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scotianostra · 1 month

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Happy Birthday Ian Anderson, born 10th August 1947 in Dunfermline. After attending primary school in Edinburgh, his family relocated to Blackpool in 1959. Following a traditional Grammar school education, he moved on to Art college to study fine art before deciding on an attempt at a musical career. He was influenced by his father’s big band and jazz records and the emergence of rock music, but was disenchanted with the “show biz” style of early American rock and roll stars like Elvis Presley. In 1963 with some school friends he formed his first band The Blades, a soul and blues outfit. In 1965 they regrouped into The John Evan Band with major lineup changes. They disband two years later when Anderson moved to Luton. In his new surroundings, Ian meets the drummer Clive Bunker and the guitarist Mick Abrahams and with Glenn Cornick, a bassist - of The John Evan Band-, Anderson creates the seed of the group that would become the legendary Jethro Tull. Still enjoying a lengthy if intermittent ongoing career, Jethro Tull has released 30 studio and live albums, selling more than 60 million copies since the band first performed at London’s famous Marquee club. After undertaking more than 3000 concerts in forty-something countries throughout four decades, Tull has played typically 100 concerts each year to longstanding, as well as new fans worldwide. Widely recognized as the man who introduced the flute to rock music, Ian Anderson remains the crowned exponent of the popular and rock genres of flute playing. So far, no pretender to the throne has stepped forward. Ian also plays ethnic flutes and whistles together with acoustic guitar and the mandolin bouzouki, balalaika, saxophone, harmonica, and a variety of whistles. I briefly met Ian on Skye in 1987 on my way back from Benbecula where he had an estate and ran a Fish farm, well 11 fish farms as my research has unearthed, he also employed over 400 people before selling it in the 90’s. Anderson recalled in an interview how he started as a flautist… “ once owned a 1960s Fender Stratocaster, which had previously belonged to Lemmy Kilminster before he found fame with Motorhead. But when it dawned on me I was never going to catch up with the growing band of hotshot British guitarists at that time – Jimmy Page, Jeff Beck and Eric Clapton – I traded it in for a Selma Goldfield student flute worth £30. I knew Jimmy Page and Eric Clapton didn’t play the flute, so I thought I would be in with a chance. A lot of people told me it was a ridiculous trade because the Strat was worth at least £150. But in fact it was a great buy because learning to play it was the start of Jethro Tull.” Anderson lives on a farm in the southwest of England where he has a recording studio and office. He has been married for 37 years to Shona who is also an active director of their music and other companies. They have two children. In 2006 and 2010, he was awarded Doctorates in Literature from Heriot Watt University in Edinburgh and the Abertay University of Dundee. He received the Ivor Award for International Achievement in Music. Ian admits he owns no fast car, never yet having taken a driving test, and has a wardrobe of singularly uninspiring and drab leisurewear varying from light grey to black in colour. He still keeps a couple of off-road competition motorcycles, and a saxophone which he promises never to play again.

Our birthday boy likes to play more intinate venues rather than grand halls, I noticed in the past he has played in religious buildings like cathedrals, he said in an interview ‘Playing in a cathedral gives you a sense of history, responsibility, and humility’ He seems a man after my own heart, while I am not a religious man I do get this same feeling when visiting these sites.. It's not about profits for Jethro Tull, again I have posted that he doesn't charge over the top prices for his tickets, and when he plays in historical places he gives back….The profits from the sales of tickets for my Christmas concert in Bristol Cathedral will go to the upkeep of these sacred buildings, and, perhaps, also in support of the musical liturgy of the church.

Ian admits that he is responsible for an enormous carbon footprint over the years —" I’m a climate sinner — but I’ve planted over 50,000 mixed deciduous trees on our farm. Its heavy clay isn’t not capable of producing arable crops. At best, it grows grass for grazing, but some margins aren’t suitable; so we’ve extended our ancient woodlands with many oak trees. They are an emblem of the Anderson-family clan, whose legend is “Stand sure”.

Jethro Tull are playing Bristol Cathedral on December 11th, tickets are £25-45 snd Salisbury Cathedral next day. These dates are sandwiched between a European tour.

The video features the song, Dun Ringill, from the group's 1979 album Stormwatch, it is an ode to the Iron Age-era fort of the same name. The fort, located on the coast of the Isle of Skye in Scotland, was occupied by the Clan Mackinnon for centuries.[1] The ruins of Castle Ringill, located near Loch Slapin, were located on Anderson's Scottish property, thus inspiring him to write the song. Anderson explained: " Dun Ringill" [is] about the ruins of an old hillside in the Isle of Skye, off the west coast of Scotland, where Nordic invaders would have landed to pillage and plunder and the local folk would have hidden the women and children and the sheep under fortifications.

It's a cool video, pity it was filmed at Dover rather than on Skye though!

#scotland #scottish #history #Fifer #Musician #singersongwriter #Youtube

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seoul-bros · 1 year

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British Rock of the 1960s

JK's interpretation of the 1960s British rock look for Vogue Korea had me digging into my music collection, checking out the looks and relistening to the tracks rock bands were producing at the time.

Part I: The Yardbirds

The Yardbirds were active between 1964 and 1968 and in that time saw numerous changes to their line up. Eric Clapton, Jeff Beck and Jimmy Page all played lead guitar for the band at one time or another. For me though, it is Jimmy Page who sticks in my mind when I think about their music.

