He's cool, confident and in the zone; an absolute master of his craft makes it look effortless and easy, which those in the know will tell you it's anything but. And, oh yeah ... he's 80 years old.
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Page's respect and admiration -- and gratitude -- for Link Wray could not have been more sincere or moving. When he appeared wielding his classic double-neck, I thought he would treat us to a Wray medley; perhaps dropping down to the six-string for a bit of another Wray hit, like "Rawhide". Alas, that was not to be, but it does not lessen the magic of the moment.
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If there had been a gene-splicing experiment where the DNA of Elvis Presley and The Beatles was knitted together, the result would have been Dwight Twilley records. He was the picture-perfect and music-perfect exemplar of the 70s Power Pop movement; more prolific than the Raspberries, more radio-friendly than Big Star. He was blessed with both Paul McCartney's looks and McCartney's i
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August 1968 re: "Hey Jude" EMI Records Executive: "Radio doesn't want a seven-minute single! DJs won't play it". John Lennon: "They will if it's us". And they will with The Rolling Stones. Bring it on.
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THE Rolling Stones, capped, boldface, italicized, underlined. Lest there be no mistake; the one, the only, the original, the immortal, the irreplaceable and the definitive. Accept no substitute.
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Thank goodness for this list. Without it I would go on thinking that Rod Stewart (for 2 different bands), Paul Rodgers (for three different bands), Michael Hutchence, John Fogerty and Peter Wolf were all great lead singers/front men. Now I know that they can't hold a candle to Corey Glover and Poly Styrene.
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RnT's characterization of The Who's recording process is misleading and warrants clarification. Unlike The Beatles and the Stones, where the primary or initial writer on a song would share it live in the studio in front of the band -- often in an unfinished state -- which would then proceed to hash out the arrangements and recording approach, Pete Townshend takes a very different app
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There has been a considerable amount of digital ink spilled here on the issue of the age of the band members and what implications that may present in terms of the quality of any new recordings. No one will argue the relevance of that question as it pertains to live performances, particularly for a band that historically has had such a kinetic stage presence. In terms of countering the conc
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"Never make predictions, especially about the future" - Casey Stengel The inarguably wise words of Mr. Stengel aside, I proceed at my peril with the following: Keith Richards wants to make a Rolling Stones album. I think we can all agree on what that means. Mick Jagger wants to make a Rolling Stones album for the Twenty-First Century. I am not sure we all know what that means.
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Elton composes on the piano, of course, but it is notable how many of his biggest hits kick off with ringing guitar riffs ("Saturday Night is Alright for Fighting", "The Bitch is Back") not to mention scores of deeper tracks ("All The Young Girls Love Alice" and "Grow Some Funk of Your Own", for example). Davey Johnston has said in many interviews that Elto
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One could fill a warehouse with the iconic and immortal riffs of Mick Ronson, Jimmy Page, Mick Ralphs, Billy Gibbons and Mick Jones.
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God Bless and Cherish Dear Ringo, essential and underrated, then and now. However, let's not forget - and let's be grateful - that he is not the last of the Pantheon-level drummers from the Sixties still with us. Mick Fleetwood, Bill Bruford, Graeme Edge, Nick Mason, Mick Avory, Bill Ward and, of course, Kenney Jones. Mighty Fine Stick Men, all. And as for Fleetwood, Bruford and Mason
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