They swing into Steveston Aug. The Vancouver musicians limit their sound to whatever they can play between them—using only their mouths, hands and feet. Hall provides the vocals and blues harp, and Rogers handles the drums and guitar. The co-ordination between instruments—and themselves—is a show in itself, and the duo is proud to boast that it takes just minutes to get soaked with sweat. Music came to Hall when he was 12, living in Toronto.
His grandmother gave him a harmonica and a book: Harmonica for the Musically Hopeless. At the same age, on the other side of the country, Rogers was falling in love with the guitar. The pair met in a studio session for a radio jingle advertising the Jamaican Pizza Jerk and decided to embark on a musical project together. The band, one of 20 finalists in the Peak Performance Project professional development program hosted by a Vancouver radio station, is now touring in support of their album Checkered Past.
The concert, organized by The Beatmerchant record storebegins at p. Coming up in the series: Tommy Alto on Aug. Back in I was lucky to be working at the Marquee studio which was round the back of the Marquee club in Wardour Street, London. I would sneak in the back door of the club at the end of the work day after a LP) at the Ship pub to sit and catch the best of the bands appearing at the club.
In those days the club used to have about six to eight rows of chairs in front of the stage and one evening I got in real early and sat in front of a Vox AC 30 amp perched on top of a chair. Plugged into that amp was a Fender Stratocaster with most of the wood vanish rubbed off the body of the guitar with a treble booster with was used during the solos.
You have to go a long way to find a rhythm section as good as these two with Rory Gallagher on guitar and vocals and sometimes saxophone and harmonica this trio took some beating.
This album has a very raw sound with few overdubs. After listening to the album you knew you had been listening to something special and live this was even more of a powerful experience seeing the band in action. Night after night Rory and the boys would deliver on the live circuit with Gallagher acting very humble and thankful for the enthusiastic response from the audience.
No superstar trip here this was a great live band delivering the goods. I wonder what direction this band would have gone if they had stayed together….
If you like your guitar players with a blues edge then add these albums to your collection and raise a pint of Guinness and remember Rory, John, Charlie and Taste the boys from Ireland. Simon Kirke was rock steady, never too flash and never missed a beat.
Paul Rodgersone of the greatest voices England has ever produced and also an excellent songwriter. I had never seen this band play and one Friday night my mates and I made it out to Loughton in Essex to see Free play live.
We got a beer and managed to get right down the front of the stage. Perhaps not the best possible way to enter a country for the first time but the lads were polite and good humoured and even in those trying circumstances their characters emerged.
Ray was quiet and studious, Robbie was so shy that he appeared stoned and inarticulate, John was slick and looking for aggravation and Jim was enigmatic and almost unbelievably beautiful. They were accompanied by Bill Siddons, a former road manager now hired as a salaried manager. The band were shrewd enough even then to realise that they would always take the important decisions rather than pay a percentage of their now enormous earnings to a management team. As the limos transported the group into London, the camera crew recorded their first impressions and I was delighted to see how thrilled they were with the window displays along the route.
A point worth noting for any aspiring entrepreneurs is the value of window displays which are one of the most cost effective promotional items and I've yet to meet an artist who hasn't been bowled over by the sight of their face dominating a window.
After a few hours rest the "freaks" were collected from their hotel with some difficulty as they had never heard British telephones ring and the wake up calls had them believing that the rooms were infested with grasshoppers. Quite why they were so hostile I have never understood. The setting was superb with an abundant supply of food and drink amid great modern art and artifacts highlighted by a squadron of mobile robots moving silently among the guests - but hostile they were and none more so that the music press.
Perhaps they were intimidated by the band's reputation or by the surroundings or more likely by the group's obvious intelligence. With the exception of the representatives of OZ and IT, the press were actively anti and tried to trip the various members into Live 1970 (Vinyl silly statements.
The most obnoxious was the girl from the NME. Jim was the obvious target and refused to be badgered into instant responses to daft questions like "How do you feel about God?
He gave a slow well considered answer to every damn fool question which infuriated the scorps even more while the cameras popped and whirred. Perhaps it was his presence that upset them so. Who knows? The British press are with too few exceptions nasty, lazy, greedy, uninformed and too fond of the bottle. Ray had brought his new young Japanese wife on the trop and she was both horrified and mystified.
