Tell Me :
Talk
The WORD ------------------ September 2010
ROCKMAN
Melbourne Herald SUN ..... 27 August 2010
ROCKMAN
James Cotton -------- Silvio's Lounge Chicago December 1957
Photo Yannick Bruynoghe
ROCKMAN
It's ah good un ....
The Yames and McCoury are gorgeous.......
Dr John's quivverin' snake take of Jelly Roll's Winin' Boy plenty dirty....
Steve Earle's ...Frank Stokes and Buddy Miller's / Ernest Miller are damn fine...
BUT its Tommy Waits who boots the joint ....and an intro that feels like its gonna stumble inta inta Stones Slave....
.....comes with 6 track bonus disc.....
PRESERVATION ----------- Presevation Hall recordings PHJB01
ROCKMAN
Preservation looks great , thanks for this information !!!
HMN
Chapter 13 - Back In The Alley pages 228-229
Blues With A Feeling - The Little Walter Story
Tony Glover..Scott Dirks & Ward Gaines
Routledge 2002
ROCKMAN
Lee 'Scratch Perry' Perry - Kiss Me Neck
The Scratch Story In Words, Pictures And Records - Jeremy Collingwood
Cherry Red Books 2010
ROCKMAN
Album By Album - Dr.John -------- UNCUT October 2010
ROCKMAN
Could Dr. John be Mick's inspiration for wearing that crazy headdress on stage back around this time?
ASK FRED ------------ MOJO 203 October 2010
ROCKMAN
"As we say in England, it can get a bit trainspottery"
for the Dr John story
@Alan
Dick and Dee Dee rules
HMN
VINYL HIGHWAY Singing as "Dick And Dee Dee" ------- Dee Dee Phelps
Altergate Publishing 2007
Chapter Twenty-Three -- Recording Over Stones's Tracks In London
Pages 236 - 247
ROCKMAN
Edited 1 time(s). Last edit at 2010-09-03 09:51 by Rockman.
I prefered Don and The Goodtimes!
"As we say in England, it can get a bit trainspottery"
Yes Alan, they rock !!!
Btw, I've checked my box , don't get your PM
HMN
"As we say in England, it can get a bit trainspottery"
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: August 26, 2010 15:35
The WORD ------------------ September 2010
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Adrian-L
()
Date: August 26, 2010 22:53
Obituary - Bernie Andrews
Bernie Andrews, who has died aged 76, was the maverick producer behind the early BBC radio appearances of many of the leading pop artists of the 1960s, including the Beatles, the Rolling Stones and Jimi Hendrix.
[www.telegraph.co.uk]
In his dimly-lit production cubicle, Andrews painstakingly strove to secure the best performance possible from his musicians, frequently letting them overrun their strictly allotted studio time. His nocturnal working habits earned him a reputation as a nine-to-five man — 9pm until 5am.
After these sessions, instead of lodging the master tapes in the BBC library, Andrews invariably — and crucially — took them home. This was in breach of the rules, but it meant that much precious material escaped the BBC’s infamous policy of “wiping” tapes to save money.
When the Beatles first recorded at the BBC in March 1962, Andrews immediately spotted their potential. In 1982 a Radio 1 series, The Beatles at the Beeb, featured archive recordings of these early sessions, but included only a fraction of the recordings the group was known to have made. Indeed, of the 53 programmes featuring the Beatles playing live, only one was in the BBC archive.
A fresh search was made for the missing material, thought to have been lost or permanently “wiped”. Two years later Andrews took early retirement, and in 1988 was able to furnish another Radio 1 series, The Beeb’s Lost Beatles Tapes, with clips of the group from his personal archive, material (music and interviews) previously thought to have vanished.
Andrews also amassed a huge personal record library, and at one time reputedly owned every vinyl pop single released in Britain since 1958.
As a young producer, Andrews would sometimes book double studio sessions so that his protégés could make the most of precious BBC recording time. It was said that when the Rolling Stones failed their first BBC radio audition, Andrews booked them as a backing band for Bo Diddley. He then recorded some of the group’s own numbers and sent the tapes to the Audition Unit labelled “trial broadcast”. This time they passed.
Bernard Oliver Andrews was born on August 17 1933 and grew up at Eltham, south-east London. After national service in the RAF, he worked as a Post Office telephone engineer.
