Copyright ©1972 and 2008 by John Van Hamersveld - All rights reserved.Subject: Exile on Main Street, a 1972 release (on Atlantic Records) by The Rolling Stones, with cover artwork & design by John Van Hamersveld

When the Rolling Stones released Exile on Main Street in 1972 - a double album of songs representing the many different genres of music that shaped Stones music at the time - fans and critics found themselves having to spend a lot of time trying to “get it”. It required a number of listens to gain an appreciation of what, on the surface, often seemed to be a collection of studio out-takes and Richards/Taylor/Watts jams than a freshly-recorded musical offering.

Many critics of the era failed to appreciate the Stones’ explorations of R&B, Soul, Country and roots Rock that were spread over the 4 album sides. In fact, the record was comprised of a series of recordings done during the previous four years and, as such, they featured a variety of mixes (some better than others) and showed the band building on top of these influences in their own inimitable style to the point that, now over 35 years later, the package is considered by many to be the band’s most-authentic offering. It is always listed near the top of most of the “Best Of” and “Greatest” lists (#7 on the Rolling Stone Magazine 2003 list of the “500 Greatest Albums of All Time”, #22 on VH-1’s survey, and even impressed the younger generation enough to be ranked #11 on Pitchfork’s 2003 list of Best Albums of the 1970s).

In a similar fashion, when the buying public took their first look at the design and imagery of the sprawling record cover, most people admitted that they didn’t “get it”. Having just soaked in Warhol’s ultimately-iconic banana cover for Sticky Fingers, fans should have been ready for anything, but John Van Hamersveld’s designs seemed to confound them, asking them to digest a rough, anti-establishment, punk-before-there-was-punk collage of images that may have, initially, combined with the unfamiliar musical stylings to impact sales (don’t worry, as the record was supported by the now-famous 1972 American concert tour and songs such as “Happy” and “Tumbling Dice” got some significant radio play, the record went on to top the charts in the U.S. and the U.K.).

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Just like how I enjoy discovering all kinds of amazing bands that seem to be releatively unknown to most, it is fun to comb through rock and roll history and re-discover those acts who never seemed to get their due. One such act was the Small Faces and I have only really just started to delve into their amazing catalog of rock and roll fun. Aversion has discovered a great vintage clip of the Small Faces performing What’cha Gonna Do About It in black and white which I think is rock and roll and its most basic, and most fun. You decide.

Later.

Mark

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Copyright ©1979 and 2008 by Catherine Kanner - All rights reserved.

Subject: Slow Train Coming, a 1979 release (on Columbia Records) by Bob Dylan, with cover artwork & design by Catherine Kanner

So, depending on whether you’re convinced that his born-again Christianity was just another example of Bob Dylan’s constant need for change to provide him with new-found (and, according to critics, badly-needed) inspiration, or whether his late-70’s conversion and eschewing of all things (and songs) secular was for real, his record titled Slow Train Coming certainly both brought him new fans in the Christian Music genre and served to confound and perturb his fans and the many music critics who, quite vocally, “loved the music, hated the words”.

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Copyright ©1968, 1972 and 2008 by Philip Travers - All rights reserved.

Subject: In Search of the Lost Chord, a 1968 release (on Deram Records) by The Moody Blues, with cover artwork & design by Philip Travers

After the success of their Days of Future Passed record (featuring the memorable cover artwork by artist David Anstey) in which the band began the transformation from its original, Denny Laine-led pop songcrafting (“Go Now”) to writers of early symphonic rock masterworks such as “Forever (Tuesday) Afternoon” and “Nights in White Satin” – delivered in Decca/Deram Records’ new “Deramic Stereo Sound” – the release of 1968’s In Search of the Lost Chord delivered to fans of the band a record showcasing their new, more experimental and psychedelic leanings.

