The Guitar Colonel - Guitar Reviews and Rock Interviews: Recent Episodes
guitarcolonel
The Guitar Colonel Podcasts are about Guitars, Music, Beers, Classic Rock and more. Interviews with Rock Stars, Industry Figures and Guitar Experts.
Guitar slinger extraordinaire Aaron Schembri stopped by for a chat today. For a young gent he sure has an impressive list of artists he's worked with, Ross Wilson, Renee Geyer, Normie Rowe, Ross Hannaford, Russell Morris, Swanee, Brian Mannix, Geoff Achison, Phil Manning, Wendy Stapleton, Kevin Borich, Wilber Wilde, plus more. Have a listen to Aaron and check out his amazing walnut Gibson ES345. Go see Aaron play with Wendy Stapleton next Tuesday at the Grandview Hotel Fairfield Melbourne.
SHOW LESS
Australian guitarist Adam Miller is set to release his latest album, Unify, on August 7, 2020. Recorded in Los Angeles in December of 2019, Unify features prominent LA musicians with bassist Joel Gottschalk and drummer Justin Glasco. Composed entirely by Miller, these songs are born from the adventure of settling not only into a new city, but a new country, drawing from both the incredible highs and the seemingly mundane. The album is equally influenced by the current Los Angeles jazz scene and the Australian pub rock scene of Miller's hometown, Newcastle. The album title comes at a time when positivity is greatly needed. Miller says, “Because the album was written in the uncertainty of moving and big life changes, all my working titles ended up with negative connotations. And there really is a great joy and optimism to this album; so instead of naming it about things falling apart, I named it for everything coming together – Unify – which is really how I feel about my music right now.” After almost a decade of constant international touring, Miller decided to make the move to Los Angeles in January 2019. Being asked to perform at one of Mason Stoops' infamous GuiTaco nights shortly after with Charlie Hunter, Adam Levy, Ariel Posen, and others led to many press and touring opportunities, plus the introduction to drummer/producer Justin Glasco. Glasco continued Miller’s introduction to the LA musician’s scene, watching heroes perform morning cafe gigs, and jamming in East LA garages. "Their pursuit of music just floored me," Miller gushes. "There are so many great musicians who are still open to learning, collaborating, and expanding their horizons. I couldn't help but be highly motivated by the enthusiasm and work ethic everyone had.” Miller then enlisted Glasco and Gottschalk to play the small clubs and bars of LA, giving the trio a chance to explore new material in front of audiences. Miller also toured extensively across the USA, allowing him to further develop the melodic and structural elements of the new compositions. A mid-year tour back to Australia injected the songs with the raw intensity required to cut it in Aussie pubs to rowdy audiences. This coupled with the refined influence of LA saw Miller's two musical worlds integrating for a cohesive album, serving as Miller's Los Angeles debut. Unify showcases Miller's electric guitar playing, while two tracks ("Shipping" and "Citrus") were performed on an acoustic archtop. This is very much a trio record, with the bands' live interaction only being occasionally supplemented with acoustic guitar rhythm and creative effect pedal based soundscapes. The album has a melodic focus with a subtle harmonic complexity driven by a groove and attitude. With a unique approach to the guitar, Adam Miller's music is groovy and approachable, whilst having a melodic sophistication that only comes from years of cross genre hopping. His inclusion of complex rhythms and dissonant haunting phrases, combined with breathtaking riffs and melodies are his signature. His jazz influenced style with finger-picking mastery creates a improvisation filled live performance that is beautifully unpredictable. This has seen him share stages with Les Paul, Tommy Emmanuel, Matt Schofield, Russell Morris, Charlie Hunter, Adam Levy, Ariel Posen, Tony McManus, Ben Gillies (Silverchair), and the list continues.... Miller has had a relentless international touring schedule the past few years which has seen him perform in the USA, Canada, UK, Germany, France, Italy, Poland, Japan, & Australia. Australian Fingerstyle Guitar Champion (2002), Miller has played an array of International Festivals including the Montreal Jazz Festival Canada, Woodstock Guitar Festival USA, Guitar Masters Wroclaw Poland, Lancaster Music Festival UK, Karel Music Expo Italy, The NAMM Show USA, Artisan Guitar Show USA, Holy Grail Guitar Show Germany, Musikmesse Germany, Australian Blues Festival, A Day On The Green, Jazz In The Vines, Melbourne Guitar Festival, Adelaide International Guitar Festival, & Newcastle Jazz Festival. He also travelled to Afghanistan twice to perform for the Australian & Allied Forces. Miller has had feature articles in The Fretboard Journal, Guitar Player, Acoustic Guitar, Premier Guitar, Acoustic UK, Australian Guitar, and Australian Musician. In 2013 his album "Delayed" named Top 10 Albums of 2012 by US Acoustic Guitar Magazine. He was also named on of the top 25 Future Legends in Australian Guitar Magazine. In 2010 Miller was named "Guitarist Deserving Wider Recognition" by US based magazine, Guitar International. Having 10 independent releases to his name, many that have gone on to international acclaim, Miller is also signed to USA video tuition Label 'TrueFire', and has lectured in Jazz and Contemporary Guitar at the University Of Newcastle, Australia.
Geoff Achison is a blues-roots artist from Australia best known for his guitar playing and songwriting. Geoff began his apprenticeship with legendary Australian bluesman 'Dutch' Tilders establishing himself as a fine lead guitarist before striking out with his own. He released his debut album in the early 90s and began touring throughout the USA, UK & Europe. Geoff's music has been compared favourably to major artists such as Eric Clapton, JJ Cale and the Allman Brothers Band having a solid foundation in the blues whilst embracing a variety of music styles. He has won awards for his guitar playing, songwriting and live performances and was honoured in 2011 as official Patron Of the Melbourne Blues Appreciation Society. Geoff Achison was born on Phillip Island, the third of five siblings, and raised in the Victorian country town of Malmsbury. His parents were music lovers and when Geoff famously discovered a forgotten old guitar beneath the stairwell, his trumpet-playing father enthusiastically found him a guitar teacher. His first gigs were with his father's dance band where he displayed promise enough to attract the attention of local jazz musician Alan Watson. Through his new mentor he was exposed to jazz and improvisation. At Watson's suggestion Geoff temporarily switched to bass-guitar which provided him with a greater understanding of the rhythm section. After gaining valuable experience as a bassist Geoff developed a keen interest in American blues which re-kindled his interest in studying six-stringed guitar. In rural isolation, he was mostly unaware of the electronic effects employed by some guitarists and devised some of his own techniques to emulate the sounds of echo/delay, tremolo and wah-wah pedals which added to his unique playing style. In 1987 Geoff made the move to Melbourne and soon established himself on the scene playing lead guitar for popular Australian blues performer 'Dutch' Tilders. In time Geoff began to work on his own music releasing his debut album 'Big Machine' in 1994. He represented Melbourne at the 'International Blues Challenge' in Memphis TN winning the coveted 'Albert King Award' in 1995. Encouraged, he set his sights on the world market and successfully established international touring routes in the USA and UK. To overcome the difficulties of bringing a band from Australia, Geoff began hiring local musicians to form a backing group when required. On his first extended overseas trip, Geoff received a beautiful new acoustic guitar from the famous Gibson guitar company and recorded his third album ‘Gettin’ Evil’ with a US version of his ‘Souldiggers’ band. Upon his return to Melbourne, Geoff was able to recruit an all-star group which featured some of Australia's most celebrated musicians. With Mal Logan on keys, Roger McLachlan on bass and Gerry Pantazis on drums, Geoff was finally able to realise his musical vision with The Souldiggers and built the group's reputation with exciting and spontaneous live performances. As a song-writer, Geoff explores a myriad of themes from love & loss to politics & philosophy and often with his wry sense of humour shining through. Vocally, Geoff has been compared favourably to the gruff voiced Joe Cocker, Warren Haynes and Paul Weller. An extraordinary guitarist who plays quite unlike anyone else, Geoff has been a driving force on the Australian blues/roots scene inspiring and influencing many of his younger compatriots.
