ROCKMAN

Glyn Johns - Lady jane

Quote
corriecas
just spotted the latest record collector magazine in the shop. it has a stones article about the year 1964 in it. Looked interesting. Could someopne post it here, please...

Thanks

jeroen

...why don't you, like, BUY, IT?

Great article about record collectors ...[www.messynessychic.com]
...Full article's on each collector well worth reading

Joe Buzzard is a class act and his DVD - Desperate Man Blues is worth
every dollar ....... Even the bonus material is as good as the main DVD footage



ROCKMAN

Keith Richards never said this? Did he? I'm not aware of any Rolling Stones song called "Demon" unless somehow they were just referring to "Sympathy for the Devil". And maybe I'm showing I don't know about this other song IF it exists. (This could have it's own thread but I didn't want to get into that).

This is a "holy roller" sort of article, I'm not trying to get into the article itself or religion, this came up for discussion elsewhere in speaking about the King, Elvis (I watched the Elvis videos as the poster requested us to do). In the other forum, someone linked to this article because the other bloke was saying how fine Elvis' gospel music was.

Quote

Keith Richards of the Rolling Stones not only claimed that the Stones songs come en masse as though they were at a séance, but he told The Los Angeles Times that his song, "Demon", is biographical and that he, himself, is possessed by four or five demons. In "Demon" Richards declares, “It's such a mess. Demon in me, demon in me. It's living' in me, the demon in me.”

“We receive our songs by inspiration, like at a séance” (Keith Richards of the ROLLING STONES, Rolling Stone, May 5, 1977, p. 55).

[letsrollforums.com];



Edited 1 time(s). Last edit at 2014-06-03 01:55 by BroomWagon.

Classic Rock presents COUNTRY Music Magazine No2 -- June 2014



ROCKMAN

10 Things You Didn’t Know About The Rolling Stones’ Arrival in America 50 Years Ago


Rolling Stones guitarist Keith Richards signs autographs for fans in new York, June 1964. (Photo by William Lovelace/Daily Express/Hulton Archive/Getty Images)

The Rolling Stones’ journey to becoming one of rock and roll’s most beloved bands began on June 2, 1964 when they made their U.S. television debut on the Les Crane Show.
No, it wasn’t Ed Sullivan and the Stones spent much of 1964 in the shadow of the Beatles. But that night 50 years ago helped change the course of popular music as much as any in that era.
The weeks that followed would only continue to establish the Stones as the other new sensation in rock and roll. Smartly marketed as a wilder counterpart to the squeaky-clean image of the Fab Four, they rode that image (and a bunch of hit singles) to superstardom in just a few short months spent in the States.
Did you know that the Stones’ first U.S. tour included a Beatles song on the setlist? Or that they didn’t actually perform anything live on their U.S. television debut? Here are some other things you may or may not know about the Rolling Stones’ U.S. debut.

1. The Rolling Stones released their debut album The Rolling Stones: England’s Newest Hitmakers in the U.S. on May 29, 1964.

The album contains Mick Jagger and Keith Richards’ first original recorded composition, “Tell Me”.
The U.S. version of the LP also had a different track list than the U.K. version, replacing “Mona (I Need You Baby)” with “Not Fade Away”. Speaking of that...

2. The Stones’ first U.S. single was “Not Fade Away”.

The song was originally written by Buddy Holly and performed by his band the Crickets. It was a mainstay of the Stones’ early concerts, but revived in the 90s for their Voodoo Lounge tour.

3. They made their U.S. television debut on The Les Crane Show on June 2, 1964.

They had arrived at JFK Airport in New York City just 24 hours prior to the show. Their appearance included interviews with the band and a fan Q&A, but surprisingly…

4. The Rolling Stones did not perform any singles live on the air.

They played “Not Fade Away” and “I Just Want to Make Love to You”, but unlike the Beatles on Ed Sullivan there were no live performances.

5. A major discussion point on the show was the band’s hair.

Since the Beatles had gained notoriety for their haircuts, it was only natural to spotlight the Stones’ hair as well. Les Crane particularly joked about Brian Jones’ “Prince Valiant” hairdo, to which Jones acted oblivious.

