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sâmbătă, 10 octombrie 2020
vineri, 9 octombrie 2020
Jon Lord ( b2 )
Lord absorbed the blues sounds that played a key part in his rock career, principally the raw sounds of the great American blues organists Jimmy Smith, Jimmy McGriff and "Brother" Jack McDuff ("Rock Candy"), as well as the stage showmanship of Jerry Lee Lewis and performers like Buddy Holly, whom he saw perform at the De Montfort Hall in Leicester in March 1958. The jazz-blues organ style of black R&B organ players in the 1950s and 1960s, using the trademark blues-organ sound of the Hammond organ (B3 and C3 models) and combining it with the Leslie speaker system (the well-known Hammond-Leslie speaker combination), were seminal influences on Lord. Lord also stated that he was heavily influenced by the organ-based progressive rock played by Vanilla Fudge after seeing that band perform in Great Britain in 1967, and earlier by the personal direction he received from British organ pioneer Graham Bond.
Move to London
Lord moved to London in 1959–60, intent on an acting career and enrolling at the Central School of Speech and Drama, in London's Swiss Cottage. Following a celebrated student rebellion he became a founder of Drama Centre London, from where he graduated in 1964. Small acting parts followed, including in the British TV series, Emergency - Ward 10 and Lord continued playing the piano and the organ in nightclubs and as a session musician to earn a living. He started his band career in London in 1960 with the jazz ensemble The Bill Ashton Combo. Ashton became a key figure in jazz education in Britain, creating what later became the National Youth Jazz Orchestra. Between 1960 and 1963, Lord and Ashton both moved on to Red Bludd's Bluesicians (also known as The Don Wilson Quartet), the latter of which featured the singer Arthur "Art" Wood, brother of guitarist Ronnie Wood. Wood had previously sung with Alexis Korner's Blues Incorporated and was a junior figure in the British blues movement. In this period, Lord altered the spelling of his name from his birth name "John" to "Jon" and his session credits included playing the keyboards in "You Really Got Me", The Kinks number one hit of 1964 however in a Guitar World interview Ray Davies of The Kinks stated it was actually Arthur Greenslade playing piano on that particular track.
Rainbow ( B8 )
In 1988, after joining the band Impelliteri, Graham Bonnet covered "Since You Been Gone" on the group's debut album, Stand In Line.
In 1993, Blackmore left Deep Purple permanently due to "creative differences" with other members, and reformed Rainbow with all-new members featuring Scottish singer Doogie White. The band released Stranger in Us All in 1995, and embarked on a lengthy world tour.
The tour proved successful, and the show in Düsseldorf, Germany, was professionally filmed for the Rockpalast TV show. This show, initially heavily bootlegged (and considered by many collectors to be the best Rainbow bootleg of the era), was officially released by Eagle Records on CD and DVD as Black Masquerade in 2013. The live shows featured frequent changes in set lists, and musical improvisations that proved popular with bootleggers and many shows are still traded over a decade later.
However, Blackmore turned his attention to his long-time musical passion, Renaissance and medieval music. Rainbow was put on hold once again after playing its final concert in Esbjerg, Denmark in 1997. Blackmore, together with his partner Candice Night as vocalist then formed the Renaissance-influenced Blackmore's Night. Around the same time as production of Stranger in Us All (1995), they were already gearing up their debut album Shadow of the Moon (1997).
Split (1997–2014)
Many Rainbow songs have been performed live by former members of the band since the group's split in 1984 and then in 1997, particularly former frontmen Ronnie James Dio, Graham Bonnet, Joe Lynn Turner and Doogie White in recent years. Also, Don Airey often plays 1979-1981 era songs during his solo shows. Blackmore's Night occasionally performs one or two Rainbow songs live, namely "Ariel", "Rainbow Eyes", "Street of Dreams" and "Temple of the King". The latter three were also re-recorded by Blackmore's Night in studio.
joi, 8 octombrie 2020
Kiss - Nothin' to Lose ( L2 )
Before I had a babyI didn't care anyway
I thought about the back door
I didn't know what to say
But once I got a baby
I, I tried every way
She didn't wanna do it
But she did anyway
But baby please don't refuse
You know you got nothin' to lose
You got nothin' to lose
You got, got nothin' to lose, well nothin'
You got, got nothin' to lose, yeah baby
You got, got nothin' to lose
You got, got nothin' to lose, you g-g-g-g-got nothin'
You got, got nothin' to lose, well come on mama
You got, got nothin' to lose, yeah shake your
You got, got
You got, you got, you got nothin' to lose
So now I've got a baby
And we've tried every way
You know she wants to do it
And she does anyway
But baby please don't refuse
You know you got nothin' to lose
You got nothin' to lose
You got, got nothin' to lose, yeah baby
You got, got nothin' to lose, yeah
You got, got nothin' to lose, you feel so good
You got, got nothin' to lose, well come on mama
You got, got nothin' to lose, ch-ch-ch-ch-ch-ch yeah
You got, got nothin' to lose, well come on
You got, got
You got, you got you, got nothin' to lose
You got, got nothin' to lose
You got, got nothin' to lose, ooh baby
You got, got nothin' to lose, yeah
You got, got nothin' to lose, yeah
You got, got nothin' to lose, oh you g-g-got, baby
You got, got nothin' to lose, shake it honey
You got, got nothin' to lose, oh you know you're a sweet thing
You got, got nothin' to lose, oh really mama
You got, got nothin' to lose, yeah you really can move it
You got, got nothin' to lose, oh you g-g-got nothin'
You got, got nothin' to lose,
Yeah shake it, shake it, shake it, shake it
You got, got nothin' to lose
You got, got nothin' to lose
You got, got
Sex Pistols ( B35 )
In 1980, critic Greil Marcus reflected on McLaren's contradictory posture:
A couple of years before, Marcus had identified different roots underlying the band's merger of music and politics, arguing that they "have absorbed from reggae and the Rastas the idea of a culture that will make demands on those in power which no government could ever satisfy; a culture that will be exclusive, almost separatist, yet also messianic, apocalyptic and stoic, and that will ignore or smash any contradiction inherent in such a complexity of stances." Critic Sean Campbell has discussed how Lydon's Irish Catholic heritage both facilitated his entrée into London's reggae scene and complicated his position for the ethnically English working class—the background his bandmates had in common.
Critic Bill Wyman acknowledges that Lydon's "fierce intelligence and astonishing onstage charisma" were important catalysts, but ultimately finds the band's real meaning lies in McLaren's provocative media manipulations. While some of the Sex Pistols' public affronts were plotted by McLaren, Westwood, and company, others were evidently not—including what McLaren himself cites as the "pivotal moment that changed everything", the clash on the Bill Grundy Today show. "Malcolm milked situations", says Cook, "he didn't instigate them; that was always our own doing."
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