Back before Panda and the Colonel had a decent camera, studio or anything really semi-pro, a young man called Josh Smith was willing to sit on our couch for a chat. Josh was on tour here at the time. Remember tours ;) We've added a few outtakes before the interview, with Josh burning up an original 1957 Strat and 1954 Telecaster. Sit back and enjoy a blues master. Best viewed on smaller screens. Blues rock guitar virtuoso, singer-songwriter and producer, Josh Smith, is hailed the world over as a master guitarist with raw talent and power to spare. Blending his signature mix of blues, rock and jazz into dynamic original songs, Smith is known for his incendiary live performances, whether at the Grammy Awards or the Kennedy Center Honors with Mick Jagger, Raphael Saadiq and others. “Anyone who has witnessed one of Josh Smith’s live performances comes away in awe of the man’s ability to fuse jazz, blues, and country into one neat package—with a technical ability that has to be seen to be believed.” Music Radar Josh has been named the 16th best living blues guitar player in the world by Guitar World Magazine. Born in 1979, Josh started playing guitar at age six. Praised as a blues prodigy by the time he was 12 years old, he began playing at professional blues jams in South Florida, sitting in with such greats as Jimmy Thackery, Tinsley Ellis, Kenny Neal, Lucky Peterson, Matt “Guitar” Murphy, Johnny “Clyde” Copeland, Double Trouble, Joanna Connor and Kim Simmonds, among others. Jimmy Thackery said of the 14-year-old, “Josh is three heartbreaks away from being a true blues guitar genius.” That insight from Jimmy Thackery proved true as Josh began releasing CDs at age 14. His first national tour with his power trio, Josh Smith and the Frost, featured Josh as bandleader, vocalist as well as guitarist. The legendary producer Jim Gaines (Santana, SRV, Luther Allison, Steve Miller, Jimmy Thackery) produced Josh’s third CD, Too Damn Cold and Woman. By 1998, he had completed four national tours with his band. Josh was then asked to support the great B.B. King on a number of shows. Opening for B.B. King was just the beginning for this in-demand artist and lead guitarist for artists such as Taylor Hicks, Ricky Fante (Virgin Records), Raphael Saadiq, actress Taryn Manning, Universal Music Group hip-hop artists Benny Cassette and Tara Ellis, and more. He has the distinction of inducting Neil Diamond into the Kennedy Center Honors with Raphael Saadiq’s band and honoring Solomon Burke at the Grammys with Mick Jagger. Within a year of moving to L.A. in 2002, Josh was retained by Virgin recording artist Ricky Fante and performed nationally and internationally with Ricky for the next two years. In 2006, Josh recorded his fifth CD, Deep Roots and continued to play with a variety of artists such as actress Taryn Manning, Universal Music hip-hop artists Benny Cassette and Tara Ellis, to name a few. In 2007, Josh was hired by 2006 American Idol winner Taylor Hicks to be his lead guitarist. They completed two national tours before Josh was hired as lead guitarist by Grammy Award winner Raphael Saadiq. Josh continues to tour with Saadiq. In 2009, Josh released his 6th studio CD, Inception and in 2010 he was signed to Crosscut Records based in Germany. Crosscut re-released Josh’s breakout album, Deep Roots as I’m Gonna Be Ready. In 2013, Josh’s CD Don’t Give Up On Me was also released in Germany, followed by Over Your Head in 2014. In 2016, Josh’s jazz album, Still was released to critical acclaim as was Burn To Grow in 2018. Along with touring the world, recording and performing with renowned artists such as Joe Bonamassa, Eric Johnson, Andy Timmons, Kirk Fletcher and others, Smith is also a producer and owns Flat V Studios in Los Angeles. He has produced artists Reese Wynans (Joe Bonamassa), Artur Menezes (winner of the Eric Clapton 2019 Crossroads Festival) Seth Rosenbloom, Jamey Arent and many more. “Josh is one of my favorite musicians on the planet. His musical depth and guitar playing transcend the boundaries of the blues genre into a genre of his own. I am proud to always share a stage with him and even prouder to call him my friend. --Joe Bonamassa Josh’s latest and 11th album, Live At The Spud, was released January 8, 2020 on Flat V Music, and features Smith and his power trio recorded live over two nights at the legendary Baked Potato in Los Angeles. The new album features Smith on guitar and vocals, Gary Novak on drums and Trevor Carlton on bass. The goal was to present an unedited look at a normal night at the Baked Potato. Compelling, improvisational and explosive. Josh is currently touring worldwide in support of the live album. Josh gladly endorses Morgan Amps, Vemuram Pedals, Eminence Speakers Josh lives in Los Angeles with his wife and son.
You may know him as Dr Ric, but long before he turned to witchcraft, Ric sat down for a session with the Colonel. Join us in the old candle lit studio as we revisit the great Ric Wong. Please subscribe to our channel If in Australia, please visit us at The Guitar Colonel Shop South Melbourne or www.guitarcolonel.com
SHOW LESS
Back in February 2019 Davey Lane stopped into our studio for some chit chat. A charming young gent indeedy. Sit back and enjoy as we take a trip back in time with one of Australia's greatest musical talents. David Daniel "Davey" Lane (born 31 January 1981) is an Australian musician. He is a solo artist and lead guitarist of You Am I (since 1999).[1][2] He was also lead singer-guitarist of The Pictures (from 2000) and member of Australian supergroup, The Wrights.[1] Biography As a teenager Davey Lane transcribed the guitar parts for Australian alternative rock group, You Am I's, website.[3] He provided lead guitar as a session musician for the group's founding mainstay Tim Rogers on his debut solo album, What Rhymes with Cars and Girls, which was released in March 1999. To promote the album, Rogers formed The Twin Set as his backing band, with Lane: were Jen Anderson on violin; Ian Kitney on drums; and Stuart Speed on upright bass. When You Am I reconvened in July that year, Lane joined as a second guitarist for the band.[2][4][5] Lane's first recorded work with You Am I is their live album, ...Saturday Night, 'Round Ten, which was issued in September 1999.[4][6] It had been recorded at the Casa del Resaca Warehouse in Richmond, in July.[4][6] His first studio album with the group, Dress Me Slowly, appeared in April 2001.[4][7] Australian music journalist, Ed Nimmervoll, felt that Lane's addition was "an important change" as it gave the group "extra guitar bite both on stage and in the studio".[4] Also in 2001 Lane formed a side-project, the alternative rock group, The Pictures, with Leigh White on bass guitar and Brett Wolfenden on drums.[8] Their debut single, "You'll See", appeared on the Illustrious Artists label that same year.[8] They followed with a four-track debut extended play, I Dealt a Rollercoaster, in 2002.[9] Fist2Face's reviewer describes their work as the "sound of the modern world colliding with blood, sweat and wood to create timeless, melodic rock music. High on total energy yet grounded by killer hooks and playing".[10] Craig Mathieson of The Sydney Morning Herald noted their style "alternated between impassioned Neil Young workouts and Who-like eruptions".[11] In January 2004 Lane was nominated as Best Lead Guitarist at the inaugural Jack Awards.[12] In October that year Nic Cester of Jet organised a charity project, The Wrights, to raise money for Australian musician, Stevie Wright.[13][14] The supergroup recorded a cover version of Wright's signature song, "Evie", which was an 11-minute hit single from 1974.[13] Lane provided rhythm guitar for Part 1 of "Evie", titled "Let Your Hair Hang Down" and lead guitar for Part 3, "I'm Losing You".[15] On 29 January 2005 Lane performed "Evie" with The Wrights at Waveaid in relief of the 2004 Indian Ocean earthquake and tsunami, presented at the Sydney Cricket Ground.[16] "Evie" by The Wrights was issued in February 2005, which peaked at No. 2 on the ARIA Singles Chart.[14][17] Since 2005 Lane has periodically played in Jimmy Barnes' backing band for touring and live recording.[18] In June 2005 The Pictures' debut album, Pieces of Eight, appeared.[3][4][5] Mathieson felt that its "best moments, such as the melancholic 'All My Ties' and opener 'Stupid Me', forsake the usual bravado of first albums for a more reflective tone".[11] In 2007 he joined Crowded House for their tour in Europe and Australia, temporarily replacing Liam Finn on miscellaneous guitar, keyboard and backup vocal duties. Late in 2008 Lane's groups each released an album: both You Am I's Dilettantes (September) and The Pictures' Kicking Indifference (November).[19] On 6 September 2013, Lane issued his debut solo extended play, The Good Borne of Bad Tymes, which was supported by a national tour in September and October.[20] The Herald's Jade Lazarevic described its "five tracks are a departure from Lane’s retro rock roots, with synths influenced by '70s groups such as the Gary Numan-fronted Tubeway Army and German electronic pioneers Kraftwerk working their way into the sound and even a 'space rock jam' track".[20] Joined The Stems in November 2017 and toured Europe April/May 2018 for the 30th anniversary of The Stems debt album "At First Sight Violets Are Blue". In 2018 he formed a group to back the legendary Todd Rundgren for an Australian tour. According to Lane, they have also collaborated in the studio on upcoming releases. Since 2016 he has also performed periodically as touring guitarist for Robyn Hitchcock.
Back in Apriil 2019 Jerry Cortez from 'Tower of Power' dropped in for a chat. Jerry is one of the nicest people in music I've ever met. We've taken this interview and remastered it for 2020 Covid19 lockdown. Jerry Cortez has released five EP's called GuitarVer 1,2,3,4 and 5, and a single just released called Roses. All of the EP's and single are released by a record company called Evo Sound, and are available at Amazon, Apple Music, Spotify, etc. This year Jerry also has an album release called 'One And The Same' plus a Christmas CD coming out later in 2020 entitled 'On Christmas Day'. Tower of Power is an American R&B-based horn section and band, originating in Oakland, California, that has been performing since 1968.[1] There have been a number of lead vocalists, the most well-known being Lenny Williams, who fronted the band between early 1973 and late 1974, the period of their greatest commercial success. They have had eight songs on the Billboard Hot 100;[2] their highest-charting songs include "You're Still a Young Man", "So Very Hard to Go", "What Is Hip?", and "Don't Change Horses (in the Middle of a Stream)".[3][4] In the summer of 1968, tenor saxophonist/vocalist Emilio Castillo met Stephen "Doc" Kupka, who played baritone sax. Castillo had played in several bands, but Castillo's father told his son to "hire that guy" after a home audition.[5] Within months the group, then known as The Motowns, began playing various gigs around Oakland and Berkeley, their soul sound relating to both minority and rebellious listeners.[3][6] Castillo wanted to play Bill Graham's Fillmore Auditorium in San Francisco, but he realized he would never get in with a name like The Motowns.[6] The band agreed on Tower of Power and the name stuck.[7] By 1970, the now renamed Tower of Power—now including trumpet/arranger Greg Adams, first trumpet Mic Gillette, first saxophone Skip Mesquite, Francis "Rocco" Prestia on bass, Willie Fulton on guitar, and drummer David Garibaldi—signed a recording contract with Bill Graham's San Francisco Records and released their first album, East Bay Grease. Rufus Miller performed most of the lead vocals on this debut album.[3] The group was first introduced to the San Francisco Bay area by radio station KSAN, which played a variety of artists such as Cold Blood, Eric Mercury and Marvin Gaye. Augmented by percussionist/conga/bongo player Brent Byars, Tower of Power was released from their San Francisco label contract and moved to Warner Bros. Records. Rick Stevens replaced Rufus Miller as lead singer on 1972's Bump City, which gave the band their first national exposure.[8] This album included the hit single "You're Still a Young Man", which peaked at #29 on the Billboard Hot 100 and was Stevens' pinnacle vocal performance before leaving the band.[4] Emilio Castillo, who co-wrote the tune with Stephen Kupka, told Songfacts that the song was based on a true story about him and a former girlfriend who was six years his senior.[9] Tower of Power, released in the spring of 1973, was the third album for the band. It featured soul singer Lenny Williams on lead vocals and Lenny Pickett on lead tenor saxophone. Bruce Conte replaced guitarist Willie Fulton and keyboardist Chester Thompson also joined the band during the recording of the album. The album spawned their most-successful single "So Very Hard to Go". Although the single peaked at #17 on the Billboard Hot 100,[4] it landed in the Top 10 on the surveys of many West Coast Top 40 radio stations, hitting #1 on many of them. The album also charted two other singles on the Billboard Hot 100, "This Time It's Real" and "What Is Hip?"[3] 1974's Back to Oakland spawned another hit, "Don't Change Horses (in the Middle of a Stream)", that reached #26 on the Billboard Hot 100, and "Time Will Tell", which charted at #69.[4] The funk-jazz classic instrumental "Squib Cakes" also came from this album.[10] On Urban Renewal (1974), the band moved more toward funk than soul; however, they continued recording ballads as well. Williams left the band in late 1974, and was replaced as vocalist by Hubert Tubbs. Though the band remained popular, their days of chart radio airplay declined. During the late 1970s they briefly tried recording disco-sounding material[3]. On January 12, 2017, long-time drummer David Garibaldi and bassist Marc Van Wageningen were hit by a train as they walked across tracks before a performance in Oakland.[2] They both survived the accident. According to their manager, Jeremy Westby, they were both “responsive and being treated at a local hospital”.[2] They fully recovered and returned to the active lineup later that year.
