Posted at June 8, 2008 @ 14:22 by admin
The Full Story
I guess, sometimes when your number is up, it really is up... There's no real way to prepare for something like that... I mean eating healthier, not smoking, staying off drugs, practicing safe sex, even driving carefully... well none of that can save you from an errant 1300+ lb. bale of hay.
I could never wait until this TV show came on every week. It was broadcast late Saturday night when all your parents were in bed and all us young music lovers were looking for the best new musical performances.
As the above video testifies to the validity of this show, you just never knew what band would show up next. The next video is actually a bit of a guilty pleasure for me. ABBA was great at creating that wall of sound and catchy melodic hook.
Each week brought a new live concert like the following.
Kirshner actually had a long line of artists who wanted to appear on the show at scale, which was much less than they would get normally, but they knew what the exposure would do for their careers.
Let us know what your favorite Rock Concert performance was.
And while not as well known, I'd argue the guitar solo on It's a Long Way There is just as good as the guitar solo on Hotel California.
Apparently, I'm not the only one who heard the similiarities between the two groups. On their 2CD Reminiscing set they included a live performance featuring Glenn Frey singing a medley of Lyin' Eyes/Take It Easy with LRB acting as his back-up band. The vocal harmonies give me chills just thinking about them.
Perhaps LRB's legacy isn't as firmly entrenched in the collective musical psyche due to their rotating personnel issues. As it is, the band that currently tours under the Little River Band moniker features no original members. The band is fronted by long time bass player/vocalist, Wayne Nelson, who replaced original bass player, David Briggs, back in the early eighties (Nelson is best known for his vocals on The Night Owls). With the Eagles there was at least the stability of Frey and Henley and a rotating cast of equally (and at times superior) talented peers like Joe Walsh and Timothy B. Schmit... Heck they even poached 2 band members out of fellow country-rock band, Poco.
The nucleus of the Little River Band sound was lead vocalist Glenn Shorrock, rhythm guitarist/vocalist Beeb Birtles, and keyboardist/vocalist Graeham Goble. Their harmonies were augmented on their first few albums by bass player David Briggs and later Wayne Nelson. The turning point, or when Little River Band "jumped the shark" was when lead vocalist Glenn Shorrock was forced out and replaced by John Farnham.
The problem was Farnham's voice was a force unto itself. Where Shorrrock's voice had blended beautifully with his bandmates, Farnham's voice soared above the vocals of his bandmates. The band no longer sounded like Little River Band, they suddenly sounded like JOHN FARNHAM featuring Little River Band the chemistry had been irrevocably altered. And, while some of the material he recorded with the band was certainly enjoyable (The Other Guy was a particularly enjoyable song) it just wasn't the same. It was good music, but it just didn't sound or "feel" like LRB any more.
After three albums (The Net, Playing to Win, and No Reins) both the band and Farnham realized it had been a bad fit. Farnham left before No Reins was even released. Despite convincing Glenn Shorrock to return, the damage had been done. Farnham's stint in the band had killed the momentum they'd had with their string of hits in the late seventies and into the early eighties.
With Shorrock back in the band they released a couple more respectable albums-- Monsoon and Get Lucky and continued touring throughout the 90s. Beeb Birtles left during Farnham's tenure in the band, followed by Graeham Goble shortly after Glenn Shorrock's return and eventually even Shorrock departed the band leaving it in the hands of then guitarist, Stephen Housden and long time bass player/vocalist, Wayne Nelson and a rotating cast of supporting musicians.
In the mid 'aughts Shorrock reunited with Graeham Goble and Beeb Birtles to form "Birtles, Goble, & Shorrock" as they'd lost the rights to the name of the band they had founded. They released a live DVD and an accompanying CD showing they still had it-- the talent, the voices, and the chemistry that had made them so popular in the late seventies and early eighties.
GUITARS, BEERS & TEARS
Following years of providing stellar fretwork for iconic groups such as Humble Pie and Bad Company, Dave "Bucket" Colwell has stepped out to showcase his talents as a world class writer/guitarist with a rock solid, debut solo disc. Colwell has enlisted quite a cast of heavy friends to contribute to his record, including IRON MAIDEN's Adrian Smith, Edwin McCain, Steve Conte from the NEW YORK DOLLS, THE QUIREBOYS' Spike, Danny Bowes from THUNDER, Bekka Bramlett and BAD COMPANY's Robert Hart.
For listeners who have bemoaned the lack of visceral, contemporary hard rock with a melodic edge, Bucket and Co. are coming to the rescue with Guitars, Beers and Tears.
This is a fantastic set.
Opening with a brief, swelling keyboard line that gives a nod to the salad days of Deep Purple and Uriah Heep, the title track wastes no time getting to business. Kicking in with salvos of scorched earth policy riffing, the tone is set perfectly. Guitars and beers often go hand in glove, though the only tears here will be those of joy as this marks the beginning of a banquet laden with fist-pumping anthems interspersed with very pleasant surprises.
