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Post by eddy on Feb 8, 2014 9:40:51 GMT -5
John Lennon Sunday Bloody Sunday
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iameye
Electric Arguments
Posts: 1,119
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Post by iameye on Feb 8, 2014 19:50:04 GMT -5
And Eye say: It's alright.
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Post by eddy on Feb 8, 2014 22:44:56 GMT -5
Richie Havens Woodstock 1969 Handsome Johnny
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Post by Jai Guru Deva on Feb 12, 2014 17:27:16 GMT -5
The Wanderer - U2 (Johnny Cash tribute)
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Post by beatlas231 on Feb 16, 2014 3:41:43 GMT -5
1:24 Imagine all the people, living life in peace I'm not the only one
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Post by revolver on Feb 16, 2014 17:36:18 GMT -5
New Radicals - You Get What You Give
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Post by beatlas231 on Feb 17, 2014 2:24:26 GMT -5
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Post by ramone on Feb 18, 2014 13:07:26 GMT -5
Paper Take a little consideration, take every combination Take a few weeks off, make it tighter, tighter But it was never, it was never written down Still might be a chance that it might work out (if you) Hold on to that paper Hold on to that paper Hold on because it'll be taken care of Hold on to that paper Don't think I can fit it on the paper Don't think I can get it on the paper Go ahead and rip up, rip up the paper Go ahead and tear up, tear up the paper
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Post by Jai Guru Deva on Feb 21, 2014 17:46:46 GMT -5
Paper Sun - Traffic
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Post by eddy on Feb 21, 2014 18:15:59 GMT -5
Hugh Cornwell - Always The Sun
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Deleted
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Post by Deleted on Feb 21, 2014 21:53:40 GMT -5
Hugh Cornwell - Always The Sun
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Deleted
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Post by Deleted on Feb 22, 2014 11:48:15 GMT -5
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Post by eddy on Feb 22, 2014 19:03:25 GMT -5
Prakash John : Whitey and I embarked on a ten year experience of playing together in a variety of bands. It started with Bush. We played with Lou Reed on the Rock N Roll Animal album, Lou Reed Live, and Sally Can't Dance. We toured with Lou Reed. Then we joined forces with Alice Cooper, did Welcome to My Nightmare and five and a half years of touring and recording. Whitey and I enjoyed a ten year association as a rhythm section. Between the end of Bush and my joining Lou Reed, I was fortunate enough to play for George Clinton and the Parliament, the Funkadelic... both versions... did an album called Chocolate City and did a few tracks on America Eats Its Young by the Funkadelic. So I got my experience of being in Detroit and being in this awesome black band. I think that changed my view of music completely. I was already indoctrinated into rhythm and blues with Whitey and Donnie and the whole Toronto scene that only played R&B, but playing with the Funkadelic and playing with George Clinton was a whole different thing. Recording with them in Detroit, living there, meeting all the great stars of Motown... that was as dramatic a change in my music as first hearing the Rogues play "99 1/2." After that, I did get a call from Whitey to join Lou Reed, and did this album called Rock N Roll Animal, with the famous intro to "Sweet Jane" that still resonates as one of the best live recordings ever. Whitey and I carried our sound of Bush and the Mandala and the Toronto sound to Rock N Roll Animal. Who would of thought? Two R&B guys just flailing away with Lou Reed, with a great guitar duo of Dick Wagner and Steve Hunter... just awesome. Then we had an opportunity to record Welcome to My Nightmare and do the subsequent touring. The album was recorded in Toronto. It was not what we all naturally wanted to do right away, but boy, it would've been a huge mistake not to have done it. So we were lucky to have been invited to join Alice Cooper at that stage and contribute in a big musical way to the tours and the recordings. I think Welcome to My Nightmare is probably one of his most famous albums. That’s where we joined forces with Joey Chirowski - Whitey and I - so we had, of course, again, the Mandala in there. So that took us to about 1979, when I guess we decided we would change paths in our direction of music. I think five and a half years is an awfully long time to have been associated with a great organization that Alice Cooper had. Lou Reed Wagner and Hunter - I remember this clearly - all these guys that came after Wagner and Hunter in '73, all these guys in that band Aerosmith, and a band called Boston, they'd have those dueling guitar things, you know... leads, harmonizing - they got that all from Wagner and Hunter. These guys use to come and follow us all over the place - New York, Boston, wherever we were playing with Lou Reed. Next thing I know, I listen to their albums, and it sounds like Wagner and Hunter. And good for them, but people should acknowledge that Wagner and Hunter were the originators. They're the guys who made that sound. If you hear that live album, Rock N Roll Animal, play the intro to "Sweet Jane." I'm telling you, that will give you and idea of what the two Detroit guys - well, Hunter came from Decatur, Illinois - and Whitey and I from Toronto, with