Their early stuff is blues influenced but by the time Jimmy Page became lead guitarist they had branched out into pop, psychedelic rock and the beginnings of hard rock. Some of his tracks for the band foreshadow punk and heavy metal.

Yardbirds (Chris Dreja, Jimmy Page, Jim McCarty, Keith Relf, and Jeff Beck )

Here are a couple of tracks he composed for their final album Little Games. White Summer based on an English folk song called She Moves through the Fair and Think About It.

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When the band split in 1968, Jimmy Page went on to form Led Zeppelin with Robert Plant, John Paul Jones and John Bonham and the rest is history.

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Post Date: 16/09/2023

#the yardbirds #jimmy page #led zeppelin #robert plant #john bonham #john paul jones #eric clapton #jeff beck

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meikyuunolovers · 2 months

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Happy (belated) 78th Birthday, Andy Pyle!

(15/07/1946-)

Happy birthday to another forgotten Kink! He was with the band from 1976 until 1977, lasting around a year before leaving alongside John Gosling. I don't have the specific quotes and citations with me right now, but I remember really feeling empathetic towards him after reading Ray Davies: A Complicated Life. I'm not going to elaborate further, since I don't want to twist any words.

He was with Blodwyn Pig (Mick Abrahams' band following Jethro Tull) in the late 60s-early 70s. He also did session bass for Rod Stewart on his "Every Picture Tells a Story" album, and played with artists such as Alvin Lee, Gary Moore...

He also has a solo album, which was not only apparently released in Germany only(???), but is also technically lost media as its songs are unavailable anywhere on the net... (it looks like the album usually goes for 4~15€ on Discogs, although I'm not sure on whether Discogs is trustworthy)

(This morning, I woke up with the sensation I forgot something.... turns out I forgot about Andy Pyle's birthday post. At least it gave me the opportunity to give some last-minute touches. Not really proud of this one in certain aspects, but I think this one has the best lineart to date...)

#the kinks #andy pyle #kinks birthday post #meikyuunolovers art

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cherrylng · 2 months

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Great Guitarists 100 - Brian May, Angus Young, Johnny Ramone, and Tom Verlaine [CROSSBEAT (November 2009)]

Brian May An essential part of the Brian May story is his self-made guitar, known as the 'Red Special' because of its red body. It was completed by the 16-year-old and his father, who was an engineer, using wood from a century-old fireplace, and attracted a lot of attention at the time of Queen's debut as a 'magic guitar' that could produce violin and horn sounds in addition to the original sound of the guitar. The sound was ridiculed as that of a synthesiser, so it is famous that the band always stated 'no synthesiser' on their early albums. His two albums, 'Sheer Heart Attack', with its Tsugaru shamisen-like interplay, and 'A Night at the Opera', which includes the classic 'Bohemian Rhapsody', a jazz band-style clarinet and even the British national anthem, are two of his best-known albums. A masterpiece where you can enjoy "guitar orchestration". His solo work 'Back to the Light', you can hear the relaxed and unique tearful phrases typical of his love of Jeff Beck and Jimi Hendrix. It's also unique in that he uses a sixpence coin to produce it, rather than a regular pick. There are many artists who have been influenced by him not only in the guitar but also in the construction of the sound world, such as Green Day and My Chemical Romance for the dramatic side, and Foo Fighters for the hard rock side of his music. -Ikuyo Kotani

Representative albums "Sheer Heart Attack" (1974, photo) Queen "A Night at the Opera" (1975) "Back to the Light" (1992) Brian May

Angus Young Today he is universally recognised as a "rock 'n' roll guitar icon", but it wasn't that long ago that the true nature of Angus Young's guitar playing came to be appreciated in its own right. That's because AC/DC were treated as more metal than they should have been. They were too classically uninspired to be called heavy metal, and their playing was too bluesy and dated to be classified as punk. Therefore, I don't think his playing has ever been properly introduced, especially in countries like Japan, which likes to define its own musical categories. The source of Angus' playing can be traced back to the British beat of the 1960s, with blues-tinged garage bands such as the early Stones, The Yardbirds and Them. The Easybeats, with which his own brother George was a member, were also active in the mod circles at the time. The musical elements thus imbibed were even closer to pub rock than metal, so much so, in fact, that when AC/DC first entered the UK, the record company tried to market them as a punk band. His ironclad riff playing became a standard hip-hop sampling after the heyday of metal in the 70s and 80s, and has been found universal by the grunge generation of the 90s and the new garage generation of the 00s. -Sawada Taiyo

Representative albums "If You Want Blood You've Got It" (1978, photo) AC/DC "Back in Black" (1980) "Black Ice" (2008), same

Johnny Ramone A combination of gruff down-picking and concise riffs, no wonder he used to be a bassist. Of course, he doesn't play guitar solos. It's not that he had an idea, it's just that when he formed the band, that's all he could do, I suppose. But by mastering the only thing they could do, it became their unique personality. And what Johnny Ramone had done became the theory that "when you play punk, you need taste and guts, not necessarily technique". He is credited with getting a lot of young people to pick up the guitar and say, "If that's the case." To get an idea of the Ramones' rich musicality, it is necessary to listen to their mid- and late-period works. However, when it comes to the charm of the guitar, the three early albums with their bare-bones sound, namely 'Ramones', 'Leave Home' and 'Rocket to Russia', are the best examples of this. The Ramones' sound was perfected with these three albums and never rusted over the next two decades. No, on the contrary, it is now established as the Ramones punk genre. It goes without saying that the core of the band is Johnny's playing, who has been playing Mosrite guitars all his life. -Tomoo Yamaguchi

