People To Meet - The Rousers - A Treat Of New Beat (Vinyl, LP, Album, Album)

Annette Kruisbrink. Kruisbrink composities van Annette Kruisbrink. Annette Kruisbrink Roy Beltman. Bert Schouten. In het september speelt Ziggurat in Maastricht, Heerlen en Venlo met het Limburgs Symfonieorkest Jubilation Jump van Loevendie, ter gelegenheid van het jarig jubileum van het orkest. Jenne Meinema. Railbirds weer vier korte nummers. Red Attack verschijnt met bijgevoegd een flexi- disc met. Kees Wassenaar vervangt Rex. Mekanik Kommando. Destruktiv Kommandoh en het Duitse Kraftwerk.

Kort daarna is de groep te horen op een flexi- disc bij het eerste nummer van. Sandy Coast. Julien Clerc, Tom. Maar de meeste aandacht gaat uit naar de tweede plaat die Nasmak uitbrengt. Het album wordt in de Verenigde Staten met extra nummers. Severe Torture. In januari doet Severe Torture onder de titel Masters. Blues Brother Castro. Money Maker Me, maar is meer dynamisch dan de voorganger.

De singles worden. John Coffey. Speciaal voor. Staalplaat Soundsystem. Het Nederlandse filiaal van Staalplaat start aan de. Moke tekent in oktober in Hamburg een licentiecontract met de Duitse vestiging van de. Cobla La Principal d'Amsterdam. Marc van Roon. Mark Foggo.

The Watchman. Welcome To Aggieland verschijnt. Katja Schuurman. DJ Chuckie. De Fabriek. Loek Dikker. Onder multimediale muziek. The Amazing Stroopwafels. De groep. Hans Dulfer. Big Boy. Het album Dig. Alamo Race Track. Black Cat John Brown is tevens de titel van het tweede album dat.

Joop Stokkermans. Het Oorlogspad. Instrumentale groep. Minny Pops. Emmer de bas voor zijn rekening. Ronnie Tober. Koot en Bie. God Is De Beste. Angela Groothuizen. Acht afleveringen Sex. The Jazz Review schrijft over Memorias: 'I would recommend this disc to any piano player. Een kleine greep uit zijn optredens over de hele wereld in Valle treedt met zijn kwartet en Perico Sambeat op.

Ralf Mackenbach. The Ex. Deze in een politiecel, onder mysterieuze omstandigheden. Gebroeders Ko. Max van Egmond. Door zijn goede dictie en welluidende stem wordt Max van Egmond. The Ace-Tones. Hij wordt een paar weken kunstmatig in coma. Francien van Tuinen. Holiday voor publiek. De Volkskrant. Erna Spoorenberg. Frid en Thom Bollen gaf ze overal ter wereld liedrecitals die eveneens bijdroegen aan haar faam. Thuis is er. The Nitwitz. In datzelfde jaar verschijnt de eerste en enige. Allez Mama.

Hij voegt invloeden uit de blues en Afrikaanse muziek toe aan de cajun en zydeco, zoals te horen op de toepasselijk getitelde. Ruud van der Meer.

Maarten Koningsberger. Naast zijn concertwerk geeft Koningsberger nog zangles op het Conservatorium van Amsterdam en het Centre de Musique. An advantage of him leaving then was that it freed us to explore other areas - music with more muscle.

It was great, just fantastically suitable for the occasion, I thought. The work was stifling. It was often like being a computer when you had no involvement with the artist.

Another problem was that for a while, guitarists were becoming out of vogue on sessions. Peo- ple had this obsession with something new, using sax sections and things like that.

The sax players and violinists looked on me as some kind. I played a lot of rhythm guitar, which was very dull. Most of the musicians I know think I did the right thing in joining The Yardbirds.

As soon as I got back on the six-stringer, I found I was doing new things. They climaxed their act by splashing an action painting onto a canvas backdrop that was then set alight amid feedback lament from guitarist Eddie Phil- lips. Jimmy kept much quieter about his liking for The Crea- tion than that for Kaleidoscope, a quintet of psychedelic bent from Pasadena, who also lacquered their music with bowed guitar.

Covering his tracks, nevertheless, Page claimed to have been shown the technique by one of a string section during some session or other before lending an ear to either The Creation or Kaleidoscope. It was a device invented circa by Lev Termen later.

