#Glyn Hopkin

[jitzbala]

Electric Vehicles in the UK: Beneath the Shine, Are They Truly Green?

Exploring the pros and cons of owning an electric vehicle in the UK, this blog delves into the appealing benefits and potential drawbacks of EVs. As an informed car enthusiast, I share my thoughts on the adoption of electric cars.

© 2023 Jitesh Balakrishnan. All Rights Reserved. Nissan vehicles on display at Glyn Hopkin I’m currently sitting at my local Glyn Hopkin waiting for my QQ to be serviced, and I can’t help but be drawn to the impressive array of cars on display. Among them, the new electric vehicles (EVs) are particularly eye-catching, especially the Nissan Ariya. Sleek, modern, and eco-friendly – they seem to be…

[spilladabalia]

The Steve Miller Band - Kow Kow Calqulator

[rockmusicassoc]

In The Rock 4/29/1965: The Who hit IBC studios with producer Shel Talmy and engineer Glyn Johns to record 3 tracks, including “Anyway, Anyhow, Anywhere”. Nicky Hopkins sat in on piano. #TheWho #ShelTalmy #RockHonorRoll

[wahwealth]

One Of Our Aircraft Is Missing (1942) Full Movie English War Film Classic

One of Our Aircraft Is Missing is a 1942 British black-and-white war film, mainly set in the German-occupied Netherlands.  The crew of an RAF Vickers Wellington bomber are forced to bail out over the Netherlands near the Zuider Zee after one of their engines is damaged during a nighttime raid on Stuttgart. Five of the six airmen find each other; the sixth goes missing,  According to Kinematograph Weekly the film was one of the most popular at the British box office in 1942 and it gets a 100% from Rotten Tomatoes. Cast Hugh Burden as John Glyn Haggard, pilot of B for Bertie Eric Portman as Tom Earnshaw, the second pilot Hugh Williams as Frank Shelley, observer/navigator Emrys Jones as Bob Ashley, wireless operator Bernard Miles as Geoff Hickman, front gunner Godfrey Tearle as Sir George Corbett, rear gunner Googie Withers as Jo de Vries Joyce Redman as Jet van Dieren Pamela Brown as Els Meertens Peter Ustinov as Priest Alec Clunes as Organist Hay Petrie as Burgomaster Roland Culver as Naval Officer David Ward as First German Airman Robert Duncan as Second German Airman Selma Vaz Dias as Burgomaster's wife (as Selma Van Dias) Arnold Marlé as Pieter Sluys Robert Helpmann as De Jong Hector Abbas as Driver James B. Carson as Louis Willem Akkerman as Willem Joan Akkerman as Maartje Peter Schenke as Hendrik Valerie Moon as Jannie John Salew as German Sentry William D'Arcy as German Officer Robert Beatty as Sgt. Hopkins Michael Powell as Despatching Officer (also a director-producer) Stewart Rome as Cmdr. Reynold You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@nrpsmovieclassics

[nofatclips]

Pass the Wine (AKA Sophia Loren) by The Rolling Stones from the deluxe edition of Exile on Main St.

[rolloroberson]

The Rolling Stones, Nicky Hopkins, Andrew Loog Oldham & Glyn Johns at Olympic Sound Studios in London, circa 1967 photographed by John Reader.

[mysweetgeo]

tag game

i was tagged by @tomvorikandharry :) to post 10 songs i really like by 10 different artists, then tag 10 people to do the same

1. flying by the beatles

2. here comes my girl by tom petty and the heartbreakers

3. streets of london by mary hopkin

4. sarve shaam by ravi shankar

5. your love is forever by george harrison

6. i’ll follow the sun by glyn johns

7. sweet music by lon and derrek van eaton

8. boots of spanish leather by bob dylan

9. hare krsna mantra by the radha krsna temple

10. bell bottom blues by derek and the dominos

i’m going to tag @gold3nhair , @friarparks , @mimikyugirl , @rogersgirlfriend , @lick-me-lennon22 , @catinsatintrousers , @mrsholmes-cumberbatch , and whomever else wants to participate bc i cannot think of anyone else to tag :p

[lanaturnerhascollapsed]

The New Movie, July 1932

[diceriadelluntore]

