tagged w/ Guitar
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Learn the history behind one of the most iconic photographs ever shot of young Bob Dylan in this classic Mr. Media audio interview from 2009 with photographer Charles Gatewood, who later became known for his fetish and tattoo images. http://www.mrmedia.com/?p=715Learn the history behind one of the most iconic photographs ever shot of young Bob... more
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The Washington Post...
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Bert Weedon, British guitarist whose how-to guide taught rock-and-roll royalty, dies at 91
By Matt Schudel, Saturday, April 21, 4:30 PM
Bert Weedon, a British guitarist whose popular “Play in a Day” instructional manual introduced a generation of rock-and-roll stars to the power of the guitar, died April 20 at his home in Beaconsfield, England. He was 91.
Friends confirmed his death to British news agencies but did not disclose the cause.
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PHOTO:
(Chris Ware/GETTY IMAGES) - From the archives: Popular English guitarist Bert Weedon at his home in Wembley, chilling out on the floor with his guitar lying beside him.
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Long before he gained fame as the author of a top-selling guide to the guitar, Mr. Weedon was known as a versatile performer who could play virtually any style of music at a glance. He performed with such renowned jazz artists as Stephane Grappelli and George Shearing, accompanied singers Frank Sinatra, Rosemary Clooney and Judy Garland, and was a regular on BBC broadcasts in the 1940s and 1950s.
Mr. Weedon was an early rock-and-roll guitar star in Britain in the late 1950s, with a series of instrumental hits that included “Guitar Boogie Shuffle,” “Apache” and “Nashville Boogie.” But when his instructional book was first published in 1957, he became something of a spiritual godfather to a generation of would-be guitar heroes.
Its title — “Play in a Day” — offered the hope of instant musical gratification. The lessons began at the most basic level, with an illustration of how to hold a guitar. Mr. Weedon taught novices how to get through many rock-and-roll tunes with three basic chords and included pointers on how to play a few basic tunes.
His guide, which was updated through the 1980s, sold millions of copies, leading Britain’s Independent newspaper to call Mr. Weedon “the man who taught the world to play the guitar.”
Many top rock stars, including Eric Clapton, Mark Knopfler, Keith Richards, the Who’s Pete Townshend and three of the Beatles — George Harrison, John Lennon and Paul McCartney — studied Mr. Weedon’s book.
“I like to think that I’ve helped in some way,” Mr. Weedon said in 1997, “to make the guitar the most popular instrument in the world.”
Herbert Maurice Weedon was born in London on May 10, 1920. His father was a subway driver and amateur singer.
Mr. Weedon was 12 when he bought a secondhand guitar. He wanted to learn to play jazz, but his first teacher — an elderly music-shop owner — refused to teach him anything but classical music.
“He picked up his guitar and played Chopin’s Prelude No. 7,” Mr. Weedon told London’s Daily Mail newspaper in 1995. “I had never heard anything so beautiful in my life. I sat transfixed and he said: ‘That’s what I’m going to teach you.’ And I said: ‘Yes, please.’ ”
By 14, Mr. Weedon was performing in dance bands. He was a featured soloist before World War II.
He volunteered with rescue units during the London bombing blitz of World War II and, after the war, replaced Django Reinhardt in a group led by Grappelli, a prominent jazz violinist.
As a member of a BBC band in the 1950s, he was known for his ability to sight-read any style of music from jazz to classical to flamenco to rock. He was the host of children’s television shows and performed with many acclaimed singers, including Sinatra.
“He asked me if I’d like to go and play guitar in America,” Mr. Weedon recalled in 1995. “He was the greatest pop singer in the world and I was immensely flattered. I thanked him very much, but I told him no. I said I’d rather be a bigger fish in a smaller pond.”
Mr. Weedon recorded well into the 1980s, and one of his albums from the 1970s, “22 Golden Guitar Greats,” reached No. 1 on the British charts, knocking Led Zeppelin out of the top slot.
His first marriage, to Doris Weedon, ended in divorce. Survivors include his wife of 53 years, Maggie Weedon; and two sons.
In 2003, he received a settlement after suing the BBC over a statement that Mr. Weedon had learned to play guitar “while a convict.”
“It may not always be fashionable in the rock music world,” Mr. Weedon’s attorney said at the time, “but my client is rightly proud of his unblemished past and does not want that legacy damaged at this late stage of his private life and professional career.”