Leon Theremina Russian physics professor. When I switched to bass, I kept it fairly simple. A lot of the lines had been established al- ready, but some were crazy when we started linking one number to the next. Its embrace of police siren-like oscillations and shreds of speech led the group to gild the stage show too with pre-recorded tapes of trains, Hitler in full Nuremberg rally rant and further examples of musique con- crete.

In any case, neither faction appeared to be aware of un- derlying similarities. Among these was Richard MacKay, then a teenager liv- ing in Margate. Moon was pretty fed up with The Who at that time, but he still had to turn up at the studio so. He got out of the cab wearing dark glasses and a Russian cossack hat, so that no-one could see him being naughty with another session.

He could only give us, like, three hours be- fore his roadies would start looking for him. It was the sound of that that really inspired the melody.

I invent- ed that melody. We agreed that we would go in and get Moon to play a bolero rhythm with it. Nearly forty years after his sudden death inHendrix remains the most omnipotent yardstick by which other electric guitarists judge themselves. While he did not owe his celebrity entirely to instrumental boldness, his way with a left- handed Fender Stratocaster transformed him from journeyman accompanist to such as The Isley Brothers and Little Richard to one of the truly innovative rock icons of the late s.

Nevertheless, at a Jimi Hendrix exhibition in at the Marquee, Jimmy Page strode on stage and admitted humbly that he never saw Hendrix perform owing to his commitments with The Yardbirds. Impressed, the headliners spent a free evening that same week at a Holmes recital at the nearby Cafe-A-Go-Go. The interaction between Jimmy Page and Jeff Beck had been Album) exquisite. Yet transcendental moments that would look impossible if transcribed were arousing a green-eyed monster in Jeff.

Now as gut-wrenching in their way as any of them - on stage at least - The Yardbirds could have as easily reached out to nascent headbangers via blues-pla- giarised sound-pictures of Genghis Khan carnage. Theoretically, he was just what The Yardbirds needed, but whispered misgivings - like diners becoming in- creasing unhappy about service in a restaurant - were to wax to bold complaint with the appearance of Little Games, an LP not thought worth foisting on Britain.

This final studio album was dashed off as a testament less to quality than to market pragmatism. Dashed-off Little Games aside, with a still-necessary weather-eye on the singles chart, the group had been driven to go once more to outside composers for would-be hits - and on many of these, the presence of some Yardbirds personnel, now past caring, remains in doubt.

InOzzy Osbourne was in a bus queue, and this old Rover pulled up. I got out in a frock coat, skin-tight trousers and white hair. I was like a skeleton with sunken cheeks.

I jumped into a Mini with Jen - my girlfriend, who had long blonde hair - and sped off. Donning satanic fetishist adornments, they delivered mordant self-composed pieces that reflected the incorporeal dread that Ozzy had sensed emanating from Kefford and his less illustri- ous friend Bonham.

John, however, remained on civil terms with Mike Kellie, even after the more tractable drummer superceded him in Lo- comotive as he had in Pat Wayne and the Beachcombers.

Locomotive had been The Kansas City Seven prior to a transition from jazz via rhythm-and-blues to ritualised let-me-hear-you-say-yeah soul routines. We try to create a happy party atmosphere. With little time to rehearse, star and pick-up group would frequently entertain with mutually familiar standards during which pseudo-hip blues pedants, tainted by a sort of inverted colour prejudice, would blame musical errors on the white ac- companists rather than the jet-lagged dotard fronting them.

What did the town oiks up there with him know about blues? Yet one such audience was to swerve from sufferance to delighted acclamation when the boys in the band were introduced towards the finish.

It turned out that they were personnel from Fairport Convention, then at a com- mercial zenith. As none of these sold particularly well, Pegg, now mar- ried with a daughter, amalgamated with Cirencester drummer Cozy Powell to become the Tweedledum and Tweedledee of demo sessions at Ladbrook Sound.

Skiffle sur- vivors and stalwarts of the West Midlands folk scene, The Ian Campbell Folk Group had supported Bob Dylan at the Town Hall inand had amassed an impressive booking schedule stretching across to continental Europe. About as far from acoustic folkiness as it was possible to be, John Bonham, now beating a blue-grey perloid Ludwig kit like that of Ringo Starr 79had been drifting from pillar to post, from group to unsatisfactory group since leaving Locomotive.