Storia Di Musica #217 - The Rolling Stones, Sticky Fingers, 1971

Nel 1970 i Rolling Stones erano in procinto di creare la loro propria etichetta discografica. Un accordo con la Decca li obbligava a produrre un ultimo disco. Il successo incredibile del tour negli Stati Uniti portò alla pubblicazione clandestina di uno dei loro infuocati concerti in uno dei bootleg più famosi della storia, Live’r Than You'll Ever Be (registrato ad Oakland il 9 Novembre del 1969). Per trarne vantaggi, la Decca pubblicò un live ufficiale, Get Yer Ya-Ya's Out!': The Rolling Stones in Concert, con registrazioni di concerti a New York e Baltimora, che non solo è uno dei più grandi dischi live di tutti i tempi ma è il primo live in assoluto che arriva numero 1 in classifica in Gran Bretagna. Dopo aver fatto anche l’attore nel film Ned Kelly, Mick Jagger contatta il Royal College of Art per la creazione di un piccolo logo per la carta da lettere della nuova etichetta discografica: il college mette a disposizione di Jagger un promettente studente, John Pasche, che dopo vari tentativi, dopo che lo stesso Jagger gli regalò una foto della dea Visnu, disegna un logo che diventerà leggendario: una bocca carnosa con una lingua irriverente, che assomiglia sia a quello della dea che alle stesse labbra di Jagger, che non passarono mai inosservate come ricorda il primo manager, Andrew Loog Oldham, che la prima volta che li vide ad un provino alla BBC disse: ”La band è ok, basta togliere quel cantante con i labbroni”. Quel logo (l’originale di Pasche è stato di recente acquistato dal Victoria & Albert Museum come esempio di design britannico) fu ristilizzato da Craig Braun e messo sul retro del nuovo disco degli Stones, che esce nell’Aprile del 1971. Quel disco aveva la leggendaria copertina che vedete sopra: Jagger chiese più volte a Andy Warhol di creare una copertina per un disco dei Rolling Stones, Warhol pensò di aggiungere una vera zip, che si apriva e si chiudeva sul jeans piuttosto pieno che fotografò, leggenda vuole indossato da uno dei suoi attori della Factory, Joe Dallesandro, il quale è citato anche da Lou Reed nella mitica Walk On The Wild Side. Sticky Fingers (che è un gioco di parole interessante che vuol dire sia dita appiccicose che cleptomania) è uno dei più grandi dischi della Storia del Rock. Gli Stones nei 10 brani di questo capolavoro tornano ad un suono basico, meraviglioso e irriverente, e scrivono un disco dove si celebra senza nessuna paura la triade sex, drug & rock’n’roll. La formazione è quella che iniziò a lavorare all’altrettanto storico Let It Bleed, con i Glimmer Twins Mick Jagger e Keith Richards, Bill Wyman al basso, Charlie Watts alla batteria a dettare il tempo e la chitarra solista di Mick Taylor, che diventerà una delle chitarre più imitate nel mondo, ma che non ha mai avuto i riconoscimenti dovuti. Completano il gruppo i fidati sessionisti: il sax di Bobby Keys, Nicky Hopkins, Ian Stewart e Jack Nitzsche al piano, gli archi di Paul Buckmaster, Ry Cooder alla slide in una delle canzoni mito di questo disco, Jimmy MIller alla produzione e i fratelli Andy e Glyn Johns all’ingegneria sonora. Qualsiasi disco che inizia con il riff micidiale di Brown Sugar sarebbe passato alla storia: scritta da Jagger durante le riprese in Australia per Ned Kelly, registrata ai Muscles Shoals Studios in Alabama nel 1969, è uno dei suoi apici allusivi, dato che brown sugar (letteralmente significa zucchero di canna) è uno slang per un tipo di eroina ma anche, metaforicamente, di una avvenente ragazza nera (la cantante delle Ikette Claudia Lennear ha sempre dichiarato che Jagger la scrisse per lei) ; se ci aggiungiamo i riferimenti allo schiavismo, al sesso sadomaso, al sesso orale (Come puoi essere così buona? canta l’irriverente Mick) e non solo, si capisce perchè gli Stones abbiano deciso di non cantarla nella iperpuritana America del XXI secolo dal vivo. Il disco continua con la magnificenza di Sway, scritta da Richards per le abilità di Taylor alla chitarra solista, che qui regala uno dei suoi assoli più belli, ha un finale con gli archi di Buckmaster (che in quei periodi lavorava con Elton John), con il testo che lo accompagna così: One day I woke up to find\Right in the bed next to mine\Someone that broke me up with a corner of her smile, yeah\It's just that demon life has got me in its sway. Poi la loro più bella ballata: Wild Horses, ispirata alla dipendenza dalla droga della sua amante Marianne Faithfull, è una delle canzoni del rock, tutta acustica e dolente, e fu anch’essa registrata in Alabama a fine 1969 e ai giorni di coma, dopo un’overdose, fu scritta anche Sister Morphine, con parti di testo della stessa Faithfull, in un altro dei capolavori del disco, dolorosa e potente, con la chitarra slide di Cooder a ricamare dolenti riff in una canzone sensazionale. Il disco è un portento in ogni traccia: Can’t You Hear Me Knocking doveva essere un hard blues di 2 minuti, ma durante le registrazioni Taylor iniziò a improvvisare, tutti gli altri gli andarono dietro e finirono in una jam session che sa di jazz rock indimenticabile di 7 minuti. You Gotta Move è un spirituaI afro-americano di  Fred McDowell, conosciuto anche come Mississippi Fred e del Reverendo Gary Davis, Bitch fu il secondo singolo, I Got The Blues è uno dei loro capolavori, uno slow blues farcito di soul che spiega pienamente la classe della band in quei mesi. Il disco si chiude con due gioiellini: il country di Dead Flowers e la magia quasi orientale di Moonlight Mile, che sebbene accreditata a Jagger-Richards fu opera di Jagger e Taylor, in una atmosfera di fredda notte invernale, dove due persone si cercano: The sound of strangers sending nothing to my mind\Just another mad, mad day on the road\I am just living to be lying by your side\But I'm just about a moonlight mile on down the road. Il disco va in testa alle classifiche in tutto il mondo, nonostante la copertina venisse criticata e addirittura censurata in Spagna, dove fu creata una sinistra copertina con delle dita femminile che uscivano da un barattolo di latta. La copertina di per sé fu un tormento per i discografici: la vera zip che tra l’altro aperta mostrava delle mutande bianche, finiva per rigare il retro delle copertine impilate, ed era molto costosa da produrre: la prima serie con la vera zip vale centinaia di euro oggi sebbene il disco abbia venduto milioni di copie in oltre 50 anni di carriera. Voglio ricordare che Pasche fu pagato 50 sterline per il primo logo, a cui ne vennero aggiunte 200 nel 1972 quando fu rifinito da Braun. Da allora è il simbolo della più grandiosa storia rock, portando ovunque quel suono leggendario che un cantante con i labbroni e i suoi amici erano in grado di fare.