Representative albums "Ramones" (1976, photo) The Ramones "Leave Home" (1977) "Rocket to Russia" (1977)

Tom Verlaine Television was one of the leading figures of 70s New York punk, and had a huge influence on the later grunge/alternate and post-punk revival. The band released only two original albums and a live album before reuniting in 1992, and at the time sales were lacklustre, but today they are a charismatic presence that is recognised by all. The main attraction of the band was Tom Verlaine's innovative guitar sound. His trademarks were the Fender Jazzmaster and Jaguar. At a time when Gibson Les Pauls and Fender Stratocasters were at their height, these guitars were regarded as somewhat outdated models, but they attracted many musicians with their unique playing style, which involved wiggling the tremolo arm and applying a spasmodic vibrato. The ensemble with another guitarist, Richard Lloyd (who later teamed up with Robert Quine for many great performances), was also a vital part of the band, and their interplay on "Marquee Moon" was particularly impressive. After the band broke up, Tom started his solo career. He took on new challenges such as incorporating reggae into his music, while still delivering a sharp guitar sound. -Takanori Kuroda

Representative albums "Marquee Moon (1977, photo) Television "Adventure" (1978) "The Blow-Up" (1982)

Translator's Note: The only other reason that I'm translating this article, besides Matt, is because of Brian May. I love my soft intelligent men with curly hair 🥺💕

#Brian May #Queen #Angus Young #AC/DC #Johnny Ramone #The Ramones #Tom Verlaine #Television #my scan #translation #CROSSBEAT #CROSSBEAT November 2009

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guitarsfan · 2 months

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#2 Slash

Slash (Saul Hudson) is a British guitarist and composer, born on 23 July 1965 in London.

His career as a guitarist officially began in 1987 with Guns N' Roses, with the debut album 'Appetite For Destruction', which brought him and Guns N' Roses to fame.

Although Slash is often labeled as a rock guitarist, during the last few years, and especially in his latest album, 'Orgy of the Damned', he switches from rock to a more blues style, a style that characterized him before joining Guns N ' Roses as lead guitarist.

In 1996, Slash left Guns N' Roses (but returned to it in 2016) due to differences with the frontman, Axl Rose, and took the opportunity to focus on other projects with the band "Slash's Snakepit" and later with "Velvet Revolver".

Slash owns more than 100 guitars and his favorite guitar is the Gibson Les Paul, what he calls 'the best guitar around for me'. The guitar he uses most in the studio is a replica of the '59 Gibson Les Paul, used for the recording of Appetite For Destruction.

Album:

𝗚𝘂𝗻𝘀 𝗡' 𝗥𝗼𝘀𝗲𝘀:

• Appetite for Destruction (1987)

• G N' R Lies (1988)

• Use Your Illusion I (1991)

• Use Your Illusion II (1991)

• "The Spaghetti Incident?" (1993)

𝗦𝗹𝗮𝘀𝗵'𝘀 𝗦𝗻𝗮𝗸𝗲𝗽𝗶𝘁:

• It's Five O'Clock Somewhere (1995)

• Ain't Life Grand (2000)

𝗩𝗲𝗹𝘃𝗲𝘁 𝗥𝗲𝘃𝗼𝗹𝘃𝗲𝗿:

• Contraband (2004)

• Libertad (2007)

𝗦𝗹𝗮𝘀𝗵 (𝘀𝗼𝗹𝗼):

• Slash (2010)

• Orgy of the Damned (2024)

𝗦𝗹𝗮𝘀𝗵 𝗳𝗲𝗮𝘁𝘂𝗿𝗶𝗻𝗴 𝗠𝘆𝗹𝗲𝘀 𝗞𝗲𝗻𝗻𝗲𝗱𝘆 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗖𝗼𝗻𝘀𝗽𝗶𝗿𝗮𝘁𝗼𝗿𝘀

• Apocalyptic Love (2012)

• World on Fire (2014)

• Living the Dream (2018)

• 4 (2022)

#slash #guns n roses #slash gnr #guitar #guitarists #velvet revolver #slash's snakepit #rock n roll #hard rock #Spotify

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kulturegroupie · 2 years

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Jimmy Page and the Rolling Stones: 60 years of musical flirtations

Certainly, not all blues enthusiasts of the early 1960’s can claim to have become some of the most influential musical artists of all time. But that’s one thing that Jimmy Page and the members of the Rolling Stones have in common.

The first encounter between Mick Jagger, Keith Richards and Jimmy Page occured in 1962, just a few months before the formation of the Stones. The three English boys travelled all the way from the South to attend UK’s first American Folk Blues Festival in the city of Manchester. They met at a blues collector’s house, and together they listened to Howlin’ Wolf’s masterpiece album commonly known as ‘Rocking Chair’—then newly released. For a blues fanatic back then, meeting someone with the same interest was something almost extraordinary. Most people weren’t interested in what was still a rather obscure music genre and preferred rocking and rolling to the songs on the radio. For this reason, if you liked the blues and met someone alike, you were going to remember them.

