Mick Jagger 1968 - David King



ROCKMAN

Man Rockman!!!! how many more pictures are there we didn't see.

Great picture although he looks a bit ...don't know how to say it

__________________________

Great picture although he looks a bit....don't know how to say it


..........Sullen but sexual



ROCKMAN

FILTER REISSUES - MOJO August 2009



ROCKMAN

R&R greetings

Under the Covers - The Music Graphics of Ian McCausland,
Graeme Webber & Steve Malpass by Ed. Nimmervoll - Electronic Pictures 1998



ROCKMAN



Edited 1 time(s). Last edit at 2009-07-16 02:51 by Rockman.

THANK YA rooster ..... I haven't forgotten the ChainDriven .... soooooooooon

Take Care



ROCKMAN

Your the champ brother......cheeers!!!

.....the day after.....i Rock....now its the time to countdown foo the 50.000 people who saw this thread...its a war horse! fuc ing cool thread



Edited 1 time(s). Last edit at 2009-07-15 21:37 by rooster.

Allen Klein ...... J.W.Alexander ...... Sam Cooke ----- 24 June 1964



ROCKMAN

WORLD - Melbourne Herald Sun 16 July 2009 ...........



ROCKMAN

Let me get this straight...it says people born on July 15th are prone to excesses and cirrhosis of the liver?
How can that be?! Unheard of for a Rolling Stones fan!

@ Rockman

I very much liked the pics and stories from the "Under the Covers" book!
The guy is talking of that planned GHS cover. Had that been printed as well?

Ah Ha wanton I wondered what that was all about....
.....Thank god I made into the world the day before ......



ROCKMAN

The guy is talking of that planned GHS cover. Had that been printed as well?

Not that I know of.... Going by McClausland's above comments
the GHS cover was possibly lost...misplaced or maybe just straight out ignored



ROCKMAN

Yeah, I understood that.
But could have been he still had a private (rough) version which perhaps was on another page of the book.

Would have been interesting to see . .

Lots of Stones connections here:




Matassa recalls engineering the sound of New Orleans

By Edna Gundersen, USA TODAY
NEW ORLEANS — Low visibility never bothered Cosimo Matassa. It went with the job.
"My role was to be transparent," says the storied studio guru. "If I did my job right, you didn't know I did it. In the control room, I'd try to match what I heard in the studio. Technical limitations made it difficult, but most of the time it came out pretty good."

Pretty good? He's talking about Fats Domino's The Fat Man, arguably history's first rock record. And Guitar Slim's Feelin' Sad, often cited as the first soul record. Also, Lloyd Price's Lawdy Miss Clawdy and Little Richard's Tutti Frutti and Long Tall Sally, plus recordings by Ray Charles, Allen Toussaint and Sam Cooke.

As a self-taught engineer and studio operator, Matassa, 83, was pivotal in developing the New Orleans sound during the fertile rock and R&B era of the '50s and '60s. He has a more modest take.

"There were great musicians everywhere you turned," he says. "They made me look good."

An only child, Matassa studied chemistry at Tulane University before dropping out to work for his father's jukebox company and later the family appliance and record store at Rampart and Dumaine. In 1945, he installed studio gear in the back room for personal amateur recordings.

The J&M Recording Studio (named for his father John Matassa's initials) quickly grew into a serious enterprise, the crucible of the "New Orleans sound" that flourished from 1947 to 1956. In 1951, 16-year-old Jerry Lee Lewis cut his first demo at J&M.

The building, designated a historic landmark in 1999, today houses The Clothes Spin, a noisy coin-operated laundry displaying large images of its famous ghosts, including Professor Longhair, who recorded Tipitina here in 1953.

Matassa's Market, the 85-year-old family corner grocery a few blocks away, bears few clues of his past, largely because Matassa didn't amass keepsakes.

"I had no sense of history," he says. "I was trying to make a living, and I had no idea those records would be so historic."

He can't recall specifics of recording Fat Man in 1949.

"I had no premonition that it was going to be a hit," he says. "Fats was extremely shy. But when he played, he came alive. It's an amazing transformation."

He warmly recalls the legends:

•Little Richard. "A wild man with tremendous drive. He bleeds for every performance."

•Allen Toussaint. "A sweetheart and literally a genius. He could write a song that captured an artist in the lyrics, melody and arrangement." Only Toussaint was signed after RCA auditioned 150 musicians lined up around Matassa's studio in 1958.

•Ray Charles. "A fantastic memory. When most directors rehearse, they stop and go. Ray would do the whole song, remember everything and give a complete recitation. A great ear."

