagrin, he ended his days on show, sitting on our pine corner cabinet."

But Harold would still leave his mark on the band. The melancholic ballad 'Landslide' is actually about Harold tumbling off the bass drum one night. Just kidding. 'Landslide' has nothing to do with Harold, but good luck hearing it without picturing a jiggling sex toy next time it comes on the classic rock station.


https://www.civilized.life/articles/how-fleetwood-macs-mascot-harold-nearly-got-the-band-thrown-in-jail/

[SisterNightroad]

My favourite photograph by musician Kenney Jones
Legendary drummer Kenney, 69, recalls the partying, the pranks and the pride playing with his band of brothers, the Faces.

https://cdn.images.express.co.uk/img/dynamic/130/590x/The-Faces-973622.jpg

“When I look at photographs of the Faces, I get very nostalgic. This one of me, Rod Stewart, Ronnie Wood, Ian McLagan and Ronnie Lane was taken at a press call on the top deck of a bus at Reading Festival in 1972. We were a real band of brothers. We enjoyed life and partied to the full.

We’d have a bar on stage and a barman – one of our roadies, Chuch Magee, dressed as a waiter. Any of us could walk to the bar, sit on a stool and have a drink.

Although, as the drummer, my bar was on my drum riser. We were young enough to drink as much as we wanted.

When we were playing, fans felt like they were on stage with us having a party and we felt like we were part of the crowd. It created a joyous atmosphere.

We were getting paid to have a good time – such a good time we got banned from the Holiday Inn chain. We did smash up rooms in America.

Not that we instigated it, somebody else always did and we’d join in. Rod used to say at the end of gigs, ‘Party back at Ronnie’s room.’

He told the audience where we were staying and we ended up with loads of people there.

We played a festival in Puerto Rico once and, when we got to the hotel, our tour manager said, ‘They’ve banned the Faces.’

We said, ‘Who else is staying here?’ He said, ‘Fleetwood Mac.’ So, we checked in as them. That worked a few times.

When Steve Marriott had left the Small Faces, me, Ronnie (Lane) and Mac (Ian McLagan) were lost.

We’d had such success – it was a big blow.

We didn’t know what else to do, so we got together once a week to play in a warehouse the Rolling Stones had. One day, Ronnie Lane brought his new neighbour Ronnie Wood and he started playing with us.

Woody was leaving The Jeff Beck Band and so was his best mate, Rod. Rod used to sit on the amplifiers and watch us play.

When I asked him to join the band, he said, ‘Do you think everyone’d let me?’ I didn’t get a good response, as they didn’t want another Steve walking out on us, but I held my ground.

He’s got a great voice.

Rod says when Ronnie Lane left the band, the spirit wasn’t there anymore.

Ronnie and I had started the Small Faces in 1967 when I was learning drums and he was learning guitar.

For me, though, his spirit is there wherever I go.

Even though he’s no longer living, Ronnie’s never forgotten. I feel his spirit.

Mac’s as well.

I do feel proud of what we did.

I’ve been inducted into the Rock & Roll Hall of Fame with the Small Faces and the Faces and won two Ivor Novello Awards. We influenced many bands.

Paul Weller’s a massive Small Faces fan and Oasis were, too.

I’m proud of all of my career.

The Small Faces were the most creative, the Faces had the most party times and The Who were the most exciting because of the sheer power of the music.

Now, I’ve got my own band, The Jones Gang.

My 70th is coming up. I never thought I’d get this old, but it’s better than the alternative.

I’m lucky to be here.

I had cancer in 1984 – a tumour in my throat.

That scared the life out of me.

Then when I got prostate cancer, it was water off a duck’s back.

If you catch it early, there’s no problem.

The remaining Faces played at my polo club, Hurtwood Park, in 2015, to raise money for prostate cancer. It was great fun.

It’s our 50th anniversary next year, so we’ll do something for that, too.

