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Post by Pete on Sept 8, 2012 16:46:42 GMT -5
Saw them two years ago. Good stuff!
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Post by Pete on Aug 26, 2012 22:49:41 GMT -5
Anyone ever hear of Pentagram? I've been aware of them but never Knew much about them. Just watched a great documentary about Pentagram.
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Post by Pete on Aug 22, 2012 11:56:15 GMT -5
When downloading The Darkness Itunes recommended this lil gem lol. Apparently when The Darkness broke up some of the remaining members went a slightly heavier route in a group called Stone Gods. Nothing spectacular but definitely fun.
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Post by Pete on Aug 22, 2012 11:45:51 GMT -5
Most recently The Parlor Mob. About a year or two ago I went to see Black Stone Cherry and Parlor Mot was opening. I had know idea who they where and didn't care and neither did most people in the audience. By the time they where done with their set they had the crowds full attention. They rocked.
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Post by Pete on Aug 22, 2012 11:42:26 GMT -5
I was on Itunes and I just noticed that new The Darkness was released yesterday. It won't convert anyone but if you're already a fan you'll like it.
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Post by Pete on Aug 22, 2012 11:37:50 GMT -5
I agree 100% with Spacel0rd. I saw them open for Motley Crue and they were awesome live. Better than the crue in my opinion. That last few releases have kinda sucked though.
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Post by Pete on Aug 22, 2012 11:35:27 GMT -5
Loved Black Ice.
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Post by Pete on Jun 14, 2012 16:00:19 GMT -5
I like Black Stone Cherry. One of my favorite live bands. Seen them 5 or 6 times.
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Post by Pete on May 24, 2012 12:47:48 GMT -5
Good to hear from you. Glad your back and OK.
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Post by Pete on May 2, 2012 18:30:17 GMT -5
Great lists so far! I always love threads like these to see what everyone is into (cool to see the Trews listed). Here's my list: 1) Max Webster 2) Sensational Alex Harvey Band 3) Kim Mitchell 4) Hanoi Rocks 5) AC/DC 6) Neil Young 7) Heart 8) Pat Travers 9) Rush 10) Teenage Head Aren't Heart from Seattle?
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Post by Pete on Apr 20, 2012 9:20:58 GMT -5
Here are the concerts I went to during my High Scool days: -Dio/ Rough Cutt 1985 -Pat Benatar/ The Alarm 1986 -Twisted Sister/ Dokken 1986 -Crosby, Stills & Nash/ The Fabulous Thunderbirds 1987 -Boston/ Fahrenheit 1987 -David Lee Roth/ Cinderella 1987 -Heart/ Bourgeois Tagg 1987 -Rush/ Tommy Shaw 1987 -Cinderella/ Winger/ Bullet Boys 1988 (Winger and Bullet Boys blew) -Bob Dylan 1988 -Crosby Stills & Nash 1988 No Opening act -Ozzy Osbourne/ Anthrax 1988 I wasn't allowed to go to concerts in High School. Satan's influence and all that.
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Post by Pete on Apr 20, 2012 9:18:34 GMT -5
On Saturday another round of musicians and bands were inducted into Cleveland’s storied and controversial Rock and Roll Hall of Fame. The triangular glass edifice (which the term “glass house” certainly applies here) has been home to many musical artifacts and slightly biased and even ass-kissing styles in terms of its adoration and out and out blatant favoritism in terms of who gets inducted into this sprawling pyramid of a place.
The history of the hall itself is also as messy as the communal responses to it. The Rock and Roll Foundation itself was founded on April 20, 1983. But the physical building itself did not open until over 10 years later, finally opening on September 2, 1995. There were a few different choices originally where the building should have been built, Memphis (birthplace of Sun and Stax Records), Detroit (home of Motown Records), Cincinnati (home of King Records, which showcased early Rockabilly and James Browns’ embryonic musical start), and New York City (home of many songwriters and producers). But Cleveland was chosen for a few reasons. One, $65 million in public money was pledged to the funding of the construction, which certainly whetted the Rock and Roll board’s appetite; Two, many public polls favored Cleveland to having the hall built there; and most importantly, three, Cleveland disc jockey Alan Freed has been considered in essence the first person to credit, acknowledge, and even coin the term “Rock and Roll.” Freed even organized in Cleveland in 1952 what is widely considered the very first Rock and Roll concert as well there. These factors were main catalysts in creating and finalizing the decision to have The Rock and Roll Hall of Fame erected in downtown Cleveland, where it stands today, right by the banks of Lake Erie, just east of where the NFL team The Cleveland Browns play in their stadium.