A few years back we sat down with Australian master guitarist and rock lord, Mr Jimi Hocking. You can check out Jimi at jimihocking.bandcamp.com #rocklegend #screamingjets #jimihocking #gibsonguitars #ozrock #fenderguitars James Kevin Hocking (born 7 June 1963) otherwise known as Jimi the Human is an Australian musician. He has been a member of hard rock groups, The Angels (1988) and The Screaming Jets (1994–97, 2010–present). As a solo artist he has fronted various backing bands playing hard rock, electric and acoustic blues by providing lead guitar, vocals, mandolin and keyboards.[1] In 2005 he won the Solo/Duo category at the International Blues Challenge in Memphis, Tennessee. Biography James Kevin Hocking,[2] was born on 7 June 1963 and grew up in Melbourne. His father, Kevin Hocking, was a pianist, musical director and composer who worked in TV and theatre; while his mother was a singer.[3] Kevin taught his son to play piano who showed little interest in it.[3][4] After Hocking was given an acoustic guitar as a Christmas present, he became a self-taught guitarist.[4][5] He later worked in amateur theatre.[5] Hocking started performing in groups in Melbourne in 1983.[6] In the following year he formed The Astroboys alongside Peter German (ex-Phantom Band) on bass guitar and vocals, Glen Miles, and Christian Muehlke on drums.[7][8] He composed and performed the theme for ABC-TV telemovie, Emerging in 1985;[5][8] and provided guitar session work for the network's series, The D-Generation, in the next year.[5] When performing in cafes Hocking would change his description on the "Who's Playing Board", he related "I started to add silly titles (like) Jimi the Singer, Jimi the Muso ... Eventually I wrote Jimi the Human, a joke about playing any style".[3] Early in 1986 Hocking, on lead vocals and lead guitar, and German formed The Aströs as a hard rock group with Greg Pedley (ex-Phantom Band) on drums.[7][9] Hocking also worked on TV series Fame and Misfortune during that year.[8] Also in 1986 The Aströs released a self-titled four-track extended play on Robot Records.[7][9][10] It had been recorded live-in-the-studio at Working Class Studios in May.[10] In the next year Hocking, German and Pedley performed as The Housewarmers,[8] however by August The Aströs had reconvened and they toured nationally.[5] They were described by The Canberra Times as a "hard rocking Melbourne band, [which] are ready to rocket on to the Australian music scene".[5] In May 1988 The Angels' lead guitarist, Bob Spencer, broke his wrist after an on stage collision with front man, Doc Neeson.[3][11] The group asked Hocking to temporarily replace Spencer for the remainder of the group's Live Line Tour of Australia.[11][12] Hocking provided lead guitar and backing vocals.[11][12] He later recalled "I was called up as the result of some session work I had recently done ... It was originally to fill in for one night and the tour would be cancelled ... The gig went so well, that the band offered me the guitar spot for the rest of the tour, so overnight I found myself on a major rock tour".[3] In the following year he formed Jimi the Human and Spectre 7, another hard rock group, with former bandmate Muehlke on drums (ex-Honeythieves); they were joined by Josie Jason (ca. 1962–2011)[13] on rhythm guitar and vocals (ex-Butterfly, Final Outcome, Dirty Rats, Mars Needs Women); and Didi Kies on bass guitar (ex-Adventure, Honeythieves).[7][8] The group signed with Avenue Records which was distributed by EMI.[7][8] They released their debut album, No Turning Back, in March 1990, which was produced by Peter Blyton (Lime Spiders, The Radiators, Painters and Dockers).[7][8] It provided two singles, "Quicksand" and "Edge of Insanity".[7] Jason left to form her own band,[7] while Jimi the Human and Spectre 7 sold an album, The Official Bootleg in 1991, at gigs and via mail orders.[8] The group's next album, Living in Luxury, appeared in 1993 on the Primitive Records label.[7][8] Later that year he relocated to Sydney.[6] In January of the following year Hocking joined The Screaming Jets replacing founder, Richard Lara.[14][15] He appeared on two of their studio albums, The Screaming Jets (August 1995) and World Gone Crazy (October 1997), but had left in May 1997.[7][14][15] While a member of that band Hocking also issued an acoustic solo album, The Ultimate Bootleg, in August 1996 on Feral Records and Blah Blah Blah Records.[7][8] After leaving the group he returned to Melbourne, as a solo artist he fronted Jimi Hocking and The Human Condition. They recorded his next album, The Great B-Grade Remake, which appeared in late 1997 on Blah Blah Blah.[7][8]
Brought to you by www.guitarcolonel.com
Flashpoint is a live album by British rock band The Rolling Stones. It was recorded in 1989 and 1990 on the Steel Wheels/Urban Jungle Tour and released in 1991. It was the first live album by the group since 1982's Still Life. It was recorded using binaural recording. This gives the effect that the concert audience is behind the home listener. The audience cheer track was taken from the Rolling Stones' 1970 live album Get Yer Ya-Ya's Out!, complete with an audience member shouting out a request: "'Paint It Black', 'Paint It Black', you devil". The two studio tracks on the album were the last for bassist and long-time member Bill Wyman as a Rolling Stone. History Recorded across North America, Europe and Japan, Flashpoint is also the first Rolling Stones release of the 1990s and, unlike previous live sets, includes two new studio tracks: "Highwire" and "Sex Drive"; the former was released as a single earlier in 1991 and was a comment on the Gulf War. Although the live selections are mostly familiar hits mixed in with new tracks from Steel Wheels, Flashpoint also includes lesser-known songs like "Factory Girl" from 1968's Beggars Banquet and "Little Red Rooster", originally a No. 1 UK hit single in 1964, featured here with special guest Eric Clapton on guitar. Bill Wyman's departure As Flashpoint was The Rolling Stones' final release under their contract with Sony Music, the band signed a new lucrative long-term worldwide deal with Virgin Records in 1991, with the exception of Bill Wyman. After thirty years with the band, the fifty-five-year-old Wyman decided that he had other interests he wanted to pursue and felt that, considering the size of the recently completed Steel Wheels project and tour, it was fitting to bow out at that time. Although he would not officially announce his departure until January 1993 – during the interim the rest of the band had repeatedly asked him to reconsider – he had talked about leaving the band for at least ten years. After his departure, Ronnie Wood was finally taken off salary and made a full member of the Rolling Stones partnership, eighteen years after he joined the band.[citation needed] Release Professional ratings Review scores Source Rating AllMusic 2/5 stars[1] Entertainment Weekly F[2] Los Angeles Times 3/4 stars[3] MusicHound Rock 1/5[4] Rolling Stone 4/5 stars[5] The Rolling Stone Album Guide 3/5 stars[6] Tom Hull B+[7] Flashpoint was released in April 1991 and was generally well-received, with "Highwire" becoming a rock radio hit, and managed to reach No. 6 in the UK and No. 16 in the US, where it went gold. In 1998, Flashpoint was remastered and reissued by Virgin Records, and again in 2010 by Universal Music. SHOW LINKS AS MENTIONED Manchester Blues and Gospel Televised gig with Muddy Waters and Rosetta Tharpe, 1964: https://youtu.be/y9JeI3SWH7k History: https://www.ukblues.org/history-of-br... https://musicdayz.com/fact/147565/ Robert Johnson graphic novel, Love In Vain: https://www.amazon.com.au/Love-Vain-J... White Bicycles, by Joe Boyd: https://www.amazon.com.au/White-Bicyc...