Woody’s never changed. Nor has Rod.

We’re still great mates.

The five of us together were magical.”


https://www.express.co.uk/life-style/life/973622/drummer-kenney-jones-the-faces-band-favourite-photograph

[SisterNightroad]

Early John Mayall, Fleetwood Mac Producer Mike Vernon Readies New Album
The producer of the ‘Beano Album’ and the first Fleetwood Mac LPs steps into the spotlight.

Mike Vernon, the vastly experienced British blues producer and executive who worked with John Mayall, Fleetwood Mac and countless others, will release the new album Beyond The Blue Horizon, his first with his own band the Mighty Combo, on 7 September on Manhaton Records.

The album takes its name from the fact that Vernon was the co-founder, with Neil Slaven, of the hugely important British blues label Blue Horizon. He produced Bluesbreakers With Eric Clapton, the seminal 1965 album by John Mayall and the Bluesbreakers that also became known as the ‘Beano Album.’

Vernon also supervised early David Bowie recording sessions, further Mayall albums such as A Hard Road and Crusade and was the original producer of Fleetwood Mac, overseeing their self-titled 1968 debut LP and the same year’s Mr. Wonderful. His remarkably varied resumé includes work with such blues-rock notables as Mick Taylor, Ten Years After, Savoy Brown and the Climax Blues Band, but also with pop-soul chart acts including Level 42 and Roachford.

Vernon has played the role of artist before, singing with the late 1970s disco-soul outfit the Olympic Runners and rock ‘n’ roll revivalists Rocky Sharpe and the Replays. But Beyond The Blue Horizon represents a new step in his career at the age of 73.

“To be fronting my own R&B outfit has always been a dream but the right moment to make that transition never appeared until now,” says Vernon. Setting the scene for the album’s inspiration, he goes on: “The year is 1956 and Little Richard and his totally outrageous song ‘Tutti Frutti’ hit the No. 1 spot on the US pop charts.

“Fats Domino had similar success with ‘When My Dreamboat Comes Home’ and ‘Blueberry Hill’ that same year whilst Chuck Berry introduced us to his unique rocking rhythm and blues style with ‘Roll Over Beethoven.’ Four slabs of musical genius that were to totally change my life.

“Fast forward 61 [sic] years to 2018 and the ‘with my own band’ debut album Beyond The Blue Horizon features tough, energising and tuneful rocking slabs of R&B in the vein of Fats Domino, Wynonie Harris, Little Richard and Louis Jordan,” Vernon goes on. “Twelve titles in all including nine new self-penned originals and three covers from the catalogues of Brook Benton, Mose Allison and Clarence Henry.”

Vernon and the Mighty Combo will tour extensively around the album, with UK dates booked all the way through the summer and into October, followed by festivals in France and Spain.

https://www.udiscovermusic.com/news/early-john-mayall-fleetwood-mac-producer-mike-vernon-readies-new-album/

[SisterNightroad]

My Vinyl Countdown moves on with biggies, Clapton, Clash, Chapman and the Mac

My NP (now playing) this week is Fleetwood Mac. I have two of their albums on vinyl. The world renowned 'Rumours' and the lesser known 'Mystery to Me,' an album before the arrival of Stevie Nicks and Lindsey Buckingham.

On 'Mystery' there's a song called 'Hypnotized' that people I've played it for fall in love with upon first listen. But few can guess that it's Fleetwood Mac. The ethereal song summons a semi-tropical hazy glaze. It's the best thing on this album other than the wild cover art featuring a baboon-like creature painting his lips with coconut oil? Dunno, but it fits the hypnotic vibe. As for Rumours what can you say. An album in the realm of classic like Carol King's 'Tapestry' or Pink Floyd's 'Dark Side of the Moon.'

Practically every song is a hit and high quality and man I got tired of hearing them on every single radio station all day and all night back in the late 1970's.