When he joined the BBC in 1957 as a technical operator, he was already a serious radio enthusiast, and had his own home studio equipped with four channel mixer and tape machine. He would often sit in on live studio recording sessions for such programmes as Skiffle Club, but his official duties as a tape operator and editor confined him to programmes like Sports Report.
His breakthrough came when he was appointed a producer in the Popular Music division and took over Skiffle Club’s successor, Saturday Club.
At the time, Saturday Club was one of the few shows on the Light Programme to feature pop music. It also happened to be Paul McCartney’s favourite radio programme. Andrews was instrumental in getting radio airplay for the Beatles’ first single, Love Me Do, in 1962.
The following year, to mark Saturday Club’s fifth anniversary, he lined up the Beatles, the Everly Brothers and Kenny Ball’s Jazzmen, among others, blowing the budget of £310 by spending £483 12s 6d on the performers. The Beatles received 50 guineas.
Andrews became a personal friend of the group, regularly inviting them to his flat in Mayfair before the foursome had a permanent London base. On tour in the early 1960s, they sent him regular letters and postcards from all over Britain and beyond. In 1980 John Lennon spoke affectionately of Andrews in his last radio interview, recorded the night before he was murdered.
In 1967 Andrews helped to launch the BBC career of the presenter John Peel, becoming his first producer on his nightly Top Gear programme on Radio 1 before Peel’s lengthy partnership with John Walters.
From 1976 until 1984, when he retired, Andrews produced the Sunday Top 20/Top 40 show on Radio 1.
A difficult man to manage, Andrews cared nothing for the nuances of BBC protocol, single-handedly decorating his office in his own colour scheme and installing an aquarium of goldfish to calm his nerves. These were further soothed by the occasional joint, which he would smoke under his desk with the windows open. Once, wearing frogman’s flippers, he staggered up to his department head on the fourth floor to complain about the damp in his office.
Andrews enjoyed retelling a tale — almost certainly apocryphal — of a recording session he produced with Stevie Wonder. In a studio the cue light that signals “ready to record” is green. “When you’re ready, Stevie,” Andrews allegedly instructed the singer, who has been blind almost since birth, “on the green.”
His eccentricities ranged across both his professional and his private life. Notoriously frugal, he would return light bulbs to John Lewis if he considered that they had not lasted long enough.
In retirement he tried, unsuccessfully and on several occasions, to settle in Spain.
Bernie Andrews, who died on June 11, is survived by his two brothers.
Bernie Andrews, who has died aged 76, was the maverick producer behind the early BBC radio appearances of many of the leading pop artists of the 1960s, including the Beatles, the Rolling Stones and Jimi Hendrix.
[www.telegraph.co.uk]
In his dimly-lit production cubicle, Andrews painstakingly strove to secure the best performance possible from his musicians, frequently letting them overrun their strictly allotted studio time. His nocturnal working habits earned him a reputation as a nine-to-five man — 9pm until 5am.
After these sessions, instead of lodging the master tapes in the BBC library, Andrews invariably — and crucially — took them home. This was in breach of the rules, but it meant that much precious material escaped the BBC’s infamous policy of “wiping” tapes to save money.
When the Beatles first recorded at the BBC in March 1962, Andrews immediately spotted their potential. In 1982 a Radio 1 series, The Beatles at the Beeb, featured archive recordings of these early sessions, but included only a fraction of the recordings the group was known to have made. Indeed, of the 53 programmes featuring the Beatles playing live, only one was in the BBC archive.
A fresh search was made for the missing material, thought to have been lost or permanently “wiped”. Two years later Andrews took early retirement, and in 1988 was able to furnish another Radio 1 series, The Beeb’s Lost Beatles Tapes, with clips of the group from his personal archive, material (music and interviews) previously thought to have vanished.
Andrews also amassed a huge personal record library, and at one time reputedly owned every vinyl pop single released in Britain since 1958.
As a young producer, Andrews would sometimes book double studio sessions so that his protégés could make the most of precious BBC recording time. It was said that when the Rolling Stones failed their first BBC radio audition, Andrews booked them as a backing band for Bo Diddley. He then recorded some of the group’s own numbers and sent the tapes to the Audition Unit labelled “trial broadcast”. This time they passed.
Bernard Oliver Andrews was born on August 17 1933 and grew up at Eltham, south-east London. After national service in the RAF, he worked as a Post Office telephone engineer.