Music in this video Learn more Listen ad-free with YouTube Premium Song Miss You (2009 Mix) Artist The Rolling Stones Writers Keith Richards, Mick Jagger Licensed to YouTube by UMG (on behalf of Polydor Records); LatinAutor - SonyATV, EMI Music Publishing, LatinAutor, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, PEDL, CMRRA, ASCAP, SOLAR Music Rights Management, and 12 Music Rights Societies
SHOW LESS
www.guitarcolonel.com Tres Hombres is the third studio album by the American rock band ZZ Top. It was originally released by London Records in July 1973 and was the first album on which the band worked with engineer Terry Manning. Tres Hombres, Spanish for "Three Men", was a successful combination as the release was the band's commercial breakthrough. In the US, the album entered the top ten while the single "La Grange" reached number 41 on the Billboard Hot 100. Frontman Billy Gibbons said of the album: We could tell that we had something special. The record became quite the turning point for us. The success was handwriting on the wall, because from that point we became honorary citizens of Memphis.[1] At the height of ZZ Top's success in the mid-1980s a digitally remixed version of the recording was released on CD and the original 1973 mix was no longer issued. The remix version created controversy among fans because it significantly changed the sound of the instruments, especially drums. The remix version was used on all early CD copies and was the only version available for over 20 years. A remastered and expanded edition of the album was released on February 28, 2006, which contains three bonus live tracks. The 2006 edition is the first CD version to use Manning's original 1973 mix. Subsequent releases on digital platforms such as iTunes have used the original mix as well. A Quadraphonic version was released in 1973.[2] Reception Professional ratings Review scores Source Rating AllMusic 4.5/5 stars[3] Pitchfork 9.0/10[4] The Rolling Stone Album Guide 3/5 stars[5] The Daily Vault B+[6] Encyclopedia of Popular Music 4/5 stars[7] The album was released in July 1973 to a lukewarm reception. Steve Apple in a September 1973 review for Rolling Stone felt that while the "Southern rock & roll sound" was becoming popular, ZZ Top themselves were "only one of several competent Southern rocking bands", though they had "an advantage over most white rockers" because they "sound black". Apple felt that ZZ Top had "the dynamic rhythms that only the finest of the three-piece bands can cook up. Billy Gibbons plays a tasty Duane Allman lead with Dusty Hill and Frank Beard pounding out the funky bottom", and were "one of the most inventive of the three-piece rockers" but wondered when "audiences will get tired of hearing the same ... 'Poot yawl hans together' patter."[8] Legacy In 2000 it was voted number 501 in Colin Larkin's All Time Top 1000 Albums.[9] In 2003, the album was ranked number 498 on Rolling Stone magazine's list of the 500 greatest albums of all time, and in 2012 ranked at number 490 on a revised list.[10] The album peaked at number 8 on the Billboard 200. In July 2013, 40 years after its release, the album was described by Andrew Dansby in the Houston Chronicle as "... full of characters and doings so steeped in caricature – yet presented straight-faced – as to invite skepticism. The album is stuffed with color and flavor, much like its famous gate-fold photo on the inside: a gut-busting couple of plates of food from the much-beloved but now-closed Leo's Mexican Restaurant on South Shepherd near Westheimer."[11] AllMusic commented that "Tres Hombres is the record that brought ZZ Top their first top ten record, making them stars in the process. It couldn't have happened to a better record", and rated it 4.5 out of 5 stars.[12] Andy Beta of Pitchfork awarded the album 9.0 out of 10, writing that, "ZZ Top's 1973 breakthrough was a masterful melding of complementary styles, cramming Southern rock and blues boogie through the band's own idiosyncratic filter."[13] Recording and singles The two tracks "Waitin' for the Bus" and "Jesus Just Left Chicago" segue seamlessly into each other. Although there are many stories of it being a "mistake", it is in fact an intentional effect according to the album's engineer Terry Manning, who performed the edit.[14] The only single released from the album was "La Grange" (b/w "Just Got Paid" from the band's second album Rio Grande Mud) which peaked at number 41 on the Billboard Hot 100 in June 1974.[15]
Music in this video Learn more Listen ad-free with YouTube Premium Song Jesus Just Left Chicago (Live from Nashville) Artist ZZ Top Album Live! Greatest Hits from Around the World Licensed to YouTube by WMG (on behalf of ADA UK); CMRRA, Abramus Digital, LatinAutor, LatinAutor - PeerMusic, BMG Rights Management (US), LLC, and 1 Music Rights Societies
MTV Unplugged in New York is a live album by American rock band Nirvana, released on November 1, 1994 by DGC Records. The album features an acoustic performance recorded at Sony Music Studios in New York City on November 18, 1993, for the television series MTV Unplugged. The show was directed by Beth McCarthy and aired on the cable television network MTV on December 16, 1993. In a break with MTV Unplugged convention, Nirvana played mainly lesser-known material and covers of songs by the Vaselines, David Bowie, Lead Belly, and Meat Puppets, whose members Cris and Curt Kirkwood joined Nirvana onstage.
Following the cancellation of another live album, Verse Chorus Verse, MTV Unplugged in New York was the first Nirvana album released following the death of Kurt Cobain. It debuted at number one on the US Billboard 200, and is Nirvana's most successful posthumous release, having been certified 5x Platinum by the Recording Industry Association of America (RIAA) in 1997.[4] It won the Grammy Award for Best Alternative Music Album at the 38th Grammy Awards and has been ranked one of the greatest albums of all time. The performance was released on DVD in 2007.
Legend is a compilation album by Bob Marley and the Wailers. It was released in May 1984 by Island Records. It is a greatest hits collection of singles in its original vinyl format and is the best-selling reggae album of all-time, with over 15 million copies sold in the United States and an estimated 28 million copies sold globally.[1][2][3][failed verification] In 2003, the album was ranked number 46 on Rolling Stone magazine's list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list.[4]
As of January 2020, it has spent a total of 609 nonconsecutive weeks on the Billboard 200 album chart—the second longest run in history.[5]
A Guitar Colonel Production - www.guitarcolonel.com Covid19 cheer ups for y'all Never Mind the Bollocks, Here's the Sex Pistols is the only studio album by English punk rock band the Sex Pistols, released on 28 October 1977 by Virgin Records. The album has influenced many bands and musicians, and the industry in general. In particular, the album's raw energy, and Johnny Rotten's sneering delivery and "half-singing", are often considered game-changing. It is frequently listed as the most influential punk album, and one of the most important albums of all time. By the time of its release, the Sex Pistols were controversial, having sworn on live TV, been fired from two record labels, and been banned from playing live in some parts of Britain. The album title added to that controversy, with some people finding the word "bollocks" offensive. Many record stores refused to carry it and some record charts refused to list its title, showing just a blank space instead. Due in part to its notoriety, and in spite of many sales bans at major retailers, the album debuted at number one on the UK Album Charts. It went gold only a few weeks later, on 17 November. It remained a best-seller for over a year, spending 60 weeks in the top 25.[1] It has seen several reissues, the latest in 2012.
Brought to you by www.guitarcolonel.com A Covid19 Cheer up program :) A vintage guitar is an older guitar usually sought after and maintained by avid collectors or musicians. The term may indicate either that an instrument is merely old, or that is sought after for its tonal quality, cosmetic appearance, or historical significance. As early as the 1970s, musicians and collectors began to recognize the value of older instruments. The rising mass production of both acoustic and electric guitars in that era served to highlight the quality workmanship and materials of the older instruments. Historians, such as George Gruhn, helped to codify both the monetary value and sound quality of these guitars for both collectors and musicians. Examples of well-known vintage electric guitars are 1950s and 1960s era Fender Stratocaster and Telecaster and Gibson Les Paul. Older electric guitars in general have become desirable, including "budget brands" such as Harmony, Danelectro, and Kay. Examples of well-known vintage acoustic guitars are Martin and Gibson models previous to the 1970s, and 1930s-era Recording Kings, among others. Values of vintage guitars have risen considerably in the past thirty years, and are considered by some as a stable long-term investment.
www.guitarcolonel.com ZZ Top (pronounced "zee zee top") is an American rock band from Houston, Texas, formed in 1969. The group consists of founder Billy Gibbons (vocals and lead guitar), Dusty Hill (vocals and bass guitar), and Frank Beard (drums and percussion). Initially rooted in blues, ZZ Top's musical style has evolved throughout their career, yet has maintained their signature sound based on Gibbon's blues guitar style fused with Hill and Beard's rhythm section support. Their lyrics, often embellished with sexual innuendo, focus on their own Texas roots and sense of humor. Popular for their live performances, the group has staged several elaborate tours over their career. The band formed after the demise of Gibbons' previous band, The Moving Sidewalks, when two of its members were drafted into the United States Army. Within a year, they signed with London Records and released their debut album, ZZ Top's First Album (1971). Subsequent releases such as their first top ten album, Tres Hombres (1973), and the singles "La Grange" and "Tush" helped ZZ Top gain extensive radio airplay. By the mid-1970s, they had become renowned in North America for their live act, highlighted by their performances during the Worldwide Texas Tour from 1976 to 1977, which made them national superstars and was a critical and commercial success. Following a two year break after facing creative stagnation and exhaustion, ZZ Top reinvented themselves in the late 1970s through a new musical direction and public image. Beginning with their albums, Degüello (1979) and El Loco (1981), the band experimented with different musical instruments like clavinets, saxophones, and synthesizers, while Gibbons and Hill embraced chest-length beards as part of their image. ZZ Top gained international favor with the records Eliminator (1983) and Afterburner (1985), which integrated influences from new wave, punk, and dance-rock, and established a more mainstream sound for the group. The popularity of their music videos, including those for "Gimme All Your Lovin'", "Sharp Dressed Man", and "Legs", helped propel the band onto the television channel MTV and made them one of the prominent highlights of 1980s pop culture. Their Afterburner Tour set records for the highest-attended and highest-grossing concert tour of 1986. After additional acclaim with the release of their tenth album Recycler (1990) and the Recycler Tour, their experimentation continued with the albums Antenna (1994), Rhythmeen (1996), XXX (1999), and Mescalero (2003), with mixed successes. The group most recently released La Futura (2012) and Goin′ 50 (2019), the latter of which is a compilation album commemorating the band's 50th anniversary. ZZ Top has released 15 studio albums and sold an estimated 50 million albums worldwide.[9][10] They have won three MTV Video Music Awards, and in 2004, they were inducted into the Rock and Roll Hall of Fame. Rolling Stone ranked Gibbons at number 32 on its list of the "100 Greatest Guitarists of All Time".[11] Throughout their career, as a band and as individuals, they have supported several campaigns and charities, including Childline, St. Jude Children's Research Hospital, and a fundraiser for the Delta Blues Museum.