By the end of the same year, Jimmy was spotted during a gig at the Marquee Club in London and asked to play regularly on record sessions. This was the start of a short but prolific career as a session musician for the young man, who would soon encounter Mick and Keith again, this time with the rest of the Rolling Stones. He played on a number of demos for the band, three of which were officially released on Stones records:

These sessions were a great opportunity for Page to develop an understanding of how records were produced: he spent hours in the control room, and soon he was employed as house producer and arranger at Andrew Oldham’s Immediate Records. In 1968, the record company released Blues Anytime Vol 1-2-3, a series of records containing works by various British blues artists. Jimmy featured in two of these, producing a few songs on which Mick Jagger (harmonica), Bill Wyman (bass), Ian Stewart (piano) and Eric Clapton (guitar) were the musicians.

Around this time, Jimmy also gave a helping hand to Brian Jones on the soundtrack for the cult classic movie A Degree of Murder (recorded late 1966-early 1967), also using his now notorious trick of the violin bow. He recalls:

“Brian knew what he was doing. It was quite beautiful. Some of it was made up at the time; some of it was stuff I was augmenting with him. I was definitely playing with the violin bow. Brian had this guitar that had a volume pedal – he could get gunshots with it. There was a Mellotron there. He was moving forward with ideas.”

—Jimmy Page, from issue #1171 of Rolling Stone

Legend has it that the Stones had previously asked Page to join the band in order to throw Jones out, but he declined.

The group was again looking for a guitarist in late 1974, to fill the spot left by Mick Taylor’s sudden goodbye. Jimmy had recently jammed in the studio with them on a fun session which birthed the track Scarlet, but it was highly unlikely that he would leave the then biggest band in the world—even for the Rolling Stones. The track remained in the vaults for 46 years, and was finally released in 2020 as part of the expanded edition of Goats Heads Soup.

“I had completely forgotten about it. Someone told me it was Ginger Baker on drums. And I rang Jimmy Page up — I didn’t remember anything — and Jimmy Page remembered everything! This person played on it, it wasn’t Ginger Baker … he seemed so certain about it.”

— Mick Jagger on The Zoe Ball Breakfast Show, July 22, 2020

Jimmy Page and the Rolling Stones would cross paths again in September 1983 when both Jimmy and Bill Wyman played on the ARMS Charity Concert, later embarking on an American tour with the rest of the musicians involved.

As a result of this, several of said musicians were invited to take part of Wyman’s latest project, Willie and the Poor Boys. Inspired by the music of the early 1950’s, they congregated at Jimmy Page’s home studio, the Sol, and recorded numerous tracks, twelve of which were officially released on a 1985 self-titled album. Jimmy can be heard on two of them:

The Eighties were a time of turmoil for the Rolling Stones as its two principal songwriters, Richards and Jagger, had been feuding over the band’s direction for most of the decade. Nonetheless, right after the Willie and the Poor Boys sessions commenced the recording process for Dirty Work. Jimmy took part of another jam session with the band, immortalised on the hit single One Hit (To The Body).

In 1992, the 7th annual Rock and Roll Hall of Fame took place, and among the chosen legends to be honoured that year were the members of the Yardbirds. Keith Richards also attended the ceremony, being assigned the role to induct Leo Fender, one of his idols and legendary creator of the Fender Stratocaster. Later on, an All-Star Band was formed for a one-off performance and Keith and Jimmy found themselves merrily jamming together once again on classics such as ‘Green Onions’, ‘Soul Man’, ‘Big River’, ‘Dust My Broom’, ‘Shout’, ‘All Along the Watch Tower’, ‘Purple Haze’ and ‘Something Is Wrong With My Baby’.

After sharing much of their success over the past six decades, Jimmy Page and the members of the Stones remain close friends, now having earned a well deserved title as rock and roll legends.

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savage-kult-of-gorthaur · 3 days

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“THERE’S ONLY ONE BAND LOUDER THAN US…”

PIC INFO: Spotlight on Angus Young of Australian hard rock/blues rock band AC⚡DC, pictured with fellow rock ‘n’ roll diehard, the late, great Lemmy Kilmister of the mighty MOTÖRHEAD, c. early '80s (possibly '82).

“There’s only one band louder than us, and that’s MOTÖRHEAD.”

– ANGUS YOUNG on the reigning decibel level of the mighty Motörmasters

Source: www.picuki.com/profile/fortbraggmagazine.

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ourshadowstallerthanoursoul · 4 months

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On this day... - May 25th

On this day Led Zeppelin performed:

+ 1969 : Merriweather Post Pavilion in Columbia, Maryland, USA

Notes: A rare double-bill featuring Led Zeppelin and the Who - the only time this would occur. (backstage video)

“At the Merriweather Post Pavilion in Columbia, MD, on Sunday night, comedian Uncle Dirty, Led Zeppelin and The Who performed to a packed hall, field and parking lot. Led Zeppelin played a fairly orthodox show, mostly using material off their first album." - by R. Cowan