Aside from the fact that it exhaustively contains many rare artifacts and explains the history of rock and roll in a concise and easy to digest manner, and contains and showcases what one would generically expect here in terms of the history of rock and roll (old blues pioneers, Buddy Holly, Elvis Presley, Chuck Berry, The Beatles, The Rolling Stones, Jimi Hendrix, The Doors, Bruce Springsteen, Metallica, U2, and so on), there are certainly many eye-opening omissions here as well. Each year in New York City since January 23, 1986, at the famed Waldorf-Astoria hotel, rock and roll’s “elite” gather to induct that year’s inductees to the Hall, amidst a large amount of back-slapping and a probably outlandish per plate dinner in its ballroom, followed by performances by either the original inducted artists or surviving members or other musicians who may have been influenced by said inductees.
Rock and Roll Hall Of Fame
This year’s inductees include artists as diverse (and some clearly not in the rock and roll genre) as The Beastie Boys, Guns N Roses (who have already set off some controversy as lead singer Axl Rose copped out of making an appearance at the induction ceremony), Donovan, The Red Hot Chili Peppers, the late singer/songwriter Laura Nyro, The Small Faces/Faces, and the backing bands for Gene Vincent, Buddy Holly, Bill Haley, Hank Ballard, Smokey Robinson, and James Brown. Once again, certain artists got completely snubbed. The fact that it took so long to induct Buddy Holly’s backing band, The Crickets, whose name is almost synonymous with Holly and clearly was a name that influenced John Lennon’s decision to call HIS band The Beatles, is already a glaring one. But it’s certainly not this isolated case that gives cause to the sometimes completely irresponsible manner in how and who gets nominated into this big, blocky treble clef of a hall, there have been many others, some under the radar in terms of public knowledge and adoration, and some painfully obvious, as well. Here are some examples of bands and artists who should be in there, but aren’t.
But before I give you my two cents (sense?), first, let’s right away put this into perspective in terms of how people get into the hall. The voting committee for the most part are full of people who musically, “never played the game,” They are writers from rock journalism’s past and present for the most part, who self-congratulate themselves for existing during a time that was being called as “seminal” and “influential” on their endeavors as the musicians were in theirs. They self appointedly consider themselves the foremost authority on rock music, even though most of those writers pretty much cut their teeth on writing record reviews of Canned Heat and early Chicago albums and doing profiles on David Cassidy and Dr. Hook for Rolling Stone magazine. Speaking of Rolling Stone, founder Jann Wenner is pretty much the superczar here at the Hall of Fame, and also seems to apply a cranky approach to the hall not unlike a headmaster at a strict boy’s school in Manchester, England. In fact, upon first glance in the hall, you would think that Rolling Stone is a sponsor of the place, like a corporate company who firmly affixes its name to sporting arenas around the country, ala Comerica Park in Detroit, or Staples Center in Los Angeles to name two. The influence of Rolling Stone runs nosebleed high in the hall, completely forgetting and omitting classic and much better music publications like Creem (which showcased the great Lester Bangs, who to this reporter, was the greatest music journalist that ever lived) and Crawdaddy, and even later ’70′s small magazines like Punk and Sniffing Glue. Most of those aforementioned magazines, and their writers, are also for the most part noticeably absent from being on the voting committee and in the hall itself. It’s as if the criteria for getting into the hall is simply, “Is your music being sold at Wal-Mart these days?” If so, good, you’ve got a shot kid.
