Podcast appearances and mentions of Ian Paice

Reidar Palmgren ja Sami Ruokangas analysoivat lisää suosikkilevyjään Deep Purplen ja Black Sabbathin rikkaasta ja rakkaasta sukupuusta. Millainen oli Reidarin Tampereen Pakkahuoneella 90-luvulla näkemä Black Sabbath? Kuinka tähän liittyvät Kassu Halonen, Kirka ja rumpalilegenda Carmine Appice? Kuuntele viihdy ja sivisty. (Huom! Jakso on äänitetty joulukuussa 2024 jolloin John Sykes oli yhä elossa, mutta julkaistaan vasta nyt Samin silmäleikkausten ja sairaslomien vuoksi. RIP John Sykes ja Jukka Komppa.) Black Sabbath Born Again, Whitesnake: Slide It In, Deep Purple: Perfect Strangers, Black Sabbath: Headless Cross ja Pretty Maids: Jump The Gun. Jakson soittolista: https://open.spotify.com/playlist/1w53LNstIsa4AHpH1u0Jtt?si=d741ef0475624c82 Menossa ovat mukana Ronnie James Dio, Ian Gillan, Tony Iommi, Ozzy Osbourne, Tony Martin, Hammer Film Productions, Y&T, Geezer Butler, Soundi-lehti, Stonehenge, Spinal Tap, Krusher Joule, David Coverdale, Whitesnake, Bad Company, Paul Rodgers, Cozy Powell, Ian Paice, Micky Moody, Mel Galley, Trapeze, Glenn Hughes, Jon Lord, Led Zeppelin, Gary Moore, Neil Murray, John Sykes, Thin Lizzy, Tygers Of Pan Tang, Phil Lynott, Scott Gorham, Randy Rhoads, Blue Murder, Tony Franklin, Carmine Appice, Marco Mendoza, Tommy Aldridge, Darren Wharton, MTV, Iron Maiden, Sounds, NME, Kerrang, Ritchie Blackmore, Rainbow, Roger Glover, John McCoy, NWOBHM, Kassu Halonen, Kirka, Uriah Heep, Tina Turner, Nyt-liite, Steve Harris, Don Airey, Rolling Stones, Ray Gillen, RATT, Badlands, Vow Wow, Laurence Cottle, Geoff Nicholls, Ian Stewart, Quartz, Juha Ruokangas, Marita ja Jukka Komppa, Pink Floyd, Sorcerer, Tampereen Pakkahuone, Bobby Rondinelli, Blue Öyster Cult, Axel Rudi Pell, Pretty Maids ja Ronnie Atkins. www.facebook.com/RockAroundTheBlogFinland www.instagram.com/samiruokangas

Deep Purple, Rainbow, Black Sabbath, Michael Schenker Group… Purplen sukupuun äärellä paneudutaan maailman parhaisiin hard rock – ja hevilevyihin kautta aikojen. Reidar Palmgren ja Sami Ruokangas käyvät läpi suosikkejaan kiemuraisesta Deep Purple -sukukartasta. Purppuranmustasta sukupuusta käsitellään ensimmäisessä jaksossa levyt: Deep Purple: Burn (1974), Rainbow: Rising (1976), Rainbow: Down to Earth (1979), Black Sabbath: Heaven and Hell (huhtikuu 1980), Whitesnake: Ready An´ Willing (toukokuu 1980) ja Michael Schenker Group: Assault Attack (1982). Jakson soittolista: https://open.spotify.com/playlist/4fEFzzreD1qFAVxtJT4No8?si=c85f4c80a77748ad Menossa ovat mukana Uriah Heep, UFO, Von Herzen Brothers, Michael Schenker, Ritchie Blackmore, Ian Gillan, Roger Glover, Episode Six, Trapeze, Glenn Hughes, David Coverdale, Led Zeppelin, Pauli Kauppila, George Gershwin, Ricky Nelson, Jon Lord, Yngwie Malmsteen, Rainbow, Ronnie James Dio, Whitesnake, Ian Paice, Micky Moody, Bernie Marsden, Tommy Bolin, Elf, Cozy Powell, Jimmy Bain, Vivian Campbell, Dio, Def Leppard, Wild Horses, Thin Lizzy, Brian Robertson, Neil Carter, Clive Edwards, Tony Carey, Axel Rudi Pell, Over The Rainbow, Jeff Beck, Gary Moore, Don Airey, Kirka, Bee Gees, Gibb Brothers, Graham Bonnet, Alcatrazz, Steve Vai, David Lee Roth, Monsters Of Rock, Touch, Saxon, Riot, Nazareth, The Butterfly Ball and the Grasshopper's Feast, Rory Gallagher, Judas Priest, Mark Mangold, Motörhead, Def Leppard, Iron Maiden, Angel Witch, Witchfynde, Tygers Of Pan Tang, John Sykes, Metallica, Venom, Tony Iommi, Sapattivuosi, Marco Hietala, Ozzy Osbourne, Vinny Appice, Carmine Appice, Geezer Butler, Bill Ward, Nirvana, Aki Blomberg, MTV, Free, Andy Fraser, California Jam, Neil Murray, Allman Brothers Band, Lynyrd Skynyrd, Robert Plant, Paul Rodgers, Joe Lynn Turner, Baby Face, Phil Lynott, Bad Company, Mick Ralphs, Led Zeppelin, The Who, Martin Birch, Peter Green, Fleetwood Mac, Judas Priest, Blue Öyster Cult, Alex Harvey Band, Chris Glen, Ted McKenna, KISS, Aerosmith, Randy Rhoads, Robin McAuley, Gary Barden, Derek St. Holmes, Andy Nye ja Jack Douglas. RATB somessa: https://www.facebook.com/RockAroundTheBlogFinland/ https://www.instagram.com/samiruokangas

Prepare-se para uma viagem pelo Stormbringer, o nono álbum de estúdio do Deep Purple, lançado em 1974!

Drummer Bob Pantella of Atomic Bitchwax & Monster Magnet talks about AB's recent 25 year anniversary tour, some of their longer tours, how he built up his own studio in New Jersey, his favorite Franken-Kit in the studio for recording, we revisit some of our favorite rock drummers from the 70's/80's; Ian Paice, Cozy Powell, Carmine & Vinnie Appice as well as Dio's guitarist Vivian Campbell's questionable firing, Sharon Osbourne's evermore questionable decision on Bob Daisley & Lee Kerslake's tracks on the first two Ozzy records,the cast of nefarious characters Bob picked up while driving yellow cab in NY in the 80's plus much more!

Hyvää uutta vuotta Rock Around The Blogista! Tässä jaksossa Sami Ruokangas ja Juha Kakkuri käyvät läpi vuoden 2024 parhaita levyjä ja keikkoja. Mikä sai kyyneleet silmiin, kosketti ja jäi mieleen? Keskeinen ikuisuusaihe on myös esillä: Rolling Stonesin vuoden 1999 harvinainen pienen teatterin keikka on nyt julkaistu tallenteena ja Juha muistelee keikkaa paikallaolleena. Oma jännittävä tarinansa on se, kuinka Juha sai ajalla ennen internetiä tiedon tuosta keikasta ja lopulta lipun. Kuuntele, viihdy ja sivisty! Seuraa ja kommentoi meitä somessa: https://www.instagram.com/samiruokangas https://www.facebook.com/RockAroundTheBlogFinland Jakson soittolista: https://open.spotify.com/playlist/3Y2txSIyPeCUDwilXIRpnY?si=2b3cd289334e4478 Menossa ovat mukana Emilia Sisco, Helsingin Sanomat, Espoon Kulttuurikeskus, Unna Kortehisto, Aretha Franklin. Billie Holiday, Sami Kantelinen, Seppo Salmi, Jukka Sarapää, Jukka Eskola, Pope Puolitaival, Sellosali, Grammy-palkinto, The Black Crowes, Tavastia, Guns N´Roses, Bruce Springsteen, The Magpie Salute, Rich Robinson, Sven Pipien, Rolling Stones, Faces, Small Faces, Classic Rock, Pearl Jam, Neil Young, The Coward Brothers, Elvis Costello, T Bone Burnett, Ian Hunter, Michael Monroe, Bob Dylan, Mott The Hoople, David Bowie, Benmont Tench, Tom Petty & The Heartbreakers, Taylor Hawkins, Foo Fighters, Jeff Beck, Lucinda Williams, Def Leppard, Phil Collen, Joe Elliott, Cheap Trick, Ross Halfin, Metallica, Slash, Johnny Depp, T. Rex, Marc Bolan, Mick Ronson, The Black Keys, Ohio Players, Sakke Koivula, Peer Günt, Alice Cooper, Flow, New York Dolls, Alexandra Palace, Canned Heat, Robban Hagnäs, Wentus Blues Band, Savoy-teatteri, Tullikamarin Klubi, Fito de la Parra, Count Basie Orchestra, John Lee Hooker, Jimmy Vivino, GA-20, Shepherd's Bush Empire, Keith Richards, Tower Records, Ronnie Wood, Quireboys, Spike, Black Eyed Sons, Nigel Mogg, Luke Morley, Thunder, Chris Johnstone, Frankie Miller, Rod Stewart, Eagles, Cher, Ray Charles, Tom Waits, U2, Radiomafia, Record Store Day, Black Friday, Black And White Records, Bruce Dickinson, Iron Maiden, Judas Priest, Thin Lizzy, Robert Trujillo, Kirk Hammett, Sam Cooke, Muddy Waters, Howlin´Wolf, Jools Holland, Storyville, Helge Tallqvist, 22 Pistepirkko, Ina Forsman, Marjo Leinonen, Kulttuuritalo, Olympiastadion, G Livelab, Malmitalo, Hound Dog Taylor, Tim Carman, Josh Kiggans, Pat Faherty, Cody Nilsen, Matthew Stubbs, Charlie Musselwhite, Canyon Lights, Heather Gillis, Steve Conte, KK's Priest, Barcelona Rock Fest, Deep Purple, Simon McBride, Steve Morse, Bob Ezrin, Pink Floyd, Hanoi Rocks, Ben Granfelt, Ian Gillan, Ian Paice ja Lemmy Kilmister.