+ 1975 : Earls Court Arena in London, UK

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“If there was ever a concert that you could brag about seeing to all your friends, it was the Led Zeppelin one at Earls Court on Sunday evening. It turned out to be a nocturnal delight, one which should be remembered for eons to come. The American show that they brought home with them comprised some of the best rock music in the world, highlighted by opulent stage and lighting effects and an abundance of dry ice in traffic light colours. Led endeavoured to take us on a musical journey of their six and a half years reign. […] The sound in the vast arena was amazingly clear and concise. […] The finale was of course Stairway To Heaven, an extravaganza of all things bright an' beautiful. This got the crowd on their feet and clapping for more. The encore was Whole Lotta Love, improved with age in the same way a good wine tastes better if allowed to mellow.” – ‘Led Zeppelin – Earls Court’ (Record Mirror)

+ 1977 : Capital Centre in Landover, Maryland, USA

“The British quartet opened a sold out, four-day stand at the Capital Centre Wednesday night with a three-hour sonic devastation of 18,000 willing victims. […] The bag of tricks they use at the Capital Centre features later beams, smoke pots, phosphorus explosions, double and triple-neck guitars, a stainless steel drum kit on a rolling platform and a sound system that sings by itself. But the heart of the show is its music. And the heart of the music is guitarist Jimmy Page. […] The music came screaming out of Page's fingers, usually at top volume, sometimes painfully loud. […] The light show was splendid, mixing green, blue, pink, red and white spots with green and red lasers. At various times, the lights shown from above, behind, beside and even below the players. At one memorable point, Page was captured in a green laser pyramid in the center of the darkened stage. […] Then came the finale, “Stairway to Heaven”. […] With the sound of the opening notes, the crowd rose and screamed, just as it had three hours earlier when the show began.” – ‘Led Zeppelin unleashes sonic devastation with theatrics to match’ by Tom Basham

#on this day #led zeppelin #robert plant #jimmy page #john paul jones #john bonham #classic rock #ourshadowstallerthanoursoul #Youtube

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rhapsodynew · 4 months

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On May 20, 1944, Joe Cocker was born in Sheffield, England.

(20 May 1944 – 22 December 2014)

"The world without the blues is empty."

The world found out about Joe Cocker when he took to the Woodstock stage — and completely transformed the Beatles' "With a Little Help From My Friends". This strange Englishman was twitching convulsively in accordance with some of his cosmic rhythms, wheezing desperately and playing an imaginary guitar. His version has a sweet song from "Sergeant Pepper" Turned into a soul rock masterpiece storming the skies:

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British rhythm and blues artists of the 1960s (including Mick Jagger, Eric Burdon, Jack Bruce) Joe Cocker was probably the most assertive and uninhibited. He has always been an original interpreter, taking material from the Beatles, Bob Dylan, Randy Newman, Leonard Cohen, his idol Ray Charles.

A native of Sheffield, young Joe Cocker was not going to work as a gasman all his life, as his mother had assumed. After dropping out of school at the age of 16, he threw himself into music.

Already in his youth, standing at the microphone in the pubs of his hometown, Joe Cocker began to develop his signature vocal style. A demo recording earned him a contract with Decca Records in 1964, and he debuted with a Beatles cover of "I'll Cry Instead", which never made the charts:

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After the tour, opening for The Hollies Joe Cocker returned to his job as a gasman, working hard on music in his spare time. Together with bassist Chris Stainton, he assembled the first line-up in 1965 Grease Band. Two years of performing in pubs brought the band devoted fans.

Success happened in 1968, when the most spectacular version of the Lennon and McCartney song "With a Little Help from My Friends" (with Jimmy Page on guitar) was released, which topped the British charts in November. The Beatles themselves warmly approved of this performance. This song has become the unofficial theme song of the indefatigable cover artist:

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Now Joe Cocker could begin to conquer the American market. A string of concerts and television appearances culminated in a triumphant performance at Woodstock in August 1969.

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Following this, he noticed another Beatles cover of "She Came in through the Bathroom Window":

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Joe reached his peak with a massive tour Mad Dogs & Englishmen, which was attended by about 30 musicians. A grueling 65 concerts in 57 days spawned a double best-selling live album. But at the exit, Joe Cocker was left with only burnout and a bunch of unpaid bills.

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Joe fell into a long period of binge drinking, heroin addiction and problems with the law. He still toured and released uneven albums, but without the same success. He managed to truly return from oblivion only in 1975 with the ballad "You Are So Beautiful", co-written with Billy Preston:

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Joe strengthened his revival with a duet with Jennifer Warnes "Up Where We Belong" from the melodrama "An Officer and a Gentleman" (1982). Both of these songs are far from his early works in their power. But the expressiveness of the vocals, the recognizable charisma are still the same. Over the years, Joe has moderated the intensity of his stage antics, but has not lost his inner fire.

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His career was slowly moving forward, Joe enjoyed the respect of colleagues and the loyalty of an international audience, performed at respectable parties from the celebration of the 70th anniversary of Nelson Mandela to the Montreux Jazz festival. There was also another unconditional hit — the song "You Can Leave Your Hat On" by Randy Newman from the movie "Nine and a half Weeks".

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In 2002, Joe Cocker joined drummer Phil Collins and Queen guitarist Brian May to perform "with a little help from friends" at the Queen's Golden Jubilee party. From Woodstock to Buckingham Palace: the circle has closed. Five years later, Joe became a Knight Commander of the Order of the British Empire. Not bad for a failed gasman from Sheffield!