[sciencespies]

Venus flyby reveals low-frequency radio signal detected in the planet's atmosphere

https://sciencespies.com/space/venus-flyby-reveals-low-frequency-radio-signal-detected-in-the-planets-atmosphere/

Venus flyby reveals low-frequency radio signal detected in the planet's atmosphere

During a close flyby of the planet Venus in July 2020, NASA’s Parker Solar Probe detected something odd.

As it dipped just 833 kilometers (517 miles) above the Venusian surface, the probe’s instruments recorded a low-frequency radio signal – a telltale sign that Parker had skimmed through the ionosphere, a layer of the planet’s upper atmosphere.

This was the first time an instrument had been able to record direct in situ measurements of Venus’ upper atmosphere in nearly three decades, and the data recorded gives us a new understanding of how Venus changes in response to cyclic changes in the Sun.

“I was just so excited to have new data from Venus,” said astronomer Glyn Collinson of NASA’s Goddard Space Flight Center.

Venus is a fascinating world to us here on Earth. It’s so similar to our own planet in size and composition, but so crucially different: a toxic, scorching hot hell-world that is likely completely inhospitable to life as we know it.

How the two planets could have developed into such radically different beasts is of deep interest to planetary scientists and astrobiologists searching for other habitable worlds out there in the Milky Way.

Yet missions to explore Venus have been relatively few. There’s not much point sending landers; they can’t survive the planet’s 462 degree Celsius (864 degree Fahrenheit) surface.

Sending orbiting probes is also considered problematic, due to the incredibly thick atmosphere of carbon dioxide and sulfuric acid rain clouds that make it hard to tell what’s happening on the surface.

For these reasons, Venus hasn’t been a popular target for dedicated missions in some time (Japan’s Akatsuki orbiter being the recent exception), and a lot of our recent data has come piecemeal, from instruments with other primary objectives, like the Parker Solar Probe.