our R&B roots, hammering away on a Lou Reed song. It's unedited. The beauty of that is none of the mistakes are fixed. Nothing is fixed on that album. It's a true live album. It was the third day I was in that band. I rehearsed one day, played in Toronto - of all places - the opening night, the next night was in New York and they recorded this album. When we were with Alice Cooper, people all over the world would always play that album, more than Welcome to My Nightmare, so that usually used to irritate Alice. That album got such rave reviews that even Lou Reed hates it, because a lot of people started panning him because of his singing, and I thought that was kind of unfair. Lou Reed has his own style - great lyricist - and people shouldn't judge him on his ability to sing. Nobody said he had to be Al Green or Frank Sinatra. He's Lou Reed. He can sing in that monotone voice, and if he didn't, it would sound silly. Anyway, Lou doesn't acknowledge that album, but that is a famous album, and everywhere in Europe, they'd play it. Rock N Roll Animal People still e-mail me about that album. The president of the Jack Bruce fan club finally got a hold of me a couple years ago. He'd been looking for me because was such a fan of Jack Bruce, but he was also a fan of Chris Squire and, oddly enough, me. He was telling me how influential that album was to a lot of people in Australia. Get it, play it full blast, and think of yourself at the Academy of Music in New York. Steve Katz, the guitar player for Blood, Sweat, and Tears, produced that album... the most unusual guy to produce that album, but nevertheless, the best guy, because he left it alone. That's probably my favorite album of all the albums I've done. I've done stuff that's maybe technically better, but every time that album is played, it sounds just like the way we recorded it. There's Lou reed coming in a bar early, two bars late... but that's how he is. You would be surprised at how many people talk about "Sweet Jane" alone. People just go mental when they find out that I played on it or they've been looking for me. Outtakes of that album actually ended up on an album called Lou Reed Live. That's a prime example of RCA Records ripping off the bloody musicians. They have two albums, they pay us for one, but they can get away with it, because it was outtakes of the previous album. You couldn't give each musician a couple grand in the early '70s? That's the stuff that really irks me about the business. Once in a while I may think of it in a conversation like this, but really, the overriding factor is the music. web.archive.org/web/20080302064212/http://www.geocities.com/domenic_troiano/prakash.htmlLou Reed - Intro (Hunter/Wagner) Sweet Jane from Rock n Roll Animal "Gibson.com’s Top 50 Guitar Solos of All Time 09.22.2010 "25. “Sweet Jane” (live), Lou Reed (Steve Hunter, Dick Wagner) What makes for a great guitar solo? Is it mind-melting precision or bone-chilling soul? Is it the way it can leave you slack-jawed, wondering, “How did he do that?” Or is it something that you can sing from memory, a melodic passage that weaves itself into the DNA of the song? Or are the greatest solos ever played the ones that somehow manage to do all of the above? Gibson.com....polled a panel of rock and roll experts (Gibson editorial staff and writers, some of our favorite musicians and, most importantly, our fans), asking for everyone to name the greatest guitar solos in music history." “When your recording session needed some monster guitar solos, you called Wagner and Hunter first. Period. Just ask Kiss. Or better yet, ask Aerosmith.” ~ Vintage Guitar www.wagnermusic.com/reviews.htm
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Post by Deleted on Feb 22, 2014 21:51:35 GMT -5
Now Jack, he is a banker And Jane, baby, she is a clerk And both of them save their money, honey When they come home from work lol
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Post by Deleted on Feb 22, 2014 22:28:43 GMT -5
Sweet Jane, She's the clerk. And you should know, now, what that's worth. It's Easy. lol
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Deleted
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Post by Deleted on Feb 22, 2014 22:56:44 GMT -5
I know what to do! Talk 'till your Daddy he SAY! three young ladies in a school GYM Locker, hey was lookin' at you and they say walk this way lol
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Post by eddy on Feb 23, 2014 16:06:08 GMT -5
Danny Gatton y Robert Gordon - The Way I Walk
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Post by Jai Guru Deva on Feb 23, 2014 16:35:13 GMT -5
Walking On Sunshine - Katrina & The Waves
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Post by eddy on Feb 23, 2014 18:13:12 GMT -5
IGGY POP - LUST FOR LIFE - LIVE 1977 (Manchester)
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Deleted
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Post by Deleted on Feb 24, 2014 10:56:03 GMT -5
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Post by revolver on Feb 26, 2014 21:00:51 GMT -5
John Lennon - Mother
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Post by beatlas231 on Mar 2, 2014 7:44:31 GMT -5
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Post by Deleted on Mar 2, 2014 8:17:56 GMT -5
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Post by ramone on Mar 2, 2014 8:33:09 GMT -5
Goin Down -- Monkees
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Post by beatlas231 on Mar 2, 2014 8:40:10 GMT -5
Left foot in, Right foot out
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