#Zeppelinesque

[rawrampmag]

JARED JAMES NICHOLS #Liveshow #BluesRock #BluesGuitar JaredJamesNichols #BluesPower #HardWired

JARED JAMES NICHOLS #Liveshow #BluesRock #BluesGuitar #JaredJamesNichols #BluesPower #HardWired

The Nashville based Wisconsin-born JARED JAMES NICHOLS, the singer-songwriter, guitarist, and Gibson brand ambassador, played a special one-off performance  at The Black Heart in London on February 22, 2023. Jared James’s special guests were BAD LUCK FRIDAY featuring vocalist and leading blues-harp desperado, Will Wilde. The London concert follows hot on the heels of Jared’s forthcoming…

[rolandrockover]

Reprise Vol. 3 - All Hell's Breakin' Loose (1)

Here we have one of my favorites that I'm convinced deserves a few more words than I've given it so far, and also quite long overdue.

When I had freely hypotized a while ago that Eric Carr might have written All Hell's Breakin' Loose with other, older Kiss songs in mind, because of its obvious similarities between certain Kiss riffs, I of course promptly got a well-meaning reminder that Eric's vision of the riff went in a completely different, Zeppelinesque direction than Gene and Vinnie but mostly Paul had ultimately bent it towards. One could now diligently ponder what exactly the riff written by Eric Carr sounded like, but since no demo or anything else has surfaced to date, I'd better save my hopes for the next life.

And that of course gives me the necessary incentive to concentrate on what I usually prefer to do, namely writing about what I can hear with my ears. And that works for me in a similar way to a Terminator, which can best be compared with its red light vision when it scans persons or objects and compares them with each other until it finds a match. And when I hear All Hell's Breakin' Loose, or just imagine it, I have several, with Torpedo Girl and Almost Human standing out most.

Translated into my language, this roughly means that the werewolf from Almost Human and the Torpedo Girl dated and fell in love, got married and had a child of love who fits the description Supermutant much better, because it was boosted with steroids from the Creatures of the Night stable and developed a fondness for hanging out on the streets at night with its supermutant friends and practicing rapping.

Apart from the rapping, could this be more klassik Kiss in any way? And except that the dick lyrics are still missing, but I personally think every once in a while it works quite well without them.

But better not spread the word, too much confusion.

Side Note:

(1) The title should actually be Almost All Human Girls Break Torpedos. In Hell, but since it's a reprise of an old entry, I've changed my mind. However, I didn't want to withhold this convulsively created construct from anyone.

The links are not highlighted, except for Torpedo Girl, which starts directly with its bass line, which is particularly important to me:

All Hell's Breakin' Loose (1983)

Torpedo Girl (1980)

Almost Human (1977)

[bencasso]

Fill the Void Zeppelinesque Bencasso LLC Benjamin Barnes #singersongwriter

[v16-shitpost-engine]

Love those zeppelinesque lips. Regardless of gender, they sure look the work.

Always appreciate your bouancy-filled mouth friend by giving them head

[burlveneer-music]

Clair - Earth Mothers - a tug-of war between experimental electronics and meditative kalimbas (Hot Gem)

She got a lot of blurbs for this but I think the best one is from Deejay Umb: “It’s like a musical tapestry of a hidden magical garden Jajouka Pipes, Zeppelinesque Drones, Gamelan Vibes, Depeche Mode Black Celebration era Electronica, Jimmy Page Lucifer Rising atmospherics & Felix Laband soundscapes with a hint of KLF!”