As Parker conducts its mission to study the Sun in close detail, it’s been using Venus for gravity assist maneuvers – slingshotting around the planet to alter velocity and trajectory. It was on one of these gravity assist flybys that the probe’s instruments recorded a radio signal.

Collinson, who has worked on other planetary missions, noted an odd familiarity that he couldn’t quite place in the shape of the signal.

“Then the next day, I woke up,” he said. “And I thought, ‘Oh my god, I know what this is!'”

It was the same kind of signal recorded by the Galileo probe when it skimmed through the ionospheres of Jupiter’s moons – a layer of atmosphere, also seen on Earth and Mars, where solar radiation ionizes the atoms, resulting in a charged plasma that produces low-frequency radio emission.

Once the researchers realized what the signal was, they were able to use it to calculate the density of the Venusian ionosphere, and compare it to the last direct measurements taken, all the way back in 1992. Fascinatingly, the ionosphere was an order of magnitude thinner in the new measurements than it was in 1992.

The team believes that this has something to do with solar cycles. Every 11 years, the Sun’s poles swap places; south becomes north and north becomes south. It’s not clear what drives these cycles, but we do know that the poles switch when the magnetic field is at its weakest.

Because the Sun’s magnetic field controls its activity – such as sunspots (temporary regions of strong magnetic fields), solar flares, and coronal mass ejections (produced by magnetic field lines snapping and reconnecting) – this stage of the cycle manifests as a period of very minimal activity. It’s called the solar minimum.

Once the poles have switched, the magnetic field strengthens, and solar activity rises to a solar maximum before subsiding again for the next polar switch.

Measurements of Venus from Earth suggested that Venus’ ionosphere was changing in sync with the solar cycles, growing thicker at solar maximum and thinner at solar minimum. But without direct measurements, it was difficult to confirm.

Well, guess what? The 1992 measurement was taken at a time close to solar maximum; the 2020 measurement close to solar minimum. They were both consistent with the Earth-based measurements.

“When multiple missions are confirming the same result, one after the other, that gives you a lot of confidence that the thinning is real,” said astronomer Robin Ramstad of the University of Colorado, Boulder.

Exactly why the solar cycle has this effect on Venus’ ionosphere is unclear, but there are two leading theories.

The first is that the upper boundary of the ionosphere could be compressed to a lower altitude during solar minimum, which prevents atoms ionized on the day side from flowing to the night side, resulting in a thinner night side ionosphere. The second is that the ionosphere leaks into space at a faster rate during solar minimum.

Neither of these mechanisms could be ruled out by the Parker data, but the team hopes that future missions and observations might be able to clarify what’s going on. In turn, that could help us gain a better understanding of why Venus is the way it is, compared to Earth.

Maybe it’s about time for another Venus mission, eh?

The research has been published in Geophysical Research Letters.

Credit for top image: Venus during Parker’s July 2020 flyby. (NASA/Johns Hopkins APL/Naval Research Laboratory/Guillermo Stenborg and Brendan Gallagher)

#Space

[thedailylp]

REVIEW #1 - December 21, 2020

“Exile On Main Street” - The Rolling Stones - 1972

What’s up y’all!  HERE WE GO!  Even though these reviews are going to officially start in the NEW YEAR, I figured, let’s kick things off with a couple around the holidays.  And besides...we fucking love music.  So let’s get this party started. 

First, let me introduce myself.  My name is Mark.  I’m an L.A. based keyboardist by way of New Orleans, by way of Philly, by way of New Jersey by way of upstate NY....I know, my head hurts too.  But I promise, that’s as confusing as shit is going to get.  I promise.  I hope.  Ok, I promise.  I’ve been a touring musician for 15 years and in my travels I’ve met a lot of cool people and incredible musicians and music lovers.  One thing they all have in common?  They listen to a shitload of music...all the freaking time.  And love to talk about it.  Which is why I started this blog.  It’s mainly just an opportunity for me to share my thoughts about new and old music...some I know, some I just listened to.  And honestly, I don’t care if I have 1 follower or 1,000 followers.  I just want to share my love of music with whoever...wherever...whenever.  Or no one at all...I talk to myself quite a bit.  

