MadScreamingGallery
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Who is the couple in white in the middle of this photo and where and when was it taken? Thanks.
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You can call me Jere (jeremy)
OK, Jere.
Bob Tench sang on The Jeff Beck Group album which produced at least one memorable song called ' Going Down'. Cozy Powell on drums and Max Middleton on keys.I've seen him a few times, mostly in Toronto but my favorite show was a couple years ago at hampton Beach Casino Ballroom in NH. It's a bar and very intimate and close. Great show.
Thanks for that information, yahyoubetcha.
You were fortunate to get those tickets for that small venue. Two years ago we tried but weren't successful - we'd still love to see Jeff again and a small venue would be especially nice. -
It's not often that I wish I was a year or two older but getting to see those artists would have been good reason
I know what you mean - it's almost more painful because it was so close. In the case of Duane Allman, I seem to remember that they had played Fillmore East in the spring of '71 ( I remember older kids talking about the concert at school). I went to my first concert (LZ at MSG) in early September '71 and Duane was tragically killed, several weeks later, in October. :'(
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Ufff... Jimmy, Eric and Jeff. And then Beck and Vaughan...
See those guys play together... That must be damn good...
It was damn good. I remember not wanting to go to the ARMS concerts because I wanted to remember Jimmy as he was during the Zep years but my husband convinced me to go by saying something like, "We may never see these guys play together again...." So far, he's been proven right.
Eagle, there were may greats who I missed seeing: Jimi Hendrix, Duane Allman, Jim Morrison, Janis Joplin. All of them died only a year or two before I started attending concerts.
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Donna Jean Godchaux grateful to sing again
"I don't like to talk about it because the memories I have of being in that band are the best of my life," says Donna Jean Godchaux-Mackay, 60, on a rare visit to Marin County since moving back to her native Alabama 27 years ago.
I remember her! What an interesting article - although the line I put in bold made me rather sad. I've always tried to live my life in such a way that the best memories of my life were the most recent ones - for some people, though, that's impossible to do.
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Thanks for posting that article, Bong-Man. It was interesting to read. I am a huge admirer of Joni and her music. Many of her songs used to strike me as so bleak and so sad - I could only take those songs in small doses. Until I read this article, I didn't know that her early life had been like that but I can see now where some of the darkness in certain songs may have come from.
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I've been listening to a lot of Santana this week.
I've discovered that Caravanseri is one of their best albums.
Abraxas gives me goosebumps.
Love Devotion Surrender is an underrated gem of jazz fusion.
I also need to listen to Lotus sometime soon.
I love Caravanseri.
Abraxas has long been one of my very favorite albums.
The RS interview with Carlos Santana:
Secrets of the Guitar Heroes: Carlos SantanaDAVID FRICKE
Posted Jun 12, 2008 2:20 PM
You were born in Mexico, your father was a mariachi violinist, and you played the violin before taking up the guitar. Did you feel torn between the old and new when you discovered electric blues?
I don't disrespect tradition. But it is not going to hold me back. John Lee Hooker, Lightnin' Hopkins and Jimmy Reed — that was something I needed. I started with those three gentlemen, because they were the ultimate in simplicity. They make it look simple. But if you try to play like John Lee Hooker or Jimmy Reed, it's not that easy.
I joined my father in the streets, playing boleros. But I had my ear on Chuck Berry, Little Richard and Bo Diddley, on B.B. King and T-Bone Walker. There was nothing plastic about those guys. They went deep, and each note carried something important. I knew, from a long time ago, the difference between notes and life. I'd rather play life than notes. It's OK to learn how to read music. It's not going to hurt you. You can go to the Berklee College of Music. But they do not teach you how to play life.
As a teenager in San Francisco, you went to many early Fillmore shows. Who were some of the guitarists you first saw there?
The same people Jeff Beck and Jimmy Page were into — Otis Rush, Buddy Guy, Freddie King and Albert King — and Michael Bloomfield and [Fleetwood Mac's] Peter Green. Even before Jimi Hendrix came out in '67, Bloomfield was hitting it hard with Paul Butterfield's band on things like East-West. It was a different kind of blues, even for white people. When you closed your eyes, it did not sound white.
What about Jerry Garcia? He was playing almost every night all over town with the Grateful Dead.