Clair is that extraordinary thing: a musical artist that arrives not only fully formed, but with a completely mature sound. Her Earth Mother may be a debut album, but its genesis takes in decades of life and musical experience, including right at the heart of Glasgow’s unique music scene. The record music comes from a place of healing through nature – using magick, field recordings, experimenting with instruments she picked up from travelling and in charity shops, as well as random objects ranging from sex toys to a mini sewing machine to jewellery tools, even a blow torch. At points, you might think it falls somewhere in between ambient, neo-classical and folk but with the odd nugget of – as Clair puts it in true Glaswegian form – “ecto hit euphoria”. You might hear hints of Terry Riley or Japanese new age or other hip reference points but really, truly it’s not about references: it exists in a space that’s all its own. This is one woman’s vision coming through loud and clear. This is what a life of total immersion in music does to a person. From Guns’n’Roses and rave tapes in the car as a wayward kid, to raving at Slam and Optimo and Glasgow’s notorious after-hours house parties, to promoting her own shows and running her own label, Clair’s absorbed it all. She might have only started making music in 2019 for her own therapeutic purposes, and taking it seriously in 2020 as a way of staying on a level in lockdown – but without knowing it she was spending thousands of hours preparing. This rich, beautiful record is a summation of the light and dark, the instinctive and the well-schooled, the rough and the smoothed of a life well lived... and it’s only just the start.

[representationification]

From someone spent a lot of time and weed shading in Maria Hill's parent leather (?) Clad zeppelinesque breasts. (Edited so I'd see the fixed version when I scroll)

I thought that was absurd. So I fixed it and gave her a better more athletic figure.

[ryannims]

What I have been listening to on Bandcamp: Spacelord’s new track (out tomorrow, B-side redacted) is a bluesy, Zeppelinesque rocker, while Pyramids w/ Wraiths put together an ambient masterpiece culminating in what I can only assume is the sound of the heat death of the universe. #bandcamp #music #darkambient #stonerdoom (at In The Shadows) https://www.instagram.com/p/CSfghlWnZhM/?utm_medium=tumblr

[chordsoup-blog]

D.D Dumbo- Walrus

This gem of a track sparkles with its beauty and strikes with the force of a tectonic shift. 

D.D. Dumbo is the solo project of Australian multi-instrumentalist Oliver Perry and Walrus is the first track off his debut album ‘Utopia Defeated’. With this album and his previous E.P. ‘Tropical Oceans’, Perry has shown himself to be one of the most inventive singer-songwriters to emerge in recent years. with a sound that is rich, bombastic and full of emotion. The album is endlessly inventive and thought provoking, tackling difficult environmentally issues that belie the euphoric nature of the instrumentation.

In an album packed with standout moments for this just edged it for me as the highlight. The chugging main riff carries real weight behind it and hooked me in instantly. Perry’s vocals soar in a manner not too dissimilar to Jeff Buckley. In fact this song gave me the same chills as when I first heard Buckley’s ‘Mojo Pin’. This a wonderfully layered and inventive piece that transports the to another world else for a brief three minutes. I am also compelled to give extra props for the the seemless transition to and from the Zeppelinesque bridge in the middle of the song, nice..

If you enjoy this the rest of the album is certainly worth your time, or if you’re short on time give ‘Cortisol’ or ‘Brother’ a listen.

[clayton-hutson]

The Roots’ ‘Captain’ Kirk Douglas Previews Debut Solo LP With Heavy New Song

As Hundred Watt Heart, Douglas explains how family, politics and Prince inspired Turbulent Times. Hear Zeppelinesque first track "I Used to Be in the Circus" from Music – Rolling Stone https://ift.tt/2Cy3S5m via IFTTT

[badassbassguitarist]