I was just ashamed. The next day was given over to a sound check at the Roundhouse and to recording Top Of The Pops, where the band posed for a picture with Sylia, my secretary, and me in the scruffy dressing room.
Again, the band were professional, turning up on time and enduring without complaint the endless false starts and general hanging around without which television appears to be unable to function. Following the television performance which, in those days, was recorded "live" on Wednesday for transmission on Thursday in time for the weekend rush to the record stores, the visitors had a night off and may well have sampled some of London's fairly legendary night life.
On the last day of the sold out shows at the Roundhouse, I collected the band for a sound check in the afternoon before they went off for an early dinner. Unfortunately, the Granada producer must have mentioned to them at some point that they would be required to open the show rather than close it to avoid the possibility of his crew being required to work beyond midnight when "golden time" i.
The Doors had naturally expected to close the show as headliners and were not about to be seen as a support to Jefferson Airplane on their first European concert. When the time came to start the show, The Doors were nowhere to be found and The Airplane were not ready to perform since they had been told by the television team that they would close the show for the opening night. With Peely playing records to an increasingly restive audience, the minutes ticked by with no sign of The Doors.
I then had a call from John Densmore who would not say where the band was but demanding to know if they were going to close the show. When I tried to explain the problems with the importance of the television coverage, he simply hung up. Over the next hour or so, I received several such calls, each one with the same simple question and each time terminated by the dialling tone when I tried to explain the situation or enquire about the whereabouts of the band who, I later learned, were simply circling the venue in a limo, dropping off every few minutes to make the calls.
The audience were very pissed off and slow handclapping, the television people were desperate, I was frantic and Peely was outraged LP) being left alone to amuse an increasingly mutinous mob who had not idea of the "problem".
The Airplane's manager thought it was hilarious. Despite the appearance, it now looked likely that they would be seen to headline over the mighty Doors.
Eventually, Densmore stayed on the line long enough to allow me to explain the situation and to point out that the eventual audience for the television documentary would far exceed and outweigh any immediate considerations. They arrived and were quickly announced though by now I cannot recall if they opened or closed the show. The Roundhouse was a truly dark and rather dangerous place but it was full to capacity and I could find nowhere to stand that would give me a view of proceedings that I had spend to much time and energy arranging.
The only viable spot was up in a disused balcony that was closed off to the public on safety grounds and guarded by a typically obdurate jobsworth.
My appeals, threats and offers of bribes fell upon deaf ears until out of the blue Jac Holzman arrived and with his usual authority and economy said to the guardian "That is my band.
I intend to see them. If you don't get out of my way, I will cancel the show and you will have to explain your actions to a few thousand murderous fans. You've got five seconds starting from now We went upstairs. It is a line I've subsequently tried on several occasions without success. A question of natural authority I guess. The Doors were in fact only OK. The band were terrific but Jim's performance appeared to me at least too overly studied and theatrical - probably as a result of playing to stadium audiences where everything needed to be on a larger scale.
The were nevertheless very well received with a number of encores and the whole performance was captured on film for television. Does that tell you something? The next stop for the band was Amsterdam where Jim literally died - and I don't mean just professionally.
He apparently ate a huge chunk of hash washed down with a bottle of brandy and lapsed into a coma with all signs of life gone. Fortunately, he was rushed to hospital and a stomach pump saved his life but you have to wonder that the long term effects were. The next time I met Jim was in New York where he was attending a sales conference with sales people and distributors all eager to hear and order the next album.
He was in fine form. He looked fit, laughing and shaking hands with the commercial representatives. He even found time to try to "pull" my lovely wife Shirley who just smiled her enigmatic smile. I recall Jim cracking up when one of the enthusiastic salesmen referred to the album as the Doors third straight album and I pointed out that in my opinion they had yet to make even a first straight album. The sales meetings across America were a huge success with orders pouring in but I wonder how many of today's pampered rock stars would make the effort to get to know the folks who would make them rich.
At that time Jim was looking his best. He was fit, tanned, relaxed and very good company. It was a Middle Earth all-night spectacular that starred the Doors and the Jefferson Airplane - the most ambitious project yet tackled by the flower punks and the psychedelic wheeler-dealers who rode herd on what was laughingly called London's underground rock business.