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Joe spent the last years of his life in Colorado, doing fly fishing and caring for a greenhouse. And he fully deserved this quiet life, having gone through a long-term ordeal of fame, money and the excesses of rock and roll. And leaving us a lot of really heartfelt and bright music.

#Everything you need to know about Rock📌

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theeverglades · 3 months

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Welcome to the Graham Coxon RP Account!

Scenario: During a live show one of his fans randomly yelled "DO YOU HAVE TUMBLR" which peaked his interest in the app and now he's made one for fun!

Please be 15 or Older to enter this account due to mature topics like Drugs, Alcohol, Sex, and Violence being mentioned within the mess that will be this account

Please note that I am not the real Graham Coxon nor do I know the real Graham Coxon, I am just a simple fan with a simple goal to have fun with this account like all the other rock RP accounts

If you aren't comfortable with this account just block it and move on, nobody cares what you do just don't send death threats or harassment to me or the other rock band accounts.

Other Accounts

Kathleen Hanna: @bikinikillhanna

Gwen Stefani: @gwenstefoubt

George Harrison: @gardengrampa

Bands

Blur

Blur are an English rock band formed in London in 1988. The band consists of singer Damon Albarn, guitarist Graham Coxon, bass guitarist Alex James and drummer Dave Rowntree.

Their debut album, Leisure (1991), incorporated the sounds of Madchester and shoegaze. Following a stylistic change influenced by English guitar pop groups such as the Kinks, the Beatles and XTC, Blur released the albums Modern Life Is Rubbish (1993), Parklife (1994) and The Great Escape (1995).

As a result, the band helped to popularise the Britpop genre and achieved mass popularity in the UK, aided by a widely publicised chart battle with rival band Oasis in 1995 dubbed "The Battle of Britpop

The Jaded Hearts Club

The Jaded Hearts Club is an English rock supergroup and covers band consisting of Miles Kane (of the Rascals and Last Shadow Puppets), Nic Cester (of Jet), Matt Bellamy (of Muse), Graham Coxon (of Blur), Jamie Davis (of Coxon's former label Transcopic) and Sean Payne (of the Zutons)

The Waeve

The Waeve (stylised as The WAEVE) are an English band formed in London, in 2021 by singer-songwriters and musicians Graham Coxon and Rose Elinor Dougall.

They describe their music as "a liquid meeting of musical minds and talents. A powerful elixir of cinematic British folk-rock, post-punk, organic songwriting and freefall jamming." They released their debut album, The Waeve, in 2023.

BLOODWITCH

In February 2020, Coxon released an album for the fictional band Bloodwitch, to be a part of the soundtrack of the Netflix series I Am Not Okay with This, featuring singer Tatyana Richaud.

Information on Graham Coxon

Early life

Coxon was born on 12 March 1969 in Rinteln, West Germany, where his father, Bob Coxon, was stationed as a clarinet player and band leader in the British Army.

As a child, he moved first to Spondon, Derby, England, a period during which he became a fan of Derby County.

He then moved to Colchester, Essex, England, where he grew up and met fellow Blur member Damon Albarn at The Stanway School, then known as Stanway Comprehensive, at the age of 11.

At the beginning of their relationship, Coxon would play the saxophone on Albarn's original songs before playing the guitar in several small Colchester bands. He appeared on the popular BBC children's show Blue Peter twice.

Blur

Coxon studied Fine Arts at Goldsmiths College, London, for two years, where early on he met bassist Alex James.

In his time there he mixed with upcoming talents such as Damien Hirst, Michael Landy, Sam Taylor-Wood, and Abigail Lane, some of the future leading lights of the Britart movement. His musical interests were heavily influenced by Pink Floyd founder Syd Barrett, whose work he had discovered by 1986.

He quit college due to the increasing success of his band at the time, Seymour, which later changed its name to Blur because the recording company, Food Records, thought Seymour was too 'student-ish'.

They presented a list to the band of preferred names which included "The Shining Path" and "Blur". As well as providing all guitars, backing vocals, and occasional drums, Coxon's lo-fi and alternative musical style and tastes influenced the band's less commercial music in the late 1990s.

He sang lead vocals on songs including "Red Necks", "You're So Great" from the album Blur, and "Coffee & TV", as well as a section of the chorus of "Tender", the bridge of "Lonesome Street" and a section of "Thought I Was a Spaceman" on The Magic Whip.

During the 1995 period of the media-dubbed 'Battle of Britpop', Coxon became increasingly weary and suspicious of the music industry.

His behaviour was occasionally awkward, such as refusing to appear in the video for Blur song "Country House" unless he could dress as a milkman and take no part in any action with which he felt uncomfortable.

In November 2001, Coxon was admitted to the Priory Hospital for 28 days to be treated for alcoholism. During this time, Blur began the recording sessions that would produce the material for their next album, Think Tank.

In February 2002, Coxon rejoined the band in the studio for the rest of the recording of Think Tank but after five days was asked by then manager Chris Morrison not to go back into the studio as the other members of the band had reported that the session was not going too well with him present.

Coxon took this as a sign and left the band. As he stated in an interview in 2006, "I had a breakthrough, I think my life just became calmer, I gave up drinking.

My priorities changed as I had a young daughter. The group didn't want me to record for the Think Tank album, so I took it as a sign to leave".