Mike Pinder’s Mellotron replaced much of the full orchestra from the previous record, and the rest of the band added the popular “psychedelic” instrumentation of the day – sitar and other stringed instruments, flutes, harpsichord, etc. – to fill out the sound and make it more possible to recreate the music in live performances. Pinder also continued introducing listeners to Graeme Edge’s wonderful poems, his readings of which set the mood for the complex and beautiful music and lyrics that would follow (although we do get to hear Edge’s own voice and maniacal laughter during his recitation of the album opener “Departure”).

Songs on this record included fan favorites such as the rocking “Ride My See Saw”, “Legend of a Mind” (a Ray Thomas trippy tribute to Timothy Leary), “Voices in the Sky”, “The Actor” and ending with “the lost chord” itself - “Om” (which went along with the tantric graphics found inside the record’s gatefold cover).

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I haven’t done a classic Odds and Sods post in awhile so I have a bunch of cool things for you to check out.

The first is video of Bob Dylan at the Newport Folk Festival in 1965 when he goes electric. He’s performing “Maggies Farm” in this historic video that is one of the most significant events in rock histroy. Regardless of whether you like Dylan or not you should watch this just to get a sense of what the man is about.

Regardless of what you think about the Hard Rock chain of restaurants and hotels/casinos, the company does own an incredible selection of rock and roll memorabilia but it would cost you a fortune to travel to every location to see it. Luckily they have put together a very cool website where you can check this stuff out from the comfort of your own home. Called the slightly unimaginative Hard Rock Memorabilia Site and located at http://memorabilia.hardrock.com/ you can check out their incredible collection. Unfortunately, you have to install the new Microsoft web software Silverlight to view the site so it’s your call whether you want to go that far or not. Still, a pretty impressive website for the rock hsitory buff.

Steele In Music has a very cool collection of video highlights of some great 80’s Metal Moments in their Sweet 16: Best 80’s Hair Metal Bands that I really enjoyed watching. Featuring everybody from Van Halen and Motley Crue at the US Festival to stunning video of the late, great Randy Rhoads, If you liked hair bands and 80’s metal you will be astounded at some of this stuff. Videos 16 to 9 can be found at http://steeleinmusic.uber.com/metalhair1 and videos 8 to 1 can be found at http://steeleinmusic.uber.com/metalhair2. Very cool stuff.

Speaking of 80’s hair metal bands, a gaggle of them will be performing at this year’s Rocklahoma 2008. A reunited Triumph joins bands like Cinderella, LA Guns, Enuff Z Nuff, Tesla, Night Ranger, Kingdom Come, Warrant, Lynch Mob and more. Man I think I would like to go just to see what the 80s metal babes look like 20 years on!

Finally, Rolling Stone Magazine has an interesting piece on how Walmart wants to pressur the major record labels in allowing them to sell CDs for less than 10 bucks. The piece is called Walmart Wants $10 CDs and describes how the American retail behemoth is treating the major record labels much like it does the rest of its suppliers by demanding price concessions from them to to the fact that they move so much product in their stores. Check out this breakdown of where the money goes on a $15.99 major label CD:

$0.17 Musicians’ unions
$0.80 Packaging/manufacturing
$0.82 Publishing royalties
$0.80 Retail profit
$0.90 Distribution
$1.60 Artists’ royalties
$1.70 Label profit
$2.40 Marketing/promotion
$2.91 Label overhead
$3.89 Retail overhead

An interesting read.

Well that’s it for this edition of Odds and Sods! Talk to you all later.

Mark

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Blossom Toes - We Are Ever So Clean
Blossom Toes - If Only For A Moment
Sunbeam

Thanks to the fine folks at Sunbeam two rare, much-overlooked psychedelic treasures are once again available for all to enjoy. To be sure, Blossom Toes is a band you will never hear too much about, but after listening to these two albums you will wonder why the band’s name isn’t on everyone’s lips. The band has the distinction of putting out a psychedelic album as good as anything The Beatles, Small Faces or The Kinks had done, and then follow it up with an album so heavy Black Sabbath and Led Zeppelin could have stolen ideas from it (and probably did).