.The Washington Post...
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Bert Weedon, British guitarist whose how-to guide... more
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CNN...
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Levon Helm, co-founder of The Band, dead at 71
By Todd Leopold, CNN
updated 4:07 PM EDT, Thu April 19, 2012
PHOTO:
Drummer, singer and multi-instrumentalist Levon Helm, of The Band, pictured in Woodstock, New York, circa 1968.
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STORY HIGHLIGHTS
Helm, the drummer, multi-instrumentalist and singer for The Band, is dead at 71
He had been suffering from throat cancer
Helm is best known for providing the vocals to The Band's rock 'n' roll standards
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(CNN) -- Levon Helm, the drummer, multi-instrumentalist and singer for The Band who kept the band's heart for more than three decades, died "peacefully" Thursday afternoon, according to his record label, Vanguard Records. He was 71.
"He was surrounded by family, friends and band mates and will be remembered by all he touched as a brilliant musician and a beautiful soul," the record label's statement said.
Helm had a voice unlike any other in rock music: definitively Southern, soulful and gritty, an oak-barreled whiskey that sometimes went down with a fiery kick.
He could be mournful, calling up ghosts, as he did in "The Night They Drove Old Dixie Down" and the half-chanted chorus of "King Harvest (Has Surely Come)."
He could be playful, as he was in "Ophelia" and "The Weight," where in the latter he lunges into the "Take a load off, Annie" chorus with joyful abandon.
And he could belt in sheer pleasure, galloping through "The W.S. Walcott Medicine Show" or simply lending his unique harmonies to "The Shape I'm In" and "This Wheel's on Fire."
It was an American voice.
Helm had been suffering from throat cancer. Despite reducing his voice to a rasp in recent years, it had not robbed him of his spirit.
At his home in Woodstock, New York, he regularly hosted the Midnight Ramble, weekly concerts that attracted sell-out crowds and all-star support from the likes of Emmylou Harris, Kris Kristofferson and Steely Dan's Donald Fagen. In the past decade, he recorded two albums, 2007's "Dirt Farmer" and 2009's "Electric Dirt," that won Grammys. And he occasionally took the show on the road, making appearances at Tennessee's Bonnaroo, the Newport Folk Festival and Los Angeles' Greek Theater.
But Helm is best known for providing the vocals to such rock 'n' roll standards as "The Weight" and "The Night They Drove Old Dixie Down," the latter a tale of a Confederate veteran sizing up his wasted land. That song was credited to The Band's primary songwriter, Robbie Robertson, who has said he was inspired by tales of the South from Helm and others.
Certainly, there was never a doubt who would sing it: the Arkansas-born, Southern-mythologizing Helm. "I aimed it right at him, I wrote it for him, he gets to say it all," Robertson told Rolling Stone in 1969.
Levon Helm was born Mark Lavon Helm in Elaine, Arkansas, on May 26, 1940, the son of a cotton farmer. He told CNN that he was inspired by "the old traveling medicine tent shows" that would travel the South.
"They had comedians and wine and music. Always a lot of music," he said in 2010.
After high school, he joined Ronnie Hawkins' band, the Hawks. When the Hawks moved to Canada in the early '60s, Hawkins and Helm recruited several local musicians, including Robertson, Rick Danko, Richard Manuel and finally Garth Hudson. Hawkins left the band in 1963, and the group renamed itself Levon and the Hawks.
The next year the group met Bob Dylan, beginning one of rock's great partnerships. The group, already known for its blazing live performances, ended up accompanying him on his famous 1965-66 tours -- though Helm left by the end of 1965, upset at the vicious reaction the newly electric Dylan was getting from audiences.
Helm rejoined the Hawks in 1967, playing on what became known as Dylan's "Basement Tapes." The group also wrote and recorded its own songs in the same place, a house called "Big Pink" in West Saugerties, New York.
Renamed The Band, the group put out its debut album, "Music from Big Pink," in 1968, to rapturous reviews. "Six months are left in this proselytizing year of music ... but I have chosen my album for 1968. 'Music from Big Pink' is an event and should be treated as one," wrote Al Kooper in his Rolling Stone review of the LP.
The music was something new in American rock: both ancient and modern, rooted in the past and eschewing the psychedelic sounds then in vogue. The group, too, looked like something just emerged from a 19th-century daguerreotype.