<div style="position:relative;height:0;padding-bottom:56.21%"><iframe src="https://www.youtube.com/embed/Bt-2g9qf0Ds?ecver=2" style="position:absolute;width:100%;height:100%;left:0" width="641" height="360" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe></div>


https://www.al.com/entertainment/index.ssf/2018/07/my_vinyl_countdown_move_on_wit.html

[SisterNightroad]

Gov’t Mule & The Magpie Salute Bust Out Fleetwood Mac & Neil Young Covers In Ohio [Photos]

Last night, Gov’t Mule’s summer tour continued with a stop at the Rose Music Center in Huber Heights, OH. Once again, The Magpie Salute opened the night and returned to the stage later in the evening to join Gov’t Mule’s encore with back-to-back covers, including rare performances of “Oh Well” by Fleetwood Mac and “Down By The River” by Neil Young & Crazy Horse to close the show.

To open the show, the Magpie Salute—featuring Rich Robinson and other ex-members of the Black Crowes, who just recently released a brand new album—heavily leaned on the album for their forty-five-minute set. Their brand of twang rock was well-received if only a bit short-lived.

Gov’t Mule came in with a powerful “World Boss” opener that had the crowd excited. Other old-school hits like “Banks of the Deep End”, “Lola Leave Your Light On”, and “Broke Down on the Brazos” opened up the single-set performance. The first portion of the evening was heavy on originals, providing space for the newer songs to really shine. One of the biggest highlights of the night came in the title track of 2017’s Revolution Come, Revolution Go… The band dug deep to bring a lengthy version of the song, which was bookended by the cover portion of the evening, including the Allman Brothers Band‘s “Come and Go Blues” and The Beatles‘ “She Said She Said” (with a “Tomorrow Never Knows” jam) on either side.

From there, Mule locked into a version of their own “Fallen Down”, which featured a Rolling Stones “Paint It Black” tease that segued into a jam based around the Grateful Dead‘s “The Other One”. The extended set closed with Ann Peebles‘ “I Feel Like Breaking Up Somebody’s Home”, Warren Haynes‘ Allman Brothers hit “Soulshine”, and Blind Willie Johnson‘s “Dark Was The Night, Cold Was The Ground”.

As has been the custom for this tour, Mule brought up members of the Magpie Salute for the encore. The first encore could actually be better described as the Magpie Salute featuring Warren Haynes, as no other members of Gov’t Mule were on stage. They played “Oh Well” by Fleetwood Mac, which had not appeared on a Mule setlist since 2008. Then, Mule drummer Matt Abts, bassist Jorgen Carlsson, and keyboardist Danny Louis returned to their positions alongside the Magpie Salute members to perform performed a stirring rendition of Neil Young’s “Down By the River”, which was last performed by Mule in 2016, and has only been played by the band four times in total. Rich Robinson took the first verse and Haynes took the second, welcoming everyone in to sing along with the refrain. It was the harmonizing that really made this performance special.

Both bands continue their tour and are expected to pleasantly surprise some more mainstream audiences as they prepare to open up for the Avett Brothers the next two shows. Gov’t Mule also just announced a fall tour including their customary Mule-o-ween performance. Head here for a list of upcoming Gov’t Mule shows.

Setlist: Gov’t Mule | Rose Music Center | Huber Heights, OH | 8/21/18

World Boss, Lola, Leave Your Light On, Born on the Brazos, Tributary Jam, Which Way, Banks of the Deep End, Stone Cold Rage, Sarah, Surrender, Come and Go Blues, Revolution Come, Revolution Go, She Said, She Said, Fallen Down, Other One Jam, Feel Like Breaking Up Somebody’s Home, Soulshine, Dark Was the Night, Cold Was the Ground

Oh Well (Warren Haynes & all members of the Magpie Salute), Down By the River (Gov’t Mule featuring Rich Robinson, John Hogg, Marc Ford, and Matt Slocum)