La maison de Sydney dans laquelle Angus et Malcolm Young, membres d'AC/DC, ont grandi, a été démolie, alors qu'elle était inscrite au registre des maisons historiques du National Trust d'Australie depuis 2013. Franz Ferdinand a sorti un nouveau single intitulé ‘'Hooked'', ultime extrait avant la sortie de l'album attendue ce vendredi 10 janvier. Robbie Williams s'est exprimé après la disqualification de son titre ''Forbidden Road'' de la liste des Oscars 2025, dans la catégorie ‘'meilleure chanson originale''. Bruce Springsteen a entendu Jeremy Allen White chanter dans le prochain film biographique, réalisé par Scott Cooper, ‘'Deliver Me from Nowhere'', et il approuve l'acteur dans cet exercice. Debbie Harry, la chanteuse de Blondie, a évoqué les 80 ans qu'elle fêtera le 1er juillet 2025 et a parlé de la ‘'beauté du vieillissement''. Certains grands noms du rock'n'roll prennent doucement de l'âge, Ian Paice (Deep Purple), Rat Scabies (The Damned) et Paul Cook (Sex Pistols) ont tous trois parlé de la manière dont les batteurs font face aux exigences physiques de la scène, en vieillissant. Mots-Clés : famille, frère aîné, George Young, The Easybeats, album, Easy, adresse, société, origine, site, Noël, projet résidentiel, millions, dollars, statut historique, promoteurs, bar, café, matériaux, fans, célébrer, héritage, frontman, Alex Kapranos, rôdeur, nocturne, live, origine, présélection, règles, éligibilité, extraits, I Got a Name, Jim Croce, écrit, Charles Fox, Norman Gimbel, décision, adaptation, livre, 2023, Deliver Me From Nowhere, années 80, enregistrement, album, Nebraska, 1982, star, série, The Bear, efforts, distribution, mère, habitude, tête, couple, Dieu, relation, Chris Stein, applications en ligne, informée, existence, rencontres, célébrités, tester, secret, Phil Collins, documentaire, batterie, Nicko McBrain, Iron Maiden, bons et loyaux services, témoignages. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

EP 600 Discussing Current Metal Topics and Releases

EP 600 Discussing Current Metal Topics and Releases

Sami Ruokangas ja Juha Kakkuri käyvät läpi kesällä kokemiansa keikkoja ja festareita Chicagon Stones-keikasta Helsingin Storyvillen terassille ja Espanjan festareille. Tulevia julkaisujakin äimistellään. Kuuntele, viihdy ja sivisty! (kansikuvassa on Canned Heat Tampereella) Jakson soittolista: https://open.spotify.com/playlist/3BVTt0oy6MrjCdGY4Xdj1F?si=dd430ff4a12e44d5 Menossa ovat mukana Rolling Stones, Buddy Guy, Chess Records, Muddy Waters, Chuck Berry, Mick Jagger, Keith Richards, Lady Gaga, Stevie Wonder, Chanel Haynes, Trin-i-tee, Tina Turner, Charlie Watts, Metallica, Bruce Springsteen, Gary Clark Jr., Bettye LaVette, Lainey Wilson, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, Tavastia, Led Zeppelin, Queen, Mavis Saples, Howlin´ Wolf, Lee Brilleaux, Dr. Feelgood, Esa Nieminen, Big Bill Morganfield, Sopranos, Rhiannon Giddens, Kulttuuritalo, Bruce Dickinson, Iron Maiden, Tanya O'Callaghan, Blaze Bayley, On The Rocks, Tom Petty, Stevie Nicks, Coldplay, Ross Halfin, Def Leppard, Lasipalatsi, Rob Trujillo, Kirk Hammett, Lars Ulrich, Slash, Jyrki Nivala, Pauli Kauppila, Ian Hunter, James Hetfield, Aerosmith, Jeff Beck, The Heartbreakers, Mike Campbell, Foo Fighters, Jimmy Page, The Who, Journey, Judas Priest, Canned Heat, Rod Stewart, Gröna Lund, Alice Cooper, Deep Purple, Ian Gillan, Jools Holland, Faces, Sam Cooke, Tina Turner, Tullikamarin Klubi, Woodstock, Seasick Steve, Sigue Sigue Sputnik, Black Keys, Little Steven, Friends Arena, Strawberry Arena, John Lee Hooker, ZZ Top, Saurom, Villena, Nightwish, Metsätöll, Jimmy Vivino, The Tonight Show with Conan O'Brien, Fito de la Parra, Robban Hagnäs, Wentus Blues Band, Samantha Fish, Warren Haynes, Brian Johnson, AC/DC, Gibson, Fu Manchu, Orange Goblin, BBC, Ronnie Wood, Kenney Jones, Thin Lizzy, Parliament, Funkadelic, Phil Lynott, Per Olsson, John Mayall (RIP), Rory Gallagher, Storyville, Unna Kortehisto, Helge Tallqvist, 22-Pistepirkko, Korso Rock, Link Wray, Bo Diddley, Liisa Akimof, Production House, Tommi E. Virtanen, Pasi Rytkönen, Rickie Lee Jones, Michael Monroe, Imelda May, Darrel Higham, Savoy-teatteri, GA-20, Malmitalo, Firefest, Lionheart, Sweet, Kari Pyrhönen, Dennis Stratton, Simon McBride, Ian Paice, Roger Glover, Don Airey, Nestor, Heavy Pettin, Coney Hatch, Sweden Rock, Queensrÿche, Night Demon, Udo Dirkschneider, The Dedication ja The Button Factory. https://www.facebook.com/RockAroundTheBlogFinland instagram.com/samiruokangas

Drummer David Keith talks about his work with guitar legend Ritchie Blackmore in both Blackmore's Night and in Blackmore's Rainbow, the mysterious death of original Rainbow drummer Gary Driscol, the greatness of Cozy Powell and the process of learning specific fills, Ian Paice as another badass whose parts he had to learn, internet backlash for playing a smaller kit (and the Ayotte drum manufacture expansion that redeemed him), ,the ironic story of how he got to play with 90's act Nelson, his work with Leilani Kilgore between touring and recording , his first band Mighty Purple, and much more!!!

Wir begeben uns ausnahmsweise mal in schlechter Gesellschaft – Bad Company. Mit ihrem Debütalbum, das den gleichen Namen trägt: Bad Company. Keine normale Band, sondern eine echte Supergroup.  Die Bezeichnung "Supergroup" wird traditionell dann verwendet, wenn sich Mitglieder oder ehemalige Mitglieder, die schon in großen Bands gespielt haben zusammentun und eine neue Band gründen. Bei Bad Company waren das Sänger, Pianist und Gitarrist Paul Rodgers und Drummer Simon Kirke von der Band "Free", Gitarrist Mick Ralphs von "Mott the Hoople" und Bassist Boz Burrell, der zwischendurch mal Grek Lake bei "King Crimson" abgelöst hatte. Und was die Herren dann zu bieten hatten, war zeittypischer Rock der Mittsiebziger mit großer Strahlkraft für die Weiterentwicklung des Rock. Schnörkellos könnte man auch sagen. Der größte Hit vom Album war "Can't Get Enough". Bei sogenannten Supergroups ist die Entstehungsgeschichte meistens auch ganz spannend, denn wer bereits in einer erfolgreichen Band spielt, der verlässt die oft nur aus guten Gründen um nochmal komplett von vorne anzufangen. Bei Paul Rodgers und Simon Kirke von "Free" hatte sich die Band so zerstritten, dass gefühlt keine Rettung mehr möglich war. Paul Rodgers und Simon Kirke gingen also gemeinsam auf die Suche nach neuen Mitmusikern. Mick Ralphs gefiel die musikalische Ausrichtung in die seine Band "Mott the Hoople" marschierte nicht so gut, da ging es zu sehr in die Richtung Glamrock. Und Bassist Boz Burrell von "King Crimson", der war sowieso sehr umtriebig. Vor der Zeit bei "King Crimson" war er schon mit seiner eigenen Band unterwegs gewesen, in der zum Beispiel Ritchie Blackmore, Ian Paice und Jon Lord spielten, die späteren Deep Purple. Bad Company sind schnell auf dem gleichen Label gelandet wie ihre Freunde von Led Zeppelin und konnten auch in deren Tonstudio Headley Grange ihr Debütalbum aufnehmen. Für SWR1 Musikredakteur Stephan Fahrig ist Bad Company eines seiner liebsten Rockalben, wie er im SWR1 Meilensteine Podcast erzählt: "Weil die Stücke [...] in einmaliger und genialer Art zeigen, wie viel mehr, weniger sein kann. [...] Die Arrangements auf diesem Album sind auf das Notwendigste reduziert und es ist auch diese einmalig, einfache und dann auch [...] raue Art an Rock heranzugehen, die ich so besonders finde an diesem Album." Wenn die Instrumente grundsätzlich auf das Nötigste reduziert sind, dann bekommen die einzelnen Instrumente auch immer wieder die Möglichkeiten sich auszubreiten und zu glänzen. Das gilt natürlich auch für die sensationelle Rockstimme von Sänger Paul Rodgers. Der Grundsatz von Bad Company war: Zu viel Kleinteiliges lässt eine Platte auch klein wirken. __________ Über diese Songs vom Album "Bad Company" wird im Podcast gesprochen (16:28) – "Can't Get Enough" (23:49) – "Ready for Love" (30:44) – "Don't Let Me Down" (34:29) – "Bad Company" (45:37) – "Seagull" __________ Alle Shownotes und weiterführenden Links zur Folge "Bad Company" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-bad-company-paul-rodgers-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Modernista rock-rumpaloinnista ja groovesta ei voi puhua mainitsematta Ian Paicen nimeä. Paice on urallaan kylvänyt aina laatua ympärilleen ja pysytellyt suurimpien otsikoiden ulkopuolella. Mistä hänen soittonsa koostuu ja mitkä ovat hänen tavaramerkkinsä rumpalina? Mm. näitä pohditaan Mirka "Leka" Rantasen kanssa, kun käsittelyssä on legendaarinen Ian Paice. Kasarin Lapset -podcastin isäntänä on Vesa Winberg. * * * Kasarin Lapset -podcast rokataan kasaan yhteistyössä Suomen parhaan paahtimon Lehmus Roasteryn ja Teemu Aalto Music Productionsin kanssa. * * * Koodilla "rocknrollneverdies" 15 pinnaa alennusta kaikista kahvi-, tee- ja kaakaotilauksista. * * * Teemu Aalto Music Productions tuottaa listaykkösiä ja laatumetallia. Teemun käsien kautta ovat kulkeneet mm. Insomnium, Omnium Gatherum ja Marianas Rest. * * * Kasarin Lapset Rocks With Skipper's Amps - No compromises, no nonsense, just gear to rock * * * Kasarin Lapset -tunnari: Niko "Aivan Paise" Kudjoi Kasarin Lapset -voice: Panu Markkanen Kasarin Lapset -photo: Kristian Valkama * * * Tuotanto: SoundWorks Finland * * * www.soundworksfinland.fi

This is a special on Deep Purple. They have played a hard-driven rock sound for almost 60 years. The band has endured many lineup changes but have played a consistent powerful sound. These are select studio and live tracks from one f the greatest bands of all time. Please have a look at these special interest sites.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/For booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at sonictyme@yahoo.com