- Info -

Since first picking up a guitar at the age of 13, musician/songwriter Jeordie "Twiggy" White has developed a style and stage presence all his own to become one of the more versatile players on the scene today. Influenced by the likes of Motley Crue, Van Halen, Metallica and Iron Maiden, he spent the better portion of his youth in the Ft. Lauderdale area, where he quickly embraced South Florida's burgeoning music scene. By time he was 15, he had joined his first band, The Ethiopians. Though it wasn't long before The Ethiopians had gone their separate ways, Jeordie was ready to take it to the next level. While still in his senior year of high school, he landed his first substantial and ultimately life-changing gig with local thrash/hard alternative favorites Amboog-A-Lard, first as rhythm guitarist and later switching to bass. The band's huge popularity on the local club circuit allowed opportunities for them to share the stage with internationally known acts such as Anthrax, Exodus, The Ramones, Savatage and Saigon Kick. In June of 1992, Amboog-A-Lard captured awards in five categories at the 1st Annual South Florida Slammie Awards, with White taking home the award for Best Rhythm Guitarist. It was with the band's 1993 release, A New Hope, that his talents as a songwriter first became evident. He takes sole credit for composing the music for the album's title track, as well as "Medicine Man", "A Matter Of Honor", and "Do Or Do Not." It was during his time with Amboog-A-Lard that he first crossed paths with Brian Warner, aka Marilyn Manson, controversial frontman of Marilyn Manson and the Spooky Kids, who themselves were becoming serious contenders on the Ft. Lauderdale scene. Finding common ground in their mutual love of 80's metal and 70's hitmakers such as The Bee Gees and Dr. Hook and the Medicine Show, the two became fast friends, collaborating together in several side projects until the departure of bassist Gidget Gein in December 1993 allowed for Jeordie to officially join forces with the Manson clan. Jeordie White became "Twiggy Ramirez", in homage to the 1960's British supermodel Twiggy and the infamous "Night Stalker" serial killer Richard Ramirez. His first show with the band took place on January 1, 1994 at the Squeeze nightclub in Ft. Lauderdale. While contributing marginally to the 1995 EP Smells Like Children (most notably the track "Scabs, Guns and Peanut Butter", which he wrote and performed), it was on the band's 1996 multi-platinum Antichrist Superstar that Jeordie truly emerged as an integral part of the creative process, the driving musical force behind Manson's powerful lyrics. If Brian Warner was the heart of Marilyn Manson, Jeordie had become the soul. Writing the majority of the album's music, he was also called upon to pick up the slack when guitarist Daisy Berkowitz left the band midway through the recording process -- many of the tracks feature Jeordie not only on bass, but on lead and rhythm guitar as well. With Nine Inch Nails visionary Trent Reznor handling production, the band hunkered down for several months in Reznor's home base of New Orleans to write and record. The ensuing debauchery and chaos are clearly reflected in the finished product's dark lyrics and relentlessly pounding music. Jeordie once described this full initiation into the world of Marilyn Manson as "one of the most painful things ever to do." 1998's critically acclaimed Mechanical Animals mirrored a new phase in the Manson saga, specifically the band's relocation to Los Angeles and induction into the world of celebrity and rock stardom. Taking a hands-on approach in the studio and again switching between bass, lead, rhythm and acoustic guitar, Jeordie reached back in time to the music that had inspired his idols -- David Bowie, the Stooges and Queen -- to weave a tale reflecting the darker side of fame and fortune. The album was a marked departure from the style of the band's previous efforts, incorporating a more melodic sound reminiscent of 1970's glam rock and disco. Cultivating musical styles from both Antichrist Superstar and Mechanical Animals, 2001's Holy Wood (In The Shadows Of The Valley Of Death) was recorded live at the reputedly haunted Houdini Mansion in the Hollywood Hills. Jeordie cites The Beatles' "White Album" as having influenced a more unconventional approach to