When he joined the BBC in 1957 as a technical operator, he was already a serious radio enthusiast, and had his own home studio equipped with four channel mixer and tape machine. He would often sit in on live studio recording sessions for such programmes as Skiffle Club, but his official duties as a tape operator and editor confined him to programmes like Sports Report.
His breakthrough came when he was appointed a producer in the Popular Music division and took over Skiffle Club’s successor, Saturday Club.
At the time, Saturday Club was one of the few shows on the Light Programme to feature pop music. It also happened to be Paul McCartney’s favourite radio programme. Andrews was instrumental in getting radio airplay for the Beatles’ first single, Love Me Do, in 1962.
The following year, to mark Saturday Club’s fifth anniversary, he lined up the Beatles, the Everly Brothers and Kenny Ball’s Jazzmen, among others, blowing the budget of £310 by spending £483 12s 6d on the performers. The Beatles received 50 guineas.
Andrews became a personal friend of the group, regularly inviting them to his flat in Mayfair before the foursome had a permanent London base. On tour in the early 1960s, they sent him regular letters and postcards from all over Britain and beyond. In 1980 John Lennon spoke affectionately of Andrews in his last radio interview, recorded the night before he was murdered.
In 1967 Andrews helped to launch the BBC career of the presenter John Peel, becoming his first producer on his nightly Top Gear programme on Radio 1 before Peel’s lengthy partnership with John Walters.
From 1976 until 1984, when he retired, Andrews produced the Sunday Top 20/Top 40 show on Radio 1.
A difficult man to manage, Andrews cared nothing for the nuances of BBC protocol, single-handedly decorating his office in his own colour scheme and installing an aquarium of goldfish to calm his nerves. These were further soothed by the occasional joint, which he would smoke under his desk with the windows open. Once, wearing frogman’s flippers, he staggered up to his department head on the fourth floor to complain about the damp in his office.
Andrews enjoyed retelling a tale — almost certainly apocryphal — of a recording session he produced with Stevie Wonder. In a studio the cue light that signals “ready to record” is green. “When you’re ready, Stevie,” Andrews allegedly instructed the singer, who has been blind almost since birth, “on the green.”
His eccentricities ranged across both his professional and his private life. Notoriously frugal, he would return light bulbs to John Lewis if he considered that they had not lasted long enough.
In retirement he tried, unsuccessfully and on several occasions, to settle in Spain.
Bernie Andrews, who died on June 11, is survived by his two brothers.
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: August 27, 2010 09:17
Melbourne Herald SUN ..... 27 August 2010
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
boston2006
()
Date: August 27, 2010 19:19
Love Hope Sex Dreams
Paintings of Don Hartmann
Tools1 CommentsEmail this articlePrint this articleSubmit!FacebookDigg
J. Fatima Martins
Story Created: Aug 25, 2010 at 6:44 PM EDT
(Story Updated: Aug 26, 2010 at 6:44 AM EDT )
After Curfew, Zenia, OH, a curious portrait by 2010 Worcester Arts Council Fellow Don Hartmann of a shirtless figure wearing a bright-pink bunny-eared hood, is one of 30 paintings featured in the highly anticipated rebellious exhibition Love Hope Sex Dreams opening August 27 at ARTSWorcester’s Aurora Gallery. The show runs until September 24.
The portrait references the haunting experimental film Gummo and one of its main characters, Bunny Boy, an alienated preadolescent boy. Presented against a nauseating greenish background created by layering gestural black color over yellow undertones, the figure is both angelic and devilish—a symbol of broken innocence and blissful hope evoking both sympathy and apprehension. The portrait’s style highlights the powerful duality of Hartmann’s accomplished work—it’s remarkably inviting yet repulsive at the same time.
The 43-year-old Hartmann has been exhibiting regionally for more than 15 years. Most recently, he was represented by Boston’s MPG Contemporary Gallery, where his paintings received high critical praise for their formal qualities—a blend of layered, spontaneous action gestures posed against tightly controlled lines in a nonnaturalistic figurative manner.
His portraits are beautifully ugly emotive works that exemplify the German neo-expressionism mode—raw and salacious, influenced in concept and form by artists such as Anselm Kiefer and Eric Fischl.
Music is also an important influence, as the title of the exhibition alludes. Love Hope Sex Dreams are words borrowed from the Rolling Stones song “Shattered.” His appreciation for hard-edged musical styles gives his work a punk-rock rebellious aesthetic intersecting the glamorous and the sordid.
