Quotepaulspendel A fascinating aspect to me is that the London Drugs Squad was getting nowhere without proper informants. Shady persons from the inner circles of the pop stars who grassed on their employers. Personally I researched that Spanish Tony was one of them even up until the 1969 Cotchford days... Astonishing naivety. How else do you imagine the police find anything about scenes they kn
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What crap. He 'paid the ultimate price' because he was convicted for repeatedly breaking the law, lying under oath, supplying dubious evidence &c.
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Bruce Rowlands?
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Quotestones78 "Scarlet." I can't remember the drummer. Is it Andy Newmark? Anyone know who's drumming?
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>Stick good mics in front of a good band and press 'RECORD'.(...) >>I guess that's exactly what Dylan does when he's producing his own albums. I >>love the sound on Time Out Of Mind, Love And Theft and his other late albums. Nope, it's exactly what John Simon did on tour with Dylan and the Hawks in 1966 and the reason we have such great recordings
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Dead right. Lanois generally produces a soupy, ambient sounding record. He might have done OK with 'Just Wanna See His Face' but generally, no sir. THE great, technical, overlooked Stones production is Glyn Johns 'Bright Light Big City' session from (I think) 1963. It precedes the first Decca singles and is an astonishingly good production. Everything sits right as
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Cyril from the Flaming Groovies has an early model Ampeg perspex guitar. He insists that only the first 90 made have superior wiring and better tone. His is a beauty and immediately produces a recognisably 'period' tone. Had it not been nicked, I imagine Richards plexi would have seen use in further decades.
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Good luck with that. Celebrity origins do not always make a playable instrument. I played the 70's 'Skull & Crossbones' 5 string guitar -- made I thought TN Jones, but probably actually by Zemaitis. It was a dog. A horrible lumpy instrument. (Loathed by Alan Rogan too, who was as good a judge as anyone). After languishing for decades it perished I believe,in a fi
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He may be right but - t me - even on release it sounded different. Even more so today, it -feels- like an LA recording. Cheers.
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****in' Jim!
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Agree entirely. I do think Torn & Frayed more likely entirely LA but otherwise yes. Nellcote, France in general was much more about tax questions and Policy post-Klein than an organised set of questions.
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QuoteTravelinMan The credits on Metamorphosis are bogus. Ah, thank you. Yes of course. Klein giving giving his nephew something to do. "Make up some @#$%& names Ronnie." Back in '65, Andrew Oldham wanted a Publishing Empire, wanted to emulate Phil Spector. Hence what became Immediate. Wanted 'Andrew Loog Oldham' albums out, quite separate from Stones product. M
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More accurately, he's announced publication of Vol. 1
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My friend Geir Hornes has published his definitive Nellcote study. Play the teaser here john Perry
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Cos Page's style is nothing remotely like that. >McLaughlin himself ... never worked for the Stones though. So he's not on "We're Wasting Time"... McLaughlin (and all) would've doing an Andrew Oldham Orchestra session, not a Stones session. Big Jim seems the most likely soloist here.
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WHO plays the guitar solo? (Both versions but clearer on 1). Contenders are Joe Moretti, Big Jim Sullivan, John McLaughlin. That's not Page. ALO - are *individual track* musicians listed anywhere? As opposed to the pool of players on the sessions. My money's on Sullivan or McLaughlin. VT
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Not really my taste but he's a sensationally good guitarist. Almost certainly saw him on one of those overstuffed festival bills (Shepton Mallet, IOW 70, &c.) but no clear memory...
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Just what I thought. A lovely remaster job. That tom sound after the break (around 2:30) !!!! But Brian's guitar still sounds low on the intro, compared to the mono.
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Keith was busted with acid when he ran his car off the road after playing in Stoke ... what was it 1973? I thought then it seemed an odd choice (in '73) for an Opiates Fan but he said he just liked a lick to give things "a bit of sparkle". So I think you can safely say Stoke On Trent was such a show.
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The short, soundless clip of Brian Jones penultimate appearance has been around awhile but does -any- sound exist anywhere? Even deep in collector circles or Kinn archives?
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No, you have to have stereo to place things to the left or right. Mono, everything is dead centre. Sounds to me like they've just taken their usual modus op of allowing -some- bleed -- e.g. guitars into the drum mics -- and let it bleed just a little more. Of course, that can be done later, artificially & very artfully ... but why bother? Who are the guest guitarists, do we know? Some
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THANK you !!
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Hi you all. Can anybody recall which boot of 60's sessions includes the following chat, over the monitors:- Someone: Hm...Where are we then? MJ: (sniffy) 117 Church Road Barnes. It could be Record Mirror (in which case I'd love to know which volume) it could be from Beggars Outs. Help much appreciated. Thanks!
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In his otherwise good book on Brian, I think Paul has the tale inside out where it comes to Richards/Cooder style open G. Detailed argument in paragraph 5 here best
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Great shots from Newcastle! As to remembering setlists, G48 is dead right. They were at a real peak in Spring '71 and UK sightings were usually 2 or 3 years apart. Next show I saw, Wembley Arena '73, I could barely name three songs for certain. Star Star cos it had @#$%& in it. Dancing With Mr. D cos I thought it tedious on record and no better live. Seemed like they were going th
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Thanks Georgie. That setlist squares 100% with my memory. Cheers
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Hi Georgie -- re Colston Hall 1971, you can help me clear up a private Q. - which house I attended! (I think I was at first house). The US fan repeatedly bellowing 'One for the Medina' between songs was unmissable as it wasn't a noisy audience till the last 3 songs. He stood out; if you don't recall it, he must have been a first house phenom. The set I saw was memorable
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I think I saw the early show. (Bristol Colston Hall). And Happy New Year everyone. JP
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They were fabulous in Bristol, March '71. Horns & piano clearly audible. Plenty of excitement; not at all like the lumpen Marquee show. They didn't do WIld Horses that night; I'd already heard the Gram Parsons v. at the 1970 IOW festival & would have known the song if they'd played it in Bristol. They did do Bitch. Horns sounded great. Otherwise the setlist was pr
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