www.guitarcolonel.com L.A. Woman is the sixth studio album by the American rock band the Doors, released on April 19, 1971, on Elektra Records. It is the last to feature lead singer Jim Morrison during his lifetime due to his death three months after the album's release, though he would posthumously appear on the 1978 album An American Prayer. Even more so than its predecessors, the album is heavily influenced by blues. It was recorded without record producer Paul A. Rothchild after he fell out with the group over the perceived lack of quality of their studio performances. Subsequently, the band co-produced the album with longtime sound engineer Bruce Botnick. "Love Her Madly" was released as a single in March 1971, preceding the album's release, and reached the Top 20 in the Billboard Hot 100. Upon release, the album peaked at number nine on the Billboard 200[1] and reached number 28 on the UK Albums Charts.[2] The track "Riders on the Storm" also achieved chart success. Critics Richie Unterberger and David Quantick have both called L.A. Woman one of the Doors' best albums, citing Morrison's vocal performance, and the band's stripped-down return to their blues rock roots.[3][4] The Doors had achieved commercial and critical success by 1969, but for much of that year, they were blacklisted from radio playlists and their concert bookings dwindled, after singer Jim Morrison had been charged with profanity and indecent exposure stemming from a concert in Miami, Florida, on March 1.[5] Promoters feared another episode like this. Morrison, who craved recognition as a serious poet and had also begun dabbling in film, had mentioned leaving the group at the end of 1968, only to be convinced by keyboardist Ray Manzarek to stay on another six months.[6] On September 20, 1970, Morrison was convicted for the Miami incident.[5] In a 1971 interview with Ben Fong-Torres, Morrison said of Miami, "I think subconsciously I was trying to get across in that concert, I was trying to reduce it to absurdity. And it worked too well."[7] In November 1970, shortly after Morrison's trial ended, the Doors entered Sunset Sound Recorders in Los Angeles to record early versions of stand out track "L.A. Woman", as well as "Riders on the Storm" and "Love Her Madly".[5] The new songs were a departure from the heavily orchestrated pieces on the earlier album The Soft Parade, which burdened the group with long, drawn-out recording sessions.[8] The simplified and straightforward style, progressing from Morrison Hotel, was well-received, noted by Jazz & Pop magazine as "a return to the tight fury of early Doors' music".[9][10] The band conflicted with their record company, Elektra Records, who released the Doors' first compilation album, 13, to have a product for the Christmas market. It was released without the band's input, and featured a large image of a younger Morrison, upsetting him enough to threaten signing with another label. As their contract required one more album, the group were unable to follow through with the threat, so they continued rehearsing the new material.[11][12] Record producer Paul A. Rothchild, who worked with the band on their first five albums, attended the early sessions but quit following friction with the band. This included his dissatisfaction with the song "Love Her Madly," which "drove [him] out of the studio." He felt that recording the composition was a step backwards artistically, calling it "cocktail music."[11] Rothchild has denied a popular rumour that claimed he directed the remark toward "Riders On The Storm," explaining that he thought that song and "L.A. Woman" were "excellent in rehearsal". He maintains that his cocktail music comment was said to "make [the group] angry enough to do something good."[13] Rothchild also left because the group were slow in developing new material, especially as the band contained three songwriters. His enthusiasm with the band deteriorated further after he was unable to persuade Morrison to consistently attend rehearsals.[13][14] As Botnick revealed in the book Love Becomes a Funeral Pyre, another issue that led to Rothchild's leaving was the emotional devastation he felt after the death of Janis Joplin, whom he had worked with on her second solo effort, Pearl.[15] Rothchild left before any master takes were complete, recommending that the Doors co-produce L.A. Woman with Bruce Botnick, the sound engineer who had worked with Rothchild on the band's previous recordings.[16]
Neil Boland joins me today for a discussion on all things 'Minor Blues'. Sit back and enjoy Neil's take on the BB King classic 'The Thrill is Gone'. We chat soloing options for this tune and minor blues in general. If you're in Melbourne you can find Neil playing all over town. Riley B. King (September 16, 1925 – May 14, 2015), known professionally as B.B. King, was an American singer-songwriter, guitarist, and record producer. King introduced a sophisticated style of soloing based on fluid string bending and shimmering vibrato that influenced many later blues electric guitar players.[6] King was inducted into the Rock and Roll Hall of Fame in 1987, and is one of the most influential blues musicians of all time, earning the nickname "The King of the Blues", and is considered one of the "Three Kings of the Blues Guitar" (along with Albert and Freddie King).[7][8][9] King performed tirelessly throughout his musical career, appearing on average at more than 200 concerts per year into his 70s.[10] In 1956 alone, he appeared at 342 shows.[11] King was born on a cotton plantation in Itta Bena, Mississippi, and later worked at a cotton gin in Indianola, Mississippi. He was attracted to music and the guitar in church, and began his career in juke joints and local radio. He later lived in Memphis, Tennessee, and Chicago, and as his fame grew, toured the world extensively. King died at the age of 89 in Las Vegas, Nevada, on May 14, 2015.
International Women's Day (IWD) is celebrated on the 8th of March every year.[3] It is a focal point in the movement for women's rights. After the Socialist Party of America organized a Women's Day in New York City on February 28, 1909, German revolutionary Clara Zetkin proposed at the 1910 International Socialist Woman's Conference that 8 March be honored as a day annually in memory of working women.[4][5] The day has been celebrated as International Women's Day or International Working Women's Day ever since.[4] After women gained suffrage in Soviet Russia in 1917, March 8 became a national holiday there. The day was then predominantly celebrated by the socialist movement and communist countries until it was adopted by the feminist movement in about 1967. The United Nations began celebrating the day in 1975.[6] Commemoration of International Women's Day today ranges from being a public holiday in some countries to being largely ignored elsewhere.[7] In some places, it is a day of protest; in others, it is a day that celebrates womanhood.[8]
Live at Leeds is the first live album by English rock band The Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The Who were looking for a way to follow up their 1969 album Tommy, and had recorded several shows on tours supporting that album, but didn't like the sound. Consequently, they booked the show at Leeds University, along with one at the University of Hull the following day, specifically to record a live album. Six songs were taken from the Leeds show, and the cover was pressed to look like a bootleg recording. The sound was significantly different from Tommy and featured hard rock arrangements that were typical of the band's live shows. The album was released in May 1970 by Decca and MCA in the United States by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been cited by several music critics as the best live rock recording of all time.[3][4][5]
Paul Francis Kossoff (14 September 1950 – 19 March 1976) was an English blues rock guitarist. He was most notably a member of the band Free. He was ranked 51st in Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time.[1] Kossoff was the son of Margaret (Jenkins) and the English actor David Kossoff.[2][3][4] His father was of Russian-Jewish descent. His uncle was the broadcaster Alan Keith and he was a cousin of the judge Brian Keith and the model Linda Keith.[5] Aged nine Kossoff started classical guitar lessons with Blanche Monroe. His classical guitar training continued until he was fifteen. In December 1965 he saw Eric Clapton with John Mayall's Bluesbreakers at The Refectory, Golders Green, North West London. This encounter inspired him to purchase a Gibson Les Paul Custom guitar. During 1966 Kossoff worked as a junior salesman at Selmer’s Music Shop in Charing Cross Road.[6] He received lessons from session guitarist Colin Falconer who worked in the guitar department at Selmer’s. In 1966 Kossoff joined the Chicago-style blues band Black Cat Bones. The band played with touring blues piano player Champion Jack Dupree, often supporting Fleetwood Mac and other gigs with Fleetwood Mac co-founder Peter Green. Kossoff's bandmate in Black Cat Bones was drummer Simon Kirke, and the two went on to play on Champion Jack Dupree's April 1968 album When You Feel the Feeling You Was Feeling.[7] In April 1968, Kossoff and Kirke teamed up with Paul Rodgers (vocals) and Andy Fraser (bass) to form Free. They toured for two years, during which they recorded two albums: Tons of Sobs (1968) and Free (1969). Both albums showcased the band's blues- and soul-influenced sound, a style that was in contrast to some of their progressive and heavier counterparts at the time. Success came in 1970 when their third album, Fire and Water (1970), spawned the hit "All Right Now". The band played the Isle of Wight festival to both audience and critical acclaim, and sellout tours in the United Kingdom, Europe, and Japan followed. However after the release of the next album, Highway (1970) and its relatively poor sales, band pressures led to a split. The live album Free Live was recorded in 1970, and released in 1971 as a farewell record. Kossoff and Kirke teamed up with Texan keyboard player John "Rabbit" Bundrick and Japanese bass player Tetsu Yamauchi to release the 1971 album Kossoff, Kirke, Tetsu and Rabbit. Rodgers and Fraser pursued unsuccessful solo projects. Free reformed and released the album Free at Last (1972). Following its release, Fraser decided he had had enough, and quit to form Sharks. Free drafted Tetsu and Rabbit for Free's 1973 album Heartbreaker (1973) after which the group disbanded. Kossoff song-writing Kossoff co-wrote several Free songs, including 'Oh I Wept' and 'Mr Big' on the Fire and Water album.
