UNCUT 294 ---- November 2021



ROCKMAN

UNCUT 294 ---- November 2021



ROCKMAN

Gene Vincent circa 1957 .......



ROCKMAN

UNCUT 294 ---- November 2021



ROCKMAN

Rockee, you don't disappoint...ever. I've missed ya mate. Be well.

Hey Yeah ... howdy ole son ....
Where ya been so long ????
Did ya finally get yaself a good lawyer ??? .... HHHHHaaaaaaaaaaa



ROCKMAN

New release on the Bear Family Rocks series .....
A mighty fine set ....

Lurv ta see Bear Family do a Box-Set of complete works ...


Jimmy Reed Rocks --- Bear Family BCD 17572



ROCKMAN

---->>>>>> [www.dirt.com]



ROCKMAN

The Rockin Machine -- Heart O' Texas Coliseum - Waco Texas 1956



ROCKMAN

thx Rockman for that Bear Family note.. LOVE the photo of Jimmy Reed on the cover, awesome

Really good Reed comp .... and YEAH it Rocks ...



ROCKMAN

Claudia Lennear has been a witness to some peak moments in rock and soul. First as a member of the Ike & Tina Turner Revue, she’s sung backup on classic recordings and toured the world, shared stages with former Beatles and Bob Dylan, and was the inspiration behind David Bowie’s torrid 1972 epic “Lady Grinning Soul.”

Just as famously, Lennear has been widely credited as the inspiration behind the Rolling Stones’ increasingly controversial classic rocker “Brown Sugar.” Founding bassist Bill Wyman confirmed her role in one of his books, and she’s always taken pride in that, calling the track “one of the greatest rock songs of all time, and not because I had anything to do with it.”


Lennear was still an Ikette when she dated Stones frontman Mick Jagger in 1969, the same period the song was written and recorded. Another African American woman, Marsha Hunt, who is the mother of Jagger’s first child, has also said she is the source of inspiration. The Stones singer has publicly confirmed nothing.

More controversial are the song’s lascivious lyrics that were outrageous even at the time, depicting a highly charged tale of slavery in the Antebellum South, rape, cunnilingus, heroin, whips, a houseboy, dancing and general midnight rambling: “Brown Sugar, how come you taste so good? … just like a young girl should.”

In 2021, a new wave of scrutiny of that content led the Stones to remove the song from its tour setlist for the first time in nearly 50 years. “I don’t want to get into conflicts with all of this shit,” guitarist Keith Richards told the Los Angeles Times of this year’s U.S. tour dates, which concluded this week. “But I’m hoping that we’ll be able to resurrect the babe in her glory somewhere along the track.”

Lennear understands the outrage, but still regrets seeing the song leave the Stones live repertoire, even temporarily. Fans at the band’s recent concerts were “missing out on a great part of rock & roll history. When do we learn to understand history without getting upset? Right now we’re not really in that space.”

“I’m sensitive, but when it comes to poetic license, I let go,” she adds. “It’s just a great riff. It’s a great hook. Keith Richards plays those first two notes, everyone is on their feet, everybody’s clapping, dancing, singing. When I hear it, my first thought is: long live the Rolling Stones.”

The ongoing interest and controversy over “Brown Sugar” is just one episode from a celebrated career, singing background for a long line of major artists, and as one of the vocalists included in the 2013 Oscar-winning documentary 20 Feet from Stardom. One life-changing event was performing as part of George Harrison’s Concert for Bangladesh in 1971, rock music’s first major live charity event more than a decade before Live Aid.

“Good lord, every household name in pop music was there,” she says, adding that it would be difficult to “work with Billy Preston, Leon Russell, Ringo Starr, George Harrison, Eric Clapton and Bob Dylan all on the same stage and not come out of there enlightened.”

Lennear is currently back on the big screen in Learning To Live Together: The Return of Mad Dogs & Englishmen, a documentary on the legacy of Joe Cocker’s freewheeling 1970 tour. Directed by Jesse Lauter, the new film combines vintage footage with scenes from a 2015 reunion of the surviving players led by the Tedeschi Trucks Band.

A tour of screenings of Learning to Live Together across the U.S. continues through mid-December, recounting a live revue of a fiery young group of rock and soul players, led by musical director Leon Russell.