Ok, so here goes!  I narrowed my first few reviews down to a couple of classics and ultimately chose “Exile On Main Street” by the Rolling Stones (1972) as my very first!!!  I think the main reason for this pick, is I just finished Keith Richards’ book and man...I freaking loved it.  What a gentle human being...and one hell of a songwriter and musician.  I’ve worked with musicians who hate the Stones because they say the music sounds too raw, unrehearsed, or they’re not great musicians...etc etc whatever...Mick Jagger can’t sing....you know...you’ve heard them all.  But dammit...all of those things are what give them them a certain charm.  The songs (ALL or MOST of their songs through the years) are brilliantly written and recorded.  And as a musician, I love raw and unrehearsed...after all, the best rehearsal is a gig.  

So let’s get to it.  

This was the Stones’ 10th studio album which began recording during the Sticky Fingers sessions in 1969 and continued in 1971 at their French Villa in Nellcote.  The band was living in France as British Tax Exiles having not paid taxes (which were extremely high) on their previous earnings.  The final touches of this record were put on a Sunset Sound in L.A. with Nicky Hopkins (piano), Bobby Keys (sax), Jimmy Miller (drums) and Jim Price (horns) joining the session.  

I confess, this is one album I hadn’t listened to that much as a Stones fan.  I had always been more into Let It Bleed and Sticky Fingers...but holy crap.  I was missing something really special.  The album kicks off with blues and boogie woogie tracks “Rocks Off”, “Rip This Joint” and “Shake Your Hips”.  Keith Richards plays most of the guitars and bass on the entire album although Bill Wyman makes an appearance on some of these blues tracks.  Although, I read somewhere that he was trying to distance himself from Keith and his drug addict antics, and so spent most of the months at his personal home in the French countryside and not in the recording studio.  

At the end of Side 1, we get the Stones classic “Tumblin’ Dice”.  A great tune in it’s own right, but honestly not one of my favorites.  Maybe because of how over-played it’s been.  Mick Taylor, who is the 2nd guitaist with the group during this era, plays bass on Tumblin’ Dice.  Man...Wyman was just not into it.

Side 2 has the ballad “Sweet Virginia” which I’ve played in bands before and man, it sounds so raw and REAL.  I freaking love it.  But again, those recording purists who need everything OVERPRODUCED are going to hate it.  Fuck em’.  It’s the shit.  Another highlight on Side 2 is of course “Loving Cup”.  I love Nicky Hopkins’ piano playing on this.  His playing with the Stones and later, Chuck Leavell was a huge influence on my career and playing.  For sure!  Can’t forget “Torn and Frayed” also...classic Stones.  That country, Americana vibe...with Mick Jagger’s Brit-Blues twang. 

OK OK...I’m long-winded...I’ll get right to it.  Side 3 get’s down and dirty with “Ventilator Blues”, “Turd on The Run” and “Happy”.  The Blues is the soul of the Rolling Stones and these tunes (not to mention the whole album) really capture that vibe.  Finally with Side 4, “Shine a Light” is my happy jam.  And the back-up singers (who are all over this record) are freaking incredible.  Produced by Jimmy Miller and engineered mostly by Glyn & Andy Johns, I can’t say enough about this record.  And having on;y listened to a handfull of times prior to now, man oh man...I was missing something really special.  

Ok...I’ll wrap this up...and yes, I promise to make reviews in the future much much shorter...I hope.  This album is a 10 out of 10 for me.  That’s right...it will be the first album reviewed and the first entry into my album Hall of Fame.  We’ll see where we go from here.  Pick it up on vinyl or listen to the Deluxe version on Spotify.  But if you like artist...buy their music...Spotify is great, but if you truly love something, please let the artist know by buying their music.  And yes, that includes super stars like The Stones.  I know they don’t need the money...but that isn’t the point.  They were once hoofin’ it in clubs and sharing an apartment in London with rats and one mattress to share.  Classic album...pick it up and keep on jamming y’all.  Happy Holidays and we’ll talk soon.!