Goin' Your Way is a live album collaboration recorded by Neil Finn and Paul Kelly during a performance at the Sydney Opera House on 10 March 2013. It was released on 8 November as a stand-alone 2× CD, Blu-ray or DVD; or in a Limited Edition Deluxe version with all three formats. From 18 February to 18 March, Finn and Kelly undertook a joint tour of Australia, they performed tracks from their respective careers, including re-interpreting each other's work. The CD album peaked at No. 5 on the ARIA Albums Chart while the DVD reached No. 1 on the related Music DVD Chart. Goin' Your Way was recorded on 10 March 2013 at the Sydney Opera House by Neil Finn and Paul Kelly.[1][2] Both artists have a long association. Back in 1980 Finn, as a member of New Zealand band Split Enz, and Kelly, as the leader of Paul Kelly and the Dots, were both signed with Mushroom Records.[3][4] In October 1984 TV music series Rock Arena, hosted by Suzanne Dowling, broadcast Kelly's group performing "Billy Baxter" while Split Enz provided "I Got You".[5] In 1987 Kelly and his band The Messengers opened for Finn's next group, Crowded House, on the initial dates of that group's United States tour.[3] Kelly and The Messengers then headlined their own US tour.[3] Finn provided backing vocals on "Hey Boys", a duo single by Mark Seymour (of Hunters & Collectors) and Kelly, which was released in May 1992.[6] In 1993 Finn and Kelly had started discussions about a collaborative tour over a social game of tennis – both were living in St Kilda.[7] By 1998 Crowded House had disbanded and former members Finn, Paul Hester and Nick Seymour (Mark's brother) shared a stage, on an episode of TV series Hessie's Shed.[8] Finn and the show's host, Hester, performed "Not the Girl You Think You Are" with Largest Living Things – the show band, before being joined by Seymour for "Sister Madly" and a version of Kelly's "Leaps and Bounds", which also featured Kelly on vocals.[8][9] In November 2010 Kelly and folk musician Angus Stone covered a Crowded House track, "Four Seasons in One Day", for a tribute album, He Will Have His Way – it was co-written by Neil with his brother Tim Finn (ex-Split Enz, Crowded House). In April 2011 Neil Finn and Kelly co-headlined a show at Red Hill Auditorium in Perth; it was the first music concert at the new venue.[10] Collaborative tour In November 2012 after further discussions about collaborating for a tour, Finn and Kelly announced the first ten dates of their Australia-wide Goin' Your Way Tour for February and March in the following year.[11] Kelly told a press conference that "I sent Neil a list of his songs I wanted us to do, he sent me a list, the same for me. We also went through tracks songs we could do good harmony singing on".[11] They also indicated the support act for those dates would be Lisa Mitchell.[11][12] The tour was organised by Finn and Kelly with Live Nation Australasia by arrangement with Artist Voice.[13] By January 2013 additional dates had been added to the tour without Mitchell supporting.[2] Finn and Kelly used a backing band of Kelly's nephew, Dan Kelly on guitar, Finn's son Elroy on drums, and Zoe Hauptmann on bass guitar.[7] They started their 20-date tour on 18 February at Melbourne's Palais Theatre and finished at the Sydney Opera House Concert Hall on 18 March – their fifth performance at that venue.[2] The final show was streamed internationally via YouTube as Neil Finn and Paul Kelly Live at Sydney Opera House.[14] One of the final tracks performed at each gig was a cover version of Henry Mancini's "Moon River" with the chorus "Oh, dream maker, you heart breaker / Wherever you're goin', I'm goin' your way".[15] The last phrase provided the album's title.[15] Jon Jobbagy of The AU Review caught their first performance at the Sydney Opera House and noted the stage backdrop was designed by Noel Crombie (ex-Split Enz) and Sally Mill.[16] Jobbagy felt that Finn was the "most versatile musician of the pair" and "their repertoire is colossal so it was basically hit after hit".[16] On 29 July 2013 at the 13th Helpmann Awards Finn and Kelly won the Best Australian Contemporary Concert category for the tour.[13][17] At the ARIA Music Awards of 2013 they were nominated for Best Australian Live Act.[18][19]
Category
The Fender Telecaster, colloquially known as the Tele /ˈtɛli/, is the world's first commercially successful[note 1] solid-body electric guitar. Its simple yet effective design and revolutionary sound broke ground and set trends in electric guitar manufacturing and popular music. Introduced for national distribution as the Broadcaster in the autumn of 1950, it was the first guitar of its kind manufactured on a substantial scale and has been in continuous production in one form or another since its first incarnation.[1] Just like the Fender Stratocaster, the Telecaster is also a versatile guitar, usable for most styles of music and has been used in many genres, including country, reggae, rock, pop, folk, soul, blues, jazz, punk, metal, alternative, indie, and R&B. The Fender Telecaster was developed by Leo Fender in Fullerton, California in 1950. In the period roughly between 1932 and 1949, several craftsmen and companies experimented with solid-body electric guitars, but none had made a significant impact on the market. Leo Fender's Telecaster was the design that made bolt-on neck, solid body guitars viable in the marketplace. Fender had an electronics repair shop called Fender's Radio Service where he first repaired, then designed, amplifiers and electromagnetic pickups for musicians-chiefly players of electric semi-acoustic guitars, electric Hawaiian lap steel guitars, and mandolins. Players had been "wiring up" their instruments in search of greater volume and projection since the late 1920s, and electric semi-acoustics (such as the Gibson ES-150) had long been widely available. Tone had never, until then, been the primary reason for a guitarist to go electric, but in 1943, when Fender and his partner, Clayton Orr "Doc" Kauffman, built a crude wooden guitar as a pickup test rig, local country players started asking to borrow it for gigs. It sounded bright and sustaining. Fender was intrigued, and in 1949, when it was long understood that solid construction offered great advantages in electric instruments, but before any commercial solid-body Spanish guitars had caught on (the then-small Audiovox company apparently offered a modern, solid-body electric guitar as early as the mid-1930s), he built a better prototype. That hand-built prototype, an anonymous white guitar, had most of the features of what would become the Telecaster. It was designed in the spirit of the solid-body Hawaiian guitars manufactured by Rickenbacker — small, simple units made of Bakelite and aluminum with the parts bolted together — but with wooden construction. (Rickenbacker, then spelled "Rickenbacher", also offered a solid Bakelite-bodied electric Spanish guitar in 1935 that seemed to presage details of Fender's design.) Telecaster evolution 1st prototype (1949) Broadcaster (1950) "Nocaster" (1951) Precision Bass (1951, replica) Telecaster replica (1952) Esquire (1954) The initial single-pickup production model appeared in 1950, and was called the Fender Esquire[2]. Ash and maple were used to construct the body and neck respectively and the guitar came in one color entitled, blond.[3] Fewer than fifty guitars were originally produced under that name, and most were replaced under warranty because of early manufacturing problems. In particular, the Esquire necks had no truss rod and many were replaced due to bent necks. Later in 1950, this single-pickup model was discontinued, and a two-pickup model was renamed the Broadcaster. From this point onward all Fender necks incorporated truss rods. The Esquire was reintroduced in 1951 as a single pickup Telecaster, at a lower price.[4][5] The so-called "Nocaster" was a short-lived variant of Telecaster. Produced in early to mid-1951, it was the result of legal action from the Gretsch company over the guitar's previous name, the Broadcaster (Gretsch already had the "Broadkaster" name registered for a line of drums). In the interim, before Fender had come up with an alternate name and printed appropriately revised headstock decals, factory workers simply snipped the "Broadcaster" name from its existing stock of decals, so guitars with these decals are identified simply as "Fender", without any model name. By the summer of 1951 the guitar was officially renamed as the Telecaster and has been known as such ever since. The term Nocaster was coined by collectors to denote these transitional guitars that appeared without a model name on the headstock. Since they were manufactured in this form for only a few months very early in the Broadcaster/Telecaster's history, original Nocasters are highly prized and expensive collector's items. There are no official production numbers, but experts estimate that fewer than 500 Nocasters were produced. Fender has since registered Nocaster as a trademark to denote its modern replicas of this famous rarity.
Pinups (also referred to as Pin Ups and Pin-Ups) is the seventh studio album by English musician David Bowie, containing cover versions of songs, released in 1973 on RCA Records. Pinups entered the UK chart on 3 November 1973 (coincidentally the same day as Bryan Ferry's covers album These Foolish Things) and stayed there for 21 weeks, peaking at No. 1. It re-entered the chart on 30 April 1983, this time for fifteen weeks, peaking at No. 57. In July 1990, it again entered the chart, for one week, at No. 52. A version of the Velvet Underground's "White Light/White Heat" was recorded during the sessions. It was never released; Bowie donated the backing track to Mick Ronson for his 1975 album Play Don't Worry. An insert included with the original LP includes the text "This album is called Pinups" and the title is written as one word, without a hyphen, on the LP cover and spine, although the disc label spells the title with a hyphen. According to co-producer Ken Scott, the LP was originally conceived as "a complete opposite of [Bowie's] other albums", consisting of all cover songs except one original composition, and mainly turned towards the US market since "he wanted to do songs that weren't known as well in the States as they were in England", yet eventually the plan was dropped.[12] Pinups was the first of two "1960s nostalgia" albums that Bowie had planned to release. The second, which was planned to be called "Bowie-ing Out," would have contained Bowie covering his favourite American artists, but was never recorded.[13] Bowie also apparently considered making a Pinups sequel: he had compiled a list of songs he wanted to cover, some of which showed up on his later releases of Heathen (2002) and Reality (2003).[14] In the album booklet, Bowie, writing in his own hand,[15] describes Pinups as: These songs are among my favourites from the '64–67' period of London. / Most of the groups were playing the Ricky-Tick (was it a 'y' or an 'i'?) -Scene club circuit (Marquee, eel pie island la-la). / Some are still with us. / Pretty Things, Them, Yardbirds, Syd's Pink Floyd, Mojos, Who, Easybeats, Merseys, The Kinks. / Love-on ya!