One searing moment from Learning to Live Together is a duet between Lennear and Russell on Bob Dylan’s “Girl from the North Country,” as they trade glances of affection and respect, mingling gospel and soul. “When he consented to do that duet with me, oh, I was just levitating,” says Lennear, who was also a onetime member of Leon Russell & the Shelter People in the early-’70s.

The film is a vivid reminder of the quirky, enigmatic showman’s command and ease onstage, behind the piano, guitar or microphone. At Russell’s 2011 induction to the Rock and Roll Hall of Fame, Elton John called him “the master of space and time.” Russell died in 2016.

“Leon Russell was the consummate rock bandleader,” Lennear remembers. “He just knew what he was doing. Everybody just let him take the reins.”

Lennear grew up in Rhode Island, then came to Los Angeles and joined a local doo-wop group called the Superbs. After being recruited into the Ikettes, she connected with the Stones, Bowie, Russell, Stephen Stills, and many others, leading her down a path of random experiences, one connection and gig leading to the next.

“I’ve looked back over my career, and it’s like, ‘Wow, I couldn’t have planned that,’” Lennear says. “If you’re in the right place at the right time, and you’re ready to seize an opportunity, you get on the horse and go ride.”

Despite her friendships with Jagger and Richards, Lennear only participated in one Stones recording sessions — for “Star Star,” a leering tribute to groupies originally titled “@#$%&,” from 1973’s Goats Head Soup. She didn’t love the lyrics but sang “from a professional standpoint.”

The singer still performs, and also teaches college courses in languages (she’s multi-lingual) and is working on a memoir. She has a lot of material to work with.

She first met David Bowie in 1968 in a London nightclub, but grew close to him during his first American tour four years later. “We were destined for each other way before the Big Bang,” says Lennear, who dated Bowie during that tour. “That’s when he was wearing dresses and all that. I don’t know what attracted me to David, except he was just so good to look at. He was so sweet and quiet and reserved.”

When she appeared in 20 Feet from Stardom, Lennear was in a limo en route to the Independent Spirit Awards when her phone rang. On the line was a familiar, distinctive British voice: “Claudia?” It was Bowie calling to congratulate her on the film and to reconnect after decades of silence.

They kept in touch and Bowie even suggested he produce an album for her. “At this point, I had no idea he was sick,” she explains. “He says, ‘For starters, I’ll do the music, you do the lyrics.’ So that’s we set out to do.” Bowie died in 2016, before they were able to get into a studio together.

But during one of their later conversations, Bowie did finally volunteer that he’d written “Lady Grinning Soul” about her. It wasn’t her first time hearing something like that.

“You know, David will not be outdone by a Rolling Stone,” Lennear says affectionately. “If a Rolling Stone says that they wrote a song about me, he’s not to be left behind. He’s too competitive.”

---->>>> [www.spin.com]



ROCKMAN

ROCKMAN

Paul Burlison --- Johnny Burnett --- Gene Vincent --- unknown --- circa 1957



ROCKMAN

That Sunday Mail Supplement from July 2012 worth every page.



Here's one cut.



HMN

Hey yeah Pascal thats cute .... good find



ROCKMAN

Another one, I couldn't scan the whole thing, the supplement is very thin and fragile.


HMN

Interesting esp this little bit ...



ROCKMAN

Lovely stuff about Stu… thanks for sharing. The 2nd Stone indeed.

Quote
Rockman


Interesting esp this little bit ...

Love it! Way to show ‘em who’s boss

Wasn't looking too good, but I was feeling real well.

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CindyC

Quote
Rockman


Interesting esp this little bit ...

Love it! Way to show ‘em who’s boss

Which makes Brian #1.
Rockandroll,
Mops

Quote
rollmops

Quote
CindyC

Quote
Rockman


Interesting esp this little bit ...

Love it! Way to show ‘em who’s boss

Which makes Brian #1.
Rockandroll,
Mops

So the second Stone was the first to get the boot, and the first Stone was second to get the boot.

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Rockman

Keith forgot to say "It's great to be anywhere", then take a drag off his ciggie.

