#THE YARDBIRDS band

[pinkragdolly]

🎸⚡️🪽

[ludmilachaibemachado]

The Yardbirds🎸🥁

Via @isabelfutre on Instagram🎸

[asurrogateblog]

you just know architecture au roger waters would still be spending his free time micromanaging the shit out of a local community theater

[krispyweiss]

Longtime Beach Boys and Brian Wilson Band Member Jeffrey Foskett Dies at 67

- “Jeff was one of the most talented guys I ever knew,” Wilson says

Jeffrey Foskett, who spent decades singing falsetto and playing guitar for the Beach Boys and the Brian Wilson Band, died Dec. 12, a “heartbroken” Wilson said.

Foskett was 67 and had been battling cancer.

“Jeff was always there for me when we toured and we couldn’t have done it without him,” Wilson said in a statement.

“Jeff was one of the most talented guys I ever knew. He was a great musical leader and guitarist and he could sing like an angel. … We will remember him forever.”

Foskett, who first joined the Beach Boys in 1981, is credited with persuading Wilson to complete Smile, which was released in 2004, and was instrumental in helping the composer recreate Pet Sounds on stage. He was a member of the Beach Boys’ 50th-anniversary touring band in 2012 and sang on every cut of that year’s That’s Why God Made the Radio.

“Jeff always kept in touch with us, no matter which Beach Boys hat he was wearing,” Al Jardine said in a statement.

“He was so talented on so many different levels but it was his wonderful sense of humor that kept him balanced and helped him navigate all the hard knocks you get in the music business. … Rest in peace, Jeff, and thanks for always making us smile.”

Bun E. Carlos echoed Jardine, calling Foskett “one of the nicest guys in the music biz.”

“What a great guy,” the former Cheap Trick drummer said.

Foskett, who also recorded a string of solo albums and worked with Paul McCartney, Heart, Eric Clapton, Jimmy Page, Jeff Beck and Ringo Starr among others, most recently toured with America, who mourned their “longtime friend and musical peer” on social media.

“May Jeffrey Foskett rest in peace and love,” Todd Rundgren’s Spirit of Harmony Foundation said.

12/12/23

[k-i-l-l-e-r-b-e-e-6-9]

[thegroovywitch]

The Yardbirds in Singapore, January 1967.

[ghost-facess]

keith relf and his tiny, slutty waist

[cannedbluesblog]

The Yardbirds

[dadrockconfessions]

[classicrockbandtournament]

Remember, the 2 most voted bands in each group will go straight to round 2. Happy voting! :D

[stone-cold-groove]

Most top rock n’ roll bands use Slingerland - the foremost in drums.

[ludmilachaibemachado]

Yardbirds 6-66 through 10-66, group shot, Beck & Page era🇬🇧🎸

Via @isabelfutre on Instagram🇬🇧

[okcomputeroknotok19972017]

BOX OF FROGS blinkies for @invioletlight!

[kwaggysshardmindemporium]

So apparently I haven't done any albumposting since the Missy Elliott one so big block incoming strap the fuck in we goin' faaaaast.

Rattlesnakes by Lloyd Cole and the Commotions. This album was pretty forgettable overall. "Are You Ready to be Heartbroken?" was nice enough. Also it makes the twee song "Lloyd, I'm Ready to be Heartbroken" make just so god damn much more sense now. 3/5

Roger the Engineer by The Yardbirds. So forgettable I did, in fact, forget every last note I heard. Does this album actually exist? You tell me! My brain certainly can't confirm! 3/5

To Pimp a Butterfly by Kendrick Lamar. Liked it well enough, didn't love it. Favorite track was "The Blacker the Berry." 4/5

Mama Said Knock You Out by LL Cool J. The title track is the best thing on here and is the only track I remember at all, and that doesn't inspire much because the title track is just pretty good. 3/5

Surfer Rosa by The Pixies. Okay so if there's one thing that listening to all these albums has taught me, one core thing you can take with you and remember, it's that The Pixies kick fucking ass seriously this is the worst album of theirs I've listened to and it's still better than a majority of what else I've heard. 4/5, listen to Bossa Nova first, then Dolittle, THEN this one is the order I'd give for what I've heard.