IAN GILLAN DEEP PURPLE LEGEND THE LOST INTERVIEWS EPISODE 3    Ian Gillan is the legendary charismatic frontman for one of the greatest bands in rock and roll history. Deep Purple is essentially known for its hard rock pulse. Its musical schemes have encompassed progressive rock, blues, R&B and even jazz. Keyboardist Jon Lord received a telegram from Tony Edwards stating that he'd back Lord in putting a band together; later Edwards called Ritchie Blackmore to meet with him. In December of 1967, the two musicians met up and collaborated for the first time. John Lord had already asked Nick Simper to play bass, a former bandmate with ‘The Flower Pot Men.' While living in Hamburg, Germany, Ritchie Blackmore saw drummer Ian Paice performing onstage with his band The Maze. The group was fronted by singer Rod Evans. Evans auditioned for the lead vocalist role for a scheming new (Deep Purple) band and won the spot. Blackmore remembered Paice from Hamburg and asked Evans to bring him along. Blackmore and Lord were a bit worried that Evans mannerism was much like Tom Jones or Engelbert Humperdinck. Jon Lord later stated, “We'd eventually beat him into shape.” In 1968, Deep Purple was officially formed. The band was named after a Nino Tempo and April Stevens song of 1963, believed to be Ritchie Blackmore's grandmother's favorite song. Deep Purple's musical styles intentionally mimicked the American rock group Vanilla Fudge (“You Keep Me Hangin' On”). The group quickly scored commercially with their Top 40 hit single “Hush” (#4 on Billboard's Hot 100 chart) and became overnight sensations in the U.S. Ritchie Blackmore's vision for the band was to implement heavier rock techniques, and while Rod Evans and Nick Simper were in the group it may never have been accomplished. After Rod Evans was dismissed from Deep Purple, he went on to form Captain Beyond in 1971. Ian Gillan and bassist Roger Glover were performing at Woodford Green in London with their British pop rock band ‘Episode Six.' Their lead singer Ian Gillan was noticed by Ritchie Blackmore and Jon Lord. After watching Gillan's performance, they offered him the lead singer position for Deep Purple. Eventually Roger Glover would be asked to join the band, while securing one of the greatest music lineups in rock history. Also in 1972, under resistance by the band, they recorded a double live album in Japan entitled, Made In Japan. The album was essentially the Machine Head tour. The band recorded (3) concerts ... (2) in Osaka and (1) in Tokyo. Most of the material came from the second night in Osaka. Made In Japan also went platinum and the live version of “Smoke on the Water” became instrumental to the song's success. Smoke on the Water” (#4 Hit on Billboard's Hot 100) was officially released as a single in 1973 and became one of the most recognizable guitar riffs in rock and roll history. Deep Purple were now international superstars in the studio and on the road. At the peak of their success, Ian Gillan gave a six month notice and stated that he was leaving the band after fulfilling all of his commitments in 1973. The album Who Do We Think We Are was released in January of 1973. The release generated the hit single “Woman from Tokyo.” “Smoke on the Water” was also busy that year becoming Deep Purple's biggest hit of all-time.  Who Do We Think We Are was the last studio album to feature Ian Gillan as their lead singer until the 1984 reunion LP Perfect Strangers. Deep Purple did six American tours before Ian Gillan and Roger Glover left the band. The grueling touring schedule and fatigue became the reason for their early departure from the band. In 1973, the band had eleven different entries in Billboard and became the top-selling artists in the U.S. But without its lead singer and bass player the band felt like it was the end. Deep Purple brought in several lineups through the years. Lead singers that included David Coverdale and Joe Lynn Turner, guitarists Tommy Bolin and Joe Satriani and bassist Glenn Hughes. There have also been band reunions that have included the original Deep Purple core lineup. Sadly, founding member, keyboardist and songwriter Jon Lord died in 2012. Ritchie Blackmore and his wife Candice Night currently perform together with their medieval folk rock band Blackmore's Night. Ian Gillan is the son of a school teacher mother and a factory worker father. Gillan came from a musical family; his grandfather was a bass-baritone and sang opera, and his uncle was a jazz pianist. Ian was a boy soprano in the church choir when he was young. Besides being the legendary voice of Deep Purple, Gillan also sang the role of Jesus on the original recording of Andrew Lloyd Webber's rock opera Jesus Christ Superstar. He also recorded with his solo bands the Ian Gillan Band (1975-1978) and Gillan (1978-1982). Gillan was also the lead singer of Black Sabbath (1982-1984). Ian Gillan performed in the charity group Rock Aid Armenia and later (2011) participated in the supergroup ‘WhoCares,' a continuing effort by Gillan to help the people of Armenia after a devastating earthquake. The group was comprised of Gillan, Tony Iommi (Black Sabbath), Jon Lord (Deep Purple), Jason Newsted (Metallica), Nicko McBrain (Iron Maiden) and Mikko “Linde” Lindstrӧm (HIM). They recorded the songs … “Out of My Mind” and “Holy Water” which is included in a 2-CD compilation of rarities from the music careers of Ian Gillan and Tony Iommi. Proceeds from the CD helped rebuild a music school in Gyumri, the second largest city in Armenia. Gillan and Iommi received the Armenian Presidential Medal of Honor for their humanitarian efforts.     Support us on PayPal!

Une guitare sur laquelle John Lennon a joué plusieurs titres des Beatles, longtemps considérée comme disparue, a été retrouvée récemment dans un grenier au Royaume-Uni, l'instrument sera mis en vente à la fin du mois de mai aux États-Unis. La vidéo partagée de Deep Purple dans laquelle on voyait la batterie de Ian Paice et le clavier de Don Airey, en plus d'une équation algébrique animée qui apparaissait en arrière-plan donne pour résultat le chiffre ‘'1'' titre du prochain album.Paul McCartney and the Wings vont sortir pour la première fois leur album studio live de 1974, ‘'One Hand Clapping'' enregistré en août 1974, aux studios Abbey Road en conditions live. Un album de chansons inédites de Johnny Cash, intitulé ‘'Songwriter'', sortira le 28 juin dont voici déjà le single "Well Alright". Motley Crue a signé un nouveau contrat avec Big Machine Records en amont de la sortie du prochain single, "Dogs of War", pour ce vendredi 26 mai. Mots-Clés : Framus 12 string Hootenanny, photos, enregistrements, Help, vedette, prix, vol, Angleterre, Gordon Waller, manager, confirmer, info, earMUSIC, film, documentaire, réalisateur, David Litchfield, versions pirates, sortie officielle, sessions, Nashville, John Carter Cash, fils, voix, original, musiciens, père, collection, chansons, changement, line up, départ, Mick Mars, arrivée, guitariste, John 5, label, single, vacances. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Deep Purple mijote quelque chose, à en croire la vidéo de 16 secondes partagée par le groupe qui met en scène la batterie de Ian Paice et le clavier de Don Airey, en plus d'une équation algébrique animée qui apparaît en arrière-plan. Joe Walsh a rejoint un groupe d'étudiants en musique samedi à Otatara Pa, une colline historique Maori en Nouvelle-Zélande, où il s'est produit sur scène avec eux devant une foule d'environ 300 personnes. Tous les artistes qui s'étaient mobilisés pour l'intronisation de Foreigner au Rock and Roll Hall of Fame ont eu gain de cause, le groupe fait partie des lauréats de cette édition 2024. Hozier a atteint le sommet du Billboard Hot 100 pour la 1re fois de son histoire avec son nouveau titre "Too Sweet", c'est aussi la 1er fois qu'un artiste irlandais décroche la première place du Hot 100 depuis que Sinead O'Connor en 1990 avec "Nothing Compares 2 U". Shirley Manson de Garbage est revenue sur ce jour où elle a appris que leur label allait investir dans No Doubt plutôt que dans Garbage. Thom Yorke a dévoilé tous les détails de la future bande originale du film ‘'Confidenza'' et le premier extrait de l'album "Knife Edge", avec le London Contemporary Orchestra et un ensemble de jazz incluant le batteur de The Smile et de Sons Of Kemet, Tom Skinner. Mots-Clés : single, album, infos, indice, enchaînement, images, guitariste, Simon McBride, scène, cœur, révélation, alcool, drogue, reggae, néo-zélandais, Ukettes, joueur, ukulélé, école, Greenmeadows, Hotel California, Eagles, reprise, Roadhouse Blues, Doors, piano, solo, Desperado, guitariste, Mick Jones, honoré, Ozzy Osbourne, Billboard, humilité, sensation, Black Sabbath, U2, Gilbert O'Sullivan, origine, hasard, vol, Los Angeles, Londres, rockstar, célèbre, Interscope, priorité, Gwen Stefani, maison de disques, situation, sentiment, industrie, travail, bande son, version numérique, vinyle, CD. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

NEW FOR APRIL 1, 2024 Have a mouthful of this . . . Like Chewing Shoes - The Best Radio You Have Never Heard Vol. 481 1. Wasted On The Way (live) - Crosby, Stills and Nash 2. No Expectations (live) - The Rolling Stones 3. Wanting and Waiting - The Black Crowes 4. Doctor My Eyes / These Days (live) - Jackson Browne 5. Joan In The Garden - The Decemberists 6. Innocence Pt. 1 - Peter Garrett 7. When A Blind Man Cries - Deep Purple 8. Once The Dust Settles - Cosmic Bull 9. Frame By Frame (alt) - King Crimson 10. 21st Century Schizoid Man - Todd Rundgren, Arthur Brown, Ian Paice, Mel Collins et al 11. Twilight / Out Of Control (live) - U2 12. Change (alt) - Tears For Fears 13. Crime Don't Pay (live) - Joe Jackson 14. Big Yellow Taxi - Counting Crows 15. A Legal Matter (live) - Richard Thompson 16. Anyway, Anyhow, Anywhere (live) - Pete Townshend 17. Presence Of The Lord (live) - Eric Clapton, Pete Townshend, Steve Winwood, Ron Wood et al 18. Babooshka - Kate Bush 19. Enter Sandman (live unplugged) - Metallica 20. Lifebeats / Prelude / The Silver Chord / Re-Assuring Tune - Jethro Tull The Best Radio You Have Never Heard. Like fine leather served with a warm pink center. Accept No Substitute Click to leave comments on the Facebook page.

Ian Gillan was one of the foremost vocalists of the heavy metal style of rock that emerged in the ‘70s, earning his greatest celebrity as a member of Deep Purple despite the fact that he also led his own bands. Ian began singing while still in his teens and was a member of several pub rock bands.  It was in one of these that he met bass player Roger Glover, and the two were invited to join Deep Purple in 1969. They debuted with the band in London of the same year. Ian Gillan's voice was the making of Deep Purple and he was featured on a series of hugely successful  recordings including Fireball, Machine Head, Made in Japan and Who Do We Think We Are. He also starred on Andrew Lloyd Webber and Tim Rice's concept album Jesus Christ Superstar where he sang the title role. That album topped the U.S. charts in 1971. Ian Gillan recorded and toured the world relentlessly in those days until he was hospitalised for exhaustion in 1971. He decided to take leave of the band and, just as he left, "Smoke on the Water" from Machine Head began making its way up the U.S. charts, where it would peak in the Top Five and go gold, becoming Deep Purple's biggest ever career hit. Ian then bought a recording studio and signed a solo deal with a small record company. He formed the Ian Gillan Band and in 1975, their debut album, Child in Time, entered the charts. Switching record labels, the group simplified its name to Gillan and recorded a series of albums, many of which hit the charts worldwide. At the end of 1982, Ian disbanded Gillan, announcing that he had to rest his vocal cords on doctor's orders. The following year, he surprised fans by joining Black Sabbath and recorded their album Born Again. He also began touring with the band. Ian says he was lucky to survive that ongoing party. In 1984, the original 1969-1973 line up of Deep Purple got back together. They cut the million-selling Perfect Strangers and the House of Blue Light. In 1989, Ian Gillan again quit the band. That December, he participated in an all-star remake of "Smoke on the Water" issued as a charity single which made the British Top 40. Ian Gillan continued to release solo albums. At the end of 1992, he again returned to Deep Purple and the band commenced a world tour. Ian left yet again and in 1998, he released yet another solo album. After 2009's offering, he continued to focus on Deep Purple and didn't make another solo album for almost a decade. These days Ian Gillan remains at the helm of Deep Purple and the album "Machine Head - Deluxe 50th Anniversary Edition" has just been released. The box set with LP, three CDs, Blu-Ray, booklet and various memorabilia also includes a remastered version of the original mix, a 1972 concert recording from London and a previously unreleased recording from 1971 made at the Casino Montreux which later burned down. It was included, despite its limited sound quality, "because of its historical relevance" according to the notes on the back of the box. Despite all the nostalgia and the loss of his wife a couple of years ago, Ian Gillan is again looking forward. He is currently living on the coast in Portugal and is at work on the band's next studio album - number 23 - with his long-time band mates Roger Glover and Ian Paice. The 78 year old is getting set for yet another Deep Purple tour that's about to kick off in Australia. To learn more about Deep Purple and Ian Gillan head for https://deeppurple.com/ and https://www.ian-gillan.com/ To request a future guest for A Breath of Fresh Air feel free to reach out to me or if you have comments and feedback https://www.abreathoffreshair.com.au  