The compositions are fabricated arrangements informed by a variety of pop-culture sources, avant-garde art movements and everyday situations. It’s a process Hartmann jokingly refers to as “dumpster diving.” The themes are communicated through ridiculously smart, sometimes creepy narratives that blend parody, metaphor, fantasy and reality into autobiographical stories that convey the artist’s intimate perspectives.
An example of his purposeful symbolic storytelling is the lascivious portrait Austrian Wedding, which juxtaposes American country comedienne Minnie Pearl and Nazi Minister of Propaganda Joseph Geobbels. Darkly humorous, the piece represents two very different cultural influences in the artist’s background—his German heritage and his childhood as an Ohio farm boy.
Hartmann attended the University of Hartford and Ohio State University, where he studied photography and sculpture, but ultimately found his mature voice in painting. “My instructors told me I was a bad painter, but I didn’t care,” he explains. “I wanted to create something new that brought together the look of contemporary photographs and film and the texture of sculpture.”
His older works are reinterpretations of pictures taken with a Polaroid camera, “they’re big bad photographs layered with paint like frosting on a cake,” explains Hartmann. His new work moves away from the Polaroid format, but still retains his distinctive style. The figures are rendered in a flat modern manner with asymmetrical features and unnatural coloring anchored against ambiguous backgrounds.
The compositions are built-up from initial ground sketches and layered in mixed media: oil and acrylic paint, oil sticks, markers, pencil, chalk, Crayola crayons and encaustic are applied onto wood board. “I use everything, like a kid, aggressively manipulating the medium,” points out Hartmann, passionately.
He is equally emotive when explaining the significance of this chosen subject matter. “The people in my paintings are mostly family and friends, but sometimes I’ll portray strangers, characters who represent important aspects of my history.”
An example is Good and Himmel, a dual portrait of his German grandmother smoking a cigarette, while her topless younger sister looks on. Hartmann’s appreciation for the dark humor of the German expressionists is evident in the conceptual and formal qualities of the work and the duality is felt full-force. The viewer wants to gawk at the seminude figure, but soon feels uncomfortable once the women’s identities are discovered.
Hartmann is one of the most important artists working in Worcester today. His accomplished portraits are purposefully provocative, encouraging universal questions about the meaning of beauty, love, fear, hope and personal identity.
The opening reception of Love Hope Sex Dreams is from 6-8 p.m. on August 27 at the Aurora Gallery, 660 Main Street, Worcester. It is free, open to the public and refreshments are provided. artsworcester.org.
Edited 1 time(s). Last edit at 2010-08-27 19:20 by boston2006.
Paintings of Don Hartmann
Tools1 CommentsEmail this articlePrint this articleSubmit!FacebookDigg
J. Fatima Martins
Story Created: Aug 25, 2010 at 6:44 PM EDT
(Story Updated: Aug 26, 2010 at 6:44 AM EDT )
After Curfew, Zenia, OH, a curious portrait by 2010 Worcester Arts Council Fellow Don Hartmann of a shirtless figure wearing a bright-pink bunny-eared hood, is one of 30 paintings featured in the highly anticipated rebellious exhibition Love Hope Sex Dreams opening August 27 at ARTSWorcester’s Aurora Gallery. The show runs until September 24.
The portrait references the haunting experimental film Gummo and one of its main characters, Bunny Boy, an alienated preadolescent boy. Presented against a nauseating greenish background created by layering gestural black color over yellow undertones, the figure is both angelic and devilish—a symbol of broken innocence and blissful hope evoking both sympathy and apprehension. The portrait’s style highlights the powerful duality of Hartmann’s accomplished work—it’s remarkably inviting yet repulsive at the same time.
The 43-year-old Hartmann has been exhibiting regionally for more than 15 years. Most recently, he was represented by Boston’s MPG Contemporary Gallery, where his paintings received high critical praise for their formal qualities—a blend of layered, spontaneous action gestures posed against tightly controlled lines in a nonnaturalistic figurative manner.
His portraits are beautifully ugly emotive works that exemplify the German neo-expressionism mode—raw and salacious, influenced in concept and form by artists such as Anselm Kiefer and Eric Fischl.
Music is also an important influence, as the title of the exhibition alludes. Love Hope Sex Dreams are words borrowed from the Rolling Stones song “Shattered.” His appreciation for hard-edged musical styles gives his work a punk-rock rebellious aesthetic intersecting the glamorous and the sordid.