Chelsea Girl by Nico. This woman's voice is absolutely beautiful, but she just isn't working with good lyrics to sing. 3/5

Honky Tonk Masquerade by Joe Ely. This is one of those albums that if it had found me at a different time in my life I would have loved it forever. As is, eh it's fine I guess. 3/5, best track is "Boxcars."

Autobahn by Kraftwerk. This is the best Kraftwerk album I've heard, which means purely that I didn't despise it I understand that these guys were talented, important and influential but I just flatly hate most of what they made even as I respect that they were game changers who laid the groundwork for basically all music that came after. It was some nice enough background music for my day. 3/5, but like you legit should listen because knowing where the things you like came from is good.

Next by The Sensational Alex Harvey Band. The name of the album is "Next" I'm not just saying this band is next up. So uh this album fucks. Literally this album is horny. I loved it. "Gang Bang" is a song I didn't know I needed in my life but is now precious to me. It has kind of the vibe of AC/DC's "Big Balls" if it dropped the tee-hee talking entirely in euphemism tone and instead was just directly about exactly what you think it's about. And I know this album came out not far from the free love hippy era, but it's still kinda crazy to hear something so sex positive and unashamed from before I was born. 5/5

Gentlemen by The Afghan Wigs. This album is boring. I have literally nothing to say about it. 3/5, moving on.

Millions Now Living Will Never Die by Tortoise. Now, this is why we don't judge books by their covers. I saw the super artsy pretentious sounding name. I saw the album saying it was 6 songs and 43 minutes meaning the songs are too god damn long. I saw the first song alone is 20+ minutes. I was super ready to write this off as something music critics like, but no this was fun as hell to listen. The blurb the artist has on Spotify says this is indie rock and for that they are dirty liars. This absolutely isn't rock. It is, however, and absolute fucking *journey.* You should absolutely listen to this. 4/5

Let's Get Killed by David Holmes. It sucks. I will say Dave, we should do that, because then I wouldn't have to listen to more of this. 2/5

Scream, Dracula, Scream by Rocket From the Crypt. This was a lot of fun. It's like somewhere between grunge and heavy metal. And as someone who likes both of those things, I enjoyed this. Two great tastes that taste great together. 4/5

And finally, album #700! Woooooooo. MTV Unplugged in New York by Nirvana. This is one of the big ones. It is just barely not in the top 10 on the website I generate these from. (#11.) There are less than 1% of all 1001 albums that people on average like better, including multiple Beatles, Bowie and Floyd albums. It truly sits among the elite. Is it actually that good...? Yeah no shit it's that good have you heard it? It's great. Nirvana is one of the all time greatest bands, and this album has some of the all time greatest versions of their songs plus some amazing covers. If you haven't heard anything from this album before, first let me welcome you oh successful time traveller from the past even my ass has heard a bunch of these already, and then go listen to it it's fucking great. Obviously 5/5

[thegroovywitch]

THE YARDBIRDS: 1967 INTERVIEW

Friday, 20 January 1967. An interview with all four members of the band is published in Psychedelic Honi Soit, the University of Sydney Student Representative Council magazine, dated The Ides of March, 1967. This obviously took place before the band had a chance to rehearse at the Sydney Stadium, perhaps on the afternoon of Friday 20 January or the following day.

MUSICAL PSYCHEDELICATESSEN: THE YARDBIRDS

(David Dale Interviews)

D.D.: How do you regard your stage performances? Is it worth trying to do a good stage act when it will probably be drowned by screaming?

Jimmy [Page]: As long as they're enjoying it .....

Keith [Relf]: We still always try to maintain the same quality. We won't sort of not bother to play properly because the kids are screaming and jumping all over the place. We still try to play our best.

D.D.: Would you prefer an audience that sat and listened quietly, to a screaming audience?

Jimmy: No, it's best to have all the different types of audiences. Otherwise you can become bored.

Keith: We'll enjoy a university audience who sits there, and, as you say, listens to every note, and clap at the end, but we'll also, the next day, enjoy an audience that's screaming.

Jimmy: It just depends how much screaming there really is - if the whole act is obliterated it's not too good, but we'd like a variety of audience reactions.

D.D.: Do you think that it is impossible to reproduce the same sound on stage as on record?

Jimmy: No. Come along and see.