the making of the record and in addition to playing guitar and bass, he had a chance to experiment with keyboards and drum loops as well. While some of the album reflects the backlash the band suffered after being made the media's scapegoat for the Columbine High School shootings in 1999, it mostly takes aim at a dysfunctional society's overall obsession with violence, religion and celebrity. Many fans were shocked and dismayed when it was announced in May of 2002 that Jeordie had left Marilyn Manson. Fueled by a desire to explore new creative paths and expand his musical horizons, one of Jeordie's first post-Manson projects was a collaboration with Queens of the Stone Age's Josh Homme and an eclectric assortment of fellow musicians on Homme's "Desert Sessions" series. A subsequent encounter with A Perfect Circle drummer Josh Freese at a New Year's Eve party led to White's taking over as the band's bassist in early 2003. Referred to by some as "art rock with gothic elements", A Perfect Circle was founded by Paz Lenchantin and Billy Howerdel in 1997, featuring Tool's Maynard James Keenan on vocals. Though most of the music had been written for the band's second album, Thirteenth Step, before Jeordie came on board, he fully participated in the recording process and contributed to the writing of both "Crimes" and "The Package". An extensive world tour following the album's release paid tribute to Jeordie's competence and versatility as he tackled APC's more complex musical arrangements in a live setting. Brian Davis of internet radio station KNAC proclaimed Jeordie to be a "key element in the evolution and growth of the band's sound" with the bass serving as a "cornerstone and driving element in the music." With A Perfect Circle going on indefinite hiatus at the conclusion of their tour in 2004, Jeordie continued to keep himself busy with a multitude of other projects. Artists he has worked with in the studio include Melissa Auf Der Maur, Dead Celebrity Status and UNKLE. From March 2005 until September 2007, Jeordie handled bass and guitar duties as part of the Nine Inch Nails touring lineup, playing to sold out audiences around the world several times over. Although he did not have a creative role in the studio with NIN, he credits his time with them as having given him more discipline as a performer and helping him to "turn the page and make a clean sweep of the past". Additionally, Jeordie has teamed up with desert rock mainstay and long-time Queens of the Stone Age collaborator Chris Goss to form the nucleus of Goon Moon, who thus far have have released two records -- the 2005 EP I Got A Brand New Egg Layin' Machine and 2007's Licker's Last Leg. Jeordie has stated that there are "no rules" when it comes to making music with Goon Moon and this is clearly evidenced in both releases, with the influences running the gamut from folk to goth to 60's psychedelia and even a touch of swing. In addition to his musical abilities, this project also showcases for the first time Jeordie's talents as a both a lyricist and lead vocalist. Things came full circle when, in the latter part of 2007, a chance meeting at a Hollywood nightspot rekindled the long dormant friendship between Jeordie and Manson, which ultimately resulted in Jeordie's highly anticipated return to the band for the final leg of Manson's "Rape Of The World" U.S. tour in January 2008. The creative fire now fully ignited, the pair returned to the studio at the conclusion of the tour with keyboardist/programmer Chris Vrenna for the better part of a year, Jeordie once more reprising his crucial role as lead songwriter and multi-instrumentalist. The end result, The High End of Low, was released in May of 2009 and again highlights Jeordie's diverse musical background, from the country-tinged "Four Rusted Horses" to the Zeppelinesque dirge of "I Want To Kill You Like They Do In The Movies". The ensuing world tour saw Jeordie put aside his trademark bass to take on the more demanding role of lead guitarist, as well as contributing back up vocals on many of the live tracks. While Jeordie now considers Marilyn Manson his "home base" he continues to work on various side projects, and plans to write and record again with Goon Moon as soon as time allows. http://68.media.tumblr.com/82a6276823dd5749db9f3850a647700b/tumblr_nq9u01gHnr1t13et6o7_250.gif