Unfortunately, the band put out their whimsical, slightly-twee psych-rock album when there was a glut of like-minded music flooding the market and put out their heavier record before the taste of the public had moved towards heavier rock music. Much revered by fans of late ’60’s psych, these two Blossom Toes albums have been much sought after for years by collectors and music zealots who swear Blossom Toes were putting out some of the best music of the ’60’s.

Take a few listens and find out for yourself how right they were!

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Copyright ©1968 and 2008 by Lee Conklin - All rights reserved.

Subject: Santana, a 1969 release (on Columbia Records) by Santana, with cover art & design by Lee Conklin

The cover of Santana’s debut record was adapted (at Santana’s request) from a poster design originally done for a concert performance at Bill Graham’s legendary San Francisco venue, the Fillmore West. This iconic image done in pen and ink was certainly one of the best examples of early psychedelic art.

Both guitarist Carlos Santana and artist/illustrator Lee Conklin hit their stride in San Francisco’s mid-60’s cultural scene, with Santana finding a wide variety of music being played in the clubs (Tito Puente’s salsa, folk, Gabor Szabo’s jazz and in 1966, a concert by the great blues guitarist B.B. King at the Fillmore West that would greatly influence the development of his own personal style) and Lee Conklin meeting a number of aspiring artists – Victor Moscoso, Alton Kelley, Stanley Mouse, and many others – who were producing the promotional posters and related graphics for events at the Fillmore and at Family Dog’s Avalon Ballroom and other venues.

Soon after his B.B. King-inspired epiphany, Santana formed The Santana Blues Band (later shortening it to simply “Santana”) and the band made its debut at the Fillmore in June, 1968 (playing a 4-nite stand that was released in 1997 by Columbia/Legacy in a set titled Live at the Fillmore 1968). Santana impressed Bill Graham so much that the band became a regular act at the Fillmore, packing the auditorium regularly.

And then came the Summer of Love, Woodstock, and the band’s legendary performance there on 8/15/69…

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Copyright ©1967 and 2008 by Karl Ferris - All rights reserved.

Subject: Are You Experienced?, a 1967 release (on Reprise Records) by the Jimi Hendrix Experience, with cover photo & design by Karl Ferris

Considered by many music fans and critics as one of the (if not THE) greatest debut record from a rock-era artist, Are You Experienced (with or without the ?) also illustrated how records were produced, packaged and tailored for distribution to the world’s music marketplaces. Released in the U.K. in May, 1967, the record was a compilation of the fantastic music and performances that had been wowing crowds in London theaters up to that point. Those crowds included most of members of the leading musical acts of the time - including The Beatles, The Rolling Stones, The Animals, The Hollies, The Who (and many others) – who’d all come to watch and listen in stunned amazement to the trio’s musical magic.

In the 40+ years (yes, that long ago!) since its release, the record’s influence on both the musicians who’ve striven “to play guitar like Hendrix” and those who create “Best Of” lists continues, with EVERY top guitarist today confirming Hendrix’s influence on their playing and the record’s positions on Rolling Stone magazine’s “500 Greatest Albums of All Time” (#15) in 2003 (following up its #5 ranking in 1987’s “Best Albums of the Last 20 Years” and #5 on a similarly-titled list published in 2001 by cable net VH-1. It is now also a national treasure in that it has also been selected to be permanently preserved by the Library of Congress’s National Recording Registry and archive.

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Copyright 2001 and 2008 by Nitin Vadukul Photography - All rights reserved.

Subject – Down to Earth, a 2001 record released by Ozzy Osbourne on Epic Records, with cover/insert images by Nitin Vadukul

Metal fans waited impatiently for 6 years for a follow-up to Ozzy Osbourne’s 1995 hit album Ozzmosis, being rewarded in late 2001 with a new studio recording titled Down To Earth.

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Copyright 1993-2005 and 2006, Robert Minkin and Minkin Designs - All rights reserved.