6. Les Crane kept referring to the Beatles as “that other British group” during the show.

The comparisons between the Beatles and the Stones were already embedded in the American consciousness – but that didn’t mean Crane had to say their name during his broadcast.
He also talked to the band about how tired they had to be on a show that aired past midnight, and whether they preferred coffee or tea.

7. The Rolling Stones’ first U.S. tour setlist included the Lennon-McCartney original “I Wanna Be Your Man”.

Their first U.S. tour launched on June 5, 1964 at the Swing Auditorium in San Bernardino, Calif. Surprisingly, their first setlist included “I Wanna Be Your Man”, a song originally written by John Lennon and Paul McCartney.
The Stones recorded the single first, then the Beatles produced their own version.

8. Their first tour included various circus and rodeo performers as opening acts.

The tour included two shows at the Texas State Fair in San Antonio, Tx. and the opening acts included chimpanzees, elephants, a trampoline performer, and rodeo trick riders.

9. Keith Richards collected vinyl records along their trip through the U.S., but didn’t open them until years later.

In According to the Rolling Stones, Keith Richards says he collected vinyl records from various record stores across America from 1964 to 1966. But he never had any time to listen to them, to the collection just grew and grew.
He finally got to unwrap and hear the records for the first time in late 1966, describing “an incredible blues archive”.

10. The Stones’ first recording session took place in Chicago.

The Stones rolled into Chicago’s Chess Studios on June 10, 1964, for a two-day recording session, their first ever in the U.S.
They had some famous visitors to the studio those days: Chuck Berry, Muddy Waters, and Buddy Guy all stopped by to meet and chat with the band.


Link to full article (includes photos):
[wzlx.cbslocal.com]

Herald Sun ----- 4 June 2014



ROCKMAN

Again and again.
So much good and interesting stuff here.

Brian looked great until 65/66 and in Europe he was the most loved Stone then.
And yeah, - they were drinking hard til the drugs came.Especially Brian and Keith.
Charlie often wasn't far behind.

BTW. There is a nice article with Brian photo in German Rolling Stone . .

Quote
CousinC

And yeah, - they were drinking hard til the drugs came.Especially Brian and Keith.
Charlie often wasn't far behind.

.

Which article did they talk about drinking?

ROCKMAN

ROCKMAN

ROCKMAN

Cancel the concert !!!!! what got music to do with politics....it's only R&R

__________________________

ROCKMAN

THE AGE ----------------- 7 June 2014



ROCKMAN

..... That's weird but I dig....



THE AGE - 7 June 2014



ROCKMAN

The Stage - Our own little Cavern Club

[www.thestage.co.uk]


Among the terraced buildings on the east side of Bermondsey Street, just south of London Bridge, is number 47 – home to The Stage since 1978. The street still retains many 19th-century buildings dating back to the time when the Bermondsey district was replete with wool and leather factories and warehouses. However, the same area had become a rundown and forgotten part of town when the warehouse at number 47 was built in 1910. Fronted with glazed, white brickwork, it was initially used by a flag maker. Five years before The Stage took ownership, it was converted into office space, the drive-in and entrance to the rear closed up, and a lift installed.

The space ‘under’ the building has its own critical role in entertainment history, which The Stage itself has reported on since 1880. Beneath the five floors is a basement most notable for its low ceiling and broad, square pillars that intrude on the tight space, giving it a closed-in, almost claustrophobic feel. It is quiet, apart from the occasional sound of near-continuous traffic on the adjacent road.

What isn’t obvious is the famous music that was played here 40 years ago. “A dingy warehouse with a rehearsal room in it,” was how Pink Floyd’s David Gilmour described the building. So how did this maligned basement play its part in some of the most successful music of all time?

The Rolling Stones had become very successful in the six years since their inception, and needed more space and greater control of their recording time. Ian Andrew Robert Stewart (‘Stu’) was a co-founder of the Rolling Stones who became the band’s road manager. Himself an accomplished blues pianist who played on tour with the Stones, Led Zeppelin and others, he was known as the ‘sixth Stone’.