His last contribution to Blur was a song called "Battery in Your Leg", the closing song on Blur's 2003 album Think Tank, before leaving the line-up. Damon Albarn later revealed that the song "Sweet Song" was written after he had been looking at a photograph of Coxon.

After Damon Albarn's revealing that he and Coxon had rebuilt their relationship, on 9 December 2008, Blur announced that the whole band would reunite for a show at Hyde Park on 3 July 2009.

More dates were announced and the band played festival dates at Glastonbury, T in the Park and Oxegen 2009 as well as headlining shows in Manchester, Newcastle, Wolverhampton, Goldsmiths College and the East Anglian Railway Museum in Colchester. Blur also played one show in Lyon, France.

On 17 April 2010, the band released their first single since 2003, "Fool's Day", for the Record Store Day event as a 7" limited to 1000 copies.

The band released the single as a free download on their official website the next day.

More recently Blur announced via the NME website that they would reunite every so often and record more singles, preferably on 7 inch. However, Damon also stated that an album was not on its way as they were all too busy with their own individual projects.

On 19 February 2015, Coxon and the band announced on social media that they would be releasing their eighth studio album on 27 April, titled The Magic Whip, Blur's first album in 12 years and first in 16 years in their original lineup.

Solo work

Coxon had already released three solo albums while a member of Blur before his 2002 departure.

His first, The Sky Is Too High was released on his own Transcopic label in 1998.

This was followed by The Golden D in 2000 and Crow Sit on Blood Tree in 2001.

After going solo full-time, he released The Kiss of Morning in 2002. The album was promoted with the single "Escape Song". In 2004, Coxon released his fifth solo album Happiness in Magazines, produced by ex-Blur and The Smiths producer Stephen Street.

This proved to be his most successful album to date, and he received the NME Award for Best Solo Artist in 2005.

In March 2006 he released his sixth solo album, called Love Travels at Illegal Speeds, again produced by Stephen Street. It marked Coxon's first album away from his now-defunct indie label 'Transcopic'.

The LP was preceded by the singles "Standing on My Own Again" on 27 February and "You & I". Coxon embarked on a tour of the UK, starting at Newcastle University.

He was also involved in a single supporting the England national football team at the 2006 FIFA World Cup.

The song was a re-working of the Sham 69 hit "Hurry Up Harry", and was released as "Sham 69 and The Special Assembly" (as well as Coxon and Sham 69, Virgin Radio DJ Christian O'Connell, who had run a competition on his show to find a band to record a song in support of the team, was involved in the recording of the song). "Hurry Up England" entered the UK Singles Chart at No. 10.

In October 2006, Coxon released a double live album Burnt to Bitz: At the Astoria immediately after his sold-out London Astoria show. The album features 27 songs, with at least one song from each of his albums. In July 2007 Coxon released a single with Paul Weller, called "This Old Town". The single peaked at No. 39 in the UK Singles Chart.

Coxon's seventh 15-track studio album titled The Spinning Top, produced again by Stephen Street, was released on 11 May 2009.

Coxon stated that the LP, which is primarily acoustic, followed a narrative – the story of a man from birth to death.

"The album is mainly an acoustic journey although there is, of course, some explosive electric guitar action," he explained. "There are some guests too! Robyn Hitchcock supplies some counter-attack guitar, Jas Singh plays dilruba and jori with his friends Gurjit Sembhi on taus and Jaskase Singh on esraj.

Danny Thompson plays the legendary Victoria, Graham Fox gives plenty of swing on the drums and sizzle cymbals and Louis Vause tinkles the ivories."

Pre-release response had been positive, with Monday Field of Frank Booth Review dubbing the album "a staggering artistic achievement, and Coxon's best solo release to date."

His eighth solo album A+E was released in April 2012.

Coxon wrote and recorded the score for the 2017 Channel 4 / Netflix television series The End of the F***ing World; it was his first original score.

The soundtrack was released in January 2018.

In September of the same year, Coxon embarked on a solo tour in North America that featured some of the songs from his score.

In February 2020, Coxon released an album for the fictional band Bloodwitch, to be a part of the soundtrack of the Netflix series I Am Not Okay with This, featuring singer Tatyana Richaud.

In 2021, Coxon published Superstate, a graphic novel accompanied by a studio album of the same name, bringing the concept of a dystopian futuristic universe. The cover art, much like most of his solo works, was illustrated by himself.

Following in 2023, the folk rock band The Waeve, consisting of Graham Coxon and Rose Elinor Dougall as members, released their debut self-titled album, with an England-wide tour.

Transcopic and other contributions

Coxon's independent label, Transcopic, was co-managed with his friend, and then business partner, Jamie Davis. Davis now runs Independent label Ark Recordings.

Coxon illustrated and designed all of his own album art, and collaborated with his friend Nick Craske creating abstract digital work for the release of The Spinning Top; they also filmed two music videos, "Sorrow's Army" and "'In The Morning".

Coxon also continued painting a series of personal work, most of which remained unseen until 2004, when he exhibited at the ICA in London.

Coxon has also been involved in remixing other peoples tracks, including Idlewild and Lowgold both of which were released as b-sides and the latter remix was later re-released on the bands anthology release Keep Music Miserable.

In September 2006, Coxon revealed a musical soundscape, "english shoes squeek", created especially for "Verheaven" an exhibition at London's Riflemaker Gallery of the work of artist Julie Verhoeven.