There is something in me — my body will not let in bluegrass music. I love Merle Haggard and Buck Owens — the songwriting — and of course Willie Nelson. But there are certain kinds of music that my body doesn't allow. One is norteño. Another is bluegrass, and Jerry's playing had a lot of that. When he did "Good Morning Little Schoolgirl" — which is more in a Buddy Guy-Junior Wells style — I was like, "OK, I can listen to that." I'm very particular. There is certain music that I just don't want to know about [laughs]. I'm still working on that.
When Santana played at Woodstock in 1969, you already had your trademark sound, that piercing sustain in which you hold a single note for what seems like ages. How did playing with so much high-speed percussion affect your approach to soloing?
The more somebody plays fast around you, the more you slow down and play long, legato lines. In "Jingo" [on 1969's Santana], we had that bass line and the conga going in that rhythm. I had to do something different. Plus, I started with the violin, which was drawing long notes with a bow. I realized that playing longer notes, sustaining them, was more appealing.
It was getting crowded at that time with blues people. My voice on the guitar felt more natural in a different vocabulary. But I still love the blues. You need to marinate yourself in that music daily. It's like putting syrup on pancakes. If you don't have any syrup, the pancakes are not that cool [laughs]. If there's no blues in it, then I won't listen.
What was it like to hear those notes sail over that huge Woodstock crowd?
It was beyond scary, especially because I was at the peak of acid. I said, "God, please help me stay in tune. Please help me stay in time. I promise I'll never touch this stuff again." Of course, I lied [laughs]. What I remember is that it was really hot, all of the other bands were playing the same — and we were different. When we started, it felt like we were back in Aquatic Park in San Francisco, where people would drink wine, smoke a little hemp and just play congas. It felt that natural.
It's amazing — within a year [after that show], everybody had congas and timbales: the Rolling Stones, Sly Stone, Jimi Hendrix, Miles Davis. All we really did was integrate Tito Puente, Afro-Cuban musicians like Mongo Santamaria, into the blues that I loved.
How would you describe your role in Santana as a guitarist? It's your name on the marquee, but there is so much going on under and around you.
I tie it all together. We play Santana music, but at the same time, we become like John F. Kennedy Airport. Bob Marley, Miles, John Coltrane, Marvin Gaye and Jimi — they are going to land here and there. We are going to visit those guys. But we are still going to sound like Santana. What I do with the guitar, when I move around in the music, is make sure that the bass, drums and keyboards are on the one [makes a heartbeat-rhythm sound]. That creates the trance, the spell. And it makes women go absolutely wild. It's the same thing Miles had with his group. You play two or three notes and let people know, "It's fun exploring, but now we gotta get back to this."
Do you have a practice regimen? How much do you play offstage, when you are not recording?
I don't call it practice. I call it dipping. I have a serious collection of records — Wes Montgomery, Miles, Jimi, a lot of Marvin Gaye — and I play along with them. I try to play the way Marvin sings. I don't practice to know where my fingers go. I'm curious about how to penetrate inside the note. I think it was the Grateful Dead who used to say the music is playing you. You're not playing it. I want to utilize sound, resonance, vibration, to bring people closer to their own hearts.
And you do it without pedals — just volume and touch.
I only use a wah-wah once in a while. I'm wired, just like Buddy Guy. Buddy can grab any guitar, any amplifier, and they're gonna sound like him. When I do it, it's still going to sound like me. I stopped fighting it. I used to want to sound like Otis Rush. The way he sings and plays guitar in "Double Trouble" — there's a reason why Eric Clapton quotes him every night [laughs].
You talk a lot about trances. Do you go there when you hit one of those long notes?
You have to give yourself chills before anyone else gets them. I become less of a ringmaster. I forget to correct anyone onstage. I just go into my guitar. I can see the rest of the musicians going, "Yep, he's hungry, and he's helping himself."
http://www.rollingstone.com/news/story/210..._carlos_santana
[From Issue 1054 — June 12, 2008]
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Isn't most of his music purely instrumental, without any lyrics? That's how I recall it, other than with Rod and the Yardbirds - and the radio doesn't play any group that he was involved with. He's great on guitar, but I loose interest in many of these guys (also Satriani) that have no vocalist at all, after a few songs. It is ludicrous for me to say that, given I always say the message of the lyrics isn't as important as the musicianship. I'm a hypocrite, and it's my loss. Freeway Jam is superb, though!