Hi all. We're back this week with Sir Nigel's classic album choice. The Blues Brothers. So first the annoying bits...yep, the copyright monsters have struck again and not allowed us the butcher the guitar parts whilst playing along with a few songs. How dare they!!!...But they didn't touch Ray Charles...Yes!!.. Also our video team got a little too much 'Belushi' flavoured coffee, and as a result, our video stream goes whacky.... There's enough Gold here to make up for all that, so sit back and enjoy a tale of 'The Blues Brothers' The Blues Brothers is a 1980 American musical comedy film directed by John Landis.[4] It stars John Belushi and Dan Aykroyd as "Joliet" Jake and Elwood Blues, characters developed from "The Blues Brothers" recurring musical sketch on the NBC variety series Saturday Night Live. The film is set in and around Chicago, Illinois, where it was filmed. The film's screenplay was written by Aykroyd and Landis. It features musical numbers by rhythm and blues (R&B), soul, and blues singers James Brown, Cab Calloway, Aretha Franklin, Ray Charles, and John Lee Hooker. It features non-musical supporting performances by Carrie Fisher, Henry Gibson, Charles Napier and John Candy. The story is a tale of redemption for paroled convict Jake and his blood brother Elwood, who set out on "a mission from God" to save the Catholic orphanage in which they were raised from foreclosure. To do so, they must reunite their R&B band and organize a performance to earn $5,000 needed to pay the orphanage's property tax bill. Along the way, they are targeted by a homicidal "mystery woman", Neo-Nazis, and a country and western band—all while being relentlessly pursued by the police. Universal Studios, which had won the bidding war for the film, was hoping to take advantage of Belushi's popularity in the wake of Saturday Night Live, Animal House, and the Blues Brothers' musical success; it soon found itself unable to control production costs. The start of filming was delayed when Aykroyd, new to film screenwriting, took six months to deliver a long and unconventional script that Landis had to rewrite before production, which began without a final budget. On location in Chicago, Belushi's partying and drug use caused lengthy and costly delays that, along with the destructive car chases depicted onscreen, made the final film one of the most expensive comedies ever produced. Concerns that the film would fail limited its initial bookings to less than half those a film of its magnitude normally received. Released in the United States on June 20, 1980, it received mostly positive reviews. It earned just under $5 million in its opening weekend and went on to gross over $115 million in theaters worldwide before its release on home video. It has become a cult classic, spawning the sequel, Blues Brothers 2000, 18 years later, which was a critical and commercial failure.
Hi and welcome to this special episode with the great Phil Ceberano. We chat Guitars, Mental Health, Martial Arts, Rock Academy, plus more. Phil Ceberano is one of Australia’s most talented musicians and is best known for his many successful years as Kate Ceberano's band leader, creative partner, lead guitarist, vocalist and co-producer. Phil may in fact be the nicest fellow in Australian rock. Go and check out the Phil Ceberano Band at a venue near you. Go up and say hi. Phil also runs the Rock Academy in Melbourne. Perfect for kids on school holidays who are interested in music.
We're back yet again. More beers and this time a PRS or two. My thanks to Adam for bringing in his PRS Silver Sky. Let's add a 1969 Gibson Les Paul Custom in for good measure also :) Sit back, grab a beer and enjoy the 'are you being served' humour.
What's happening!!!! Sir Nigel has taken over the hot seat and starts teaching guitar. Noooooooooo. We grab a 1969 Gibson Les Paul Custom and a 1984 Fender Telecaster 52 Reissue. Let's rock the Stone Foxes and The Dandy Warhols. Whooaaa
We're back for 2020. Let's start the year with a tribute show for the Australian Firefighters. We chat fires, heroes and guitars. Instruments used are - Rickenbacker 360. Fender Custom Shop 57 Relic Stratocaster, Gibson Les Paul Junior, Guthrie Govan Charvel.
The Altamont Speedway Free Festival was a counterculture rock concert held on Saturday, December 6, 1969 at the Altamont Speedway, northern California, United States.[2][3][4] The event is best known for considerable violence, including the stabbing death of Meredith Hunter and three accidental deaths: two caused by a hit-and-run car accident, and one by LSD-induced drowning in an irrigation canal.[4] Scores were injured, numerous cars were stolen and then abandoned, and there was extensive property damage.[5][6] The concert featured (in order of appearance): Santana, Jefferson Airplane, The Flying Burrito Brothers and Crosby, Stills, Nash & Young, with the Rolling Stones taking the stage as the final act.[7] The Grateful Dead were also scheduled to perform following CSNY, but declined to play shortly before their scheduled appearance due to the increasing violence at the venue.[8] "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event,[9] terming it in an additional follow-up piece "rock and roll's all-time worst day, December 6th, a day when everything went perfectly wrong."[10] Approximately 300,000 attended the concert,[2][4] and some anticipated that it would be a "Woodstock West".[11] Woodstock was held in Bethel, New York, in mid-August, less than four months earlier. Filmmakers Albert and David Maysles shot footage of the event and incorporated it into the 1970 documentary film titled Gimme Shelter.[12]
Huddie William Ledbetter (/ˈhjuːdi/; January 20, 1888 – December 6, 1949),[1] better known by the stage name Lead Belly, was an American folk and blues singer, musician and songwriter notable for his strong vocals, virtuosity on the twelve-string guitar, and the folk standards he introduced, including his renditions of "Goodnight, Irene", "Midnight Special", "Cotton Fields", and "Boll Weevil".
Lead Belly usually played a twelve-string guitar, but he also played the piano, mandolin, harmonica, violin, and windjammer.[2] In some of his recordings, he sang while clapping his hands or stomping his foot.
Lead Belly's songs covered a wide range of genres and topics including gospel music; blues about women, liquor, prison life, and racism; and folk songs about cowboys, prison, work, sailors, cattle herding, and dancing. He also wrote songs about people in the news, such as Franklin D. Roosevelt, Adolf Hitler, Jean Harlow, Jack Johnson, the Scottsboro Boys and Howard Hughes. Lead Belly was posthumously inducted into the Rock and Roll Hall of Fame in 1988 and the Louisiana Music Hall of Fame in 2008.
Though many releases credit him as "Leadbelly", he himself wrote it as "Lead Belly", which is also the spelling on his tombstone[3][4] and the spelling used by the Lead Belly Foundation.[5]
Things are getting spooky. The power goes out mid broadcast......too much Phil? Phillip Harvey Spector (born Harvey Phillip Spector, December 26, 1939) is an American record producer, musician, and songwriter. He developed the Wall of Sound, a music production formula he described as a Wagnerian approach to rock and roll. Spector was dubbed the "First Tycoon of Teen" by writer Tom Wolfe[1] and is acknowledged as one of the most influential figures in pop music history.[2] After the 1970s, Spector mostly retired from public life. In 2009, he was convicted of second-degree murder and has remained incarcerated since.[3] Born in the Bronx, Spector began his career in 1958 as co-founder, guitarist, and vocalist of the Teddy Bears, penning their US number-one single "To Know Him Is to Love Him". In 1960, he co-founded Philles Records, and at the age of 21, became the youngest ever US label owner to that point.[4] Over the next several years, he wrote, co-wrote, or produced records for acts such as the Ronettes and the Crystals, and later, John Lennon and George Harrison of the Beatles. He often employed what would become known as "the Wrecking Crew" as his de facto house band while collaborating with arranger Jack Nitzsche, engineer Larry Levine, and various Brill Building songwriters. Spector's other chart-topping singles include "You've Lost That Lovin' Feelin'" (co-written and produced for the Righteous Brothers, 1964), "The Long and Winding Road" (produced for the Beatles, 1970), and "My Sweet Lord" (produced for Harrison, 1970). Spector is considered the first auteur among musical artists for the unprecedented freedom and control he had over every phase of the recording process. Additionally, he helped engender the idea of the studio as an instrument,[5] the integration of pop art aesthetics into music (art pop),[6] and the art rock genre.[7] His honors include the 1973 Grammy Award for Album of the Year for co-producing Harrison's Concert for Bangladesh (1971), a 1989 induction into the Rock and Roll Hall of Fame, and a 1997 induction into the Songwriters Hall of Fame.[8] In 2004, Rolling Stone magazine ranked Spector number 63 on their list of the "100 Greatest Artists of All Time",[9] and for their 2003 list of "The 500 Greatest Albums of All Time", included his productions of Presenting the Fabulous Ronettes (1964), A Christmas Gift for You (1963), and Back to Mono (1991).[10] According to BMI, "You've Lost That Lovin' Feelin'" is the song that received the most US airplay in the 20th century.[11] By the mid-1970s, Spector had produced eighteen US Top 10 singles for various artists, but following work with Leonard Cohen, Dion DiMucci, and the Ramones, he remained largely inactive and affected by personal struggles.[12] In 2003, the actress Lana Clarkson was found dead from a bullet wound in Spector's home. He maintained to authorities and the media that she had accidentally shot herself. From 2007 to 2009, he was the subject of two trials, the second of which ended in a guilty verdict. He is serving a prison sentence of 19 years to life and will be eligible for parole in 2025.[13][14]
We're back with Les Pauls and Beers. Alan Leslie has finally come to terms with not owning 'Candy' the 1960 burst from our last show. So we gave him a look a like. Tonight Alan is playing a 2019 Gibson Les Paul Standard R7 Gold Top and a 2002 Gibson Les Paul Standard with an AXE FX. Colonel is playing a 1983 Gibson Les Paul Custom in vomit white and a 2017 Gibson Les Paul Traditional with a Mooer GE300. Beers reviewed are Two Birds golden ale and Deep Creek Brewing Co. Misty Miyagi Hazy IPA.