For our latest episode of Consequence UNCUT, Heavy Consequence contributor and author Greg Prato speaks with Deep Purple band members Ian Paice and Roger Glover to celebrate Machine Head and “Smoke on the Water” ahead of the release of a super deluxe edition. Paice and Glover talk about the bizarre series of events that preceded the recording of the album, including the infamous incident that inspired "Smoke on the Water."Listen to Deep Purple band members Ian Paice and Roger Glover deep dive into Machine Head in the latest episode of Consequence Uncut, and read the accompanying article on Consequence.net.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

50 vuotta sitten ilmestyi hienoja levyjä tärkeiltä artisteilta. Vuoden 1974 albumeista Sami Ruokankaan ja Pauli Kauppilan tarkastelussa on tässä jaksossa kolme: Bob Dylanin Planet Waves, Robin Trowerin Bridge of Sighs ja Deep Purplen Burn. Jakson kuuntelemalla selviää, miten näihin albumeihin liittyvät mm. Heartin Ann Wilson, Tikkurilan Old Story, Zakk Wylde ja Lapin Kulta -olut… Kuuntele, viihdy ja sivisty! Jakson soittolista: https://open.spotify.com/playlist/18CIgpniU1UjWojOgOgnGX?si=f43bec159a7449d7 Menossa ovat mukana Musiikkitalo, Rush, Kansas, Bad Company, Tom Waits, Joni Mitchell, Rolling Stones, Deep Purple, Ian Gillan, Ritchie Blackmore, Ian Paice, David Coverdale, Glenn Hughes, Jon Lord, Bob Dylan, Robin Trower, Robbie Robertson, The Band, Rick Danko, Richard Manuel, Levon Helm, Manfred Mann´s Earth Band, Sweden Rock, Gregg Allman, The Hawks, Ronnie & The Hawks, Procol Harum, Pepe Willberg, Jimi Hendrix, Stevie Ray Vaughan, James Dewar, Paul Rodgers, Matthew Fisher, Jussi Niemi, Waldemar Wallenius, Bobby ”Blue” Bland, Sari Schorr, James Brown, B.B. King, Albert King, Opeth, Down, Heart, Ann Wilson, Joe Bonamassa, Aki Blomberg, Steve Lukather, Toto, UFO, Warren Haynes, Quasimodo, Davey Pattison, Ronnie Montrose, Michael Schenker, Zakk Wylde, Ozzy Osbourne, Black Label Society, Kansas, Jack Daniels, Bryan Ferry, David Gilmour, Roger Glover, Black Sabbath, Tapani Tapanainen, Tapani Talo, Bonita Pietila, Simpsons, David Uosikkinen, Oodi, Phil Lynott, Thin Lizzy, Baby Face, Rainbow, Ricky Nelson, George Gershwin, Jimmy Page, Johann Sebastian Bach, Santana, Faces, Whitesnake, Spancer Davis Group, Mikko Aalatalo, Harry Nilsson, California Jam, The Eagles, Trapeze, Beatles, Ronnie James Dio, Joe Lynn Turner, Old Story, Megasnake, Tipe Johnson, Megadeth, Twist Twist Erkinharju, Gringos Locos, Leningrad Cowboys, Peer Günt ja Red Hot Chili Peppers.

Avec Leonard Cohen, Paul McCartney et Roger Hodgson. En 1984, Leonard Cohen triomphe en France et dans son pays d'origine, le Canada, avec “Hallelujah”, repris par John Cale ou Jeff Buckley au milieu des 90's. Année particulière pour Paul McCartney avec son nouvel album "Give My Regards To Broad Street", bande originale du film du même nom avec “No More Lonely Nights” au magnifique solo de guitare de David Gilmour (Pink Floyd) , réalisé par Peter Webb et dont le scénario est signé McCartney, il y joue avec sa femme Linda et Ringo Starr. Grand retour du groupe britannique Deep Purple qui se reforme pour l'enregistrement de “Perfect Strangers” (Ian Gillan, Ritchie Blackmore, Roger Glover, Ian Paice et Jon Lord). Débuts de l'ex-Supertramp, le chanteur et guitariste Roger Hodgson qui lance en solo avec un premier album “In The Eye of The Storm”. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

De la musique, de la danse, du clown, ou encore de la poésie… Comme à son habitude, le programme de la salle de spectacles des Tanzmatten se veut éclectique, notamment en cette fin d'année 2023. Dans un premier temps, ça va bouger ce jeudi 23 novembre, avec le concert du groupe Purpendicular dont son batteur, Ian Paice, est le seul membre de Deep Purple à n'avoir jamais quitté le groupe depuis 1968. Un peu plus de légèreté sera proposée le mercredi 29 novembre, lors du spectacle « Sous le poids des plumes ». Le dernier rendez-vous à se noter sera le mercredi 13 décembre pour « Glob ». Une représentation qui s'annonce pleine de surprises, à voir en famille. Pour en parler, Jean-Paul Humbert, le directeur des Tanzmatten, était dans nos studios.  Le lien vers l'article complet : https://www.azur-fm.com/news/selestat-des-spectacles-varies-pour-terminer-lannee-aux-tanzmatten-1799 

Troy started playing drums at 10 years old and was influenced by Mitch Mitchell of the Jimi Hendrix Experience. He has a wide variety of musical tastes and loves Creedence Clearwater Revival, Neil Diamond, Led Zeppelin, and Latin style percussion. His other drumming influences include John Bonham, Ian Paice, Jeff Porcaro, David Garibaldi, and Steve Gadd. Troy grew up in the east San Francisco bay area playing in bands such as Whisper, Benny and the Jets, 415, and the Eric Martin Band before joining Tesla in 1985.In 2010, Troy participated in a tribute album titled Mister Bolin's Late Night Revival, a compilation of 17 previously unreleased tracks written by guitar legend Tommy Bolin prior to his death in 1976. The CD includes other artists such as HiFi Superstar, Doogie White, Eric Martin, Jeff Pilson, Randy Jackson, Rachel Barton, Rex Carroll, Derek St. Holmes, Kimberley Dahme, and The 77's. A percentage of the proceeds from this project will benefit the Jackson Recovery Centers.[2]Troy also produces other artists and has played drums on recording sessions in the studio with artists like Ronnie Montrose, Marc Bonilla, Eric Westphal, and others. He operated a recording studio, TML Productions, in Hayward, California.[3]Troy is endorsed by Tama Drums, Zildjian cymbals, and Promark drumsticks.

After the demise of Deep Purple, and before the reformation of Whitesnake, Ian Paice, Jon Lord, and Bernie Marsden join with future Black Sabbath bassist, Neil Murray, and little known lead singer, Tony Ashton, and form a super group of proto metal pioneers. What they came back with was a bit different than what any one was expecting. Join Nik and Duncan as they get their music nerd on and do a deep dive review on the album. https://www.facebook.com/dmapodcast https://duncan-evans.bandcamp.com/