It was clear right from the first that there was no love lost been the Doors and the Airplane. In the first wave of back-stage gossip came the news that a high-level tactical battle had been raging all afternoon over who should go on first. The Doors had won - by the strategic use of stage lighting. Their roadies had arranged the Doors' odd Acoustic speakers, meticulously matched black, rexine-covered monoliths crowned by baby-blue high frequency horn, like the pillars at a Nuremburg rally.
The Airplane had little choice, with their somewhat ragbag assortment of hippie-built cabinets, to work around the Doors' faith accomplishment. Both bands had obviously approached the London concert determined to emerge as The Stars. The Doors simply had Jim. They did, however, have one other advantage.
This was the Doors ultimate answer. If anyone didn't give them what they wanted, they could cause a great deal of trouble. It was typical of Morrison's public personna that, as the Doors performance got under way, he slowly began to turn on the camera crew.
At first he posed for the three big cumbersome outside broadcast cameras, then his narcissism started to plunge over the edge. He dodged them nimbly, jumping out of range each time they tried to focus on him. Finally, with a grand gesture of childish petulance, he flung out a dramatic arm and demanded the TV lights should be shut off.
He pulled the audience in behind as he warmed to the role of the star punk giving the finger to the old folks' medium. A storm of catcalls and booing broke out. The lights were finally extingished, and the rest of the film had to be shot in murky half darkness. During the second performance Morrison went a stage further.
He actually turned on the audience, interrupting the music with a stream of random obsenities until it seemed that he produced what he considered a postive reaction from the crowd. Once that was achieved, he got back to business as usual. It was then that the idea first occured to me that there was something inside Morrison that forced him to push any relationship to the ultimate.
With both individuals and audience he appeared to need to see how much they could take. To define, by practical experiment, how much abuse anyone would put up with before they ceased to adore him.
It was this willingness to go to the limit that set Morrison apart from the commond herd of posing, macho rock frontmen. It also created what was possibly the greatest problem. As he discovered the depth's of public masochism, just how much abuse these people were willing to accept without revolting, he became disgusted.
James Douglas Morrison, Superstar, Poet, and idol of America's rising generation, would be a perfect target for the satirist. That apart, he is not as black as he has been painted. Already prewarned by colleagues of Morrison's erratic behaviour to ward the British press during The Doors' recent and eventful stay here, it did not cool my apprehension any to read, on my way to see Mr.
Morrison, his publicist's claim that he can be civil, polite, even erudite one day; yet gross or, as Jim says, "primitive" the next. Which extreme was I about to face? I was ushered into a small room containing The Doors sundry people flitting back and forth with no apparent purpose.
Most of them were hovering on the edge of Morrison's conversation and it was Jim, in open-necked shirt and tight black leather jeans, who dominated the room.
Among those present with some purpose were three gentlemen in a Granada Television team filming the whole Doors visit with a rare degree of dedication. A bored-looking Robbie Krieger, Doors' guitar man, was to tell me later that they had even followed one of them to the toilet!
Petty refused to be transferred to another record label and held fast to his principles, which led to his filing for bankruptcy as a tactic against MCA. Inafter their legal dispute was settled, the Heartbreakers released their third album Damn the Torpedoes through MCA's Backstreet label. The album rapidly went platinum.
Although he was already extremely successful, Petty again ran into record company trouble when he and the Heartbreakers prepared to release Hard Promisesthe follow-up album to Damn the Torpedoes. Petty voiced his objections Live 1970 (Vinyl the price hike in the press, and the issue became a popular cause among music fans. Non-delivery of the album or naming it Eight Ninety-Eight were considered, but eventually MCA decided against the price increase.
The album also included the duet "Insider", with Stevie Nicks. On their fifth album, Long After Darkbass player Ron Blair was replaced by Howie Epstein formerly of Del Shannon 's backing bandgiving the Heartbreakers their line-up until Petty had expressed that he felt the album would have been more successful if "Keeping Me Alive" had been included.
On the sixth album, Southern Accentsthe Heartbreakers picked up where they had left off. The video for the single, which starred Stewart, featured Petty dressed as the Mad Hattermocking and chasing Alice from the book Alice's Adventures in Wonderlandthen cutting and eating her as if she were a cake.
This caused minor controversy after it was criticized by feminist groups, [ citation needed ] but the video did win an MTV Video Music Award. A successful concert tour led Heartbreaker - Led Zeppelin - Vancouver the live album Pack Up the Plantation: Live!