None of them had been able to retain his services for long, even those for whom he seemed not only sincerely loud in not only praising, but also on whom he imposed himself. Plant called over the others, and the subsequent conversation concluded with Bonham invit- ing People To Meet - The Rousers - A Treat Of New Beat (Vinyl to the next rehearsal. His faith in himself proved to be entirely justified both there and at consequent Snakes book- ings.

To this end, Bonham employed carpentry skills gleaned from his father to build bigger speaker cabinets. They looked impressive too after a coffin-like fashion, albeit with lime-green cloths and shiny orange finish on the chipwood. He also lined his bass drum with aluminium to creat a booming, cannon-like Album. He was in his twenties, and like an old man to us then - so was Bev Bevan - but Carl could get work, was a good front man, and it seemed logical to include him.

Instead, as it had been with the Vikings, it was me that got Bev into The. However, contingency plans had long been laid to ensure that they would recoup more than just golden memories; a panto season in Great Yarmouth being a reliable indicator of future direction. As album followed similar platinum album, The Moody Blues refined a grandiose style so nebulous in scope that such diverse units as Yes, King Crimson and Roxy Music were all cited erroneously as variants of The Moody Blues prototype.

However, though you could take the boys out of Birmingham. In the midst of the most excessive magniloquence, poetic gems were declaimed in thick Brummie accents over a thicker orchestral backwash. Yet even before was out, the discords and in- trigues that make pop groups what they are had started to over- whelm The Move.

Sometimes, Burton would mount the concrete platform built for Traffic rehearsals in the garden that, under a starry can- opy, could be perceived miles away.

Bleached in bleak midwin- ter, jam sessions beneath more leaden skies were still feasible if participants wore fingerless Old Steptoe mittens.

Joining Winwood in the absence of the other members of Traffic one evening were Baker, Burton, Eric Clapton and the bass guitarist from Family. However, Trevor had heard that John had slipped his cable on the evening the group were to play the Majestic, a ballroom in West Heath.

It was the obvious solution, going with that band, but it never happened. Beck calculated that Moon and Entwistle between them had coined it. He was approached and seemed full of glee about it. Instead of be- ing more positive about it, and looking for another singer, we just let it slip by. The Who began a tour.

The Yardbirds began a tour and that was it. Perhaps Jones, Moon, Beck, Page and Hopkins were meant to make just this one grand gesture, and then do no more. Bythe notion of pop as an egghead activity had intensified. Output, therefore, betrayed a conscious musical progres- sion for what had once been called beat groups.

I went to Spain for two years to study flamenco. I came back with the idea of doing a folky, acoustic-style thing, but with strings - and those on my first single like this were scored by John Paul Jones.

They were, nevertheless, all really good players. A lot of good ideas came from them. This was all very well, but, inyou were still only as big as your last I just thought they were unprofessional and boring. John Paul was coming to know by sight individual sweet wrappers, and note their day-to-day journeyings up and down a ledge, where an empty can of orangeade might also remain for weeks next to a discarded swap-stick made grubby from clean- ing tape-heads.

In the mids, it was unusual for a British singles chart not to list a Les Reed song. What was unusual was that he was not ef- feminate or subversive like a Jagger, a Lennon or, later, a Rob- ert Plant. During the interminable re-running of each taped mile of Tom and, particularly, Engelbert, ennui manifested itself in John Paul Jones just hovering around during some interminable fiddle-about at the desk. Sometimes, it was positively mind-stultify- ing.

He could play it in his sleep. Somehow, it was all too pat, too dovetailed, too sensible, this eager-to-please sham of being happy with the situation because all the other participants seemed to be. The Mike Sammes Singers, for example, were among the most ubiquitous vocal ensembles in London studios from the mids until the early s. Like other recording managers, Smith was finding John Paul Jones less available these days.

Nevertheless, with his fingers on automat- ic too, John Paul would be spotted by the sharp-eyed, reading the dots alongside Jimmy Page, Nicky Hopkins and Clem Cat- tini on television and in prestigious auditoriums for Cliff Rich- ard, Roy Orbison, The Everly Brothers and Engelbert Humper- dinck among others.