Sid Vicious (born John Simon Ritchie,[2][1] 10 May 1957 – 2 February 1979) was an English bassist and vocalist. He achieved fame as a member of the punk rock band the Sex Pistols, replacing Glen Matlock, who had fallen out of favour with the rest of the group. Due to intravenous drug use, Vicious was hospitalised with hepatitis during the recording of the Sex Pistols' only studio album, Never Mind the Bollocks, Here's the Sex Pistols; his bass is only partially featured on one song - "Bodies". Vicious later appeared as a lead vocalist, performing three songs, on the soundtrack to The Great Rock 'n' Roll Swindle, a largely fictionalised documentary about the Sex Pistols. As the Sex Pistols were gaining attention, Vicious met Nancy Spungen, and the pair entered a relationship which culminated in Spungen's death from an apparent stab wound while staying in New York City's Hotel Chelsea with Vicious. Under suspicion of murder, Vicious was released on bail; he was arrested again for assaulting Todd Smith, brother of Patti Smith, at a nightclub, and underwent drug rehabilitation on Rikers Island. He died in 1979 after overdosing on heroin. Less than four weeks after Vicious's death, The Great Rock 'n' Roll Swindle soundtrack was released. On 15 December 1979, a compilation of live material recorded during his brief solo career was released as Sid Sings. Gary Oldman portrayed Vicious in the 1986 biopic Sid and Nancy.
Today we begin our series of specials on 'The Dark Side of Rock' Episode 1 finds us hanging out with mr Charles Manson. A scary character indeed. We chat about his musical connections in the LA Rock scene of the late 1960's. Sit back and brace yourself from some unbelievable facts about mr Manson and some folks you may have heard of before. #rocknrollmurder #rockandrollmurder #charlesmanson #denniswilson #sharontate #mansonfamily
Charles Milles Manson (né Maddox, November 12, 1934 – November 19, 2017) was an American criminal and cult leader. In mid-1967, he formed what became known as the "Manson Family", a quasi-commune based in California. His followers committed a series of nine murders at four locations in July and August 1969. According to the Los Angeles County district attorney, Manson plotted to start a race war, though he and others disputed this motive.[3] In 1971, he was convicted of first-degree murder and conspiracy to commit murder for the deaths of seven people. The prosecution conceded that Manson never literally ordered the murders, but they contended that his ideology constituted an overt act of conspiracy.[4] Manson was also convicted of first-degree murder for the deaths of Gary Hinman and Donald Shea.
Manson was an unemployed ex-convict who had spent more than half of his life in correctional institutions at the time when he began gathering his cult following. Before the murders, he was a singer-songwriter on the fringe of the Los Angeles music industry, chiefly through a chance association with Dennis Wilson of the Beach Boys. In 1968, the Beach Boys recorded Manson's song "Cease to Exist", retitled "Never Learn Not to Love" as the B-side on one of their singles, but without a credit to Manson.
The Los Angeles district attorney said that Manson was obsessed with the Beatles, particularly their 1968 self-titled album known as the "White Album". He claimed to be guided by his interpretation of the Beatles' lyrics and adopted the term "Helter Skelter" to describe an impending apocalyptic race war. At trial, the prosecution claimed that Manson and his followers believed that the murders would help precipitate that war. Other contemporary interviews and those who testified during the penalty phase of Manson's trial insisted that the Tate–LaBianca murders were copycat crimes designed to exonerate Manson's friend Bobby Beausoleil.[5][6]
From the beginning of Manson's notoriety, a pop culture arose around him and he became an emblem of insanity, violence, and the macabre. Recordings were released commercially of songs written and performed by Manson, starting with Lie: The Love and Terror Cult (1970). Various musicians have covered some of his songs. Manson was originally sentenced to death, but his sentence was commuted to life with the possibility of parole after the California Supreme Court invalidated the state's death penalty statute in 1972. He served his life sentence at California State Prison, Corcoran and died at age 83 in late 2017.
Sir Nigel is back, with a bag full of stories from his USA tour. The Colonel is slightly out to lunch after being caught in a hurricane on the way in. Sir Nigel plays a 2019 Gibson Les Paul Standard Gold Top 57 Historic, with a Suhr Badger 18. The Colonel plays a 2002 Gibson Les Paul Standard in cherry, through a Mooer GE300. We tackle Dr John and Bryan Adams.
Is it normal to cry over a guitar? It is when your Alan Leslie holding the $200k 'Candy', "don't drop it Alan!" Today we had the pleasure of playing an original 1960 Gibson Les Paul Standard, 'The Beast' Bernie Marsden R9 1959 Reissue and a 2019 Gibson Les Paul Gold Top 57 Historic. All courtesy of the amazing mr Paul D and his wonderful collection. Sit back, grab a beer and watch the unusually restrained Alan Leslie and The Colonel
Welcome to show #108. Alan Leslie fills in for Sir Nigel, whom the Colonel thought was deceased, but Alan says otherwise. Tune in for some 60s and 70s style shred, as they jam over Whipping Post and Machine Gun. Alan Leslie uses his AXE 8 and a 2016 Gibson Les Paul Standard and The Colonel with his new Mooer GE300, imported IR's (nerd stuff) and a Fender Telecaster 72 Custom USA.
Welcome back to our Saturday morning show. This week we say farewell to the wonderful Ric Ocasek of 'The Cars' fame, and later of Polish Super Models :) We crack open the guitar vault and drag out some tasty pieces. Let's jam through some Cars tracks and talk rock history.
We're back with beers and guitars. This time it's the Colonel with a Gibson ES335 Yamano and his Mooer GE300 vs Alan 'geordie shredder' Leslie a Gibson Les Paul Classic Gold Top p90s 2018 and his Axe 8. Beers reviewed include Parrotdog IPA and Feral Brewing Biggie Juice. Please note, all guitars were returned to the wild after the beer infused thrashings. Feral Brewing Company Parrotdog MOOER Line 6 Gibson
Note: The Mooer is using an Impulse Response by OwnHammer for its cabinet.
Neil Boland returns to have a beer and share some fantastic blues tips. Neil takes us through Stormy Monday, how to add some comping chords and what are the options for soloing. If you like Blues in G this might be for you. We finish by jamming out Stormy Monday. You can contact Neil directly for guitar lessons, or follow his @bluesguitarsnacks instagram account.
Welcome back folks. Today we say goodbye to the 60s and 70s, and enter the early 80s. We begin the project of breaking down Jessie's Girl. Yes you heard that correctly. Sir Nigel chimes in with some incredible Rick Springfield information (he's a broady boy!) J Geils gets a look in, along with Wall of Voodoo. Tune in as we hot tub time machine back to 1981 and the introduction of MTV.
We're back again with beer reviews and guitar gear. This week it's Alan Leslie playing his Line 6 Helix vs the Colonel (bear cap) and his new MOOER GE300. Stay tuned as we jam some tunes and try to stay upright after the 'illegal in 56 countries' beer that Alan brought in. Beer brands posted after we wake up. Guitars used include a Gibson ES335 2013 Memphis and a Gibson Les Paul Standard 2016 Trans Amber. Beers Reviewed Gulden Draak and Steamrail Pale Ale
Matt Dwyer joins me in our South Melbourne studios for a chat about 'Jump Blues'. Tune in as we discuss Mr Dwyer's music history in Sydney and Melbourne, and grab your guitar, because Matt shows us some very cool bluesy tricks. Matt is playing at the Tolarno Hotel this Sunday and at the The Espy Sunday following.
Drink Beer Play Guitar #26 - It's beer time again. Alan Leslie comes straight from the cocktail lounge at Eureka Tower and joins me in our South Melbourne bar. We test out the Mooer GE300 (Colonel in baseball cap) against the Fractal Axe Fx. Beers review are Panhead Hardtail Henry Oaked Stout and Stone and Wood Pacific Ale. Note: The Panhead almost killed the Colonel.
Time to chat classic rock. Sir Nigel is off to the Revolutions: Records & Rebels | 5 Years That Shook The World exhibition at the Melbourne Museum. To celebrate, we have a run through Miss You by The Rolling Stones, and Who Are You by The Who. Sit back and enjoy some stories and some guitars.
Welcome back to our Saturday morning show. The theme this week is 'FREE'. Continuing our trek into the world of Beginner guitar, we look at Tom Petty's 'Free Fallin' and Neil Young's 'Rockin in the Free World'. If you have a request, please send it through and we can give it ago.
We start the show with Sir Nigel thinking it's the 100th episode, even going to the length of have 100 tattooed on his chest. Unfortunately for Nigel, it's show 101. Whoops, sorry Nigel.
We also talk about 3 chord songs for beginners, and reflect on the previous 100 episodes :)
Brett "Burgs" Kingman stopped by for a chat yesterday. Tune in as we talk Guitars, Tube Amps, Fractal Audio, James Reyne, Darryl Braithwaite, Ross Wilson and Red Hot Summer Tour Official. Brett has spent time touring and recording with Australian icons such as James Reyne (presently touring), Daryl Braithwaite, Ross Wilson, Renee Geyer, Joe Camilleri, Vika & Linda Bull, Peter Andre, Jenny Morris and dozens of others. Brett has toured the world supporting acts such as Tina Turner and Robert Palmer and is also a well known identity at international music trade shows such as NAMM and Musikmesse.
Welcome to our Woodstock 50th celebration show. Time to chat about the greatest rock festival of all time. Sir Nigel grabs a tasty Suhr JM Pro and an Airline funky machine. Whilst the Colonel has his last rip on the Gibson Les Paul 1959 Standard R9, before it departs to its new owner. Join us for another 'trip' down memory lane.
It's that time again, Beer Time, and some guitars to be precise. Alan Leslie brings out the Joe Satriani JS1200 and whacks it into a Suhr Badger 18. The Colonel plugs a Suhr JM Pro into a Fender Blues Junior. Beer Reviews include Tuatara Brewing American Pale Ale and Koyomi High Ball.