On this episode of The Adventures of Pipeman, we're joined by special guest Glenn Hughes. Glenn just celebrated his 50 year anniversary of Deep Purple's legendary album Burn. Glenn discusses the longevity of his musical career and his drive that helps him continue touring and creating new music. Pipeman and Glenn discuss the key to writing meaningful songs and how songwriting narratives change as the artist gets older. Glenn Hughes is touring in Florida at The Capitol Theatre in Clearwater and also in Fort Lauderdale. You can connect with Glenn on Facebook at Glenn Hughes online and look out for upcoming tour dates near you. GLENN HUGHES TO PERFORM CLASSIC HITS FROM THE 50TH ANNIVERSARY OFDEEP PURPLE'S LEGENDARY “BURN” ALBUMCO-HEADLINE U.S. TOUR WITH YNGWIE MALMSTEEN ANNOUNCED Glenn Hughes, the former bassist, and singer of Deep Purple, known to millions as the ‘Voice of Rock', Rock and Roll Hall of Fame inductee, and the front man for rock super group Black Country Communion, is pleased to announce an evening celebrating music from BURN and other classic hits from Deep Purple's rich back catalog – during a tour that will mostly see him co-headlining with guitar great Yngwie Malmsteen. Billed as “Glenn Hughes Performs The 50th Anniversary of Deep Purple's BURN Live”, Hughes will perform classic hits from the legendary album, and the addition of Deep Purple MKIII and MKIV songs. Glenn's band will feature Soren Andersen (guitar), Ash Sheehan (drums) and Ed Roth (keyboards).'It was 50 years ago, in the summer of 1973, that the BURN album by Deep Purple was written at Clearwell castle in Gloucestershire UK,” reminisces Hughes. “It was recorded in October in Montreux, Switzerland.”Continues Hughes, “We all became one in this centuries old castle in the UK countryside, it felt like Deep were a new band, with David (Coverdale) and I as new members, we couldn't wait to start working on new song. The atmosphere was electric, in such amazing surroundings.”“All the songs on Burn were written in the crypt/dungeon, underneath the great hall. We worked on a new song every day, and we were in the flow. Musically we would play, and work out ideas, and David and I would come up with vocal melodies that would later have lyrics. I remember it like it was yesterday.”“As you could imagine, Ritchie Blackmore was in full prankster mode, Jon had warned me, and he rigged my room one night with a speaker that was hidden, and had ghostly voices delivered to my bedside.”“The title track was the last song to be written. We came back from the pub, and went down into the crypt, and magic happened.”Concludes Hughes, “It's time to celebrate BURN, and I'm really looking forward to seeing you!”GLENN HUGHES PERFORMS CLASSIC HITS FROM THE 50TH ANNIVERSARY OF DEEP PURPLE'S LEGENDARY “BURN” ALBUM AUGUST/SEPTEMBER 2023 US TOUR WITH YNGWIE MALMSTEEN (unless otherwise noted):08.16.23 LANDIS THEATER VINELAND, NJ*** (GLENN HUGHES ONLY)08.18.23 STRAND THEATER HUDSON FALLS, NY08.19.23 THE CHANCE POUGHKEEPSIE, NY08.22.23 THE PALLADIUM TIMES SQUARE NEW YORK, NEW YORK08.23.23 THE PARAMOUNT HUNTINGTON, NY08.25.23 THE KING OF CLUBS COLUMBUS, OH08.26.23 ARCADA THEATER ST. CHARLES, IL08.28.23 GRANADA THEATER DALLAS, TX***(GLENN HUGHES ONLY)08.30.23 HOUSE OF BLUES NEW ORLEANS, LA09.01.23 HOUSE OF BLUES HOUSTON, TX09.02.23 TOBIN CENTER SAN ANTONIO, TX09.04.23 MARQUEE TEMPE, AZ09.06.23 HOUSE OF BLUES SAN DIEGO, CA09.08.23 SABAN THEATER BEVERLY HILLS, CA09.09.23 PERFORMING ARTS CENTER OXNARD, CA09.11.23 HOUSE OF BLUES ANAHEIM, CA09.13.23 ORIENTAL THEATER DENVER, CO09.15.23 EMERALD THEATER MT. CLEMENS, MI09.16.23 BLUE NOTE HARRISON, OH***(GLENN HUGHES ONLY)09.19.23 THE PALLADIUM WORCESTER, MA09.20.23 JERGELS WARRENDALE, PA***(GLENN HUGHES ONLY)09.22.23 PARKER PLAYHOUSE FT. LAUDERDALE, FL09.23.23 CAPITOL THEATER CLEARWATER, FLDEEP PURPLE – THE STORY BEHIND “BURN”Burn is the eighth studio album by the English rock band Deep Purple, written and recorded in 1973, and released in February 1974, the album was the first to feature then-unknown David Coverdale on vocals and Glenn Hughes, from Trapeze, on bass and vocals.The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio. With the addition of David Coverdale and Glenn Hughes, Purple's hard rock sound became more boogie-oriented, incorporating elements of soul and funk, which would become much more prominent on the follow-up album, Stormbringer.Burn hit #3 on the UK Albums Chart, #9 on the US Billboard 200, and #1 in Austria, Denmark, Germany and Norway.In 2004 Burn was remastered and released with bonus tracks. Coronarias Redig was recorded during the Burn recording sessions, used only as a B-side for the Might Just Take Your Life single in 1974. It appears as a bonus track (in remixed form) on the anniversary edition re-release. The 2004 remix version of Burn was later used in Guitar Hero: Warriors of Rock.In 2005 an unauthorized documentary about the album was produced as part of "The Ultimate Critical Review" series. It featured brand new interview with the original Deep Purple Mk III bassist and vocalist Glenn Hughes.Lead single Might Just Take Your Life, released 4 March, was Deep Purple's first UK single in two years.The phenomenal title track started things off at full throttle, actually challenging the seminal Highway Star for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice. The fantastic slow-boiling blues of Mistreated's greatness qualifies it for the highest echelons of hard rock achievement, and therefore ranks as an essential item in the discography of any self-respecting music fan.GLENN HUGHES – BIOGRAPHYGlenn Hughes is an inductee into the Rock and Roll Hall of Fame as part of the MK 3 line up of Deep Purple. He spent the formative years of his career as the beloved bassist and vocalist of the group and performed on the classic albums Burn (1974), Stormbringer (1974) and Come Taste The Band (1975).The vocalist/bass guitarist/songwriter is a true original. No other rock musician has carved such a distinctive style blending the finest elements of hard rock, soul and funk. Stevie Wonder once called Hughes his favorite white singer. The first important band Hughes was a member of that achieved notable success was Trapeze.In 1973, Hughes joined Deep Purple. The trailblazing hard-rock legends had just weathered the departure of vocalist Ian Gillan and bass guitarist Roger Glover, but guitarist Ritchie Blackmore, keyboardist Jon Lord and drummer Ian Paice continued with the addition of Hughes and David Coverdale.Since 1992, Hughes has toured extensively in Europe, Japan, and South America in support of solo albums. He's recorded four studio albums with the multi-award-winning supergroup Black Country Communion featuring guitarist Joe Bonamassa, keyboardist Derek Sherinian (Dream Theater) and drummer Jason Bonham, son of the late Led Zeppelin legend John Bonham.In 2016 he released his critically acclaimed solo album Resonate featuring the rock radio hit “Heavy”, and in 2017 he released Black Country Communion's fourth studio album “BCCIV” to ecstatic reviews.In 2019, Glenn joined the Dead Daises as their lead singer and bass guitarist, recorded two albums, Holy Ground (2021) and Radiance (2022) and toured the world.FOR MORE INFORMATION VISIT: https://www.glennhughes.com/https://www.facebook.com/glennhughesonlinehttps://twitter.com/glenn_hugheshttps://www.instagram.com/GlennHughesOnline/

On this episode of The Adventures of Pipeman, we're joined by special guest Glenn Hughes. Glenn just celebrated his 50 year anniversary of Deep Purple's legendary album Burn. Glenn discusses the longevity of his musical career and his drive that helps him continue touring and creating new music. Pipeman and Glenn discuss the key to writing meaningful songs and how songwriting narratives change as the artist gets older. Glenn Hughes is touring in Florida at The Capitol Theatre in Clearwater and also in Fort Lauderdale. You can connect with Glenn on Facebook at Glenn Hughes online and look out for upcoming tour dates near you. GLENN HUGHES TO PERFORM CLASSIC HITS FROM THE 50TH ANNIVERSARY OFDEEP PURPLE'S LEGENDARY “BURN” ALBUMCO-HEADLINE U.S. TOUR WITH YNGWIE MALMSTEEN ANNOUNCED Glenn Hughes, the former bassist, and singer of Deep Purple, known to millions as the ‘Voice of Rock', Rock and Roll Hall of Fame inductee, and the front man for rock super group Black Country Communion, is pleased to announce an evening celebrating music from BURN and other classic hits from Deep Purple's rich back catalog – during a tour that will mostly see him co-headlining with guitar great Yngwie Malmsteen. Billed as “Glenn Hughes Performs The 50th Anniversary of Deep Purple's BURN Live”, Hughes will perform classic hits from the legendary album, and the addition of Deep Purple MKIII and MKIV songs. Glenn's band will feature Soren Andersen (guitar), Ash Sheehan (drums) and Ed Roth (keyboards).'It was 50 years ago, in the summer of 1973, that the BURN album by Deep Purple was written at Clearwell castle in Gloucestershire UK,” reminisces Hughes. “It was recorded in October in Montreux, Switzerland.”Continues Hughes, “We all became one in this centuries old castle in the UK countryside, it felt like Deep were a new band, with David (Coverdale) and I as new members, we couldn't wait to start working on new song. The atmosphere was electric, in such amazing surroundings.”“All the songs on Burn were written in the crypt/dungeon, underneath the great hall. We worked on a new song every day, and we were in the flow. Musically we would play, and work out ideas, and David and I would come up with vocal melodies that would later have lyrics. I remember it like it was yesterday.”“As you could imagine, Ritchie Blackmore was in full prankster mode, Jon had warned me, and he rigged my room one night with a speaker that was hidden, and had ghostly voices delivered to my bedside.”“The title track was the last song to be written. We came back from the pub, and went down into the crypt, and magic happened.”Concludes Hughes, “It's time to celebrate BURN, and I'm really looking forward to seeing you!”GLENN HUGHES PERFORMS CLASSIC HITS FROM THE 50TH ANNIVERSARY OF DEEP PURPLE'S LEGENDARY “BURN” ALBUM AUGUST/SEPTEMBER 2023 US TOUR WITH YNGWIE MALMSTEEN (unless otherwise noted):08.16.23 LANDIS THEATER VINELAND, NJ*** (GLENN HUGHES ONLY)08.18.23 STRAND THEATER HUDSON FALLS, NY08.19.23 THE CHANCE POUGHKEEPSIE, NY08.22.23 THE PALLADIUM TIMES SQUARE NEW YORK, NEW YORK08.23.23 THE PARAMOUNT HUNTINGTON, NY08.25.23 THE KING OF CLUBS COLUMBUS, OH08.26.23 ARCADA THEATER ST. CHARLES, IL08.28.23 GRANADA THEATER DALLAS, TX***(GLENN HUGHES ONLY)08.30.23 HOUSE OF BLUES NEW ORLEANS, LA09.01.23 HOUSE OF BLUES HOUSTON, TX09.02.23 TOBIN CENTER SAN ANTONIO, TX09.04.23 MARQUEE TEMPE, AZ09.06.23 HOUSE OF BLUES SAN DIEGO, CA09.08.23 SABAN THEATER BEVERLY HILLS, CA09.09.23 PERFORMING ARTS CENTER OXNARD, CA09.11.23 HOUSE OF BLUES ANAHEIM, CA09.13.23 ORIENTAL THEATER DENVER, CO09.15.23 EMERALD THEATER MT. CLEMENS, MI09.16.23 BLUE NOTE HARRISON, OH***(GLENN HUGHES ONLY)09.19.23 THE PALLADIUM WORCESTER, MA09.20.23 JERGELS WARRENDALE, PA***(GLENN HUGHES ONLY)09.22.23 PARKER PLAYHOUSE FT. LAUDERDALE, FL09.23.23 CAPITOL THEATER CLEARWATER, FLDEEP PURPLE – THE STORY BEHIND “BURN”Burn is the eighth studio album by the English rock band Deep Purple, written and recorded in 1973, and released in February 1974, the album was the first to feature then-unknown David Coverdale on vocals and Glenn Hughes, from Trapeze, on bass and vocals.The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio. With the addition of David Coverdale and Glenn Hughes, Purple's hard rock sound became more boogie-oriented, incorporating elements of soul and funk, which would become much more prominent on the follow-up album, Stormbringer.Burn hit #3 on the UK Albums Chart, #9 on the US Billboard 200, and #1 in Austria, Denmark, Germany and Norway.In 2004 Burn was remastered and released with bonus tracks. Coronarias Redig was recorded during the Burn recording sessions, used only as a B-side for the Might Just Take Your Life single in 1974. It appears as a bonus track (in remixed form) on the anniversary edition re-release. The 2004 remix version of Burn was later used in Guitar Hero: Warriors of Rock.In 2005 an unauthorized documentary about the album was produced as part of "The Ultimate Critical Review" series. It featured brand new interview with the original Deep Purple Mk III bassist and vocalist Glenn Hughes.Lead single Might Just Take Your Life, released 4 March, was Deep Purple's first UK single in two years.The phenomenal title track started things off at full throttle, actually challenging the seminal Highway Star for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice. The fantastic slow-boiling blues of Mistreated's greatness qualifies it for the highest echelons of hard rock achievement, and therefore ranks as an essential item in the discography of any self-respecting music fan.GLENN HUGHES – BIOGRAPHYGlenn Hughes is an inductee into the Rock and Roll Hall of Fame as part of the MK 3 line up of Deep Purple. He spent the formative years of his career as the beloved bassist and vocalist of the group and performed on the classic albums Burn (1974), Stormbringer (1974) and Come Taste The Band (1975).The vocalist/bass guitarist/songwriter is a true original. No other rock musician has carved such a distinctive style blending the finest elements of hard rock, soul and funk. Stevie Wonder once called Hughes his favorite white singer. The first important band Hughes was a member of that achieved notable success was Trapeze.In 1973, Hughes joined Deep Purple. The trailblazing hard-rock legends had just weathered the departure of vocalist Ian Gillan and bass guitarist Roger Glover, but guitarist Ritchie Blackmore, keyboardist Jon Lord and drummer Ian Paice continued with the addition of Hughes and David Coverdale.Since 1992, Hughes has toured extensively in Europe, Japan, and South America in support of solo albums. He's recorded four studio albums with the multi-award-winning supergroup Black Country Communion featuring guitarist Joe Bonamassa, keyboardist Derek Sherinian (Dream Theater) and drummer Jason Bonham, son of the late Led Zeppelin legend John Bonham.In 2016 he released his critically acclaimed solo album Resonate featuring the rock radio hit “Heavy”, and in 2017 he released Black Country Communion's fourth studio album “BCCIV” to ecstatic reviews.In 2019, Glenn joined the Dead Daises as their lead singer and bass guitarist, recorded two albums, Holy Ground (2021) and Radiance (2022) and toured the world.FOR MORE INFORMATION VISIT: https://www.glennhughes.com/https://www.facebook.com/glennhughesonlinehttps://twitter.com/glenn_hugheshttps://www.instagram.com/GlennHughesOnline/

