#Chris Kimsey

[moonlightmile12]

"Every song on Sticky Fingers has great depth and musicality. That's where Mick Taylor shone. He was like a classical impresario. I remember Can't You Hear Me Knocking. That was all one take. There were a few takes, but that one got the greenlight because if the jam at the end, and where it went with Mick's playing, which was exceptional."

"I vividly remember the recording of 'Can't You Hear Me Knocking' which was one of those magic takes. They went into that jam at the end and Taylor started playing this amazing guitar solo - it was completely, absolutely spontaneous. They'd hit the jackpot. As a 20 year old watching it all, I didn't even realise he was the new guy. He just seemed like the perfect fit for them."

Chris Kimsey

[thefallenangelheshe]

Killing Joke - Phoenix Festival, Stratford Upon Avon, UK (17 July 1994)

'kILLING jOKE,' ARE THE MOST ORIGINAL BAND ON, 'MOTHERS' EARTH.'

[big-low-t]

Shuffle your favorite playlist and post the first five songs that come up. Then copy/paste this ask to your favorite mutuals. 💌💜

Thanks for the ask!

[guerrilla-operator]

Killing Joke // Wintergardens

Run, run, run, how we run We cry like children In wintergardens now Run, run, run, how we run And play like children In wintergardens now

[post-punk-author-anthony-day]

#music #PLAYLIST featuring #NowPlaying #80s #postpunk to #postpunk2k...#goth #hardtosearch #russian #sovietwave @molchatdomaband @Killingjokeband @editorsofficial @thecure @thegardentwins #joydivision 

[rollingstonesdata]

ROLLING STONES QUOTES -Keith Richards about the Some Girls album: "It's another one of those impossible things..."

Keith Richards about the ‘Some Girls’ album:“It’s another one of those impossible things to put your finger on because it was a great studio, first time that we’d worked with Chris Kimsey, who was one in a long line of Olympic Studios – that’s in England, folks, for you that don’t know – T-boys who’ve always been our best engineers… And it all came together very nicely. And you gotta remember it…

[britrockaholic2]

Peter Perrett - How The West Was Won (Official Video)

Peter Perrett - former frontman of The Only Ones - releases his debut solo album How The West Was Won on June 30th through Domino. Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies hasn’t released any music for 20 years. Bearing in mind his most famous song began “I always flirt with death” (‘Another Girl, Another Planet’), this is one comeback that nobody saw coming. In the hands of certain songwriters, a story of resurrection and redemption might ring a little hollow, but when the songwriter is Peter Perrett, the usual rules have never applied. Perrett makes each song on How The West Was Won sound natural and effortless, as though he were continuing a briefly interrupted conversation rather than picking up the threads of a solo career that faltered two decades ago. He claims to have barely touched a guitar in the decade between The One’s 1996 album Woke Up Sticky and the 2007 reunion of The Only Ones; with Perrett, a hiatus could so easily turn into a hibernation. Yet Perrett’s familiar voice sounds like it simply stepped out of the room for a few minutes and popped back in again. Backed by his sons - Jamie and Peter Jr. on lead guitar and bass respectively - and produced by Chris Kimsey (The Rolling Stones), Peter’s intuitive feel for words; his flair for idiosyncratic metaphors and his deadpan wit are all still as sharp as ever. As demonstrated perfectly by the title track and album opener which Perrett shares today. It finds him railing against American imperialism and celebrity culture. The video is directed by Focus Creeps (Arctic Monkeys/King Krule) and features Peter’s band with whom he recorded the album

[radiomaxmusic]

Wednesday, May 29, 2024: 10pm ET: Feature LP: Rolling Stones - Flashpoint (1991)

Flashpoint is a live album by the English rock band The Rolling Stones, their first since 1982’s Still Life. Compiled from performances on the Steel Wheels/Urban Jungle Tour by Chris Kimsey with the assistance of Chris Potter, it was released April 8, 1991. Steel Wheels Live (2020) includes a complete 1989 concert along with a selection of live rarities. The tour and the two studio tracks…

[independentartistbuzz]

Singer-Songwriter Maryen Cairns Releases "One Woman Band, Live at Echotown Studios: Vol. 1", Her First Vinyl Release.