The compositions are fabricated arrangements informed by a variety of pop-culture sources, avant-garde art movements and everyday situations. It’s a process Hartmann jokingly refers to as “dumpster diving.” The themes are communicated through ridiculously smart, sometimes creepy narratives that blend parody, metaphor, fantasy and reality into autobiographical stories that convey the artist’s intimate perspectives.
An example of his purposeful symbolic storytelling is the lascivious portrait Austrian Wedding, which juxtaposes American country comedienne Minnie Pearl and Nazi Minister of Propaganda Joseph Geobbels. Darkly humorous, the piece represents two very different cultural influences in the artist’s background—his German heritage and his childhood as an Ohio farm boy.
Hartmann attended the University of Hartford and Ohio State University, where he studied photography and sculpture, but ultimately found his mature voice in painting. “My instructors told me I was a bad painter, but I didn’t care,” he explains. “I wanted to create something new that brought together the look of contemporary photographs and film and the texture of sculpture.”
His older works are reinterpretations of pictures taken with a Polaroid camera, “they’re big bad photographs layered with paint like frosting on a cake,” explains Hartmann. His new work moves away from the Polaroid format, but still retains his distinctive style. The figures are rendered in a flat modern manner with asymmetrical features and unnatural coloring anchored against ambiguous backgrounds.
The compositions are built-up from initial ground sketches and layered in mixed media: oil and acrylic paint, oil sticks, markers, pencil, chalk, Crayola crayons and encaustic are applied onto wood board. “I use everything, like a kid, aggressively manipulating the medium,” points out Hartmann, passionately.
He is equally emotive when explaining the significance of this chosen subject matter. “The people in my paintings are mostly family and friends, but sometimes I’ll portray strangers, characters who represent important aspects of my history.”
An example is Good and Himmel, a dual portrait of his German grandmother smoking a cigarette, while her topless younger sister looks on. Hartmann’s appreciation for the dark humor of the German expressionists is evident in the conceptual and formal qualities of the work and the duality is felt full-force. The viewer wants to gawk at the seminude figure, but soon feels uncomfortable once the women’s identities are discovered.
Hartmann is one of the most important artists working in Worcester today. His accomplished portraits are purposefully provocative, encouraging universal questions about the meaning of beauty, love, fear, hope and personal identity.
The opening reception of Love Hope Sex Dreams is from 6-8 p.m. on August 27 at the Aurora Gallery, 660 Main Street, Worcester. It is free, open to the public and refreshments are provided. artsworcester.org.
Edited 1 time(s). Last edit at 2010-08-27 19:20 by boston2006.
Re: Some Kinda Stones Connections
Posted by:
stateofshock
()
Date: August 27, 2010 20:34
Thank U Rockman for those awesome scans! Mick looks so adorable. 
***********************************************************
"What I'm doing is a sexual thing. I dance and all dancing is a replacement for sex". - Mick Jagger
***********************************************************
"What I'm doing is a sexual thing. I dance and all dancing is a replacement for sex". - Mick Jagger
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: August 28, 2010 12:28
James Cotton -------- Silvio's Lounge Chicago December 1957
Photo Yannick Bruynoghe
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Honestman
()
Date: August 28, 2010 13:16
Ya know what I like Rockeee
Some other rare ones below
CB promoting his very first LP
The Killer on Guitar circa 1958
2 Chess Masters together at MONTREUX 1972
CB with some well known guests Hall of FAME 1986
You got a PM
HMN
Edited 2 time(s). Last edit at 2010-08-28 13:29 by Honestman.
Some other rare ones below
CB promoting his very first LP
The Killer on Guitar circa 1958
2 Chess Masters together at MONTREUX 1972
CB with some well known guests Hall of FAME 1986
You got a PM
HMN
Edited 2 time(s). Last edit at 2010-08-28 13:29 by Honestman.
Re: Some Kinda Stones Connections
Posted by:
His Majesty
()
Date: August 28, 2010 13:22
Chuck with a strat! Far out!
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: August 28, 2010 13:45
...here's one more just for you Honest.......
Stavin Chain ................Performing for Libary Of Congress - Lafayette Louisiana June 1954
ROCKMAN
Stavin Chain ................Performing for Libary Of Congress - Lafayette Louisiana June 1954
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: August 28, 2010 17:51
It's ah good un ....
The Yames and McCoury are gorgeous.......
Dr John's quivverin' snake take of Jelly Roll's Winin' Boy plenty dirty....
