^ Apart from The Pogues never heard of the rest mate.
What type of music and which decade?
^ Apart from The Pogues never heard of the rest mate.
What type of music and which decade?
I liked Damon and Blurs stuff from before,I just dont think their stuff ages well,They sound more like a pop group than a band.Gorillaz had a few good tracksOriginally Posted by The Muffinman
when they launched but overall I see them as average.Im a lyrics junkie so
On this basis Gorillaz fall down
The original Hippy, Roy Harper 1970: Flat Baroque And Berserk (I'll See You Again)
The Greatest Rock and Roll Band in the World: Rolling Stones 1969 (Sympathy for the Devil)
One hot summers afternoon in Hyde Park 1969 - Blind Faith (Presence of the Lord)
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Before my time,The only album cover I can remember as a 5yr kid old is this one.Originally Posted by Loy Toy
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Surprised this was allowed, she's the 13 year old daughter of one of the band members.
I think I spent a whole summer when I was 16 playing air guitar to this.
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Bad Religion is punk band from Southern California. From what I can remember, they formed in the late 1970s/early 1980s in LA. Suffer came out in 1988. This song, "You are the Government", is the first song off the album and indicative of their sound on this album. Lead singer had a PhD in something or other, something to do with reptiles, I think. Neither here nor there. Worth a listen though.
The Misfits were a hardcore punk band from New Jersey. Fronted by Glenn Danzig, who was later in Samhain and Danzig. Simple songs, great melodies, and often about old horror movies and the like ("Return of the Fly", "I Turned into a Martian", etc). Incredible band. Songs are catchy as all hell, short and sweet. Metallica covered them on Garage Inc. Legacy of Brutality was the first album of theirs that I heard. The songs just got stuck in my head and there wasn't anything I could do about it. Particularly the chorus to this song... "I ain't no goddamn son of a bitch. You better think about it, baby."
Frank Black was/is Black Francis, former/current lead singer of the Pixies, American rock group from Massachusetts. After the Pixies went their separate ways, Frank Black began putting out solo albums. This was his second. Much more dynamic than the first, covering different genres and styles. The song "Headache" got a fair amount of radio play on the "modern rock" station where I grew up. I was a Pixies fan already and enjoyed the first solo album so I got this. Still in rotation.
He's still writing and touring. Writes about aliens a lot, and Thailand from time to time. Big influence on me when I was learning to play guitar. Uses C#m a lot. Big fan of The Kinks. This one's "Speedy Marie".
Return of the Boom Bap is the first solo album by KRS-One (of Boogie Down Productions), released in 1993. Probably the first hip-hop album I heard that I can honestly say appealed to me in the same sense that a rock album like Suffer did. KRS-One is a smart guy. He wasn't rapping about shoes.* He was rapping about things that mattered (and he was good at it, too). Haven't heard this album in a long time. *Who knows, he may have a song about shoes. I can't claim to be an expert.
Genius/GZA was/is in Wu Tang Clan. Liquid Swords is GZA's second solo album. I got into Wu Tang kind of by accident after seeing Method Man perform in Puerto Rico when I was 16 or so. Very random but very fun night. I probably should have listed MM's Tical as an influential album, too. Anyhow, heard this in a friend's car and was hooked. Loved the production. This song is "Investigative Reports". Has some guest vocals by Raekwon and Ghostface Killah.
Each to their own ,, but just after trying to listen to that KRS/ ONE the only thing that would influence me to do would be to jump off something faily high
Indeed. Hiphop has the artistic merit of a beer fart (or even less).Originally Posted by nigelandjan
This one even now, just thinking about it I can still smell the incence that my brother used to burn in our room to hide to smell of dope.![]()
Originally Posted by Dug
Where have those days of non-pc gone!!
Blind Faith's Original Artwork
Story of the origins of the Blind Faith album cover, from Bob Seidemann's (photographer of the album cover artwork) perspective:
"I called Eric Clapton in London to ask if he would put me up for a while. He did. I stayed at his flat in Chelsea with a wild crowd of ravers. The party had been going on for some time when I arrived. Other residents of the never-ending, day-for-night, multi-colored fling were Martin Sharp, a graphic artist and poet with an uncanny resemblance to Peter O'Toole, and the wildest of ravers, Philippe Mora, a young filmmaker who looked like a cherry Peter Lorre, and their handsome girlfriends. I bunked on a ledge under a skylight in the living room. All of the London scene came through. It was wild and wooly all over.