Setlist: Magpie Salute | Rose Music Center | Huber Heights, OH | 8/21/18

High Water, Walk On Water, Mary the Gypsy, Color Blind, I Don’t Mind, Sometimes Salvation, Laila Pt. II, Can You See, Send Me an Omen

(found an older performance):

<iframe width="647" height="485" src="https://www.youtube.com/embed/wersWOVwSMY" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>


https://liveforlivemusic.com/news/govt-mule-magpie-ohio-2018/

[FuzzyPlum]

Toots and the Maytals cover Man of the World for a new compilation album:

I cant describe how pleased I am for the greatest ska band ever to be covering an old Fleetwood Mac tune. I will refrain from commenting on how good it actually sounds. Its the principle. :thumbsup:

https://www.rollingstone.com/music/music-news/toots-and-the-maytals-cover-fleetwood-macs-man-of-the-world-848949/


Toots and the Maytals transformed Fleetwood Mac’s 1969 tune “Man of the World” into an aching reggae ballad for the upcoming compilation, Red, Gold, Green and Blue, out July 12th via Trojan Jamaica. The cover arrives with a video featuring live footage and clips of Toots and the Maytals recording “Man of the World” in the studio.

Written by Peter Green and released in the pre-Stevie Nicks/Lindsey Buckingham days of Fleetwood Mac, “Man of the World,” is a slow, electric blues number about a world-weary man unable to find love. On their version, Toots and the Maytals kick up the tempo and anchor the track with a fresh, rocksteady groove. Frontman Toots Hibbert delivers a vocal performance that captures all of Green’s anguish, especially in the way he wails the song’s final line, “And how I wish I was in love.”

Toots and the Maytals’ cover of “Man of the World” is one of 13 tracks that will appear on Red, Gold, Green and Blue, a compilation that features reggae artists covering classic American soul, R&B and blues tunes. Previously released offerings include Mykal Rose’s rendition of Screamin’ Jay Hawkins’ “I Put a Spell On You” and Big Youth’s version of Bo Diddley’s “Gunslinger.” Red, Gold, Green and Blue marks the first offering from Trojan Jamaica, which was founded by Zak Starkey — musician and son of Ringo Starr — and his Sshh bandmate Sharna “Sshh” Liguz.

As for Toots and the Maytals, the group recently kicked off a lengthy summer tour, which continues tomorrow June 18th in Brooklyn, New York. The run wraps September 15th with a set at the Kaaboom festival in Del Mar, California.

[dalko]

https://www.youtube.com/watch?v=XJIuP7zEVeM :)

[lazy poker]

https://www.youtube.com/watch?v=XJIuP7zEVeM :)
. . . that was it!
a few weeks ago i was watching the "bbc in concert" special with joni mitchell, and although i have seen it in its entirety several times before, it was the first time i discovered peter green there in the audience. last week i remembered in a blur having spotted greeny in some tv audience - and i couldn't recall for the life of me where it was (this poor ol' brain of mine!). thanks a million for reminding me, dalko! :thumbsup:

[dalko]

. . . that was it!
a few weeks ago i was watching the "bbc in concert" special with joni mitchell, and although i have seen it in its entirety several times before, it was the first time i discovered peter green there in the audience. last week i remembered in a blur having spotted greeny in some tv audience - and i couldn't recall for the life of me where it was (this poor ol' brain of mine!). thanks a million for reminding me, dalko! :thumbsup:

:) :thumbsup:

[aleuzzi]

https://www.youtube.com/watch?v=XJIuP7zEVeM :)

How cool and unexpected!

[FuzzyPlum]

Is that Sandra Elsdon?
For a minute I thought they were sat next to Bob Ross the painting guy...perhaps 10 years too early for him though.

[dalko]

https://www.youtube.com/watch?v=wbp1QAkWwIQ

From 12,14 until 13,36

From 21,30 until 21,45, and,

From 23,48 until 23,52

Enjoy! :)