Steve Earle's ...Frank Stokes and Buddy Miller's / Ernest Miller are damn fine...
BUT its Tommy Waits who boots the joint ....and an intro that feels like its gonna stumble inta inta Stones Slave....
.....comes with 6 track bonus disc.....
PRESERVATION ----------- Presevation Hall recordings PHJB01
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Honestman
()
Date: August 29, 2010 12:17
Quote
Rockman
...here's one more just for you Honest.......
Preservation looks great , thanks for this information !!!
HMN
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: August 31, 2010 02:33
Chapter 13 - Back In The Alley pages 228-229
Blues With A Feeling - The Little Walter Story
Tony Glover..Scott Dirks & Ward Gaines
Routledge 2002
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: September 1, 2010 22:45
Lee 'Scratch Perry' Perry - Kiss Me Neck
The Scratch Story In Words, Pictures And Records - Jeremy Collingwood
Cherry Red Books 2010
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: September 2, 2010 12:19
Album By Album - Dr.John -------- UNCUT October 2010
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
with sssoul
()
Date: September 2, 2010 13:22
very sweet Little Walter and Dr John stories - thanks & praises as always, Rock Man!
Re: Some Kinda Stones Connections
Posted by:
Edith Grove
()
Date: September 2, 2010 13:47
Could Dr. John be Mick's inspiration for wearing that crazy headdress on stage back around this time?
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: September 2, 2010 13:47
Fanks gals .....
ROCKMAN
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: September 2, 2010 13:50
ASK FRED ------------ MOJO 203 October 2010
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Erik_Snow
()
Date: September 2, 2010 20:55
Thanks Rockman, for the most interesting thread on IORR, I always read this, even if not posting otherwise
Edited 1 time(s). Last edit at 2010-09-02 21:00 by Erik_Snow.
Edited 1 time(s). Last edit at 2010-09-02 21:00 by Erik_Snow.
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: September 3, 2010 01:21
AHHHHHHHHH ....Erik hope ya haven't turned inta a Ghost Reader.....
Always dig the wit-info-charactor-knowledge ya bring ta IORR Erik.... Rock on old son we sure needs ya ....
ROCKMAN
Always dig the wit-info-charactor-knowledge ya bring ta IORR Erik.... Rock on old son we sure needs ya ....
ROCKMAN
Re: Some Kinda Stones Connections
Posted by:
Deltics
()
Date: September 3, 2010 01:34
Quote
Rockman
ASK FRED ------------ MOJO 203 October 2010
"As we say in England, it can get a bit trainspottery"
Re: Some Kinda Stones Connections
Posted by:
Honestman
()
Date: September 3, 2010 01:38
for the Dr John story@Alan
Dick and Dee Dee rules
HMN
Re: Some Kinda Stones Connections
Posted by:
Rockman
()
Date: September 3, 2010 06:12
VINYL HIGHWAY Singing as "Dick And Dee Dee" ------- Dee Dee Phelps
Altergate Publishing 2007
Chapter Twenty-Three -- Recording Over Stones's Tracks In London
Pages 236 - 247
ROCKMAN
Edited 1 time(s). Last edit at 2010-09-03 09:51 by Rockman.
Re: Some Kinda Stones Connections
Posted by:
Honestman
()
Date: September 3, 2010 21:56
Chapter Twenty-Three -- Recording Over Stones's Tracks In London
Worth the readin' as always
HMN
Worth the readin' as always
HMN
Re: Some Kinda Stones Connections
Posted by:
Deltics
()
Date: September 4, 2010 00:41
Quote
Honestman
@Alan
Dick and Dee Dee rules
I prefered Don and The Goodtimes!
"As we say in England, it can get a bit trainspottery"
Re: Some Kinda Stones Connections
Posted by:
Honestman
()
Date: September 4, 2010 00:44
Quote
DelticsQuote
Honestman
@Alan
Dick and Dee Dee rules
I prefered Don and The Goodtimes!
Yes Alan, they rock !!!
Btw, I've checked my box , don't get your PM
HMN
Re: Some Kinda Stones Connections
Posted by:
Deltics
()
Date: September 4, 2010 00:54
Quote
HonestmanQuote
DelticsQuote
Honestman
@Alan
Dick and Dee Dee rules
I prefered Don and The Goodtimes!
Yes Alan, they rock !!!
Btw, I've checked my box , don't get your PM
"As we say in England, it can get a bit trainspottery"
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