[3sidestoeverystory]

Got today. The debut album of RUSH. Very Led Zeppelinesque at times.

[grit-and-glamour]

A quarterly publication called “No Depression" started showing up in record store magazine bins in the fall of ’95 extolling the virtues of the Americana roots rock scene along with a bit of outlaw country, Austin “new sincerity” cats, folk rock & bluegrass tossed in for good measure. I became a regular reader & they steered some cool outfits my direction over the years. In March of ’97, they assembled a gang of Alt. Country desperados from North, South, East & West & headed out on the trail in the “No Depression Tour.” They booked two nights at Jack’s Sugar Shack & although I had only planned to attend the 1st of ‘em, the show was so damn great, I called everyone I could think of to meet me there on the 24th.

Hazeldine were a harmony vocal driven quartet outta Albuquerque, NM fronted by two guitar slingin' women named Shawn Barton & Tonya Lamm. Anne Tkach played bass & a shaggy haired dude named Jeff banged the drums. They shifted from soft & fuzzy acoustic tunes to blistering desert sun heat with searing electric guitar riffs & Zeppelinesque tribal drumbeats at will, but leaned towards the lighter side that night. Shawn & Tonya traded sinuous lead vocals on songs about hot tarmac, apothecaries & “The Bastard Son of Medora” that would end up on their debut album “How Bees Fly.” The group cut 3 or 4 albums before breaking up in 2002. These days Tonya is in a combo called Tres Chicas with Whiskeytown’s Caitlin Cary & Lynn Blakey from Let’s Active. Ms. Tkach was in a bunch of bands before passing away in 2015.

Christy McWilson got the Picketts started in ’90, but had been bouncing around the Seattle scene for quite a spell before that. She grew up in Downey, CA & I don’t know if she was pals with the Alvin Brothers back then, but they sure were listening to the same records! Christy hooked up with the soon-to-be Young Fresh Fellow Scott McCaughey when they were both in college in San Francisco & went along for the ride when he headed up to Seattle in 1980. He got the Y.F.F. together in ’81 & played a bunch of instruments in Christy’s new wave pop combo the Dynette Set. They cut one album in ’83 & Christy did some harmonizing on a bunch of her friends’ records before forming the Picketts in ‘90. Their debut l.p. came out on Popllama in ’92 & generated enough momentum to get them a deal with Rounder records, who released two more albums in ’94 & ’96 that mixed roots rock, Bakersfield country-tonk, Zydeco, Rockabilly & a dash of punk pop into something very appealing. That’s what Ms. McWilson & her amigos were serving up at the Shack. She let us know that “Action Speaks Louder Than Words” with Jimmy Sangster & John Oluf trading spicy guitar licks while Leroy "Blackie" Sleep kept stoking the coals from his engine room behind the kit. Her combo turned the Clash’s “Should I Stay Or Should I Go?” into a languid West Texas two-step & took Mr. Townshend’s "Baba O’Riley” up into the Appalachians. That’s their setlist on the left.

The Old 97’s still sounded like rockabilly kids from Dallas, but I’m pretty sure Rhett & Murry were living in L.A. by that time. To be fair… they were on the road so much, it must have been hard to call anywhere “home” back then, but those kids threw themselves into every show like it might be their last & crushed it both nights! The energy behind the tour was awesome to behold. A third of the folks in the room were in one or another of the bands & the love & respect they had for each other was unmistakable. Rhett & the boys stuck to newer material from "Fight Songs" the 1st nite, but dug into the back of the closet for some early killers like “Stoned”, “Doreen” & Mr. Haggard’s “Mama Tried” the 2nd go-round. That’s their setlist on the right.