Subject – Dick’s Picks, a series of CD releases by The Grateful Dead on Grateful Dead Records, with cover images by Robert Minkin

In these days of declining record sales, many people who report on the music business wonder aloud how it is that musicians are supposed to be able to survive (and, even, make a good living) without selling millions of CDs or digital downloads. Throughout the short history of Rock and Roll music, there have been a few great examples of musical acts that have connected with their fan bases in such as deep way that they have been able to build and support their careers (and their families) on the sales of the wide range of related enterprises, with touring being the most obvious (and, done right, a very profitable) method.

The consummate touring band, The Grateful Dead is a great example of such an act. For 30 years, from 1965 to 1995, the band played almost constantly, traveling throughout the U.S. and Canada, as well as Europe and, in 1978, in Giza, Egypt, near the Great Pyramids. All during this time, the band lived in an open marriage with its fans, allowing them to record and share their music and, in some cases, providing the throngs of Deadheads who traveled with them from show to show with the necessities of life (free food, shelter, first aid and, quite often, music).

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Track List

1. Death On Two Legs (Dedicated To…) (Mercury)

2. Lazing On A Sunday Afternoon (Mercury)

3. I’m In Love with My Car (Taylor)

4. You’re My Best Friend (Deacon)

5. ‘39 (May)

6. Sweet Lady (May)

7. Seaside Rendezvous (Mercury)

8. The Prophet’s Song (May)

9. Love Of My Life (Mercury)

10. Good Company (May)

11. Bohemian Rhapsody (Mercury)

12. God Save The Queen (Arranged by Brian May)

Released December, 1975 on Electra Records

Produced by Roy Thomas Baker and Queen

Band members: Brian May-guitars, harp, ukelele Roger Taylor-percussion, vocals

John Deacon- bass, double bass, electric piano Freddie Mercury-piano, vocals

Recorded at six different studios, “A Night At The Opera” was one of the most expensive albums ever made. The liner notes proudly proclaim “No Synthesizers!”, and it’s true, though hard to tell by just listening to it. Queen were the masters of multi-layered sound, from the guitars to the vocals. All four members wrote songs for the album, and they all had a hand in producing it, creating a wide variety of sounds for one album. “Bohemian Rhapsody” is probably the best known song, and has the distinction of being a number one single two different times. The song was written entirely by Freddie Mercury on piano, and the other band members then recorded their parts on their respective instruments.

One of the most original rock bands ever, Queen has continued to record after a long hiatus following the death of Freddie Mercury in 1991. Their new singer is Paul Rodgers, who formerly sang with Free, Bad Company, and The Firm.

By Rebecca

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Subject – Follow the Leader, a 1988 release by Eric B. & Rakim on Uni/MCA records, with cover image by Drew Carolan

For a guy who thinks that he has a fairly open mind when it comes to music appreciation and thinks that he’s kept abreast of most major musical revolutions of the past 40 years, I must honestly say that I missed the beginnings of organized rap & hip-hop. I do remember Deborah Harry’s rap on “Rapture”, and thought that that was kinda cool, but I entered the rap world only after being exposed to Ice-T’s Body Count. As a music fan with hard rock/heavy metal leanings, I heard that album, was thoroughly impressed, and then wanted to know more.

Copyright 1988 and 2007 – Drew Carolan Photography – www.drewcarolan.com

In my quest for knowledge, I consulted a friend and co-worker at the time who had been involved in the late 80’s rap/hip-hop scene in NYC, which eventually led to the production/promotion world and his own label. He helped me understand who was who, who came first, who was popular, etc., but it may have been too little, too late (thanks, Rocky, for trying). However, when I started the gallery, it became clear that the imagery used to package and promote records in this genre was really compelling, with the talents and artistry of the photographers and illustrators well-represented in the major “world’s best record cover” lists. More than what was typically found in the rock and pop genres, these photographs and illustrations were a vital part of the artists’ image, with these images the keys to the record-buying public’s acceptance of an artist’s “street cred”. The better an artist’s credibility, the more likely it was that the lyrics represented a rapper’s actual life story, and the more that the public believed, the larger the artist’s loyal fan base would grow.