Despite the presence of multiple lead vocalists, Colwell's vision of a big, unashamed rock record remains intact and not one iota of continuity or momentum is lost. His personality shines through in the writing and is never submerged at any point in the proceedings. Formidable skills in the guitar department allow him to light up each cut, with impeccable and tasteful playing being the rule rather than the exception.
Graciously, he chooses to shine the spotlight on his guests as much as possible. The presence of Adrian Smith is strongly felt, with a brilliant recasting of "Reach Out" (which was the flip side to Maiden's "Wasted Years" single). Smith acquits himself quite well in the role of lead vocalist, while the band burns behind him. Very much a highlight of the pack. Speaking of which, my personal favorite here is "Life" which is built on a strong hook, features great changes and is topped by a passionate vocal from Danny Bowes. Running a close second is "Hey Mr. Nobody" which is the lone tune that features Bucket himself singing lead. It's a pity that he didn't take the opportunity for more mic time as he turns in a great performance.
Harking back to a time when the music sold itself, without recourse to artificial spectacle, Bucket and Co. put craftsmanship ahead of all other consideration to great effect.
All of the components that make a successful end product are present on Guitars, Beers and Tears, with top class production being the icing on a very satisfying, layered cake. Listeners will feel compelled to give the volume a healthy nudge toward the sky (as I did) and revel in the pleasure of one spectacular rock record.
Find out more about the artist and grab yourself a copy of the CD here
Let's now give credit where it's due:
THE BAND
Dave ‘Bucket’ Colwell Guitars/Vocals
Jaz Lochrie Bass/Vocals
Gary ‘Harry’ James Drums
Guitars, Beers & Tears (Colwell)
Vocals - Chris Ousey
Girl of My Dreams (Colwell)
Vocals - Spike (The Quireboys) Keyboards - Mark Read (A1)
Make Up Your Mind (Colwell/Adrian Smith)
Guitar/Vocals - Adrian Smith (Iron Maiden)
Somebody To Love (Colwell/Tommy Lee James)
Vocals - Robert Hart (Bad Company)
Why You Call (Colwell)
Vocals - Edwin McCain Sax - Andy Hamilton Keyboards - Mark Read
If You Need Me (Colwell)
Guitar/Vocals - Steve Conte (NY Dolls)
Reach Out (Cowell)
Vocals - Adrian Smith (Iron Maiden)
I’d Lie To You (Frankie Miller)
Vocals - Spike (The Quireboys) Backing Vocals - Bekka Bramlett
Survive (Colwell)
Vocals - Edwin McCain Harmonica - Judd Lander
Life (Colwell/J. Leo)
Vocals - Danny Bowes (Thunder) Keyboards - Mark Read
Why Can’t It Be (Colwell)
Vocals - Seth Romano
Mr. Nobody (Colwell)
Vocals - Dave Colwell Backing Vocals - Lauren Harris
In my opinion one of the most tragic losses in rock and roll, an accident that didn't have to happen :(
I remember hearing the news. I was pregnant at the time and considered naming the baby either Stevie, Ray or Vaughan. Now that the future has been seen, I see how appropriate it would have been to name my son after someone who overcame a serious drug addiction and alcoholism.
Some of us can be examples about going ahead and growing, and some of us, unfortunately, don't make it there, and end up being examples because they had to die. I hit rock bottom, but thank God my bottom wasn't death.
Stevie Ray Vaughan
When forced to choose my favorite of all Bruce's albums, I pick Darkness, so now I know what I want Santa to bring me this year :)
From brucespringsteen.net:
Bruce Springsteen's The Promise: The Darkness on the Edge of Town Story Unveiled for Nov. 16 Release
Columbia Records has just announced Bruce Springsteen's The Promise: The Darkness on the Edge of Town Story will be released on November 16.
For the first time, fans will have access to 21 never-before-heard complete songs from the "Darkness" recording sessions on 2 CD
or 4 LP 180-gram vinyl sets that will be available as The Promise.
"'Darkness' was my 'samurai' record," Springsteen writes, "stripped to the frame and ready to rumble. But the music that got left behind was substantial."
The Promise will also include the new essay from Bruce Springsteen, lyrics to all new tracks and unseen photographs from theDarkness On The Edge of Town sessions.
Containing a wealth of previously unreleased material, The Promise: The Darkness on the Edge of Town Story offers an unprecedented look into Springsteen's creative process during a defining moment in his career. In addition to the The Promise 2 CDs, the deluxe 3 CD/3 DVD
and 3 CD/3 Blu-ray Disc versions include the Darkness on the Edge of Town album digitally remastered for the first time. Comprising over six hours of film and more than two hours of audio, The Promise: The Darkness on the Edge of Town Story is packaged within an 80-page spiral-bound reproduction of Bruce's original notebooks documenting the recording sessions for the album, containing alternate lyrics, song ideas, recording details and personal notes.
Visit brucespringsteen.net for an exclusive sneak peek of the The Promise: The Darkness on the Edge of Town Story video content as well as a first-listen of the song, "Save My Love," fromThe Promise, and complete details about this new release.