Folk-pop singer songwriter Maryen Cairns has announced the release of her exciting new album "One Woman Band, Live at Echotown Studios: Vol. 1".

Her first vinyl release, this album can be traced back to Cairns' transformative 10 date tour across the UK in August 2023, where she forged deep connections with her audience through stripped down renditions of some of her timeless classics.

This period of introspection and artistic renewal then culminated in a two day recording session at a nearby studio, resulting in 9 carefully curated tracks for Volume 1. 

Through autobiographical compositions and re-imagined acoustic versions of previous hits, Cairns invites listeners on a journey of sincerity and depth.

The album kicks off with the passionate "Kids from the Burbs'", showcasing her dynamic vocals reminiscent of her earlier work. "Give to the Chase" is stripped down to the essentials, featuring only voice and percussion and delivers a primal yet beautiful rendition.

In "The Smuggler's Tale", Maryen demonstrates her versatility as a multi-instrumentalist, shifting between piano and guitar while maintaining a steady bass drum pulse.

Closing with the as yet unreleased gem "Missing You", listeners are treated to a gorgeous acoustic ballad, characterised by sumptuous fingerpicking and chord changes:

"Missing You has not been released before and is an unrequited love song. It’s about that moment, that instant, when you see so clearly the possible future you might have with someone, that love story, the whole thing… but it doesn’t happen, you don’t get together, but it all seemed so right in that vivid vision of the future that it’s really hard to let go of the “non” relationship."

Each track on the album offers a glimpse into Maryen's artistry and creativity.

The decision to release the album on vinyl adds a nostalgic charm too.

Reflecting on this period of introspection and artistic renewal, Cairns says:

"In my youth, my music served as a form of expression, but I kept a certain distance from my audience. Now, I find myself more open, and the deep connection with my listeners has breathed new life into my music, revitalizing it in ways I hadn't imagined."

One Woman Band: Live at Echotown Studios Vol. 1 Track List: 

1. Kids From The ‘Burbs

2. Give To The Chase

3. The Devil’s Fly

4. The Smuggler’s Tale

5. Twist

6. Missing You

7. Flew Away

8. Voices From Scotland

9. Lady Bushranger

This minimalist approach, although stripped back, remains engaging and involved making “One Woman Band” a compelling listen for all fans of lyric driven acoustic music. 

The direct link to purchase the album is https://cairnsclub.maryencairns.com/order-owb-laes-vol1

Or you can purchase along with other of her albums at Maryen’s store: https://cairnsclub.maryencairns.com/store

About Maryen

Maryen Cairns, a folk-pop artist based in Guernsey, has made a lasting impact on the music scene with her unique compositions spanning three decades.

With seven solo albums and collaborations with acclaimed producer Chris Kimsey and former Marillion frontman Fish, Maryen's music resonates with intricate narratives and vibrant imagery.

Her recent endeavours include a successful solo tour across the UK in 2023, connecting with audiences during challenging times. Initiatives like The Cairns Club and livestream series have further propelled her creativity.

Currently, Maryen is gearing up for the release of her forthcoming album.

Connect with Maryen Cairns:

Website / Facebook / Instagram / Spotify / Soundcloud / YouTube

#music#spotify#indie#youtube#interview#new music#indie music#indie artist#rock#pop#Spotify

[classicrockblog1]

Flashpoint is a live album by the English rock band The Rolling Stones released on April 8, 1991, their first since 1982's Still Life. Compiled from performances on the Steel Wheels/Urban Jungle Tour by Chris Kimsey with the assistance of Chris Potter, it was released in 1991.[3] Steel Wheels Live (2020) includes a complete 1989 concert along with a selection of live rarities.