The Rolling Stones rehearse in the basement. Photo: Ethan Russell
Stu ran the Bermondsey facility, taking a five-year lease from the summer of 1968 on the ground floor and basement to convert it into an equipment storage and rehearsal space, complete with a state-of-the-art tape recorder – a one-inch, eight-track Ampex MM1000, as good as that in Abbey Road at the time. This ‘rehearsal-space-cum-studio’ was to spawn the demos that became Let it Bleed, the Stones’ eighth album. Over the following three years, Sticky Fingers and Exile on Main St were also conceived in the Bermondsey basement.

When not in use by the Stones, the facility was rented out to other bands. In 1967, Stu lived with the Small Faces’ studio engineer Glyn Johns. He let the group use the space after frontman Steve Marriott left to join Humble Pie while the Rolling Stones were off being successful elsewhere.

“You might as well use the room – they never go down there. It’s a bloody waste of space if you ask me,” Stu exclaimed to Small Faces’ keyboard player Ian McLagan, who describes the studio as “only a cellar below a flag-maker’s warehouse, [but] it was everything to us. He’d had it painted and carpeted, and had a C3 Hammond [organ] with a Leslie [speaker], assorted guitar amps and a drum kit already set up”.

Here, McLagan jammed with remaining Small Faces’ members Kenney Jones and Ronnie Lane in the summer of 1969. They were then joined by Ronnie Wood and Rod Stewart, forming new group Faces. “We’d be rehearsing in the basement at Bermondsey, and Rod would listen at the top of the stairs,” says Wood.

Stewart remembers that “you would walk in and there would be all these boxed, two-inch tapes and quarter-inch masters on the shelves with things like ‘Honky Tonk Woman’ and ‘Gimme Shelter’ written on them”.

Songs for First Step and Long Player, the Faces’ first two albums, were rehearsed there. Four rehearsal tracks on Five Guys Walk into a Bar – later released in 2004 – were recorded at number 47. Other bands to rehearse there in the late 1960s were the Spencer Davis Group and Noel Redding, who formed Fat Mattress. Procol Harum rehearsed the album A Salty Dog there, as well as recording the first track on the album Juicy John Pink.

However, it was more usual to go on and record rehearsed music at nearby studios, includ-ing Abbey Road and the Olympic Sound Studios. And by 1971, the Stones’ preference was the Villa Nellcote in the south of France.

Yet Bermondsey still played its part. On a visit back there in 1971, label manager Trevor Churchill noticed a pile of tapes in the corner of the room. These rehearsal recordings included what would go on to be the classic tracks Sweet Black Angel and Tumbling Dice on Exile on Main St. They also included a cover version of the Jimi Hendrix song Red House – proving the creativity of time spent in the basement.

Jethro Tull then rehearsed what would be their classic album Thick as a Brick there in December 1971. Ian Anderson recalls: “I would write music in the morning, and I would then take that piece of music in at lunchtime. We met up in the Rolling Stones’ rehearsal room down in Bermondsey, where we would rehearse in the afternoon and the evening.”

By 1972, the basement was “a very dank and dirty place”, Jethro Tull members recall, matching David Gilmour’s description of the space by the time Pink Floyd met there in early January that year.

Recently returned from their fifth tour of the US, Pink Floyd had spent the end of 1971 composing new material – for their upcoming UK winter tour – at the Decca Studios, across town in West Hampstead. They followed this with two weeks of gig rehearsals in the Bermondsey basement – a crucial phase in honing what has become the third best-selling album of all time, the 1973 classic The Dark Side of the Moon, which this year celebrates its 40th anniversary.

These rehearsals were likely the first time all the songs were played in single sequence. Following this, the band spent three days in production rehearsals at the Rainbow Theatre in Finsbury Park, time used to add new lighting and a PA system to the latest composition.

All this in a basement in Bermondsey. Now quiet, still with some damp, it houses 133 years of entertainment history in the form of The Stage’s own archives.