So that said, here are Stoogepedia’s picks for who should be in the Hall of Fame, and how incredulous it is that they AREN’T (in no particular order) :
Peter Frampton
THIS is one of the biggest gaffes of all here. Peter Frampton, who got his start in England’s Humble Pie in the late 1960s and helped propel that rock/blues band out of the Cream-style trenches that every band of that time and stripe seemed to be mired in, has also released one of the biggest selling records of the 1970s, the live 1976 double album set Frampton Comes Alive, which brought him fame, success, criticism and adoration, all in one dizzying fell swoop. BUT, there’s no denying that even though he has fallen off of the radar on critics’ best guitarists of all time lists contemporarily, Frampton could play amazing rock and roll hopscotch on his fret board with the best of them. Not only that, but Frampton Comes Alive sold millions of copies, and I mention this, because like the equally ridiculous Grammy Awards, it seems a basic tenet of one’s inclusion to the hall is the amount of records sold (The Ramones and Velvet Underground notwithstanding), so that alone should make Frampton the virtual shoo in. But no, as of 2012, the only way Frampton gets into the hall is if he buys a ticket like the rest of us.
Rush
This Canadian trio has been a popular mainstay and influence on the hard rock/progressive rock circuits for decades now, have legendary albums, are still RELEASING albums, and have their tours sell out all over the globe. Rush even has the rarity of having radio play rotate some of their more well known album cuts to this day, BUT, “no existe en” for these guys. (Spanish – meaning “Not in there”) In fact, the whole progressive rock genre as a whole has been forgotten about, passed over like a vulture on its way to its next meal in the hot desert. King Crimson, Yes, Soft Machine, the list is endless of the omissions of this still popular genre.
The Sonics
The Sonics – one of the first, if not THE first garage rock bands of all time. Hailing from Seattle, Washington, long before flannel became the mainstay apparel for slackers decades later, this band, although pretty much unknown if one has just gone through the revolving doors of classic rock and pop their whole life, almost singlehandedly ushered in punk music, which bands like The Stooges, The MC5, The Ramones, and the like cultivated a few years later, when it became mainly associated with those great bands. But make no mistake, if Detroit, Michigan, is the birthplace of a lot of those early sounds of punk, then The Sonics were like the geographical blueprint in which Detroit made its town from. Recording records that sounded so raw through what sounded like paper speakers, The Sonics still had more balls than most of the other records found in one’s personal collection and could completely hold their own on stage with anything that came after them. The omission of these guys has to be the highest sacrilege known to musical man and woman.
Black Flag
If any of the post punk bands are going to be represented in these hallowed (or is it HOLLOWED) halls, the claim can made for either The Dead Kennedys or Black Flag. Both of them took the original era of punk and wore it like a cheap suit in the post punk era of the early 1980s, but it was the sweetest suit off the rack for sure. Henry Rollins has become an almost mythical figure since those glory days when he waved that flag of black, with his best Iggy/Stiv posturing, with his unapologetic manner and fist punched right in your fucking face attitude, with his eclectic Jim Morrison in reverse poetry, he’s as large as a figure in any genre of any history of any music, if just the rest of the world knew their history. Rollins as of late has sort of become an “elder statesman” of those times now as he advances in age, but none of the chrome on him has any rust whatsoever still, and maybe as he keeps doing what he’s doing, there might be a chance he and Black Flag gets a place in Ohio.
Boston
A lot of the rock dinosaurs are in this place, but Boston is not. Their debut album, released in 1976 and becoming a major seller that year, with plenty of songs from it still warbled drunkenly in karaoke bars all across the heartland and on classic rock radio, has its place in music history. Guitarist Tom Scholtz and the rest of the band pretty much made this record in Scholtz’s basement, arguably it’s the only demo in history released as is for a major label. The late singer Brad Delp gave a new meaning to the words “high pitched” as his vocal chords breaks the sound barrier warbling in Boston continues to smash windows in cities everywhere, on par with Ella Fitzgerald’s “Is it live or is it Memorex” classic wine glass smashing voice she manifested in those old commercials for those that remember them. For a place such as Cleveland, with the type of middle road climate it surely exhibits, this band belongs in for sure.