Whiskeytown had jumped to the front of the line in the Alt. Country world on the strength of two outstanding albums that came out on Mood Food Records in the mid-90’s. Despite their front-man Ryan Adams not caring for the sound recording or choice of material on the disc “Rural Free Delivery”, it & “Faithless Street” got glowing reviews & gave desperate record executives hope that another Nirvana could be mined from the roots-rock quarry. Ryan’s 1st band were a hardcore punk gang from Raleigh. N.C. called “The Patty Duke Syndrome”, but he got bit by the folk-rock bug & put Whiskeytown together in ’94 with Caitlin Cary on violin, Phil Wandscher playing lead guitar, Steve Grothman on bass & Eric Gilmore behind the kit. Geffen signed the band to one of their imprint labels & the recording sessions for “Stranger’s Almanac” proved so tumultuous that Steve & Eric walked out the same day & Phil would bail out within a few months of the album’s release. The new record wouldn’t come out until the Summer, so Phil was still in the group at the Shack & the new rhythm section featuring a bass player named Jeff Rice & Steven Terry on drums were already in place by then. Band members came & went really fast in that group. The only person who stuck with Ryan the whole way was Caitlin & even she got fired when he sacked the whole band at a gig in Kansas City (he hired her back the next day & they finished the tour as a duo). Considering all the friction, they sure sounded pretty as heartbroken angels. Ryan can drench a song in so much pathos it’s like he’s carrying the weight of the world & Caitlin’s fiddle taps into ancient Irish melodies that drifted across the ocean centuries ago. She also added delicate harmony vocals to Ryan’s plaintive tone. Phil is an outstanding guitarist who drifted back & forth from acoustic to electric to slide, adding just the right texture to each tune. There were lots of ballads about feeling sad & lonely, but that made sense considering Ryan was dealing with severe depression, substance abuse & dissatisfaction with the direction his band was headed. Songs like "Excuse Me While I Break My Own Heart Tonight”, "Dancing with the Women at the Bar” & "Somebody Remembers the Rose” wore their hearts on tear stained sleeves, but they could rock out like Gram Parsons fronting the Replacements on garage rockers like “Yesterday’s News” & the gloriously defeatist “Waiting to Derail.”

Words & Pic via Kevin Shattuck

[tatedavis2016]

Song Stories: "All Eyes" by Heart

Hello and welcome to another installment of Song Stories, I'm Tate Davis. Today, we're going to discuss a Heart cut buried deep within the bowels of their self-titled album from 1985, called "All Eyes".

Recorded at the Record Plant Studio in LA in 1985, this song was written by the sisters Wilson along with outside writers Sue Ennis, Greg Bloch, and Holly Knight. This song furthers Heart's traveling into the commercial mainstream, after being picked up by Capitol Records after the sluggish sales of 1983's "Passionworks" album.

Musically speaking, "All Eyes" is a typical '80's pop song. The catchy chorus, the seemingly over-produced rhythym track, the booming snare drum sound of drummer Denny Carmassi, and the shredding guitar solo by Howard Leese. But the energy genereated by this track's catchy riff, Ann Wilson's vocal delivery, and Carmassi's pushing of the tempo is so apparent, one might not immediately dismiss this as an embarassment song in Heart's catalogue, compared to their earlier, more Zeppelinesque stuff from the '70's.

See for yourself: https://www.youtube.com/watch?v=lhbVQV2tYXo

[streettrolley]

Wow! @gutxi_bibang! Amazing! Zeppelinesque! #sxsw2017 (at The Blackheart)

[plungermusic]

The Cat in the Hat has a platter that’s phatter...

(…let’s hope that the curse of this verse doesn’t matter!)

Jack and his band (The Boom Boom Brotherhood) have released a CD: and it’s awfully good.

The overall vibe is a 70s one, including the name, Set Your Heart For The Sun

There’s Zeppelinesque riffing and breaks à la Page enough to drive blues nazis into a rage!

Fuzzy, fat Gibsons and raw brassy slide with tight drums and sinuous bass on the side.

Belligerent leather-clad rockers aside there’s still tracks to keep any purists on-side:

a slow Creamy blues with guitar gimlet-sharp, a raw barroom stomp with Tom Brundage’s harp.

There’s southern-fried soul with a gospelly ring and speed-fuelled thrash jangle (we think that’s a ‘thing’?)

While most tracks are punchy, no messing about the cherry on top sees the band stretching out:

a spacey lysergic Haight-Ashbury romp like Starship or Hendrix or Dead in their pomp.

Back-tracking and echo and lush multitrack, meandering from trippy to rocking and back.

So snap it up now, be the first on your block (don’t wait for the covermount on Classic Rock!)

[No really, crap poetry aside it is a jolly good debut. Released on 3rd March]