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A few weeks ago Doug Ford, the creator of the Drastic Plastic Program on CKUT 90.3 FM where I host Rock and Roll Report Radio was reminiscing what it was like creating the radio show in the pre-internet age where music, especially the more eclectic brand of rock and roll was very difficult to come by. For those of us who remember it well, collecting and writing about rock and roll was a whole different experience before things like MySpace came around. Searching out those tiny record stores that always had those cool 7 inch vinyl imports, scouring the used record bins, writing away for and collecting numerous poorly printed fanzines and buying magazines. Loads and loads of magazines from Rolling Stone to Circus to Hit Parader to the NME but most of all to Creem.

Creem magazine was a vital piece of rock and roll intelligence, a definite link to some of the coolest rock and roll, especially in the early to mid-seventies when the Creem stable of rock writers was unparalleled. But as with all things rock and roll, good things grow stale and whither for lack of funds, interest or just bad luck and Creem was no exception when it finally wound down in the late eighties amid massive debts and dwindling readership.

Recently, a former freelance photographer named Robert Matheu has released a retrospective book of the mag called Creem: America’s Only Rock ‘n Roll Magazine and it has raised quite a ruckus amongst old time staff members of the mag. Dave Marsh, who along with writers like Lester Bangs, Robert Christgau, Richard Meltzer and Greil Marcus were responsible for what some may term the glory years of Creem has been adamant in his criticism. In a recent article in The New York Observer Marsh complained that he has felt “like Trotsky being rubbed out of the photograph.”

The rub according to Marsh is that Matheu has almost completely downplayed the early years of the mag for the later, somewhat lackluster years when Creem seemed to have lost its way and he is not the only one who apparently things that.

“It’s not Creem as it really was,” Susan Whitall, a writer at the Detroit News who edited the magazine from 1977 until 1983, told The Observer. “I look at it and it’s like looking in a funhouse mirror, because I’m looking at something I was involved in, but it’s not quite right, it’s not quite in focus.”

“John Mellencamp?” she said with incredulity. “He’s in there. Come on! He’s so un- Creem. Also, Duran Duran? I mean, what?”

The whole story is a fascinating rock and roll soap opera, especially when you throw in an apparent physical altercation between Matheu and Creem founder Barry Kramer’s son J.J. Kramer during the recent launch party for the book. It all makes for fascinating, if somewhat sad reading as this once proudly degenerate rock institution goes through the spin cycle, but probably the most telling comment that describes the difference between the pioneering Creem of old with the later version is this by former senior editor Jaan Uhelszki: “It’s like two separate magazines. The later one is like proto-Spin.” Ouch!

Check out the links for all the grisly details.

Later.

Mark

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Track List

1. Surrender (Nielsen)

2. On Top Of The World (Nielsen)

3. California Man (Roy Wood)

4. High Roller (Nielsen, Petersson, Zander)

5. Auf Wiedersehen (Nielsen, Petersson)

6. Takin Me Back (Nielsen)

7. On The Radio (Nielsen)

8. Heaven Tonight (Nielsen, Petersson)

9. Stiff Competition (Nielsen)

10. How Are You? (Nielsen, Petersson)

11. Oh Claire (Carlos, Nielsen, Petersson, Zander)

Released January 1978 on Epic Records

Produced by Tom Werman

Band Members:
Bun E. Carlos-drums Rick Nielsen-guitars, vocals Tom Petersson-bass, vocals Robin Zander- guitar, vocals

Cheap Trick has always been difficult to catagorize. Are they alternative rock? Are they pop? Are they punk? Maybe a mixture of all three. One thing for sure-they have always been underrated. This is their third album, and their best. More pop than their first, harder than their second. Robin Zander’s remarkable voice is front and center, Rick Nielsen is all over the place, and Tom Petersson and Bun E. Carlos hold everything together. This is one of the best rythym sections in rock. Listen closely-Nielsen is one of the cleverest songwriters ever. The bands’ influences are clearly displayed on this album, and it’s easy to see why Cheap Trick became such an influence themselves.