Keith: Although with your stadium we don't know. It depends a lot on the acoustics of the hall.

Jimmy: We found in America with the younger kids, the most important thing for them is to hear the group play the songs as the record sounds. And they've come up to us and said, "You're the first group we've heard who sound just like your records. They've listened to things like "Over, Under, Sideways Down" and they sound so different to them from what the normal group attempts that I suppose it pleases them to hear us perform them the same as on record.

Jim [McCarty]: How about the people sitting behind the group at this stadium of yours?

D.D.: There's a revolving stage. The stage is the size of a boxing ring.

Jim: Perhaps we ought to have a fight on stage.

Chris [Dreja]: Good visual effect.

Keith: Perhaps we ought to phone up Jeff for that.

D.D.: On stage do you perform only songs you have recorded?

Jimmy: No - we do a lot of other things. With I'm a Man we make It much longer than any of the recorded versions, and much different.

Keith: It starts off like the single version but then It develops into a load of different styles - a semi-classical part, er ...

Jimmy: Indian part, Arabic part.

Jim: They've asked us to do all our singles here, so I don't think we'll have much time for anything else. We play for about thirty, thirty-five minutes.

Keith: If we're playing a concert at a university where we can do a one-hour spot we go to town with the wilder stuff - some blues. We prefer not to play the hits to college students.

Jim: What was our last hit out here?

D.D.: "Over, Under, Sideways Down."

Jim: Where'd that get to?

D.D.: About number six in the Sydney charts. But I want to ask you about the single you released after that call "Happenings Ten Years' Time Ago."

Keith: It was an experiment that didn't come off.

Jimmy: It was supposed to be released in anywhere but America. It was a mistake - the typical commercial dealings of record companies. As soon as they get a tape they release it everywhere without consulting the group.

Jim: We had very little time to record it. We decided the American market could have it.

D.D.: How did it sell in America?

Jimmy: It sold very well.

D.D.: But not in England?

Keith: Well, we weren't there to promote it, you see. We haven't been in England now - apart from a couple of days here and there just to get home - for about four months.

D.D.: Is that because you think the English pop scene is dying?

Keith: That's right.

D.D.: Can you get work there?

Jim: Oh, yeah. We'll be working when we get back from this tour. Good money, too.

Keith: We would just rather play the world market.

Jimmy: All these groups slogging it to death in England and killing themselves in the long run, because they're making it go over saturation point. They can come to places like this where the pop field is not so over-saturated.

D.D.: What's the situation with record sales?

Keith: In England, to sell a record you must do the TV shows and plug it all the time.

Jimmy: You've got to realise that in England's such a small place with so many groups there's no glory left to anyone except the Beatles. People don't go out and buy a record because of the artist's name - they buy it if they like it. They must hear it before they like it, obviously. If you're not in the country they won't play your records, because you've got to push them all the time. The Stones won't sell on their names any more.

D.D.: Do you intend to write all your own material in the future?

Jim: We'll take offers from other writers if they're good and if we can't do any better ourselves.

D.D.: Don't you think your own material let you down in the case of "Happenings Ten Years' Time Ago"?

Jimmy: Well, it was done in such a rush. It was recorded in virtually a day.

Keith: Written and recorded, I might add.

Jimmy: Yeah, written and recorded in a day - made up in the studio. We weren't really satisfied with it but our manager had it released.

Keith: We're not making any excuses - shouldn't have been released in that state.

Jim: Why don't you think it made it in Australia?

D.D.: No air-play.

Jim: Aaah.

Jimmy: It was a strange sort of number. You had to hear it a few times to realise what we were doing. There's so much going on on that record.

Jim: It was labelled a psychedelic record, which I think people might have associated with drugs and refused to play it.

Keith: It got lots of air-play in Hollywood and was number one over there.

Jimmy: I think when record players review a record, they put it on once and then throw it away. You could hear "Happenings" the first time and not like it.

The group's road manager (?) arrived at this point.

Jim: Ay ay.

Road Manager: Oh, ho, I got drunk last night.

Keith: Last night? I went to bed at four in the afternoon and didn't get up till eight this morning.

R.M.: You're joking.

Keith: No.

R.M.: Right. Well .....

He then muttered unintelligibly and disappeared.