Petty praised Dylan, saying, "I don't think there is anyone we admire more. Also inthe group released Let Me Up I've Had Enougha studio album made to sound like a live recording, using a technique they borrowed from Dylan. It includes " Jammin' Me " 18 U. Songs included the title track itself and " Learning to Fly ". Multi-instrumentalist Scott Thurston joined the band as of the tour for the album. Stan Lynch had moved to Florida, but was persuaded to return for his last session with the band.
InLynch left the band. Drummer Dave Grohlformerly of the band Nirvanasat in on a number of performances, but declined to join the band, instead choosing to pursue his own solo work which eventually grew into the band Foo Fighters.
The band was now and for the next several years officially a quartet with no permanent drummer, but beginning in for live shows Steve Ferroneformerly a session and touring musician who had played with numerous other acts, served as drummer. Ina six-CD box-set titled Playback was released. Approximately half of the tracks were previously available on albums, and the rest were B-sidesdemos and live tracks. The latter song also appeared on the two-CD anthology released inAnthology: Through the Years.
The album also included a cover version of Beck 's song "Asshole". Curt Bisqueranot an official member of the group, was the drummer on most of the album, with Ringo Starr substituting on one track and Ferrone playing on two others.
The album reached number 10 in the U. The band was still officially a four-piece Petty, Campbell, Tench and Epsteinaugmented by Ferrone on drums and Scott Thurston on various guitars, lap steel and ukulele. Both Ferrone and Thurston were promoted to full band membership after the album was released, and would remain Heartbreakers for the rest of the band's existence. On April 28,Tom Petty and the Heartbreakers received a star on the Hollywood Walk of Famelocated at Hollywood Boulevard, for their contributions to the recording industry.
Inthe group released The Last DJ. Tracklist: Disc 1: So this show being shared today is the fourth from last time Led Zeppelin played "No Quarter" live other than in their final concert and reunion. The Best Of Led Zeppelin. Led Zeppelin-Flac discography. Servidor: mega. Biography by Stephen Thomas Erlewine. Specify if you prefer flac, or wav. Too avoid future problems, I now add a recovery record and test all new. Led Zeppelin Bootlegs. Led Zeppelin Led Zeppelin I Over the Hills and Far Away Offer's only good for the next 12 hours from this post.
Hot Dog Join us today for the ultimate listening experience! Shifting focus from the late s hard rock sound, to a more psychedelic folk and acoustic blend, Led Zeppelin proved on this record that were capable of playing different styles while still successfully infusing their hard rock and blues rock roots that fans had come to expect. In the compilation includes mostly studio, rehearsal recording in excellent quality. Long Live Led Zeppelin Led Zeppelin had mystique.
RoboDK software integrates robot simulation and offline programming for industrial robots. After having made their mark on the history of rock in just 12 years, Jimmy Page, Robert Plant and John Paul Jones have often reunited on stage and in the studio after the death of drummer John Bonham inwith varying degrees of success. It was a night of pot, pills and popcorn with the popcorn coming in a close third to the other two.
Introduction Pocta Led Zeppelin. I'm Your Witchdoctor Train Kept A-Rollin' Limb From Limb White Line Fever Metropolis Side Two Poison Bomber Stone Dead Forever Alternative Version Sharpshooter Alternative Version Side Two Bomber Alternative Version Step Down Alternative Version Treat Me Nice "Bomber" Outtake No Class Side Two Labels: Motorhead.
Great King Rat - Queen - Queen (Cassette, Album), Smashed Membrane - Narrow (3) - Cassettes (CDr), Bicentennial Man - Texas Radio Band - Bluescreen (CDr, Album), Melodia Del Viento (Ricardo Villalobos & Max Loderbauer Meloopdia Remix) - Wolfgang Haffner - Re, Hip-Hop Philosophy - DJ Grinch* - Uprock Sonata (CDr), Life - Art Davis Quartet - Life (CD, Album), You Got Me - Ingrid Michaelson - Lights Out (Vinyl, LP, Album), Attitude - Metallica - Reload (Vinyl, Album), On The Road To Prosperity - Suckdog - Onward Suckdog Soldiers (CD), Something - Jack Radics - Something (Vinyl), Der Feuertanz - Raymond Lefèvre Et Son Grand Orchestre - Soul Symphonies № 2 (Vinyl, LP, Album), Midnight Freeze