By Rebecca

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Copyright 1994 and 2007 – Stephen Stickler Photography – www.stephenstickler.com

Subject - KoЯn – Korn, a 1994 release on Immortal/Epic Records, with cover photography by Stephen Stickler

With “grunge” music filling the airwaves and dominating music television, Bakersfield, California’s KoЯn was a band that stood out from everyone else in a number of different ways. They weren’t full of angst – they were an angry band of metalheads who had discovered hip-hop beats and had a lead singer that also played the bagpipes! After being discovered by an A&R exec while playing in a nightclub, they worked on their unique musical and lyrical stylings until late 1994, when they released their self-titled debut Korn on Immortal/Epic Records.

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Subject - Aimee Mann – The Forgotten Arm, a 2005 release on SuperEgo Records, with cover art direction by Aimee Mann & Gail Marowitz

Based on a story about the relationship between a small-time boxer who’s a Vietnam vet who returned with a LOT of emotional baggage and his small-town girlfriend - who both simply want to run away from their problems – singer/songwriter Aimee Mann’s concept album and her band take the listener on a cross-country musical tour that ends with our two young lovers breaking up, facing their demons and, ultimately, getting back together – well, sort of…

Aimee Mann’s career – from her beginnings in Virginia and Boston at the Berklee College of Music, to her musical travels through punk (The Young Snakes) to New Wave success (and an MTV Video Award for “Best New Artist”) in the mid-80s with ‘Til Tuesday (Voices Carry) and then finally as a well-regarded solo artist, independent label owner and an Academy Award nominated songwriter (in 1999, for music and songs written for the film Magnolia) – has also had its share of heavyweight successes and the sucker punches that only an independent-minded artist suffers in the music business, but in the end, she’s found true love (with singer Michael Penn, whom she married in 1997) and keeps delivering her music to her fans, her way.

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All images Copyright 2001 and 2007 – Maryanne Bilham Photography – www.maryannebilham.com

Subject - The Go-Gos God Bless The Go-Gos – a 2001 release on Beyond Records (Re-released in the U.S. in 2004 on Sony/Legacy/Eagle Records), with cover photography by Maryanne Bilham

Having released 3 albums in the early 1980s (including 1982’s huge Vacation, previously discussed in our 9/14 Cover Story) that coincided with the path that took them from bar band to opening act for the Police to superstardom on their own, the Go-Gos disintegrated within a year after releasing 1984’s Talk Show, and the members went their separate ways.

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Track List

1. Baba O’Riley

2. Bargain

3. Love Ain’t For Keeping

4. My Wife

5. The Song Is Over

6. Getting In Tune

7. Going Mobile

8. Behind Blue Eyes

9. Won’t Get Fooled Again

All songs written by Pete Townshend except “My Wife”-written by John Entwistle

Released July, 1971 by MCA Records

Produced by The Who and Glyn Johns

Band Members: Pete Townshend-guitar, piano, synthesizers, vocals John Entwistle-bass, piano, vocals Keith Moon-drums, percussion Roger Daltrey-vocals

If you have never sat down and listened to an entire album by The Who, this is the one to start with. “Who’s Next” is a work of tremendous power and beauty, mixing pure hard rock with dramatic synthesizers, power chords with piano, and raging vocals with delicate acoustics.

It is obvious that Pete Townshend got into synthesizers in a big way when he made this album, but he uses them to inhance the power of the music, and it never overwhelms the listener. Each song is unique, and all are excellent. Every member of the band is in top form on this album, and the production is superb. Simply put, this is one of the best rock and roll bands ever, playing some of the best rock and roll ever made.

By Rebecca

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All images Copyright 2001 and 2007 – George Chin Photography – www.georgechin.com

Subject - Blackmore’s Night Fires At Midnight – A 2001 recording, released on Steamhammer Us/SPV records, with cover photography by George Chin.