One morning after one of these stints, John Paul, Clem, Nicky and Jimmy - plus Albert Lee, Big Jim Sullivan and saxo- phonist Chris Hugues - pitched in on a pot-boiling - and now highly collectable album - issued eventually just weeks before the formation of Led Zeppelin.

Yet, looking him up and down, former Pye recording manager Alan A. Freeman and producer Reg Tracey had decid- ed that it might be worth taking trouble over lean and handsome Keith - whose pop star potential was supplemented by a lithe if tight-throated singing style much in vogue just then. To allow the boy the best possible chance too, his inves- tors looked round for a handy bandwagon onto which he could jump.

So it was, therefore, that the selections were chosen from crowd-pleasers that had got the assorted ex-Pirates, Savages, Innocents, Crusaders et al through rough nights in provincial dance halls way back when.

The trend is going more in the direction of jazz where musicians just jam together as they please. A month prior to this spectacular, Clapton had been invited to a less glamorous all-day function in a Staines warehouse where some of the ablest musical technicians of two continents merged the contents of rock and jazz. Among those. The three had as close knowledge of each others skills and particular musical style as any crew of battle- hardened London session players - Jones, Cattini, Hopkins, all the usual shower.

On aggregate, these received a bigger wage than a young business executive did in those days. Perara also played with The Stringbeats, a long-established mixed-race aggrega- tion from Stourbridge, with whom Plant was moonlighting. Nevertheless, on the afternoon following such performances, you might have noticed Plant and one or two of the others mooching about the town centre, calculating what the one-and-sixpence they had between them could do.

A plate of beans-on-toast washed down with a cup of liquid smoke? The rats started leaving the sinking ship, and penu- ry obliged Plant to take up employment as a labourer, laying asphalt on roads in West Bromich, as, newly wed, he became.

It was nothing very tan- gible, just a steady whittling away with little peaks and troughs - sometimes both at once. He was seeking advice about a suitably fiery singer to ice the cake for a single he intended to attribute to The Anglos, signifying breadwinning English con- nections.

Certainly, Miller furrowed his brow over Plant prior to giving the task to a pseudonymous Steve Winwood. Recog- nising the star quality of the vocalist in the desperate group too, Alexis Korner poked his head into the bandroom afterwards. Had Robert ever enjoyed a more interesting conversation? Unknowingly, The Band Of Joy had com- pleted its final booking - on the back of a lorry at an open-air event in the Malvern Hills.

I phoned my dad, and he towed us back. Robert was married to Maureen, and John had just had a son, Jason, so he was under pressure to get money, not go out playing. Kevyn had had enough, and I was the only one enthusiastic about carrying on.

I knew that I could front the band by myself, and I preferred being in a four-piece. On the surface, US garage rock never had much going for it. Form was determined by the phonographic equivalent of bottling lightning in youthful or not-so-youthful adrenalin with thrilling margins of error pumped onto a spool of tape - while content mingled overhauls of genre artefacts with riff- based and often derivative originals, executed with a home- made verve.

With the benefit of hindsight, it may be seen as on par with Stuckism, the antithesis of Brit Art - and that among. The turning of the tide may be dated from a concert in Miami where Morrison was alleged to have exposed himself. His long shadow proved such a hindrance that The Doors broke up a year later - reuniting only to provide backing on An American Prayer, a album of Morrison reciting his deathless verse.

If not to the same degree as he had Elvis Presley, Robert Plant might have practiced being Jim Morrison before his bed- room mirror - and even on the boards.

Holder himself as road manager, the group had been working in a Wolverhampton pub where Plant had turned up, not really by chance.

They carried on as if these possibilities were still on the cards long after the trails went cold, if they had ever existed in the first place. The old vexing question resurfaced: how did you rise to the next level?

A Radio London chart entry, a one-shot record contract, even an encore was still sufficient to feed hope. Without van- ity, mere awareness of worth in the teeth of ill luck was enough, though with every passing week you were less likely to become Elvis Presley. You had the right haircut, clothes and haircut at the wrong time. Entering his twenties, Robert Plant was becoming ven. It was so unfair. Like that cliched movie sequence of dates being ripped off a calendar to a background of clips, a slow dazzle would preface the final local dates, then package tours with big names Number Ones A blending of modest achievements and lingering hip sensibility guarantees that, regardless of passing fads, a loyal following keeps your head above water financially for at least some of the time.