And Dylan did the cover and wrote or co-wrote three of the songs.
The next album, 1969's "The Band," earned them the January 12, 1970, cover of Time magazine, headlined "The New Sound of Country Rock." The magazine's artwork features a menacing-looking Helm, bearded and hatted, looking every bit the American prophet he sometimes sounded.
The group was, and remains, hugely influential; the whole alt-country movement can trace at least some of its roots to The Band. (Patterson Hood, the leader of the Drive-By Truckers, named one of his earlier groups "Virgil Kane" after the protagonist of "The Night They Drove Old Dixie Down.") Elton John and Bernie Taupin were huge fans, and their song "Levon" drew its character's name from Helm.
The Band put out several more albums, including "Stage Fright," "Cahoots" and "Moondog Matinee," but touring and internal dissension took their toll. In 1976, the group decided to bow out with an all-star concert, "The Last Waltz," filmed by Martin Scorsese and considered one of the great music concert documentaries.
The tensions of the band were obvious on screen, and Helm in particular didn't hide his anger. In his 1993 autobiography, he talked about his disgust, as Greg Kot observed in a 2002 article on the film's anniversary.
.CNN...
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Levon Helm, co-founder of The Band, dead at 71
By Todd Leopold, CNN... more
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I woke up yesterday morning to find out that Ronnie Montrose had died of prostate cancer. It was a sad day for me because he was yet another person who helped me learn to play guitar. I had been taking lessons for about six months from my first teacher Alex Bendahan at Tree Frog Music and I new the chords, but I couldn't wrap my head around guitar solos.I woke up yesterday morning to find out that Ronnie Montrose had died of prostate... more
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A peek inside The Pour House - a very special beer tasting house and music venue in Paso Robles, CA with links, photos and a video of 12-string guitar virtuoso Dan Grigor in a solo live performance. Great venue and a funny, great song for a receptive crowd. People who like beer or live music - or locals looking for a great place to play - should definitely check it out!
http://barefootmusicnews.com/blog1.php/2012/02/19/pour-houseA peek inside The Pour House - a very special beer tasting house and music venue in... more
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wakitu
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added this
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3 months ago
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I hate that look of the pick thingie that fits on a mic stand right in front of a guitarist. It’s distracting and it’s often mounted in the normal place you would grab a stand to move it. I gave up on them and, like many of us guitarists, keep a spare pick hung at the headstock, sort of half-woven between the tails of my top 6 strings. That works fine on the 12-string but not on my Strat. You can weave one in, but not in a way that would be easy to pull out in the middle of a song.
Then I found PickGrips at NAMM 2012.I hate that look of the pick thingie that fits on a mic stand right in front of a... more
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Maneli Jamal is an Iranian guitarist and composer. Would he get killed if Israel and the US decide to bomb Iran for imaginary nuclear weapons ambitions?Maneli Jamal is an Iranian guitarist and composer. Would he get killed if Israel and... more
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In this award year the Academy of Motion Picture Sciences has launched "Celebrate the Movies," a digital exhibition spotlighting iconic moments from 84 films. The exhibition appeared on digital billboards in Los Angeles, and on ABC's digital "SuperSign," an electronic landmark in New York's Times Square... http://actorschecklist.com/wordpress/?p=174In this award year the Academy of Motion Picture Sciences has launched "Celebrate... more
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The New York Times...
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Johnny Otis Has Died
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Johnny Otis, ‘Godfather of Rhythm and Blues,’ Dies at 90
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By IHSAN TAYLOR
Published: January 19, 2012
Johnny Otis, the musician, bandleader, songwriter, impresario, disc jockey and talent scout who was often called “the godfather of rhythm and blues,” died on Tuesday at his home in Altadena, Calif. He was 90.
His death was confirmed by his manager, Terry Gould.
Leading a band in the late 1940s that combined the high musical standards of big band jazz with the raw urgency of gospel music and the blues, Mr. Otis played an important role in creating a new sound for a new audience of young urban blacks. Within a few years it would form the foundation of rock ’n’ roll.
With a keen ear for talent, he helped steer a long list of performers to stardom, among them Etta James, Jackie Wilson, Esther Phillips and Big Mama Thornton — whose hit recording of “Hound Dog,” made in 1952, four years before Elvis Presley’s, was produced by Mr. Otis and featured him on drums.