One of rock music’s Renaissance men, guitarist Richie Blackmore is the one who has taken the term most literally, having played for the past 10 years in Blackmore’s Night, a band that brings his amazing talents and prog-rock sensibilities to a mix of music that includes Renaissance-era melodies, English folk and recreations of more current folk/rock tunes. Joined in this effort by Long Island’s own Candice Night on vocals and a backing band of squires, lords and bards playing a broad range of medieval and modern instruments, the band has released a series of well-received records and toured regularly, appearing at Renaissance-themed fairs, festivals and unique concert events in castles all over the world, charming audiences wherever they appear.

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Track List
1. 2112
2. A Passage To Bangkok
3. The Twilight Zone
4. Lessons
5. Tears
6.Something For Nothing

All Songs written by Lee, Lifeson, and Peart
Released February, 1976 on Mercury/Polygram Records
Produced by Rush and Terry Brown

Band Members:
Geddy Lee-bass, keyboards, vocals Alex Lifeson-guitars
Neil Peart-drums, percussion

“2112″ was a breakthrough album for Rush, and is still considered the bands’ masterpiece by many fans.

The title track is a 20-minute, seven part suite. On vinyl, this was the whole first side of the album. It tells the story of a man who lives in a future society that is ruled by the Priests of the temple of Syrinx. These priests alone decide what can be heard, read, or seen. The man finds an ancient guitar in a cave, and realizes that he can create his own music. Overjoyed, he takes it to the priests. They take the instrument and destroy it. The man stumbles back to his home. Deciding that he cannot live in a world in which he cannot express himself, he commits suicide.

Melodramatic? Maybe. Powerful? Totally. The music behind the story is driving and intense. Lee, Lifeson, and Peart are each considered among the best at the instrument each plays, and the three together are a force to be reckoned with. There are many “progressive” bands playing today that owe a great debt to Rush.

The rest of the tracks are unrelated to the story, so technically this is not a “concept album”. But all I can remember from 1976 is listening to the first side, then picking up the needle and setting it back to the beginning.

By Rebecca

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All images Copyright 1988-90, 1998 and 2007 W.A. Williams – www.wawilliams.com

Subject - A Tribute To Stevie Ray Vaughan – a 1996 CD & DVD release from Sony Music Entertainment, with cover photography by W.A. Williams

A short while ago, I wrote a Cover Story based on an interview with photographer Robert M. Knight and his photos of guitar great Stevie Ray Vaughan. The response to this article was astounding – although SRV’s been gone 17 years, his fan base is a DEDICATED one and his music brings great joy to them (and to anyone else lucky enough to be within earshot).

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Track List
1. The Song Remains The Same (Page, Plant)
2. The Rain Song (Page, Plant)
3. Over The Hills And Far Away (Page, Plant)
4. The Crunge (Bonham, Jones, Page, Plant)
5. Dancing Days (Page, Plant)
6. D’yer Mak’er (Bonham, Jones, Page, Plant)
7. No Quarter (Jones, Page, Plant)
8. The Ocean (Bonham, Jones, Page, Plant)

Released March 1973, by Atlantic Records
Produced by Jimmy Page

Band Members: Jimmy Page-guitars, John Paul Jones-bass, piano, organ, mellotron, harpsichord, synthesizers, John Bonham-drums, Robert Plant-vocals, harmonica

If I were abducted by aliens and they asked me to define rock and roll, I would hand them a pair of headphones and crank this album.

Track by track, it is probably Led Zeppelin’s most diverse. Houses Of The Holy is their fifth album, and their last recording for Atlantic Records. There is classic riff-driven Zeppelin- “The Song Remains The Same”, a ballad- “The Rain Song” a reggae influence on “D’yer Mak’er”, and the best song ever for strapping on the headphones and lighting up-”No Quarter”.How many rock songs do you know of that feature a harpsichord? Interestingly, the song “Houses Of The Holy” didn’t make it on this album. It was released on their next recording, “Physical Graffitti”.

Led Zeppelin’s catalog will be made available on Itunes soon. Buy this entire album. It has been remastered, and sounds better than ever.