Glenn Hughes, the former bassist, and singer of Deep Purple, known to millions as the ‘Voice of Rock', Rock and Roll Hall of Fame inductee, and the front man for rock super group Black Country Communion, is pleased to announce an evening celebrating music from BURN and other classic hits from Deep Purple's rich back catalog – during a tour that will mostly see him co-headlining with guitar great Yngwie Malmsteen. Billed as “Glenn Hughes Performs The 50th Anniversary of Deep Purple's BURN Live”, Hughes will perform classic hits from the legendary album, and the addition of Deep Purple MKIII and MKIV songs. Glenn's band will feature Soren Andersen (guitar), Ash Sheehan (drums) and Ed Roth (keyboards). 'It was 50 years ago, in the summer of 1973, that the BURN album by Deep Purple was written at Clearwell castle in Gloucestershire UK,” reminisces Hughes. “It was recorded in October in Montreux, Switzerland.” Continues Hughes, “We all became one in this centuries old castle in the UK countryside, it felt like Deep were a new band, with David (Coverdale) and I as new members, we couldn't wait to start working on new song. The atmosphere was electric, in such amazing surroundings.” “All the songs on Burn were written in the crypt/dungeon, underneath the great hall. We worked on a new song every day, and we were in the flow. Musically we would play, and work out ideas, and David and I would come up with vocal melodies that would later have lyrics. I remember it like it was yesterday.” “As you could imagine, Ritchie Blackmore was in full prankster mode, Jon had warned me, and he rigged my room one night with a speaker that was hidden, and had ghostly voices delivered to my bedside.” “The title track was the last song to be written. We came back from the pub, and went down into the crypt, and magic happened.” Concludes Hughes, “It's time to celebrate BURN, and I'm really looking forward to seeing you!” GLENN HUGHES PERFORMS CLASSIC HITS FROM THE 50TH ANNIVERSARY OF DEEP PURPLE'S LEGENDARY “BURN” ALBUM AUGUST/SEPTEMBER 2023 US TOUR WITH YNGWIE MALMSTEEN (unless otherwise noted): 08.16.23 LANDIS THEATER VINELAND, NJ*** (GLENN HUGHES ONLY) 08.18.23 STRAND THEATER HUDSON FALLS, NY 08.19.23 THE CHANCE POUGHKEEPSIE, NY 08.22.23 THE PALLADIUM TIMES SQUARE NEW YORK, NEW YORK 08.23.23 THE PARAMOUNT HUNTINGTON, NY 08.25.23 THE KING OF CLUBS COLUMBUS, OH 08.26.23 ARCADA THEATER ST. CHARLES, IL 08.28.23 GRANADA THEATER DALLAS, TX***(GLENN HUGHES ONLY) 08.30.23 HOUSE OF BLUES NEW ORLEANS, LA 09.01.23 HOUSE OF BLUES HOUSTON, TX 09.02.23 TOBIN CENTER SAN ANTONIO, TX 09.04.23 MARQUEE TEMPE, AZ 09.06.23 HOUSE OF BLUES SAN DIEGO, CA 09.08.23 SABAN THEATER BEVERLY HILLS, CA 09.09.23 PERFORMING ARTS CENTER OXNARD, CA 09.11.23 HOUSE OF BLUES ANAHEIM, CA 09.13.23 ORIENTAL THEATER DENVER, CO 09.15.23 EMERALD THEATER MT. CLEMENS, MI 09.16.23 BLUE NOTE HARRISON, OH***(GLENN HUGHES ONLY) 09.19.23 THE PALLADIUM WORCESTER, MA 09.20.23 JERGELS WARRENDALE, PA***(GLENN HUGHES ONLY) 09.22.23 PARKER PLAYHOUSE FT. LAUDERDALE, FL 09.23.23 CAPITOL THEATER CLEARWATER, FL DEEP PURPLE – THE STORY BEHIND “BURN” Burn is the eighth studio album by the English rock band Deep Purple, written and recorded in 1973, and released in February 1974, the album was the first to feature then-unknown David Coverdale on vocals and Glenn Hughes, from Trapeze, on bass and vocals. The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio. With the addition of David Coverdale and Glenn Hughes, Purple's hard rock sound became more boogie-oriented, incorporating elements of soul and funk, which would become much more prominent on the follow-up album, Stormbringer. Burn hit #3 on the UK Albums Chart, #9 on the US Billboard 200, and #1 in Austria, Denmark, Germany and Norway. In 2004 Burn was remastered and released with bonus tracks. Coronarias Redig was recorded during the Burn recording sessions, used only as a B-side for the Might Just Take Your Life single in 1974. It appears as a bonus track (in remixed form) on the anniversary edition re-release. The 2004 remix version of Burn was later used in Guitar Hero: Warriors of Rock. In 2005 an unauthorized documentary about the album was produced as part of "The Ultimate Critical Review" series. It featured brand new interview with the original Deep Purple Mk III bassist and vocalist Glenn Hughes. Lead single Might Just Take Your Life, released 4 March, was Deep Purple's first UK single in two years. The phenomenal title track started things off at full throttle, actually challenging the seminal Highway Star for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice. The fantastic slow-boiling blues of Mistreated's greatness qualifies it for the highest echelons of hard rock achievement, and therefore ranks as an essential item in the discography of any self-respecting music fan. GLENN HUGHES – BIOGRAPHY Glenn Hughes is an inductee into the Rock and Roll Hall of Fame as part of the MK 3 line up of Deep Purple. He spent the formative years of his career as the beloved bassist and vocalist of the group and performed on the classic albums Burn (1974), Stormbringer (1974) and Come Taste The Band (1975). The vocalist/bass guitarist/songwriter is a true original. No other rock musician has carved such a distinctive style blending the finest elements of hard rock, soul and funk. Stevie Wonder once called Hughes his favorite white singer. The first important band Hughes was a member of that achieved notable success was Trapeze. In 1973, Hughes joined Deep Purple. The trailblazing hard-rock legends had just weathered the departure of vocalist Ian Gillan and bass guitarist Roger Glover, but guitarist Ritchie Blackmore, keyboardist Jon Lord and drummer Ian Paice continued with the addition of Hughes and David Coverdale. Since 1992, Hughes has toured extensively in Europe, Japan, and South America in support of solo albums. He's recorded four studio albums with the multi-award-winning supergroup Black Country Communion featuring guitarist Joe Bonamassa, keyboardist Derek Sherinian (Dream Theater) and drummer Jason Bonham, son of the late Led Zeppelin legend John Bonham. In 2016 he released his critically acclaimed solo album Resonate featuring the rock radio hit “Heavy”, and in 2017 he released Black Country Communion's fourth studio album “BCCIV” to ecstatic reviews. In 2019, Glenn joined the Dead Daises as their lead singer and bass guitarist, recorded two albums, Holy Ground (2021) and Radiance (2022) and toured the world. FOR MORE INFORMATION VISIT: https://www.glennhughes.com/ https://www.facebook.com/glennhughesonline https://twitter.com/glenn_hughes https://www.instagram.com/GlennHughesOnline/

Back after 2 weeks, big thanks to Milan for taking over, you did a FANTASTIC job! Now this week: more fresh tunes (including the "new" Cavalera Conspiracy), and another preview of upcoming Loud As Hell Festival. Lastly, it's World Cup Soccer time again, so may the best team win. Go JAPAN Go!Playlist: The Art of Mankind - BackstabParasitario - Five To DieDefiled - CenturiesConcrete Funeral - Carnival of ContradictionsGreybeard - BeneathParam-nesia - HomeEye of Horus - UnsolemnVapor - The ExecutionerLOST NEBULA - TechnophobiaSepultura - Necromancer (demo)Cavalera Conspiracy - MayhemCavalera Conspiracy - Warriors of DeathSacrifice - Warrior of DeathBlood Sacrifice - Kneel and ObeyGreen Jelly - Obey the CowgodSorrow Enthroned - Lord SatanEnthroned - Silent RedemptionHecate Enthroned - An Ode For a Haunted WoodEvile - Sleepless EyesExhorder - The TruthExodus - The Beatings Will Continue Until Morality ImprovesDying Fetus - Feast of AshesVomitory - Beg For DeathVader - Send Me Back To HellTsjuder - Iron BeastTsjuder - Born For Burning (Bathory cover)Necrophobic - Enter the Eternal Fire (Bathory cover)Bathory - Chariot of FireWhitesnake - Slip of the TongueWilliam Shatner, featuring Steve Vai - Ponder the MysteryWilliam Shatner, featuring Ian Paice, Johnny Winter - Space Truckin' (Deep Purple cover)Miyako - Burn (Deep Purple cover)Lovebites - Glory To The WorldArkroyal - DystopiaPat Travers - Snortin' WhiskeyRaging Slab - Take a HoldRed Cain, featuring James Delbridge (Lycanthro) - Fires of Heaven

This week on Classic Vinyl Podcast, Justin and Tyler review one of the most influential albums in rock history, Deep Purple In Rock. Although this is Deep Purple's fourth studio album, it was their first album with the famous Mark II lineup of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice. Long considered one of hard rocks most influential bands, where do you think this album holds a place in history? With great hard rock hits like Speed King, Flight of the Rat, and the epic Child in Time, you certainly should give this album a listen if you haven't already. Classic Vinyl Podcast website https://classicvinlylpodcast.podbean.com/ Support our podcast and buy us a beer https://www.buymeacoffee.com/classicvinylpod  

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

Carmine Appice  is an American rock drummer. He is best known for his associations with Vanilla Fudge; Cactus; the power trio Beck, Bogert & Appice; Rod Stewart; King Kobra; and Blue Murder. He also played with Ozzie Osbourne and many others. He is credited with influencing later rock drummers such as Iron Maiden's Nicko McBrain, Aerosmith's Joey Kramer, Roger Taylor of Queen, Phil Collins of Genesis, Rush's Neil Peart, Mötley Crüe's Tommy Lee,  Led Zeppelin's John Bonham, Ian Paice of Deep Purple,  and Eric Singer of Kiss.Appice received classical music training, and was influenced early on by the work of jazz drummers Buddy Rich and Gene Krupa. Appice first came to prominence as the drummer with the late 1960s psychedelic band Vanilla Fudge.  Carmine currently is touring the area with The Carmine Appice Diaries which he explains in this episode plus he is going back out on the road with Vanilla Fudge in April! The Fudge is currently touring with three of the four original members: Stein, Martell, and Appice with Pete Bremy taking over for Tim Bogert when he retired in 2009. Tim passed away from Cancer on January 13, 2021Vanilla Fudge has been cited as “one of the few American links between psychedelia and what soon became heavy metal.” Vanilla Fudge also is known to have influenced other major bands such as The Nice, Deep Purple, Yes, Styx, Led Zeppelin, and Uriah Heep.https://carmineappice.net/https://vanillafudge.com/https://www.facebook.com/CarmineAppiceOfficialhttps://www.facebook.com/VanillaFudgeOfficialSite/