Most of his musical creations - and some of our favorites - are instrumental. Rod Stewart used to sing with Jeff as a member of the Jeff Beck Group. I've also heard Clapton and Carmine Appice doing vocals with Jeff but there were, at different times, other musicians, male and female (sorry, I don't remember their names) singing vocals.
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I don't think so. He doesn't appear to have done them , and if he did he came out on the other end really well.
I just asked my husband about this and he said that he doesn't remember anything about Jeff doing heroin in the way that Jimmy or Eric did.
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I'd like to see him in concert. He looks really got and has aged well. How old is he?
He is great live! So much energy! You're right, he has aged really well. He is only a few months younger than Jimmy so he is 64! I don't think that Jeff did the hard drugs in the same way that Jimmy and Eric did.
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My husband and I have been fans of Jeff Beck since the late 60's and we both saw him in concert several times during the 70's, both before and after we met. His music and musicianship are phenomenal.
My husband is a huge, passionate fan. Not only had he seen Jeff in concert many more times than me, he knows every album and track - in the way that I know Zep's albums.
The night that we saw Beck, Page, and Clapton on stage together at the ARMS concert was incredible - it was diminished only by how unwell Jimmy was during that period of time. Antoher highlight was seeing Jeff and SRV in concert together - that was probably a year or so after the ARMS concert.
We tried to get concerts to see Jeff when he played at a small venue in LA about two years ago but we were unsuccessful. It seems that he rarely comes to the U.S. which is very unfortunate. My husband would really love to see him play live again, at least one more time, and it seems that will require a trip to England.
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Manzarek Eyes Doors Documentary, Other Projects
That sounds promising. My husband has been an unwavering Doors fan for all of those 40+ years. He wouldn't go to see the Oliver Stone film but I'm sure he'll feel differently about this new documentary. Ray Manzarek is a very interesting person.
http://www.npr.org/templates/story/story.php?storyId=6353302
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They are the joy of my life and I must admit, I'm looking forward to any grandchildren that may come down the road. It will be a whole new challenge that I'll have to be prepared for. I will be
Same here. Supposedly that's when we get to have all the fun without the stress!
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I'm sorry to read that and hope he makes a full recovery. I just read in another thread that Joe Perry recently underwent knee replacement surgery.
Hopefully Billy will make a complete recovery and play Freebird for another 10 years or more.Amen to that.
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Can't ask for more than that Mad. Sounds like you and your husband have done a fine job
Thanks. You're right: what more could you want? When it comes to our kids, we've done the best we could (and I don't mean materially - it's all things that can't be bought).
It sounds like you and Mrs. Ally have done a fine job too.
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Two hot, sunny, beautiful days. Our two oldest children spending the weekend here with their friends from college. The sound of them laughing and jumping into the pool. Knowing that our home is a place where they feel they are safe, comfortable, and always welcome.
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I saw Etta James and Muddy Waters at the Roxy in the late 70s but mostly went to concerts in the early 70s, usually Led Zeppelin, classical performances, or dance theatre. But even in that environment there were characters.
My husband and I were living back east in the late 70's - we weren't married yet and I was still in school but I brought him out to LA a few times and introduced him to the town. That included taking him to the places I frequented when I was younger. I think we saw Muddy Waters at the Roxy in 1980 (by then we were living back in LA full-time).
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I just saw this film yesterday about Rodney Bingenheimer, the LA DJ and one time club owner of Rodney's English Disco. I had almost completely forgotten about this man, but thinking back, he has been a major player on the music scene since the mid 60's. He's rubbed shoulders with Elvis, the Beatles, Bowie and everyone in between. He had one of the hottest nightclubs on the Strip in the early 70's during the glam rock era. I remember reading reports and seeing pics in the rock mags about the outrageous parties going on. The film is very good, but it is a documentary, which turn some people off. One thing that dissapointed me, but may not be a mistake, is that there was very little mention of Led Zeppelin. Only that Robert Plant said something to the effect that "Rodney has more women than me." Which at the time, around 72-73, would've been hard to believe. I know that Zep spent a lot of time hanging around this place. I'm curious to know if anyone here had been there before it closed?
Danelectro59, I went to the English Disco during the '70s (and also to Gazzarri’s, Rainbow, Roxy, Whiskey, Troubador, etc.). I haven't seen the documentary so I can't comment on it. I know that not everyone likes/liked that era, but I personally loved the Hollywood/LA scene of the 1970's - I found it very exciting - an interesting place to be filled with fascinating people. It's sometimes difficult for me to describe what the scene was like in those years to someone who wasn't there (and someone who isn't familiar with Hollywood) because it was such a different time and place - and people and events that seem outrageous to us now, were just the way things were on the scene back then. I've always considered myself very fortunate to have experienced that when I was young.