Rebecca

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Track List
1. Bustin Out For Rosey (Bolin)
2. Sweet Burgundy (Cook)
3. Post Toastee (Bolin)
4. Shake The Devil (Cook)
5. Gypsy Soul (Cook)
6. Someday Will Bring Our Love Home (Bolin, Tesar)
7. Hello Again (Cook)
8. You Told Me You Loved Me (Bolin)
Released May 1976 on CBS Records
Produced by Tommy Bolin and Dennis McKay
Band Members: Tommy Bolin-guitars, piano, lead vocals Reggie McBride-bass Mark Stein-keyboards Carmine Appice-drums Bobby Berge-percussion Norma Jean Bell-saxophone

I first became aware of Tommy Bolin when I was in junior high. Jeff, the high school senior who lived down the street, was a huge fan of his. I was a huge fan of Jeff, and became an instant disciple. Unfortunately, by the time I discovered Tommy Bolin and his music, he was already dead.
If you can find this album, buy it. If not, find what you can on Bolin on the internet. He was a true innovator, mixing rock, jazz, and blues influences for an absolutely unique guitar sound. His style was emotional and funky at the same time, his voice seeming to meld seamlessly with the notes from his guitar.
The production on this album is not the greatest, but you will be amazed at the variety of musical styles and genres that he mixes here, all the while staying true to his own personal sound. This is his second solo record, and the last album he made. Before forming his own band, he replaced Joe Walsh in the James Gang, and was the lead guitarist in Deep Purple after Ritchie Blackmore left. He was only 25 when he died, leaving us to wonder what might have been.

By Rebecca

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All images Copyright 1987 and 2007 Sherry Barnett – www.sherrybarnettphotography.com

Subject - Nina Simone – Let It Be Me – released in 1987 on Verve/Polygram Records, with cover photography by Sherry Barnett.

My wife and I had the good fortune of seeing Nina Simone at the Vine Street Bar & Grill in Hollywood a number of years ago, and so when I was going over the details of my interview with photographer Sherry Barnett, some vivid memories flooded into my head about my experience there. It was a small – very small – club that had room for perhaps 80 people (including those crammed in at the bar), and yet Ron (the owner) managed to book some of the best and biggest acts to come and play there. The place was “cool”, and it had a vibe that musicians and club patrons both just wanted a part of.

What makes this Cover Story so special for me is that it is the first one that is about an artist and a time and place that I have personal experience of. Of course, I’ve seen some of the other musical acts that have been featured on other covers, but in most cases it was after the fact (like seeing Pink Floyd well after they had released Dark Side of the Moon). In this case, I was part of that scene, going in to the Vine Street venue (after seeing a performance at the nearby temporary Ahmanson Theater) for a cocktail and to hear who was playing (and, often times, it was Nina Simone).

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Van Halen Van Halen I
Track List
1. Runnin’ With The Devil
2. Eruption
3. You Really Got Me (Ray Davies)
4. Ain’t Talkin’ Bout Love
5. I’m The One
6. Jamie’s Cryin’
7. Atomic Punk
8. Feel Your Love Tonight
9. Little Dreamer
10. Ice Cream Man (John Brim)
11. On Fire
All songs written by Van Halen except where noted
Released February 1978 on Warner Brothers Records
Produced by Ted Templeman
Band Members: Edward Van Halen-guitars, Alex Van Halen-drums, Michael Anthony-bass, David Lee Roth-lead vocals

When I started this project, I sent emails to all the musicians I know, (and quite a few that I don’t) and asked them to name the albums that had influenced them the most. This album was mentioned more than any other. A lot more.
I was 13 when this album came out, and it changed my life. I thought “Eruption” was the coolest thing I had ever heard. I still do. Van Halen was a huge factor in determining the kind of music I listen to. I still listen to this album, and it sounds as good to me today as it did almost thirty (yikes!) years ago. My friend Robin and I listened to it over and over on her little portable turntable. Her mom thought we were crazy. We were.
Van Halen is reunited, with Wolfgang Van Halen replacing Michael Anthony on bass. You should go see them. At the very least, buy this album. Especially if you are a guitarist. Let Edward Van Halen show you how it’s done.

By Rebecca

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