The tour and the two studio tracks recorded for Flashpoint were the last for bassist and long-time member Bill Wyman as a Rolling Stone.

[vinyl-pussycat-records]

The Rolling Stones - Mixed Emotions

Rolling Stones Records – 655193 6, Vinyl, 12″, 45 RPM, Maxi-Single 1989 Side 1. 1. Mixed Emotions (Chris Kimsey’s 12″) 6:12 Side 2. 1. Fancyman Blues 4:45 2. Mixed Emotions (7″ Version) 4:00 Credits: Art Direction, Design – John Warwicker Engineer – Christopher Marc Potter Mixed By – Chris Kimsey Producer – Chris Kimsey, The Glimmer Twins Condition Media: Near Mint (NM or M-) Sleeve: Near Mint…

[krispyweiss]

Song Review: Ten Years After - “I’d Love to Change the World” (Chris Kimsey 2023 Mix)

“I’d Love to Change the World” is both stuck in its time and contemporary.

It’s mostly down to the lyrics - which employ gay slurs while also taking progressive stances on taxation and population. Musically, the track is based around an acoustic-guitar riff that’s pre-requisite for any nascent player.

A new mix of Ten Years After’s best-known song is similarly dichotomous as producer Chris Kimsey brightens the sound while adding too much reverb on the vocals and electric guitar in the chorus. The effect is modern fidelity paired with latent psychedelia as the band offers a cop out for the ages:

I’d love to change the world/but I don’t know what to do/so I’ll leave it up to you

The single announces the March 17 arrival of A Space in Time, in a 50th-anniversary edition that comes 52 years after Ten Years After first released it.

The set includes the 2023 and 1971 mixes.

Grade card: Ten Years After - “I’d Love to Change the World” (Chris Kimsey 2023 Mix) - B-

1/27/23

[elmartillosinmetre]

El rockero más elegante del mundo

[Charlie Watts (1941-2021). / D.S.]

HarperCollins publica en español la primera biografía autorizada de Charlie Watts, mítico baterista de los Rolling Stones fallecido en agosto de 2021

El pasado 1 de junio los Rolling Stones iniciaban en el Wanda Metropolitano de Madrid su Sixty Tour, la gira europea con la que hasta el 3 de agosto conmemoraron el sesenta aniversario de su debut. Fue una gira corta –para sus estándares– y la primera sin Charlie Watts, el baterista que en casi 57 años de carrera junto al grupo (su último recital fue el 30 de agosto de 2019 en Florida) tocó con los Rolling en unos 2000 conciertos y sólo se perdió uno (marzo de 1964, “porque me equivoqué de fecha”, decía él, aunque no todos están tan seguros del error).

No está mal, si tenemos en cuenta que a principios de los 60, Charlie, que había nacido en Wembley en 1941, era un apasionado del jazz, de la música clásica y del diseño gráfico, pero afirmaba que no le interesaba el rock, y, de hecho, durante muchos años siguió diciendo que no le gustaba especialmente la música que hacían los Stones.

Cuando murió a los 80 años, el 24 de agosto de 2021, por complicaciones en un posoperatorio, los Rolling estaban a punto de reanudar la gira que, tras aquel concierto de Florida de 2019, quedó en suspenso por la llegada de la pandemia. “Estábamos muy metidos en los ensayos –diría luego Ronnie Wood–. Tuvimos un día de descanso y pensamos, bueno, Charlie no querría que nos quedáramos aquí sentados, hechos polvo. Habrá que ponerse manos a la obra”. Todos los obituarios habían coincidido en saludar a Charlie como el motor del grupo, el músico que desde la discreción y la sobriedad, dio a los Rolling el sonido que los identificó durante seis décadas de existencia, pero la banda siguió adelante, ahora con Steve Jordan, elegido por el propio Watts como su sustituto, y acaso por el impacto emocional de su muerte, los Rolling recogieron entonces algunos de los más encendidos elogios de su carrera.