A year passed and I had my own room in a basement flat in the same part of town with another bunch of hipsters. Not employed, I received a phone call from Polydor Records London Office. It was an assistant of Robert Stigwood, Clapton's manager. Cream was over and Eric was putting a new band together. The fellow on the phone asked if I would make a cover for the new unnamed group. This was big time. It seems though the western world had for lack of a more substantial icon, settled on the rock and roll star as the golden calf of the moment. The record cover had become the place to be seen as an artist.
I could not get my hands on the image until out of the mist a concept began to emerge. To symbolize the achievement of human creativity and its expression through technology a space ship was the material object. To carry this new spore into the universe innocence would be the ideal bearer, a young girl, a girl as young as Shakespeare's Juliet. The space ship would be the fruit of the tree of knowledge and the girl, the fruit of the tree of life.
The space ship could be made by Mick Milligan, a jeweler at the Royal College of Art. The girl was another matter. If she were too old it would be cheesecake, too young and it would be nothing. It was the beginning of the transition from girl to woman, that is what I was after. That temporal point, that singular flare of radiant innocence. Where is that girl?
I was riding the London Tube on the way to Stigwood's office to expose Clapton's management to this revelation when the subway doors opened and she stepped into the car. She was wearing a school uniform, plaid skirt, blue blazer, white socks and ball point pen drawings on her hands. It was as though the air began to crackle with an electrostatic charge. She was buoyant and fresh as the morning air.
I must have looked like something out of Dickens. Somewhere between Fagan, Quasimodo, Albert Einstein and John the Baptist. The car was full of passengers. I approached her and said that I would like her to pose for a record cover for Eric Clapton's new band. Everyone in the car tensed up.
She said, "Do I have to take off my clothes?" My answer was yes. I gave her my card and begged her to call. I would have to ask her parent's consent if she agreed. When I got to Stigwood's office I called the flat and said that if this girl called not to let her off the phone without getting her phone number. When I returned she had called and left her number.
Stanley Mouse (Miller), my close friend and one of the five originators of psychedelic art in San Francisco was holed up at the flat. He helped me make a layout and we headed out to meet with the girl's parents. It was a Mayfair address. This was a swank part of town, class in the English sense of the word.
Mouse and I made our presentation, I told my story, the parents agreed. The girl on the tube train would not be the one, she was shy, she had just passed the point of complete innocence and could not pose. Her younger sister had been saying the whole time, "Oh Mummy, Mummy, I want to do it, I want to do it." She was glorious sunshine. Botticelli's angel, the picture of innocence, a face which in a brief time could launch a thousand space ships.
We asked her what her fee should be for modeling, she said a young horse. Stigwood bought one for her"
I have actually very briefly met Keith Flint the leader of The Prodigy, bumped into in a cake shop near where I used to live ,, infact he comes from nearby Braintree in Essex and as strange as the guy looks on stage he is quite down to earth + teetotal
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I'm proud of my 38" waist , also proud I have never done drugs![]()
^^
Great album, and superb drumming from Dave Grohl.
Still play it.
^Me too, one of the best live albums ever made!
Couldnt agree more ,, I am willing to listen to and give most music a try and enjoy a wide variety of it from Garage> Soul> Classic> Progressive etc but Hip Hop ??Originally Posted by Marmite the Dog
My eldest son Stuart loves the shite ! whereas my youngest ( when he was with us ) he loved the American soft rock ,,,,,,,,,, good on ya Paul !!!
Isn't that the best!! Every time i hear him sing Solid Air it puts little frissons up my spine.
Thanks for bringing back memories of an old song...
Thanks for reminding me about John Martyn. Now getting organised to go to Edinburgh. Hopefully flights will be a wee bit on time!!!
No albums when I was a lad. Just huge vinyl 78rpm singles. Listened to a lot of Platters music. Still do.
LP would be this one.
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