Richard Game is the curator of www.thedarksideofthemoon.co.uk

 

................................................................ ........................................................................................................ Herald Sun 8 June 2014



ROCKMAN

Wonderful reissue of the Dick Spottswood/Pete Kuykendall recordings
of Rev Robert Wilkin's that took place at Wynwood Studios, Falls Creek 13 & 16 February 1964.
The CD also carries an extra four hymns that didn't make it on to the original release because there was quite simply just no room for them on the album....

Reverend Robert Wilkins - Prodigal Son - Bear Family BCD - 16629 AH



ROCKMAN

For those who collect vinyl. There are a few profiles of interest below the book description.


THE DUST & GROOVES BOOK

Eilon Paz’s 416-page coffee-table book illuminates over 130 vinyl collectors and their collections in the most intimate of environments—their record rooms. With a foreword by the RZA, compelling photographic essays are paired with in-depth interviews to illustrate what motivates record collectors to keep digging for more records.

Readers get an up close and personal look at a variety of well-known vinyl champions as well as a glimpse into the collections of known and unknown DJs, producers, record dealers, and everyday enthusiasts. The book is divided into two main parts: the first features 250 full-page photos framed by captions and select quotes, while the second consists of 12 full-length interviews that delve deeper into collectors’ personal histories and vinyl troves.
[www.dustandgrooves.com]


JEFF GOLD - LOS ANGELES, CA
The man behind Record Mecca, shows us records he would never sell.

Tell me about yourself.

My name is Jeff Gold, I’m 57 years old, and I live in Venice, California.

In one sentence, can you define your record collection?

Years ago I read an opinion piece in the New York Times–the writer talked about how collecting doesn’t have to be just about accumulating, it can be about editing, about collecting only the most essential examples of something. That’s how I look at my record collection. If I’m not going to play a record, don’t need to own it. So I only have records I truly love and play.

Can you show me some of your most prized possessions?

The Stones album in front is one of the very first UK pressings of their debut album, which mistakenly included a demo (with off key singing) version of “Tell Me.” It was replaced by the “right” version almost instantly, making this one very very rare. It took me many years to find one on eBay and it was expensive. But I love the album and had to have it.

The Rolling Stones eponymous debut album. On the left, the UK version was the first pop album with no type on the cover, thanks to their innovative manager, Andrew Loog Oldham. Of course, their US label, London, insisted on titling it and putting the band’s name on their version.

Link to full article:
[www.dustandgrooves.com]


JOE BUSSARD
Founder of Fonotone Records, the undisputed King of 78s reveals his record mecca of blues, bluegrass, and jazz.

Q: Name some golden grails from your collecting history.

A: Any of the Black Patties that I found over the years (12 of them). That label put out 55 titles but some of those are real stinkers. They made records in 1927 for seven months. That’s it. Sold by mail out of Richmond, Indiana. I also treasure my Charlie Patton records on Paramount and my pristine copy of Mississippi John Hurt’s “Frankie” on Okeh. Let’s see… Gitfiddle Jim’s “Paddlin Blues” on Victor – probably the nicest copy in existence. Jimmie Rodgers “Picture Disc #12” – that one came out on Victor after his death, a special issue for collectors.



Q: Tell more about that Robert Johnson album here. Why did you pick this one up? what’s so special about it? (on the title is: Test Pressing: Phonograph Blues)

A: Well I got in a collection back in the early 1960s. It’s what they call a “Shellac test.” The guy wanted $100 for the whole collection of singles– a lot of money in those times. At that time, Robert Johnson wasn’t very famous.

[www.dustandgrooves.com]

Herald Sun ---------------- 9 June 2014



ROCKMAN

SOUND ON SOUND - June 2014



ROCKMAN

4 Stones , One Fab and Jerome

For sale on EbayUK
EbayUK

HMN

....Hey nice find HM .... seems they don't know who Jerome Green is ...



ROCKMAN

.. and have the year wrong...

ROCKMAN

.............................................. Rufus Thomas on stage



ROCKMAN

George Thorogood in Guitar World magazine.

Herald Sun --- 20 June 2014



ROCKMAN