THE AGE --- 1 December 2021



THE AUSTRALIAN --- 1 December 2021



ROCKMAN

-------->>>>> [andrewloogoldham.net]



ROCKMAN

Guitar Hero
B. B. King has been called “the world’s greatest blues singer.” A new book argues that his guitar riffs are just as influential

BY DANIEL DE VISÉ
DECEMBER 1, 2021

When B. B. King took the stage at the Harlem Cultural Festival in the summer of 1969, the M.C. introduced him as “the world’s greatest blues singer,” a moment captured in the recent Questlove documentary, Summer of Soul. That was how much of the Black community regarded Riley “B. B.” King, from his ascent to the top of the R&B charts in the 1950s until well after his embrace by younger white musicians and fans in the late 1960s: as a great singer, first and foremost.

White fans, by contrast, recognized King primarily as a guitarist, one of the greatest ever to bend a string. In my new biography of B. B. King, King of the Blues, I argue that he almost singlehandedly codified and popularized a lyrical style of solo guitar that would suffuse popular music until the end of the 20th century and beyond.

For years after his recorded debut, in 1949, the Mississippi-born musician played like no one else, synthesizing the styles of R&B giants Lonnie Johnson and T-Bone Walker and jazzman Charlie Christian into one all his own. In the mid-60s, King’s sound spread to Britain, passing to Eric Clapton, Jeff Beck, and Jimmy Page, and then to Fleetwood Mac’s Peter Green, Pink Floyd’s David Gilmour, and a transplanted American who would outpace them all, Jimi Hendrix.

Toward the end of the 1960s, King crossed over from Black to white audiences, releasing a string of eclectic blues-rock-funk LPs, touring with the Rolling Stones, and scoring a major national hit at the decade’s close with “The Thrill Is Gone.”

B. B. King played like no one else, synthesizing the styles of R&B giants Lonnie Johnson and T-Bone Walker and jazzman Charlie Christian into one all his own.
White fans and the rock-music press focused obsessively on King’s guitar craft, which had launched an army of guitar heroes. But King continued to play for his aging Black audience, a constituency that still knew him as a chart-topping blues singer. While researching stacks of clippings about King in the Black press of the 1950s, I found precious few that even mentioned his guitar. “Lucille,” King’s legendary guitar, was not named in print until 1967.

Black fans celebrated King as a singer and bandleader because the R&B industry of the 1950s had no category for celebrated guitarists. The guitar remained a backbench instrument. Not for another decade would the guitar hero emerge, an archetype King largely inspired, along with Chuck Berry and a few other stylistic pioneers.

Thus, when King stepped out onto the stage at the Regal Theater in Chicago on November 21, 1964, for a performance that would yield perhaps the most famous album of guitar blues, Live at the Regal, the M.C. introduced him to the mostly Black audience as “the world’s greatest blues singer.”

And he was: the greatest singer of the blues idiom, or one of them.

I believe King’s key vocal influence was Roy Brown, a former boxer with a swooping tenor whose jubilant melodies sound like prototypical rock ’n’ roll. King’s own powerful, clenched tenor set him apart from all the other guitarists in pop music. Only when he took the stage with the likes of Bobby “Blue” Bland, one of the finest singers in any genre, did King meet his vocal match.

A 2008 Rolling Stone ranking tabulating the 100 greatest singers of all time placed Howlin’ Wolf, Bland, Muddy Waters, and John Lee Hooker above King, who, at No. 96, barely made the list at all. “The notes that King squeezes from his guitar, Lucille, are so sharp and pointed that it’s easy to overlook the sounds that emanate from his mouth,” the Rolling Stone editors wrote.

Not for the patrons who filed out of the Regal into the cold Chicago streets on that magical night.

[airmail.news]

ROCKMAN

Quote
Rockman


-------->>>>> [andrewloogoldham.net]

...two well respected men...souvenirs,souvenirs......!!

Readings --- Lygon st Carlton - Melbourne



Avenue Books -- Albert Park, Melbourne .......... photo Rockeeeeeeeeeeee



ROCKMAN



Edited 1 time(s). Last edit at 2021-12-09 11:28 by Rockman.

Credit: Gijsbert Hanekroot

Mighty picture, I just love it !

HMN