On the 38th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1981 Whitesnake album, "Come An' Get It." This was Whitesnake's 4th studio album. The band had yet to break in the United States. However, the band at this time was continuing to grow in the UK. This album made it to Number 2 on the charts in the United Kingdom and went Gold there. The band was led by the one and only, the charasmatic David Coverdale on vocals. The legendary two headed guitar attack of Whitesnake at this time was Bernie Marsden & Micky Moody. Longtime Whitesnake member, Neil Murray was on bass and the legendary Deep Purple members, drummer Ian Paice and legendary keyboard player Jon Lord filled out this incredible lineup. The record was once again produced by Martin Birch. This is Birch's 3rd album reviewed on ARC. The album was filled with British blues numbers, rockers and Coverdale's naughty lyrics. The album cover is another Whitesnake classic. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous 35 albums reviewed on the Album Review Crew. This was Zeus' pick and the second Whiesnake album reviewed on the Album Review Crew. So grab your British accent and lets hit the streets at midnight lookin' for a little Hot Stuff! For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below: Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

On the 38th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1981 Whitesnake album, "Come An' Get It." This was Whitesnake's 4th studio album. The band had yet to break in the United States. However, the band at this time was continuing to grow in the UK. This album made it to Number 2 on the charts in the United Kingdom and went Gold there. The band was led by the one and only, the charasmatic David Coverdale on vocals. The legendary two headed guitar attack of Whitesnake at this time was Bernie Marsden & Micky Moody. Longtime Whitesnake member, Neil Murray was on bass and the legendary Deep Purple members, drummer Ian Paice and legendary keyboard player Jon Lord filled out this incredible lineup. The record was once again produced by Martin Birch. This is Birch's 3rd album reviewed on ARC. The album was filled with British blues numbers, rockers and Coverdale's naughty lyrics. The album cover is another Whitesnake classic. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous 35 albums reviewed on the Album Review Crew. This was Zeus' pick and the second Whiesnake album reviewed on the Album Review Crew. So grab your British accent and lets hit the streets at midnight lookin' for a little Hot Stuff! For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below: Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Vor 50 Jahren veröffentlichten Deep Purple ihr Live-Doppelalbum "Made In Japan" in der legendären Mark II-Besetzung mit Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover und Ian Paice. Mit Livealben können Bands zeigen, dass sie nicht nur im Tonstudio hinter verschlossenen Türen gute Musik produzieren können, sondern dass die Dynamik und das Zusammenspiel aller Bandmitglieder auch auf der Bühne bestens funktioniert – bei Deep Purple stimmt all das. Die Band schafft auf der Bühne das, was andere Musiker und Bands nicht einmal im Studio schaffen. Für Deep Purple selber kam der Wunsch eines Livealbums von Seiten der Plattenfirma zu keinem guten Zeitpunkt, die Band hatte innerhalb der letzten vier Jahre sechs Alben veröffentlicht und war einigermaßen ausgebrannt. Schlussendlich haben sie sich dann überreden lassen das Livealbum aufzunehmen. Das besondere dabei ist vor allem, dass es sehr "livehaftig" ist, wie Henni Nachtsheim im Podcast erzählt. Man fühlt sich wirklich mitgenommen, weil man der Band die Spielfreude anhört und die Songs nicht einfach nur runtergespielt werden, sondern wirklich zelebriert werden. Und auch wenn viele Menschen dieses Livealbum als eines der besten überhaupt feiern, hat Gitarrist Ritchie Blackmore in einem Interview erzählt, dass er selber bei dem Album immer nur seine eigenen Fehler hört. Comedian, Autor und Musiker Henni Nachtsheim hat selber eine ganz besondere Verbindung zu Deep Purple. Als Mitglied der Kultband "Rodgau Monotones" hat er in den 80ern als Vorband von Deep Purple und Meat Loaf gespielt. Dabei haben die Musiker sich aber nicht nur die Bühne geteilt, sondern sind auch gemeinsam in die Fußballschuhe geschlüpft und haben zusammen mit den legendären Rockstars gekickt. Mit auf dem Platz standen damals auch Ian Gillan, Ritchie Blackmore und Ian Paice. __________ Über diese Songs vom Album “Made In Japan” wird im Podcast gesprochen: 12:31 Mins – “Highway Star” 28:25 Mins – “Child in Time” 41:56 Mins – “Smoke On The Water” 56:15 Mins – “Strange Kind Of Woman” 01:01:19 Mins – “Lazy” 01:05:15 Mins – “Space Truckin'” __________ Über diese Songs wird außerdem im Podcast gesprochen 01:52 Mins – “Die Hesse komme!” von den Rodgau Monotones 36:04 Mins – “Bombay Calling” von It's a Beautiful Day  46:46 Mins – “Maria Quiet” von Astrud Gilberto und Gil Evans Orchestra  __________ Shownotes: Albumreview bei Allmusic.com: https://www.allmusic.com/album/made-in-japan-mw0000471842 Deutschsprachige Albumreview bei Powermetal: https://powermetal.de/review/review-Deep_Purple/Made_In_Japan,145.html Welturaufführung von Highway Star im Beat Club: https://www.youtube.com/watch?v=WTVut3RAEVQ Dokumentation über “Made in Japan” auf dem Youtube Kanal von Deep Purple: https://www.youtube.com/watch?v=WTVut3RAEVQ Homepage von Comedian Henni Nachtsheim: https://www.henni-nachtsheim.de  Homepage des Comedy-Duos “Badesalz”: https://www.badesalz.de/ Homepage der Band “Rodgau Monotones”: https://rodgau-monotones.de/ __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Join Cheryl Lee - That Radio Chick on STILL ROCKIN' IT for news, reviews, music and interviews with some of our favourite Australian musicians.Today we chat with Adelaide's own  guitar legend, an old man of the blues, at just 27, Stefan Hauk.Stefan's long time friend John Swan will tell you that he discovered Stefan, although I think Stefan was born with a guitar in his hand and destined for greatness.Hear how Stefan recorded his single 'Truth' with legendary drummer from Deep Purple, Ian Paice.Includes Songs:John Swan - Ol' RosieZkye - Yesterday's MakeupElvis - Polk Salad Annie (Live)Sing It Live (Featuring Darren Mullan & Stefan Hauk) - Merry Christmas Baby Stefan Hauk (Featuring Ian Paice & Lachy Doley) - TruthWhat has Stefan Hauk been up to lately … let's find out! Get out when you can, support local music and I'll see you down the front!!

Referred to as the "Third Leg" of the unholy trinity(the others being Led Zeppelin and Black Sabbath), Deep Purple cemented itself as a founding father of metal with this 1970 studio album. As always, we had fun with sound clips derived from "This is Spinal Tap", a movie that seems to parody  Deep Purple more than most metal bands of the time. This particular album is Mark II, the second lineup that adds Ian Pace and Roger Glover to Ritchie Blackmore, Jon Lord and Ian Paice. Upon first listen, it is heavy, aggressive, and fast paced. After the 2nd or 3rd listen,  a range of less obvious influences from Little Richard to Jimmy Hendrix become more evident.Enjoy!Support the show

Referred to as the "Third Leg" of the unholy trinity(the others being Led Zeppelin and Black Sabbath), Deep Purple cemented itself as a founding father of metal with this 1970 studio album. As always, we had fun with sound clips derived from "This is Spinal Tap", a movie that seems to parody  Deep Purple more than most metal bands of the time. This particular album is Mark II, the second lineup that adds Ian Pace and Roger Glover to Ritchie Blackmore, Jon Lord and Ian Paice. Upon first listen, it is heavy, aggressive, and fast paced. After the 2nd or 3rd listen,  a range of less obvious influences from Little Richard to Jimmy Hendrix become more evident.Enjoy!Support the show

Sami Ruokangas kävi keikalla Berliinissä. Lisäksi jaksossa tutkitaan muutamaa hienoa arkistojulkaisua ja muistellaan yhtä kaikkien aikojen laulajista, Nazarethin Dan McCaffertya. Uutisissa uutuuksia ja tulevia levyjä: Humble Pie, Rival Sons, Uriah Heep ja Deep Purple. Jakson soittolista: https://open.spotify.com/playlist/2NyKFWh8wZHj8YtGJ8fD3C?si=757f4d14d2da4f06 Menossa ovat mukana myös Dave Rimmer, Jeff Scott Soto, Bernie Shaw, Yngwie Malmsteen, Talisman, Journey, Marco Mendoza, Neal Schon, Mick Box, Russell Gilbrook, Steve Marriott, Small Faces, Spooky Tooth, Greg Ridley, Jerry Shirley, Peter Frampton, Dave ”Clem” Clempson, Colosseum, Ritchie Blackmore, Rolling Stones, Keith Richards, Helsingin Sanomat, UFO, Venom, Steven Tyler, Joe Perry, David Fricke, Jazz Gillum, Rufus Thomas, Joey Kramer, Sinclair Lewis, Led Zeppelin, Fleetwood Mac, Jeff Beck Group, Rod Stewart, Ian Paice, Saxon, Diamond Head, Fu Manchu, Chris Robinson, Rich Robinson, David Bowie, Sven Pipien, Magpie Salute, Jimmy Page, Isaiah Mitchell, Brian Griffin, Erik Deutsch, The Blackberries, Temptations, Pete Agnew, Little Feat, Axel Rose, Thin Lizzy, Motörhead, Neville Brothers, Professor Longhair ja Dr. John.

Ready to “fly the ‘copter” all the way to Germany? Well, being that I was just on tour opening shows for Deep Purple all over Europe (so cool!), you know there was NO WAY I was not going to land an interview with their brilliant new guitarist, Simon McBride. This exciting episode takes us all the way to Oberhausen, Germany, for an inspiring backstage guitar hang with the Irish 6-string virtuoso, where, in a side room at the town's KP Arena, Simon plugs in his custom Paul Reed Smith and demonstrates for you many of the captivating guitar approaches he employs each night on stage with his legendary bandmates — Ian Gillan, Ian Paice, Roger Glover, and Don Airey. (Bonus: Concert clips from the show later that night!) Simon also reflects on what it means to take over the guitar chair from longtime Deep Purple guitarist Steve Morse — who, after 28 years in the band, stepped down earlier this year — as well as what it's like follow in the footsteps of Deep Purple's founding guitarist, Ritchie Blackmore; trade licks each night with the band's formidable keyboardist, his good friend Don Airey; and start off one of the world's most iconic guitar songs each night, "Smoke on the Water." Thank you for listening! — Jude Gold, Host and Creator, No Guitar Is Safe, "The guitar show where guitar heroes plug in." This episode is brought to you by Guitar Player magazine and guitarpleyer.com. Guitar Player: Play better, sound better.