Micaw- ber until another such peak comes your way. What mattered most as loomed, was raking in as much loot with the least effort by accommodating thousands in one go in the US baseball parks and exposition centres with which no European venue could yet compare. After completing such remaining commitments, the aero- plane back to London was an opportunity for continuous thought as individual Yardbirds wrestled with professional and personal stock-taking.

Also, though all good men and true, not every Mayall axeman became a superstar. Yet, more enterprising than the over-valued Eric, twen- ty-one-year-old Peter proved as equal to the task as Jeff Beck had as a new Yardbird. Indeed, Green achieved the same level of qualified recognition as Clapton had in the employ of the ex- acting Mayall, a adherent to the leadership principle and firm enforcer of his own order.

Later, a third guitarist, Danny Kirwan, was added. Crucially, North America was beckoning. On a Album zling Sunday, they ran through this final evensong any old how; Keith forgetting words and Chris fluffing one or two bass runs as Jimmy endeavoured to make a show of it.

There was a thread between that and the New Age music Jim did later, but it lacked excitement for me and Jimmy - though I helped Jim and Keith start Renaissance. One gushing television review- er compared him to Manitas de Plata. Meanwhile, Chris Dreja, while procrastinating about what to do next, was rehearsing with a casual combo intended only to work at weekends.

On 14 JuneThe Jeff Beck Group made an extraordinary US concert debut, creating much the same effect throughout six weeks of further engagements. He chose instead to commence what turned out to be a successful second career as a freelance photographer.

There was no private angst about what might have been. While coming to the conclusion that such an idea might lead to the same problems as it had when there were two lead players in The Yardbirds, Jimmy kept the wolf from the door as a hired hand for such as Joe Cocker, a gas fitter by day, but, after work, almost as much a local pop star in his native Sheffield as Dave Berry had been.

How is your brother Larry? Then he accepted that his time in the spotlight was up, and that solid cash was preferable to public acclama- tion. Eventually, he founded his own organisation, a company concerned more than. With an almost paternal pride in them - and some of his earlier clients - he was able to visualise himself as a qualified hybrid of four role-models.

He lives and breathes his artist. Now he has a million dollars. Closer to home, Peter Grant had also learnt much from close observation of far-sighted and bombastic Andrew Loog Oldham - and, moreso, Tony Secunda who, if a Londoner, will be remembered always for guiding later famous Black Country outfits - most conspicuously, The Moody Blues and The Move - signed to Straight Ahead, an all-purpose pop industry firm es- tablished by himself and Denny Cordell.

He was also a stunt double for portly Robert Morley. While these were minor roles that needed little preparation, Peter found onerous all the hanging about during the demanding schedules with their early morning starts. In a wider sense, this meant checking security, prising unwanted company from dressing rooms, buttonholing promot- ers, signing chits and bills, and, now and then, squaring up to.

With Album M1 only half-completed, Grant was also on hand to cope with the tactical problems of moving each operation from A to B. Dictating terms to Pe- ter Grant was simply something that you did not do. Very deliberately, Grant raised his arm, all the while keeping his eyes on the man, and whacked him across the face, the momentum loosening the firearm from his grasp and send- ing him sprawling across the room. Such combative skills, whether backed by concrete proof or not, were reassuring when Peter - essentially a decent fel- low in a savage business - hardened a resolve to strike out on his own.

There was a lot of rubbish and flash, but no real content. As he hitch-hiked back to the Midlands afterwards, Robert Plant was in a daze. The hidden agendas at school; the scowling disapproval about a concept of self-advancement so alien to his parents that it nearly always cadenced in a spat; the yearnings and daydreams; the slow hand-clapping and howls of derision; the insulting payments in loose change; the Snakes, Listen, Hobbstweedle and all the rest of them, the bitter disap- pointments The frenzied efforts to keep himself afloat churned up the liquid so much that, just as he was on the point of giving up and drown- ing, he found himself sitting safely on a pat of butter.