At Mr. Otis’s induction into the Rock and Roll Hall of Fame in 1994, Ms. James referred to him as her “guru.” (He received similar honors from the Rhythm & Blues Foundation and the Blues Foundation.)
Mr. Otis was also a political activist, a preacher, an artist, an author and even, late in life, an organic farmer. But it was in music that he left his most lasting mark.
Despite being a mover and shaker in the world of black music, Mr. Otis was not black, which as far as he was concerned was simply an accident of birth. He was immersed in African-American culture from an early age and said he considered himself “black by persuasion.”
“Genetically, I’m pure Greek,” he told The San Jose Mercury News in 1994. “Psychologically, environmentally, culturally, by choice, I’m a member of the black community.”
As a musician (he played piano and vibraphone in addition to drums) Mr. Otis can be heard on Johnny Ace’s “Pledging My Love,” Charles Brown’s “Drifting Blues” and other seminal rhythm and blues records, as well as on jazz recordings by Lester Young and Illinois Jacquet. As a bandleader and occasional vocalist, he had a string of rhythm and blues hits in the early 1950s and a Top 10 pop hit in 1958 with his composition “Willie and the Hand Jive,” later covered by Eric Clapton and others. His many other compositions included “Every Beat of My Heart,” a Top 10 hit for Gladys Knight and the Pips in 1961.
As a disc jockey (he was on the radio for decades starting in the 1950s and had his own Los Angeles television show from 1954 to 1961) he helped bring black vernacular music into the American mainstream.
Johnny Otis was born John Alexander Veliotes (some sources give his first name as Ioannis) on Dec. 28, 1921, in Vallejo, Calif., the son of Greek immigrants who ran a grocery. He grew up in a predominantly black area of Berkeley. Mr. Otis began his career as a drummer in 1939. In 1945 he formed a 16-piece band and recorded his first hit, “Harlem Nocturne.”
As big bands fell out of fashion, Mr. Otis stripped the ensemble down to just a few horns and a rhythm section and stepped to the forefront of the emerging rhythm and blues scene. In 1948 he and a partner opened a nightclub, the Barrelhouse, in the Watts section of Los Angeles.
From 1950 to 1952 Mr. Otis had 15 singles on Billboard’s rhythm and blues Top 40, including “Double Crossing Blues,” which was No. 1 for nine weeks. On the strength of that success he crisscrossed the country with his California Rhythm and Blues Caravan, featuring singers like Ms. Phillips, billed as Little Esther — whom he had discovered at a talent contest at his nightclub — and Hank Ballard, who a decade later would record the original version of “The Twist,” the song that ushered in a national dance craze.
Around this time Mr. Otis became a D.J. on the Los Angeles-area radio station KFOX. He was an immediate success, and soon had his own local television show as well. He had a weekly program on the Pacifica Radio Network in California from the 1970s until 2005.
Hundreds of Mr. Otis’s radio and television shows are archived at Indiana University. In addition, he is the subject of a coming documentary film, “Every Beat of My Heart: The Johnny Otis Story,” directed by Bruce Schmiechen, and a biography, “Midnight at the Barrelhouse,” by George Lipsitz, published by the University of Minnesota Press in 2010.
While he never stopped making music as long as his health allowed, Mr. Otis focused much of his attention in the 1960s on politics and the civil rights movement. He ran unsuccessfully for a seat in the California State Assembly and served on the staff of Mervyn M. Dymally, a Democratic assemblyman who later became a United States representative and California’s first black lieutenant governor.
Mr. Otis’s first book, “Listen to the Lambs” (1968), was largely a reflection on the political and social significance of the 1965 Watts riots.
In the mid-1970s Mr. Otis branched out further when he was ordained as a minister and opened the nondenominational Landmark Community Church in Los Angeles. While he acknowledged that some people attended just “to see what Reverend Hand Jive was talking about,” he took his position seriously and in his decade as pastor was involved in charitable work including feeding the homeless.
In the early 1990s he moved to Sebastopol, an agricultural town in northern California, and became an organic farmer, a career detour that he said was motivated by his concern for the environment. For several years he made and sold his own brand of apple juice in a store he opened to sell the produce he grew with his son Nick. The store doubled as a nightclub where Mr. Otis and his band performed.