T-Rex/Marc Bolan
Marc Bolan
My temperature boils as I write this one. I still cannot believe there is no acknowledgment for T-Rex or Marc Bolan there, who pretty much tutelaged David Bowie on how to do to the glam rock Hokey Pokey and then Bowie went on and opened his OWN dance studio, never giving Bolan the credit he deserves for the most part. But where Bowie needed a great guitarist in Mick Ronson to make his records really sway off the turntables, Bolan was a great lead man in his own right, also producing and writing most of his albums. Songs like “The Slider,” “Jeepster,” “Jewel,” “Buick Mackane,” and plenty of others give Bolan the Michael Jordan edge over the Kobe Bryant Bowie (and I DO love Bowie too, don’t get me wrong), yet the only time you hear of Bolan or T-Rex in the hall is if someone is standing by a Ziggy Stardust exhibit or something in the hall and someone happens to mention his or the band’s name.
There are plenty others for sure that could go in. There’s also the argument that maybe it’s good that these people AREN’T in, that maybe to include them in such a place would be a step down for some of them. Both arguments are correct I believe. The Rock and Roll Hall of Fame represents a kind of fast food celebration for the history of that genre. For most casual music fans, everybody who they need and expect roost inside its jagged walls. For those of us, however, who take things a little further in our musical free will, one thing is for sure that we can all probably agree on. And that is, while it’s true to some extent that “Cleveland ROCKS,” what the Rock and Roll Hall of Fame represents ultimately makes true music fans eyes “ROLL.”
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Post by Pete on Apr 15, 2012 14:06:23 GMT -5
Van Halen has just released the video for She’s The Woman, now officially the second single off of this year’s A Different Kind Of Truth.
She’s The Woman is one of many tracks on the new record that the band retooled from demos recorded back in 1976. While some criticized the band for using these old demos on the record, ultimately it offered a way to guarantee a return to that classic Van Halen sound.
The video features a combination of rehearsal and live footage of the band. From Diamond Dave’s microphone stand twirling act to EVH’s classic-VH-styled guitar solo, it’s clear the band still has what it takes to put on a good show. Check it out below.
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Post by Pete on Apr 15, 2012 8:18:40 GMT -5
It was mostly hair metal and pop. There was a friend who had an older brother who at parties would always insist on playing the music and he'd put in his Sabbath, Nugent, Nazareth albums which got me interested in those. Shortly after high school I started to get into arena rock like Boston, Foreigner, et. al. From their I went backwards and forward listening to more classic rock and whatever the current crop of rock consisted of.
To this day I still keep a foot in the pop pond but mainly listen to rock whether it's classic, current mainstream or alt. Although, most recently I've been gaining new appreciation for The Rolling Stones. The woman I'm dating is turning me into a Fleetwood Mac fan.
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Post by Pete on Apr 15, 2012 8:12:21 GMT -5
Axl Rose's former bandmates in Guns N' Roses took the high road during their acceptance speeches at the Rock & Roll Hall of Fame induction ceremony Saturday night. The crowd? Not so much.
The ex-GNR members declined to mention the singer by name. But Green Day frontman Billie Joe Armstrong had to, of course, in his introductory speech, and the audience at Cleveland's Public Hall responded with a round of boos, as they had early in the evening when Rose's visage first appeared on the big screen.
"Let's see--who am I missing?" Armstrong said, after discussing every original member of the band but Rose in detail. After the audience responded with raspberries, Armstrong broke in. "Shut the [bleep] up!" he said, in a not-too-admonitory way that made it clear he knew why the crowd was upset. "Shut up. This man's a bad-ass [bleeping] singer--one of the best frontmen to ever touch a mic."
Despite Armstrong's implicit plea for forgiveness, it was clear that Rose has, for this week, at least, become the kind of villain rarely seen outside a superhero movie. In his open letter declining the honor earlier in the week, Rose wrote, "Unfortunately I'm sure there will be those who take offense... God knows how long I'll have to contend with the fallout"—and more prophetic words were never spoken.
In his introduction, as if to offer an apologia for the MIA singer, Armstrong broke into an imitation of Rose singing a lyric about being "crazy." "Most singers are crazy," the Green Day singer added, describing it as a vocational hazard. "I can vouch for that right now."