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Cool pics I wished I could have went but I was working maybe next time.
They seem to tour on a regular basis so I'm confident there will be a next time.
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I saw Rush in Reno the weekend before last (thanks to members here who encouraged me to go ). And I was BLOWN AWAYYYYY, it was one of the best concerts I have ever been too. I even had a little epiphany towards the end. Feeling the pounding bass coursing through my veins for 3 hrs (we had great seats right up close to Geddy), I thought "this feels like being in the womb again, hearing the constant reassuring beat of my mother's heart" and I felt like, YES! this is my natural environment, this is where I belong, in this room with the fantastic sounds of Rush.
Here's a couple of pics to give you an idea of our seat location:
Geddy with "the newest member of the band, My Little Friend"
And here's one taken from the screen that makes me feel all warm & bubbly inside:
Great photos and review! I am so glad that you were able to attend the Rush concert.
After reading the reviews of the recent concert that they had near here, I still regret that we didn't decide to attend.
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Now... $800 for a Eric Clapton concert.
If a good seat is purchased for a sold-out show through a professional ticket agency/broker/scalper it probably comes close to that figure - something like 50 to 100 times what we used to pay to see these same artists.
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Thanks for the interesting articles. I've always loved Neil Young - both as a musician and as someone who hasn't been reluctant to take a stand for what he believes in. This is one of my favorite recent articles about Neil Young: "Vintage Neil Young, Still Working for the Muse"
http://www.nytimes.com/2007/10/28/arts/mus...e.html?ex=13513
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I would have loved to have been around back then. You could go to concerts By The Doors, Zeppelin, Elvis, Jimi Hendrix, Janis Joplin, The Who, The Stones etc, etc. And for cheap prices!!! And when they were in their prime years!! I really missed out.
I've seen three of the groups on your list several times and, back in the 70's, always paid less than $10 for a good seat.
It's true. Obscenely high rock concert ticket prices are a relatively new phenomena. For a long time they were close to what the price of an album or c.d. was. (Which is the way it should be)I remember those days - an album and a concert ticket were around the same price. I used to earn enough money from one long night of babysitting to pay for the album, the concert ticket, and subway fare to get to the concert.
Not only that, you didn't have scalpers and agency's buying up all the tickets. This pisses me off more than the box office pricesAmen to that. I think "Ticketbastard" didn't come along until right around the end of my Zep concert days. The lone scalpers standing in the parking lots never bothered me - if the show was sold out, sometimes that was the only way we could get tickets - most of those lone scalpers didn't try to extort us. It seems that, when the agencies and corporations came along, prices got out of hand.
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This reminded me of the -jerry garcia quote in the -jack kerouac box set and how certain music, writing, art can lead us to seeing things differently and experiencing life.
.."in the next couple of years i read kerouac, and i recall in 59 hanging out with a friend who had a kerouac record, and i remember being impressed-i'd read his stuff, but i hadnt heard it,the cadence, the flow,the kind of endlessness of the prose, the way it just poured off. It was really stunning to me. His way of perceiving music- the way he wrote about music and america- and the road,the romance of the american highway,it struck me. It struck a primal chord. It felt familiar, something i wanted to join in. It wasnt like a club, it was a way of seeing. It became so much a part of me that its hard to measure; i cant separate who i am now from what i got from kerouac. I dont know if i would ever have had the courage or the vision to do something outside with my life- or even suspected the possibilities existed- if it werent for kerouac opening those doors" -jerry garcia 1989
What an incredible quote! Not only do I agree with Jerry about Kerouac's books opening doors (as they did for me), it also applies to my experiences with Led Zeppelin. Thanks for that.
but getting to see those artists would have been good reason
Zeppelin Mysteries Hosted by Steve A. Jones
in Led Zeppelin Master Forum
Posted
You're welcome, Otto - and thanks for the information. One of my friends from a long time ago emailed me that photo and asked if I recognized or remembered it. I told her that I didn't but I would post it on the Led Zeppelin forum. When we talked about it, we thought either '74 or '75 - but after the U.S. tour.
Thanks to both of you. You posted at the exact same time.
Great minds thinking alike?