Coxon appeared on John McCusker's Under One Sky, providing the song "All Has Gone".

In 2009, Coxon was involved in the creation of the Pete Doherty solo album Grace/Wastelands.

Doherty had entered a period of sobriety, during which he holed up with Coxon to work on his debut solo album, Grace/Wasteland, (released 24 March 2009) a diverse collection of 12 songs that bounce between reggae and Doherty's standard post-punk. Coxon played on all but one track on the album.

Solo studio albums

The Sky Is Too High (1998)

The Golden D (2000)

Crow Sit on Blood Tree (2001)

The Kiss of Morning (2002)

Happiness in Magazines (2004)

Love Travels at Illegal Speeds (2006)

The Spinning Top (2009)

A+E (2012)

The End of the F***ing World (Original Songs And Score) (2018)

The End of the F***ing World 2 (Original Songs And Score) (2019)

I Am Not Okay with This (as Bloodwitch) (Original Songs And Score) (2020)

Superstate (2021, in association with Z2 Comics)

BLUR Studio albums

Leisure (1991)

Modern Life Is Rubbish (1993)

Parklife (1994)

The Great Escape (1995)

Blur (1997)

13 (1999)

Think Tank (2003)

The Magic Whip (2015)

The Ballad of Darren (2023)

#britpop #graham coxon #blur band #bloodwitch #The Jaded Hearts Club #Rock Roleplay #roleplay #Roleplay introduction #the waeve

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sweetdreamsjeff · 4 months

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Jeff Buckley; Obituary

June 7, 1997

Jeff Buckley, guitarist and songwriter, drowned on May 29 aged 30. He was born on August 1, 1966.

ALTHOUGH he was the son of Tim Buckley, one of the most influential American folk-rock singer-songwriters of the 1960s, Jeff Buckley was thought by many to have eclipsed his father's career with his 1995 debut album, Grace. A collection of unusual cover-versions (Leonard Cohen's Hallelujah , Benjamin Britten's Corpus Christi Carol ) and his own compositions, Grace was a showcase for Jeff Buckley's astonishing vocal talents.

Once described as "a choirboy singing in a whorehouse", he could go from dirty-kneed, Kurt Cobain-style screaming to the purest top C in a breath; before embarking on a scat-jazz odyssey that would last ten minutes or more. Employing a mixture of folk, funk, grunge and jazz, Grace won Buckley the Rolling Stone Best New Artist Award in 1995.

On May 29, while working on the follow-up album in Memphis, Tennessee, Buckley and a friend went to a marina on the Mississippi to relax. Buckley, fully clothed, waded into the river singing, and was swept away by the wake of a passing boat. His body was found a week later.

Jeff Buckley never knew his father - Tim was a lothario with a drug-habit that kept him restless. Although Tim released eight critically-acclaimed albums, his sales were always disappointing. He left Jeff's mother when Jeff was six-months-old, leaving her to support Jeff and his younger brother through a variety of dead-end jobs. They had a nomadic existence, moving from state to state; and the pressure of his mother's work left Jeff to bring up his younger brother on his own.

Although he dedicated the song Dream Brother to Buckley senior, Jeff was frequently disparaging of his absent father - claiming he inherited his musical talent from his mother. At one of his London concerts in 1995, a member of the audience kept shouting out Tim Buckley's name - Jeff responded by miming the inhalation of heroin and falling to the ground in convulsions, before "dying" by the drum-riser. Tim died of an overdose in 1975. He was 28.

As a result of such an unconventional upbringing, Jeff Buckley turned to music at an early age. He was a regular on the New York folk scene, playing to crowded bars in rough-and-ready half-hour slots. One of his trademarks was to begin singing soft and low, gradually raising the volume and pitch until the audience became totally silent and entranced.

His first, limited-edition live album, Live at the Sin-e , was released on the independent label Big Cat in 1994. Such was its critical success that Sony Records signed him up for his first proper release, the Grace album, within months.

Buckley was disparaging of his status and burgeoning "legend" - and often bemused by record companies waiting on him hand and foot. One of his favourite jokes was "How many Jeff Buckleys does it take to change a lightbulb?" "Oh, it's okay, Jeff, we'll do it for you, we know a guy in Brooklyn who's wonderful at changing lightbulbs. He'll do it for a couple of points (royalties) on your album."

Although the Rolling Stone award raised his profile in the US, it was in Britain and Ireland that Buckley's career was based. His audience was diverse - from fortysomethings checking out Tim Buckley's son, to more avant-garde teenage girls, impressed by his cheekbones and haunted eyes. John McEnroe and Chrissie Hynde were regulars at his concerts - Hynde and McEnroe once spending an evening jamming with him after a particularly triumphant London appearance.

Songs such as Last Goodbye - a shivering blend of folk, blues and Buckley's scatting, ululating voice; and the dolorous, harmonium-led Lover, You Should Have Come Over - had marked Buckley out as a new Van Morrison, someone with limitless talent and range.

His last British appearance, at the 1995 Glastonbury Festival, was a chance to premiere new material, post- Grace. Songs such as the astonishing What Will You Say When You See My Face - built around Eastern chord-structures and endless, despairing blues arpeggios - confirmed that Buckley was on an artistic roll that might have resulted in dozens of treasured albums.

#jeff buckley #The Times #London England #Obituary

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