When the band members came forward to speak, there were no specific references to Rose, but the musicians did use their allusions.
"The fans are the ones who made it possible for us to get together tonight with all the adversity and everything that was going on," said Slash. He particularly thanked his wife, saying, "When all this drama was going on, I was like [bleep] it, but she said 'Go and do it with the guys,' and I said 'You're right.'"
Drummer Matt Sorum took the highest of high roads, saying, "I want to thank the other bandmates that aren't here tonight [and tell them] that I love and respect them and I'm honored to have been on stage playing music with them."
In his otherwise laudatory introduction, even Armstrong seemed to make an implicit, indirect criticism of Rose, who wrote in his open letter that reunion talk surrounding the induction was being used as a "distraction" from the current Guns N' Roses lineup.
"Being in a band is a very complex thing," the Green Day singer said. "It goes through eras and chapters of their lives... Sometimes you've got to look back at the old chapters if you want to move forward… Know where you've [bleeping] come from. Ladies and gentlemen, Guns N' Roses!"
When the band performed a brief set, it was with Myles Kennedy of Alter Bridge singing "Sweet Child o' Mine" and other chesttuts, as he has on tour with Slash in the past. Fans had mixed reactions to seeing another rocker handle Rose's parts, but without Kennedy, the performance part of GNR's introduction truly would have been a bridge to nowhere.
Chris Rock put things in perspective later, while introducing the Red Hot Chili Peppers. "Let's face it," Rock said, referencing the legendarily tardy singer, "even if he had come tonight, he wouldn't be here by now!"
Although GNR's appearance was by far the most anticipated of the night, the Hall of Fame saved the Red Hot Chili Peppers' induction for last, surely figuring it was most celebratory to go out on the one band that was able to perform without a guest lead singer.
In a streak of bad luck for attendees at Public Hall (and those who'll tune in to an edited version of the show on HBO May 5), there were other acts with members out of commission. Rod Stewart came down with the flu and wasn't able to perform with the Faces, but Simply Red's Mick Hucknall drew kudos for sitting in and singing from that band's repertoire as well as that of the concurrently inducted Small Faces, who were led by the late Steve Marriott.
The two present members of the Beastie Boys declined to perform without cancer-stricken cohort Adam Yauch, so the Roots gave tribute, fronted by Kid Rock, the Gym Class Heroes' Travie McCoy, and Black Thought standing in for the celebrated trio.
ZZ Top both introduced and did the performing honors for Freddie King. The late Laura Nyro was covered by Sara Bareilles, after an emotional introduction by Bette Midler, while Donovan was thankfully around to sing his own "Sunshine Superman" after an introduction from fan John Mellencamp, who said, "I wasn't just listening to Donovan, I was stealing from Donovan."
Naturally, everybody had an opinion on the night's proceedings—even Donald Trump, who tweeted, "Axl Rose should take his #rockhall2012 honors and be happy. Stop the no induction nonsense. Do it for your fans." Disenchanted fans to Axl: Welcome to the bungle?
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Post by Pete on Mar 29, 2012 11:35:09 GMT -5
There playing Chicago Sunday. Tomorrow is pay day. If there's tickets available I'm going.
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Post by Pete on Mar 29, 2012 11:29:30 GMT -5
Okay OKay I prefer Spicy Brown Mustard pn my crow sandwich. My son bought this album on release day & has been hounding his old man all week to buy it. Yep damn good album. A return to early form for sure. Or you could just give me some Franks Hot Sauce.... I put that S@#$ on every thing!! After years of weirdness from the VH brothers, their unscrupulous treatment of Mike Anthony & Sammy Hagar, and when I learned that the entire new album was basically re-worked versions of demos from 30 years ago, I was very skeptical of any enjoyable future with Van Halen. I must admit now that I honestly ENJOY this album and I cannot seem to stop listening to it! I've played this album at least once every single day since it's release (I skip over "Tattoo" though). It's a fun record and the damn thing ROCKS!!!!....There, I said it! My thoughts exactly!! I was very skeptical but the more I listen to it it just keeps getting better. It does indeed rock!! I even kinda like Tattoo now. It's not my favorite but in the context of the whole album it works.
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