Later that decade he published three more books: “Upside Your Head!: Rhythm and Blues on Central Avenue” (1993), a memoir of his musical life; “Colors and Chords” (1995), a collection of his paintings, sculptures, wood carvings and cartoons (his interest in art had begun when he started sketching cartoons on his tour bus in the 1950s to amuse his band); and “Red Beans & Rice and Other Rock ’n’ Roll Recipes” (1997), a cookbook.
Mr. Otis continued to record and perform into the 21st century. His bands often included family members: his son John Jr., known as Shuggie, is a celebrated guitarist who played with him for many years, and Nick was his longtime drummer. Two grandsons, Lucky and Eric Otis, also played guitar with him.
In addition to his sons, he is survived by his wife of 70 years, the former Phyllis Walker; two daughters, Janice Johnson and Laura Johnson; nine grandchildren; eight great-grandchildren; and a great-great-grandchild.
Long after he was a force on the rhythm and blues charts, Mr. Otis was a familiar presence at blues and even jazz festivals. What people wanted to call his music, he said, was of no concern to him.
“Society wants to categorize everything, but to me it’s all African-American music,” he told The San Francisco Chronicle in 1993. “The music isn’t just the notes, it’s the culture — the way Grandma cooked, the way Grandpa told stories, the way the kids walked and talked.”
.The New York Times...
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Johnny Otis Has Died
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Johnny Otis,... more
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It was 1981 and a friend of mine was having her 21st birthday. I was at the party and met the older sister of an old friend of mine I hadn’t seen in a few years. She had too much to drink and I helped her get home in the Mission District. It was late so I crashed there that night. It turns out that this was going to be one of those nights I’d remember for the rest of my life or at least the next day would be the most memorable.It was 1981 and a friend of mine was having her 21st birthday. I was at the party and... more
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Playing the Guitar is a dedicated art that appeals to lots of artists. To be able to play the guitar is a difficult and beautiful art.
There are few people in the world that have the ear for music, but those who do, do whatever it takes to make sure that they showcase their art for all the world to see.
An artists art is something person, something all of their own and learning a new art is sometimes a difficult and hard transition for some people to accept. It's not easy to be an artist when you are starving.
To Play the Guitar, you need a certain attitude about life, as playing the guitar is not only a hobby, it's also a lifestyle. The perks include being in a band, making new friends, making money, and one day having your own t-shirt.
The cons are the same for any profession, however, musicians tend to overdose on drugs more than other professions that are highly publicized. So it's best to avoid such things that will taint your art.Playing the Guitar is a dedicated art that appeals to lots of artists. To be able to... more
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An excerpt from the article
"Theory of A Deadman is a pretty good band. Their songs are really catchy and they write some pretty good lyrics. For me, I started listening to this band after my Punk years, which have become my Nu-Punk years. Stuff I was listening to at this time was Billy Talent and Cage the Elephant.
Stuff I like to listen to them with includes Nickelback, Stone Sour, Hellyeah, and The Foo Fighters. I think they sound good with a lot of stuff though."
For more on this artist visit Guitarwarlord.comAn excerpt from the article
"Theory of A Deadman is a pretty good band. Their... more
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"WHEN federal authorities raided the headquarters of the Gibson Guitar Corporation in late August, seizing wood they said was illegally exported from India, conservative critics denounced the episode as an example of regulatory overreach. Newt Gingrich, the former House speaker and now Republican presidential hopeful, accused the Obama administration of having a “vendetta” against small businesses; the current speaker, John A. Boehner, invited Gibson’s owner, Henry E. Juszkiewicz, to sit in the speaker’s box during President Obama’s jobs speech last month.
The law that investigators enforced in the August raid is indeed flawed — but not for the reasons critics cite. Large companies like Gibson, if they source their wood carefully, should be O.K. The people who are truly in jeopardy are some of the finest artisanal guitar makers in the United States and Canada. Unlike Gibson, these independent artisans — also called luthiers — have been charged with no crime, but their livelihoods and life savings are at risk nonetheless."
http://www.nytimes.com/2011/10/26/opinion/are-guitar-makers-an-endangered-species.html?_r=2&emc=eta1
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Please take the time to read this short article. Music is a large part of the lives of many here - this is hitting close to home for at least one good friend of mine, and he asked that I post this for the Current community."WHEN federal authorities raided the headquarters of the Gibson Guitar... more
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Music in the 90's was a great time for artists. The 90's cleaned up the face paint from the days of glam and instead inspired musicians to take less showers and more time on the road with the invention of Grunge.