Certainly, the licensee believed it was genuine, and was to have it sellotaped over for posterity. Prior to enlist- ing him, however, Page, Dreja and Grant had approached Ter- ry Reid, who had also been considered by Spencer Davis as a replacement for Steve Winwood after that clever young man formed Traffic. All he ever lacked was the right. If nothing else, Chris Farlowe always sounded like Chris Farlowe. Slipping easily from LP insinuation to raucous lust to beseeching heart- break, Plant - on a good night - could convey such exquisite de- tail of enunciation and inflection that a fractional widening of vibrato could be as loaded as his most anguished wail.

A member of my staff told me that one of them was a local artiste, Robert Plant, and the other was none other than Jimmy Page. Yet, as Denny Laine had discovered, Bonham was capable of surprising gentleness and sensitivity, sometimes being moved to tears by pieces of music of specific sentimental resonance.

Dave Pegg had also attended rehearsals, but preferred to take his chances in Beast, a trio with drummer Cozy Powell and Clem Clempson, former guitarist with Bakerloo.

He had also remained involved - albeit more and more distantly - with the faltering Way Of Life. John Bonham turned out for them too sometimes. While he wielded reversed sticks in The Way Of Life so that the heavier ends battered the skins, what Bonham may have found burdensome in The Band Of Joy was the lighter touch. Partly because their music aligned exactly with what made the cats all groove then, a local agency made efforts to find work for The Band Of Joy all over the country, particularly Scotland, though sometimes the bookers seemed to imagine that a couple of hundred miles was just a few inches on a map.

Rumbustious repartee when shoulder-to-shoulder in the van became desultory and, on occasion, suddenly nasty. In tran- sit from Exeter to somewhere north of the border, a violent quar- rel broke out between John Bonham and Kevyn Gammond, who demanded to be dropped off at a lay-by within walking distance of his Kidderminster home, thus obliging the others to strug- gle through the immediate contracted bookings one musician short.

I was over the moon! There, on stage, my best mate was drumming for Tim Rose! Then, in late July at the West Hampstead Country Club in north London, Page listened again to Bonham, this time with Peter Grant, prior to offering him what worked out as an initial twenty pounds a week over the fifty he received from Rose. Even before Bonham began weighing up the options on the road with Farlowe, Grant and Page had made contingency plans by sounding out an unenthusiastic B.

Wilson of Pro- col Harum. Like Bobby Graham, Clem was more in demand than ever by artists from every track- way of pop. A session that resulted in P. He sang laying on the floor, absolutely blotto. He had a terrific voice, mind. As the new decade loomed, it appeared a more digni- fied means of extricating himself from session work than that of Roger Cook and Tony Burrows.

A polished production, it was to jostle to Number Six in the domestic hit parade follow- ing several trouser-dropping plugs on Top Of The Pops. While this was the last the world saw of The Pipkins, their triumph would be but one in a golden year for Burrows who, in his ca- pacity as a studio vocalist, would attend also to hits by Edison Lighthouse, White Plains and Brotherhood Of Man.

Being part of such yuck-for-a-buck projects had never appealed to John Paul Jones. As unappetising was following the Alan Caddy route to carbon-copies of then-current hits. Indeed, you could. While these perky, workmanlike efforts are as much a cultural summary of the late s as the actual smashes the anonymous participants ghosted, certain now world-famous acts were once so desperate that they were willing to record on such second-rate terms; among them Rod Stewart and, before he mutated into a cross between Liberace and a male Edna Everage, Elton John.

A similar invitation was made by Clapton to Steve Winwood. From rehearsals in a Willesden scout hut, the initial hum- ble intention had been simply to work the clubs. Then we got our first bad review, which said how boring and repetitious our performance had been - and it was true. On Tuesday, the same day McGowan released her memoir, Brave which details the alleged rape that took place at the Sundance Film Festival in More Read More 6.

Read More 5. In related news, it is reported that 'The Big Bang Theory' star Jim Parsons joins the cast of the upcoming Ted Bundy biopic as the lead prosecutor in Miami trial that finally convicted Bundy. Just Jared - 1 Feb Azealia Banks has a new record deal! The Industry left me out on Read More 5. Torn Apart! The Osmonds were America's first family of music when they ruled the pop charts in the '60s and '70s -- but now they barely speak! EUR 35, Geen extra invoerkosten bij levering.

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