•Lee Dorsey. He "wasn't much of a singer. Toussaint wrote songs that had him practically talking, and it was always interesting and entertaining."

•Professor Longhair. "Totally unique. Sadly, his output was small because for years he didn't play. He worked as a janitor."

•Dr. John. The future Night Tripper had a band in high school and wanted to drop out. "I told his mother, 'Make him go to school,' but she eventually gave in. He was doing nothing but music as a youngster. Back then, he was a guitarist. You couldn't miss that talent in him."

Dr. John cherishes his years under Matassa's tutelage in a studio full of jazz and R&B masters.

"The kids like James Booker, Allen Toussaint and myself, we had great role models," he says. "I was playing guitar for all the great piano players, so when I started on keyboards, I had a lot to draw from. Cosimo let me audition talent in the studio. My life shifted so many gears because of him."

Matassa achieved musical miracles despite tight space, primitive gear and meager financing.

"I was never state-of-the-art," he says. "But simple was better. The more toys you get, the more you play. People were using two- and three-track recorders when I got my first Ampex 300, a single-track machine, so-called portable, but it was in two trunks and took two men and a boy to move it. The control room was the size of three phone booths."

In 1955, Matassa relocated to Gov. Nichols Street and expanded after acquiring a building next door, "a huge cold storage space with cork 4 inches thick all over; it was ready-made for us."

Matassa's iconic sessions did not translate into riches. He quit music in the '80s to run the grocery, now operated by his sons. He received a 2007 Grammy Trustees Award for raising the city's musical profile.

"It's a remarkable city with a deep pool of talent, and yet the business infrastructure never happened," he says. "If you went to a bank about real estate, they'd say, 'See Mr. Jones.' If it was oil, 'See Mr. Smith.' For music, it was, 'Get out of here before I call the police.' There are wonderful musicians who never had a successful career because there was only room for a few at the top."

Such underappreciated talents as the late Smiley Lewis were a tragic consequence of that commercial void, he says. It's especially galling in light of the meager skills required for hits today.

"Musicians start younger and get ahead of themselves," Matassa says. "They're not as good as they think they are."

[www.usatoday.com]





Edited 1 time(s). Last edit at 2009-07-16 05:29 by Edith Grove.

Melbourne Herald Sun - 17 July 2009



ROCKMAN

Hi Rockman !

Thanks very much for the MOJO and UNCUT pics

As I wrote one day, i'm collecting like you lots of magazines,
could you tell me on which # of MOJO, the ROLLING STONES are?

I only have the # with the ROLLING STONES on Front Cover.
Don't know for the others ?

For UNCUT, i think i will start to collect 'em, i don't have any #

HMN

Honestman ......

The Stones are occasionally the main feature in MOJO
or are quite often mentioned in small articles .. record/book reviews etc .....

The MOJO site shows all covers from 1993 - 2009 [cover.mojo4music.com]

If you click on each cover you will see larger image
where you will be able to view main artists featured in that particular issue .....



ROCKMAN

Thanks Rockman

HMN

see that goat

Mick Jagger - Lily Allen .....Pre BAFTA Awards - Annebel's Mayfair London 2009



ROCKMAN

Shop window in St.Ives, Cornwall:



Doesn't look much like any of them, but it's a fun idea.

Whooooooo .... That's a laugh Green Lady..Big Thanks.
Charlie looks like Boris Yeltsin...And..and..and can't figure
if Keith's wearing a Zorro mask or has flipped with the mascara ....



ROCKMAN

Many many thanks for sharing !!!
One more time I am speechless in front of such gems ...

Green Lady
Nice found ! Even if I wanted to ,I wouldn't recongnize Jagger....

rooster

Nice cake and ...crew on your photos....What's up on the top of the cake ? I can't see...

Rockman
I'd love to be a little mouse to be able to come in your wonders 'room ..so many books and magazines....



I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .



Edited 1 time(s). Last edit at 2009-07-24 14:20 by SwayStones.

From Juke Box magazine : (sorry for the poor quality,as always ...Honestman or Rockman,please ,could you drop me an e-mail to explain me how I can zoom on a photo without decreasing the quality .)





A canadian band ,the Hou-Lops ,in Paris .No name of the photograph.



I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .

Edith Grove:

Quote

My role was to be transparent," says the storied studio guru. "If I did my job right, you didn't know I did it.

Well said ,don't you think ?



I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .



Edited 1 time(s). Last edit at 2009-07-24 14:19 by SwayStones.