The 90's was also the leading decade in heroin deaths, some famous acts include Kurt Cobain, Brad Nowell and the guy from Blind Melon tallied in as victims.
The Seattle Sound was one of the most influencial sources of musicial genre bending in the history of rock but we've come so much further since then.
For more info, and some cool rock videos visit the article on Guitarwarlord.comMusic in the 90's was a great time for artists. The 90's cleaned up the face... more
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I just received my proof copy today of my new album and it looks great. Since I’ve approved it you can now purchase the album on iTunes or on CD now.I just received my proof copy today of my new album and it looks great. Since... more
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Simply put, Bert Jansch could freakin’ play. And like a lot of folks, I don’t usually associate guitar virtuosity with folk. Sure, I know there are folkies who can play, but I was raised in a context that worshipped the Electric Guitar Gods, and quiet plinking on an acoustic rarely rouses the thunder deities of Axeheim.
So I sat and sampled a few vids of Jansch and his understated magic, just marveling at the technique, the craft and the emotive power of it all.Simply put, Bert Jansch could freakin’ play. And like a lot of folks, I... more
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Well I finally finished everything up and I’m hoping by Monday that my new album will be available in iTunes. In the mean time you can listen to the album down below. There should be actual CD’s available within a month. If you like Joe Satriani and Yngwie Malmsteen you’ll probably like this album. If you don’t, well you may not, but that doesn’t matter to me.Well I finally finished everything up and I’m hoping by Monday that my new album... more
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The Slow Readers Club
Single Release – ‘Sirens’ - 31st October 2011
Video: http://vimeo.com/19784650
Intense, collar tugging urgency is interpreted by the emotions of young lovers, separated by the thin divide of an airport arrivals gate, in a very different way to the stock broker waiting for the bell that closes a dirty day’s trading. Urgency, the sound of sand ebbing through the hour glass to the chaos of an urban rush hour, sums up the music of The Slow Readers Club.
The debut single, Sirens, produced by Kipper, a Grammy and Emmy Award winning producer, will be available online via iTunes on October 31st 2011.
The story of the reunited lovers fills the heart, whilst the money man’s desperation fills only his pockets, but their wide eyed, moist-palmed anticipation unites the two in the same, basic human emotions of greed and need. But, which is which?
The modern world isn’t full of love stories, but nor should we lose all hope, and that understanding is one that the Manchester four-piece grasps all too well.
Love, loss, opportunity and futility sit comfortably side-by-side in The Slow Readers Club’s anthems written with comfortable confidence, relaying with conviction what it feels like to be trapped in the dark corners that inevitably follow the high times. Feelings felt by everyone, however mundane their existence.
Sirens, unites vulnerability and menace in an act of alchemy that combines painful, masculine honesty with sounds of celebration. Frontman Aaron Starkie’s vocal swerves between the call of a rabble-rousing ring master and man possessed, with quite literal, moon-howling frustration. The smooth ascent into a soaring chorus is hit by turbulence as the listener travels with Aaron through verses crafted with near surgical introspection.
“When I was young I always had the best time but now I’m old now I need a lifeline/Maybe, I’m going crazy.”
Aaron steps into the cold spotlight supported by guitarist and vocalist Kurt Starkie, whilst a disciplined rhythm section of drummer Neil Turvin and bassist, James Ryan ensure that this is one place where reliability can be found in an increasingly uncertain global landscape.
In their former incarnation, Omertà, two thirds of The Slow Readers Club line up were loved and lauded by fans and industry figures who saw the same depth in their music as exists in the sounds of Interpol, Nick Cave, Arcade Fire and other contemporaries. Slow Readers Club maintains these irresistible, crowd-pleasing sensibilities whilst nursing tender hearts.
Further information on the band’s releases and live dates will become available throughout the summer, including new pictures/videos; giveaways, gig news, and an exclusive free download of another track which shall be available to fans in November. The band’s debut album is planned to be released in January 2012.
Facebook: http://www.facebook.com/theslowreadersclub
Twitter: http://twitter.com/slowreadersclub
Myspace: http://www.myspace.com/theslowreadersclubThe Slow Readers Club
Single Release – ‘Sirens’ - 31st October 2011... more
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