THE DAILY LP 

“Exile On Main Street” - The Rolling Stones - 1972

10 out of 10 Stars

Allmusic Rating

5 out of 5 Stars

https://www.allmusic.com/album/exile-on-main-st-mw0000191639

[rockmusicassoc]

In The Rock 4/29/1965: The Who hit IBC studios with producer Shel Talmy and engineer Glyn Johns to record 3 tracks, including “Anyway, Anyhow, Anywhere”. Nicky Hopkins sat in on piano. #TheWho #ShelTalmy #RockHonorRoll

[theleaderdotinfo-blog]

Best Cars To Travel Europe In has been published at http://www.theleader.info/2018/01/16/best-cars-travel-europe/

New Post has been published on http://www.theleader.info/2018/01/16/best-cars-travel-europe/

Best Cars To Travel Europe In

Best Cars To Travel Europe In When you are planning a road trip in Europe, choosing the best car for your adventure can be challenging. Whilst you could leave it to chance and hope for the best that your chosen car doesn’t let you down when travelling in Europe, chances are that you want to be as prepared as possible for a safe venture across Europe, which is why we have researched the best cars to travel Europe in and relayed what we found out below. Honda Accord If you want to travel Europe in ultimate comfort, the Honda Accord is an excellent choice! This midsize Honda is fully equipped with everything you would ever need for a road trip, including if you want to hop from place to place in Europe. In fact, the newest Honda Accord does a bit of everything. Not only is the brand new Honda Accord small enough that you won’t feel like you are driving something bunglesome on the tiny cobbled streets, but thanks to the advanced Honda sensing safety technologies, you can rest assured that you will have a safe journey every time you venture out of your comfort zone. Toyota Camry Hybrid If the Honda Accord doesn’t sound like a vehicle you would enjoy exploring the hidden gems of Europe in, the next best car to travel Europe in is the Toyota Camry Hybrid. We understand that it might seem a bit vanilla, but hear us out when we say that the classic Toyota Camry Hybrid delivers. With the Toyota Camry Hybrid, you can rest assured that you will have a fuss-free driving experience no matter where you travel in Europe. Complete with spacious leg room for a comfortable journey and room for up to three people, if not four, this vehicle is a great option. Even though the Toyota Camry Hybrid might not be the most exhilarating vehicle of all, rest assured it certainly won’t let you down! Chevrolet Impala Spacious, comfortable and quiet – what more could you want from a car when travelling Europe? We’re guessing not much more, which is why the Chevrolet Impala could be the perfect option for you. Equipped with a V-6 engine and a standard 4G Wi-Fi hot spot (yes, you read that right), you will have the ultimate experience travelling Europe via car. What’s more is that the impressive level of passenger safety and strong braking system is sure to keep your friends and family safe on the road, as well as roadside. Who knew car rides could be so fun and entertaining? Subaru Outback If no vehicle has taken your fancy just yet, why not consider the Subaru Outback for a European adventure of a lifetime? Roomy and highly functional, the Subaru Outback is the perfect option for those who want to embark on a short journey across Europe or a prolonged stay alike. What’s more is that the controls are more than easy to use, including the touch-screen system, so you don’t have to worry about setting up a satnav every time you begin your journey. Moreover, with blind-spot warning actively available, you can rest assured that your journey across Europe, whether it is along the Normandy coast in France or countryside cruising in Greece partaking in the Athens to Olympia road trip, will be as safe as possible. When it comes to deciding what car to travel Europe in, there are numerous factors you should take into consideration to ensure a smooth ride, from comfort to safety. Nevertheless, you can rest assured that either the Honda Accord, Toyota Camry Hybrid, Chevrolet Impala or Subaru Outback will have you covered in the most treacherous and beautiful weather you may face during your journey across Europe. Happy travelling!

[ksstradio]

Hopkins County Records - Aug 6, 2021

Hopkins County Records – Aug 6, 2021

Land Deed Transactions Records at Hopkins County Clerk’s Office Austin Dyer and Michael Dyer to Annette Murillo and Sinoe Murillo Virgen Edder; tract in the John Norris survey.Janet Kay Jetton, Ricky Glyn Jetton and Lynnette Lee Bell to Mark Hill; tract in the Jose Y’Barbo survey.Peter Boekhorst and Tallie Boekhorst to Donald Ray McElhaney Jr. and Rhonda McElhaney; tract in the Justo Tarvieso…

[rollingstonesdata]

A BIT OF HISTORY: 'JAMMING WITH EDWARD'

A BIT OF HISTORY: ‘JAMMING WITH EDWARD’

“Budget” album released on Rolling Stones Records on Jan. 7 1972 (also called: NICKY HOPKINS, RY COODER, MICK JAGGER, BILL WYMAN, CHARLIE WATTS—JAMMING WITH EDWARD) featuring a jam session produced by Glyn Johns at Olympic Studios, London, with all of the above musicians. Keith didn’t show up one night during the 1969 LET IT BLEED sessions, rumoured to be due to his feud with Ry Cooder, but…