Paul Sexton, periodista y locutor británico que lleva treinta años siguiendo a los Stones y entrevistándose en profundidad con todos sus miembros, ha publicado la que es la primera biografía autorizada de Watts, un trabajo que recoge información extraída de esas conversaciones, además de otras muchas con familiares (incluidas su hija Seraphina y su nieta Charlotte), amigos y profesionales del mundo del espectáculo con los que alguna vez coincidió el músico, forjado en los ambientes del rythm and blues londinense y que, en los períodos en que los Rolling no andaban de gira, aprovechaba para trabajar en proyectos propios o con grupos cercanos al universo jazzístico, que no dejó de ser nunca su gran pasión.

Chris Kimsey, ingeniero de sonido que trabajó con el grupo a finales de los 70, definía así las razones de ese sonido que califica de único: “Descubrí que la mayoría de los bateristas tocan la caja y el charles al mismo tiempo. Charlie nunca lo hacía, por eso siempre tiene ese espacio maravilloso. Cuando toca la caja no hay ningún platillo o tambor que interfiera con el sonido, así que es muy diáfano. Para un ingeniero de grabación, eso es un sueño. [...] Era baterista de jazz, de ahí ese toque”.

Aunque el objetivo de Sexton no es el análisis musical, por supuesto que en su relato cronológico van apareciendo elementos de estilo, tanto del baterista como de los Stones, adornados con pequeños comentarios sobre sus álbumes más emblemáticos y la evolución del grupo (y de la industria), desde sus actuaciones en los clubes ingleses en los 60 a los grandes estadios de los últimos treinta años. En esa mirada cronólogica hay mucha noticia ya conocida, incluidos los excesos de los 70 (sin entrar en detalles), excesos que en el caso del biografiado se retrasaron hasta mediados de los 80 (“entonces sí lo probé todo. Y estuve a punto de matarme. No me refiero a una sobredosis ni nada parecido, sino a que casi me maté espiritualmente, estuve a punto de arruinar mi vida”). De aquellos meses difíciles, de los que salió con apreciable rapidez, queda el famoso incidente con Mick Jagger, que unos colocan en Nueva York y otros en Ámsterdam, que unos convierten en una auténtica (y doble) agresión física y otros en una mera discusión subida de tono.

[Charlie Watts, un gentleman, con Ronnie Wood. / D.S.]

Además de ese relato cronológico, Sexton intercala en su obra cuatro capítulos a los que titula Backbeat y que se acercan a algún aspecto humano de Watts: su amor por Shirley Ann Shepherd, a la que conoció en 1962, con la que se casó en 1964 y compartió el resto de su vida; su elegancia en el vestir (“¿Por que no te casas con un sastre?”, le decía Keith Richards); su afán coleccionista por casi todo lo coleccionable: obras de arte, objetos de la guerra civil americana, coches (y eso que no conducía), cuberterías, vajillas, primeras ediciones de libros, discos, caballos (aunque su yeguada, que dirigía su esposa, se convirtió en una cosa realmente seria); la generosidad con todos sus amigos, a los que agasajaba continuamente con regalos.

Sexton es un enamorado del objeto de su estudio, y eso hace que el tono de su libro roce a veces lo hagiográfico, pero si el lector es capaz de sustraerse a eso hallará aquí no sólo el retrato de un hombre que parecía la antítesis perfecta de una estrella del rock, sino suficientes detalles para profundizar en la evolución de las músicas populares en los ultimos sesenta años.

[Diario de Sevilla. 18-12-2022]

Charlie’s Good Tonight. Su vida, su tiempo y los Rolling Stones Paul Sexton Victoria Horrillo, traductora Madrid: HarperCollins Ibérica, 2022 331 páginas. 10,99 euros