For the first time in six years Ann and Nancy have released a new original record: Red Velvet Car. It will be released on August 31. Here's a sneak peak:
Here are a few things being said about it:
“The barracudas are back and at the top of their game.” (Rolling Stone, September 2, 2010)
“Aggressive, Delicate and Enduring” (New York Times, August 4, 2010)
"Red Velvet Car, to be released by Sony Music’s Legacy Recordings, boasts an evolved sound that doesn't pander to the iPod generation. The women of Heart have strong stories to tell through the music.” (The Virginian-Pilot, August 13, 2010)
And from their press release:
"Like all Heart albums, Red Velvet Car rocks hard but also has a deep acoustic side. Nancy Wilson has long been known to play her acoustic guitar with rock ferocity. This time an abundance of resonant acoustic instruments (guitars, mandolin, dobro, banjo, fiddle, viola, cello, and autoharp), played by Nancy Wilson and the album’s producer, Ben Mink, are showcased in Heart’s unique style. Nine of the album's songs were written for, and appear for the first time on Red Velvet Car. The album's closer, "Sand," is a newly recorded version of a song originally written and recorded by the Lovemongers, Ann and Nancy's 1990's acoustic side project. The release of Red Velvet Car heralds Legacy's forthcoming reissues of the classic Heart catalog in new physical and digital editions.I can't wait to hear it, just wish Ann and Nanc were touring in my area! I guess I'll be driving to Los Angels is I want to see them this time. If you hear any of the new songs, let me know what you think!
My love is in league with the freeway
Its passion will ride, as the cities fly by
And the tail-lights dissolve, in the coming of night
And the questions in thousands take flight
My love is a-miles in the waiting
The eyes that just stare, and the glance at the clock
And the secret that burns, and the pain that grows dark
And it's you once again
Leading me on - leading me down the road
Driving beyond - driving me down the road
My love is exceedingly vivid
Red-eyed and fevered with the hum of the miles
Distance and longing, my thoughts do provide
Should I rest for a while at the side
Your love is cradled in knowing
Eyes in the mirror, still expecting they'll come
Sensing too well when the journey is done
There is no turning back - no
There is no turning back - on the run
My love is in league with the freeway
Oh the freeway, and the coming of night-time
My love is in league with the freeway
Take a bit of ska, a pinch of funk, a few hints of funk, a cup of reggae, a teaspoon of rap, and a tablespoon or two of jazz toss it in the blender, set it to puree... and you'll get The Cat Empire.
The band is comprised of Felix Reibl (percussion & vocals), Harry James Angus (trumpet & vocals), Ollie McGill (keyboard & backing vocals), Will Hull-Brown (drums), & Jamshid "Jumps" Khadiwhala (decks & percussion). The band is often backed by the brass trio, The Empire Horns (Kieran Conrau/trombone, Ross Irwin/trumpet flugelhorn & backing vocals, & Carlo Barbaro/tenor sax).
As a lover of horns, I'm especially pleased that The Cat Empire does not skimp on the horns when the songs warrant a good solid wall of brass but also know when to show restraint when the material doesn't warrant any brass.
One might not expect such an eclectic mix of different styles would mix well, but The Cat Empire mixes various different genres with a deft skill that speaks volumes to their musical talent and overall creativity.
Their 2003 debut album starts out with a festive, catchy bang with How to Explain which remains a staple of their live shows to this day. Days Like These is a catchy fun romp as well, although not quite as fun as How to Explain.
The album picks up speed again with The Chariot with catchy, upbeat lyrics and an infectuous beat that is near impossible to avoid dancing to. The band would re-visit this song with a slightly different arrangement on their 2nd album, Two Shoes, but this version has a catchier groove than the more recent updated 2005 arrangement.
The lyrics are at times at empowering and other times downright amusing:
And my knees were shakingAfter The Rhythm the album downshifts and borrows more from the band's jazz influences. The material is no less enjoyable and it puts on display the full breadth of their musical talents.
And my jaw was dropping
And my eyes were squinting
And my smile was growing
And my pants were bulging
And my hands were sweating
And my chest was beating
So I cry 'excuse me,
What is the secret to your song?'
Cause when you're walking along
When you're walking along:
Your legs are a melody my hands
Would like to play
And your hips are a note
That does take me away
And your face and your eyes and your hair
And your waist and your smile
Drive me to distraction - excerpt from The Rhythm
While The Cat Empire has released several more exceptional albums, and their 2005 follow-up Two Shoes is easily superior to this debut. The album is the best place to start as it whets the appetite for the even better music that was yet to come.
Related media & Links
How to Explain video
The Rhythm video
The Chariot video
Days Like These video
Hello video
The Cat Empire (official website)
The Cat Empire (wikipedia)
The Cat Empire (CD) (wikipedia)
Felix Reibl (wikipedia)
Harry James Angus (wikipedia)
Ollie McGill (wikipedia)
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