"I am the God of Hellfire and I bring you... Arthur Brown!!!" Ok, I'm not the God of Hellfire, but HE sure as heck is! Arthur Brown is the latest legendary  guest to join Paul on Vintage Rock Pod! Arthur Brown scored a worldwide hit in 1968 with the anthem, 'Fire' and he's dazzled and bewitched fans for decades with elaborate stage shows, a hat of fire, face paint and much more - and now, in the year he turned 80 years old, he's back with more new music! Just months after releasing 'Long Long Road', he returns with the spooktacular 'Monsters Ball'! The guests  involved on the record is seriously impressive, including Deep Purple's Ian Paice, The Stooges James Williamson, Vanilla Fudge's Carmine Appice and Mark Stein, Hawkwind's Nik Turner and Alan Davey and many more!   Arthur joins me to talk about this spooky new record which features a cover of the Syd Barrett written Pink Floyd song 'Lucifer Sam' and a new version of his hit 'Fire'. We also talk about that incredible song, his crazy stage shows, his friendship with Jimi Hendrix which saw them almost form a band together, his new documentary and so much more! This is one not to miss!!Check out more of Vintage Rock Pod's brilliant interviews by following/subscribing to the Vintage Rock Pod feed on your favourite podcast app - a new interview is released every day and you can only get these on the VRP feed! 

O DEEP PURPLE é uma banda de incrível longevidade, a impressão é que vão continuar produzindo infinitamente. No ano de 2017, já beirando os 50 anos de carreira, o Purple lança o InFinite, segundo em parceria com o renomado produtor Bob Ezrin. As músicas do álbum são: "Time for Bedlam", "Hip Boots", "All I Got Is You", "One Night in Vegas", "Get Me Outta Here", "The Surprising", "Johnny's Band", "On Top of the World", "Birds of Prey" e "Roadhouse Blues". A banda é formada por: Ian Paice (bateria), Ian Gillan (vocal), Roger Glover (baixo), Steve Morse (guitarra) e Don Airey (teclado). Então, convidamos Aroldo Glomb, do podcast Antigas Novidades, para tomar uma e falar sobre todas as faixas do InFinite, do DEEP PURPLE! ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

"I am the God of Hellfire and I bring you... Arthur Brown!!!" Ok, I'm not the God of Hellfire, but he sure as heck is! Arthur Brown is my guest on this weeks big interview show, the man who scored a worldwide hit in 1968 with the anthem, 'Fire'! He's dazzled and bewitched fans for decades with elaborate stage shows, a hat of fire, face paint and much more - and now, in the year he turned 80 years old, is back with more new music! Just months after releasing 'Long Long Road', he returns with the spooktacular 'Monsters Ball'! The guests he's got involved on the record is seriously impressive, including Deep Purple's Ian Paice, The Stooges James Williamson, Vanilla Fudge's Carmine Appice and Mark Stein, Hawkwind's Nik Turner and Alan Davey and many more!  Arthur joins me to talk about this spooky new record which features a cover of the Syd Barrett written Pink Floyd song 'Lucifer Sam' and a new version of his hit 'Fire'. We also talk about that incredible song, his crazy stage shows, his friendship with Jimi Hendrix which saw them almost form a band together, his new documentary and so much more!This is one not to miss!!

The Deep Purple Podcast Show Notes Episode #171 Celebrating Jon Lord: The Rock Legend July 25, 2022 Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you'd prefer a superior audio experience. Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! How To Support Our Show: Leave us a 5-Star Review on Apple Podcasts Buy Merch at Our Etsy Store! Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Donate to $DPPOD Using Cash App Brendan Ashbrook - Logo Designer Thanks to Our Executive Level Patrons: Whitesnake Live in Illinois September 1, 2022! https://whitesnake.com/event/rosemont-il-2022/ Live at Allstate Arena in Rosemont, IL With Scorpions Deep Dive Podcast Network: Lead up to the Album: Core Band: Conductor [Band Musical Director] – Wix Wickens* Conductor, Liner Notes – Paul Mann (5) Leader [Orchestra] – Darragh Morgan Mixed By – Bruce Dickinson, Ian Paice Music By – Jon Lord Orchestra – Orion Orchestra* Orchestrated By – Jon Lord (tracks: 1, 2, 4, 5, 7, 8), Paul Mann (5) (tracks: 3, 6) Other [Compére] – Bob Harris Recorded By [Orchestra], Mixed By [Orchestra] – Andrew Dudman Recorded By, Mixed By – David "Skippi" Loudoun* Live at the Royal Albert Hall, April 4th, 2014 Thanks to Our Core Level Patrons: Album Tracks: Things Get Better Originally by The Artwoods Featuring Paul Weller It Take What I Want Originally by The Artwoods Featuring Paul Weller and Micky Moody Silas and Jerome Originally by Paice Ashton Lord Featuring Phil Campbell I'm Gonna Stop Drinking Originally by Paice Ashton Lord Featuring Phil Campbell, Ian Paice, and Bernie Marsden Soldier of Fortune Featuring Steve Balsamo, Sandi Thom, and Micky Moody You Keep On Moving Featuring Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, and Micky Moody Orchestral arrangement for this track and “Burn” by Richard Whilds. Burn Featuring Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, and Rick Wakeman This Time Around Featuring Glenn Hughes Orchestral arrangement again by Richard Whilds. Thanks To Our Foundation Level Patrons: For Further Information: Liner notes by Paul Mann https://www.discogs.com/release/6151112-Various-Celebrating-Jon-Lord-The-Rock-Legend Listener Mail/Comments Comments about the show? Things you'd like us to cover? We'd love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

Gary Moore, Ian Paice, and I'm gonna win.

The Deep Purple Podcast Show Notes Episode #154 March 28, 2022 Deep Purple & Iron Maiden Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! How To Support Our Show: Leave us a 5-Star Review on Apple Podcasts Buy Merch at Our Etsy Store! Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Donate to $DPPOD Using Cash App Welcoming Our Newest Patron(s): Coming in at the $25 “Uncommon Man” Tier Ovais Naqvi – NEW PATRON ALERT! Coming in at the $1 made up name tier . . . Sugar Tits! – NEW PATRON ALERT! Brendan Ashbrook - Logo Designer Thanks to Our Executive Level Patrons: Apple Podcasts Reviews: United States mike in cle - 5 stars! Very knowledgeable guys Postcards From The Edge . . . OF CONNECTICUT! Deep Dive Podcast Network: Deep Dive Podcast Network http://deepdivepodcastnetwork.com/ Twitter: https://twitter.com/deepdivepodnet Welcome Jonatan John's history with Iron Maiden Nate's History with Iron Maiden Influences: Bruce Dickinson & Deep Purple: How Ian Gillan Influenced Bruce Dickinson's Vocals Adrian Smith Once Quit Fishing Because of Ritchie Blackmore Innocent Exile (2015 - Remaster) Murders in the Rue Morgue and Lost in Hollywood drum resemblance. Clive's and Nicko's influence from Cozy and Paicey. Gangland another song example for this. Iron Maiden - Murders in the Rue Morgue *HD* Gangland (2015 - Remaster) Martin Birch Connection: Who Cares? Featuring Nicko McBrain, Ian Gillain, Tony Iommi, Jon Lord and Jason Newsted. Jannick Gers in Gillan: Collaborations: Deep Purple Jamming with Iron Maiden in London 2002 Tony Iommi (Black Sabbath), Ian Gillan, Jon Lord (Deep Purple) & Nicko McBrain In Studio Who Cares Ian Gillan, Tony Iommi, Jon Lord, Nicko McBrain and Jason Newsted Out Of My Mind Celebrating Jon Lord concert (2014) Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey & Rick Wakeman

Pat welcomes artist Kyle Hildreth to the Zoom Room to take the deepest of dives through the Deep Purple discography. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This episode is all about important drum set players. In this episode, you will learn about Ian Paice, Neil Peart, and John Bonham. Host: Ava

Part 2 of Deeper Digs' celebration of Jimi Hendrix! Christian this time sits down with two greats that worked with Jimi, drummer Carmine Appice and percussionist Gerardo Valez.CARMINE APPICE"Carmine Appice, the creator of heavy rock drumming as we know it" - Drummer Magazine, UK“Carmine Appice set the foundation for heavy drumming, before Bonham, before Ian Paice, before anyone else.” - Rick Van Horn, Modern DrummerOne of the premier showmen in rock, Appice became known worldwide for his astonishing live performances, in addition to becoming a highly sought-after session drummer, recording with countless artists throughout his career. In ‘76, he joined Rod Stewart‘s band, touring, recording and writing two of Stewart‘s biggest hits, “Do Ya Think I‘m Sexy' and “Young Turks.' He left Stewart to record his first solo album, “Rockers', and tour Japan and North America with an allstar band. . In the early 80's, he toured with OZZY Osborne ,Ted Nugent . In the mid 80's, he formed King Kobra for two Capitol albums and international touring And in the late 80's, Carmine played on a Pink Floyd record “Momentary Lapse of Reason' and formed Blue Murder with Whitesnake‘s John Sykes and The Firm‘s Tony Franklin. In the early 90s, he pounded away soul-style for The Edgar Winter Group.As an educator, Carmine was the first to legitimize rock drumming with his landmark book, The Realistic Rock Drum Method, selling over 400,000 copies (now in video format). He was the first Rock Drummer and Rock Musician to conduct instructional clinics and symposiums around the world.https://www.carmineappice.net/index.php#abouthttps://www.amazon.com/Ultimate-Realistic-Rock-Book-CDs/dp/0897244869/ref=sr_1_1?dchild=1&keywords=carmine+appice&qid=1605826220&sr=8-1https://www.amazon.com/Stick-Life-Drums-Rock-Roll/dp/0912777664/ref=sr_1_4?dchild=1&keywords=carmine+appice&qid=1605826237&sr=8-4GERARDO VALEZIt's a little concert you might have heard of? Woodstock Music and Art Festival in 1969. When Jimi Hendrix took the stage and pointed to the crowd of thousands, sitting right behind him was his percussionist; Gerardo Velez.Gerardo "Jerry" Velez said, "It was my birthday, and my first professional performance, and I was playing with the greatest guitarist in rock and roll history Jimi Hendrix?.what a weekend!""The right place at the right time" has guided Gerardo's legacy in life. Mr. Velez went on to perform with such luminaries as David Bowie, Elton John, Stevie Wonder, Destiny's Child, Stevie Nicks, Chaka Khan, Marc Anthony and countless others. Then he was poised for greatness as an original member of the Best Selling Contemporary Jazz Groups of all time Spyro Gyra, garnering multiple Gold and Platinum recording awards, also best new group of 1978, several number one hit songs, Billboard Magazine's Jazz Band of the 80's and 14 Grammy Nominations.Mr. Velez's event company Gerardo Velez Productions (GVP) has been producing hundreds of shows and events since 1981. Nationally and internationally creating events, gala's, concerts, festivals for such clients as New York Stock Exchange, The Security Traders Association of New York, Bank of America, HBO, Comedy Central, SAP Software, Time Warner, Donna Karan, Chopard Jewelry, Mirimax Films, and Mandalay Bay Resort and Casino just to mention a few.Mr. Velez's charitable work endeavors have been legendary having collaborated with President William Clinton, Mikhail Gorbachev, Secretary of State Hillary Clinton, Queen Nora, Lady Ferguson Duchess of York, Dan Rather, Bill Cosby, Michael Jackson, Donald Trump, Russian President Vladimir Putin, and Russian Prime Minister Dimitri Medvedev and other worldly power brokers.https://www.gerardovelez.com/gerardovelezcom/index.html