#nick beggs

[80sheaven]

Kajagoogoo

[iamdavysixx]

Kajagoogoo - Ooh To Be Ah

Song:

Bobby Game - Baby Big Man

[bluelizardlives]

Trying to explain to BL that Kajagoogoo is a real band name, Nick Beggs invented a version of the instrument he's holding, and the front man is Howard Jones, not Howard Johnson, even though his jacket says "HoJo" on the back.

[ericblackmonmusic]

TOO SHY Kajagoogoo Bass Guitar Cover LESSON LINK BELOW @EricBlackmonGuitar

[dea-dinda]

Here is 14 Boys are Boyband group.

Name: RC Squad (Rave Culture Squad)

Members:

1st row (L-R):

Nick Beggs

Terry Ilous

Rocky M.

Juan Croucier

Stuart Neale

2nd row:

Geoff Tate

Chris DeGarmo

Michael Wilton

Eddie Jackson

Scott Rockenfield

3rd row:

Pete Loran

Steve Brown

PJ Farley

Mark "Gus" Scott

Vocal team: Terry, Juan, Geoff, Pete.

Performance team: Nick, Rocky, Stuart, Steve.

Rap team: Chris, Michael, Eddie, Scott, PJ, Mark.

[rainingmusic]

Steve Wilson - Transience

[metalsongoftheday]

Thursday, January 4: The Mute Gods, "Envy the Dead"

The Mute Gods worked a very different musical angle than Kajagoogoo, but Nick Beggs brought a similar sense of craft to the prog metal outfit.  “Envy the Dead” was rockin’ prog metal that was adjacent to Porcupine Tree and The Pineapple Thief, with something vaguely casual in its vibe even at it was clearly thoughtfully constructed.  The intermittent vocal ad libs were annoying, but the musicianship was impeccable even with the confines of what was in many ways a straightforward rock song.

[the-hottest-band-tournament]

Submissions for the hottest 80s male musicians

Go wild everyone! We have 256 slots to fill!

Submissions 215/256

List of submitted people

Phil Collins 

Michael Monroe

Duff McKagan

Vince Neil

Kee Marcello

Michael Sweet

Roger Taylor 

Joe Elliott

Sting

Michael Hutchence

Bono

Larry Mullen Jr.

Tom Petty

Axl Rose 

Razzle Dingley

Eddie Van Halen

Dave Mustaine

Nikki Sixx 

Morten Harket

Tommy Lee

John Deacon 

Zakk Wylde

Steven Adler

Slash 

Izzy Stradlin 

Jon Bon Jovi

Richie Sambora

Kelly Nickels

Bret Michaels

Warren Demartini

Sebastian Bach

Rachel Bolan

Jerry Harrison

Eric Brittingham

Steven Tyler

George Harrison

Brian May

Tom Keifer

Mick Mars

Paul Stanley

Joey Tempest

Jani Lane

Prince

David Bowie

Ozzy Osbourne

Sami Yaffa

Angus Young

Rikki Rockett

David Lee Roth

Bobby Dall

Robin Zander

Eric Bazilian

Jimmy Page

Kirk Hammett

James Hetfield

Jason Newsted

Morrissey

Nick Beggs

Steve Clark

Chris Lowe

Rick Savage

Robert Smith

Robbin Crosby

David Sylvian

Daryl Hall

John Oates

Rod Stewart

Billy Squier

Nasty Suicide

Geddy Lee

David Coverdale

George Lynch

Randy Rhoads

Alice Cooper

David Bryan

Steven Sweet

Freddie Mercury

Terry Hall

Stone Gossard

Nuno Bettencourt

Bruce Kulick

Leif Garett

Adam Yauch

Mike Tramp

Blixa Bargeld

Dave Vanian

Nick Cave

Gary Numan

C.C. DeVille

Bryan Adams

Eazy-E

Bob Dylan

Bernard Sumner

Kenny Loggins

Richard Marx

Lionel Richie

Patrick Swayze

Billy Ocean

Michael Stipe

Corey Hart

Murray Head

David Byrne

Warren Cuccurullo

Rob Zombie

Russell Mael

Mark Mothersbaugh

Martin L. Gore

Dave Gahan

Tracii Guns

Phil Lewis

John Cougar Mellencamp

Jon Farriss

Roland Orzabal

Yoshiki

Billy Joel

Weird Al Yankovic

Joe Strummer

Billy Idol

John Taylor

Michael McDonald

Klaus Nomi

Rob Halford

George Michael

Terence Trent D'Arby

Joe Perry

Paul Williams

Brad Whitford

Stephen Pearcy

Juan Croucier

Bobby Blotzer

MC Hammer

Rick James

Eddie Murphy

Mick Jagger

Don Johnson

James Lomenzo

Meat Loaf

Keith Richards

Ronnie Wood

Cliff Williams

Lars Ulrich

Cliff Burton

Steve Harris

Dave Murray

Adrian Smith

Bruce Dickinson

Marian Gold

Bernhard Lloyd

Frank Mertens

Per Gessle

Tim Farriss

Kirk Pengilly

Rockwell

Andy Scott

Brian Connolly

Peter Wolf

Bruce Springsteen

Jason Becker

Neil Tennant

John Norum

Alex Lifeson

Neil Peart

Paul Simon

Art Garfunkel

Nick Rhodes

Andy Fletcher

Alan Wilder

Robert Sweet

Oz Fox

Magne Furuholmen

Paul Waaktaar-Savoy

Dave Stewart

John Rees

Thomas Anders

Huey Lewis

Adam Ant

Falco

Rick Springfield

Martin Fry

Mark King

Jerry Dixon

Paul Simonon

Howard Jones

Paul Young

Clark Datchler

John Waite

Rick Allen

Paul Engemann

Kurt Maloo

John Levén

Mic Michaeli

Ian Haugland

Erik Turner

Dr. Robert (Robert Howard)

Rick Wright

Andy Taylor

Tony Thompson

Robert Palmer

Brian Johnson

Neil Murray

Rudy Sarzo

Vivian Campbell

Jake E. Lee

Steve Vai

Rowland S. Howard

Steve Perry

Robert Plant

Ivan Doroschuk

Martin Kemp

Roger Daltrey

Jeff Beck

Bob Geldof

Limahl

Anthony Kiedis

Martin Gore

@tournament-announcer

[thenickgirl]

i BEGG (I beg, as in whimper beg) you to make a short threesome bot nick fic PUHLEASSEE~!

lmao y’all are killing me, i love it 😭

wait, you want a bot or a fic??? a fic is already in works btw if that’s what you’re asking

[piglia-mosche]

Quick Nick Beggs sketch -

[80sheaven]

Kajagoogoo poster from Look-in magazine, April 1983

[iamdavysixx]

Kajagoogoo - The Lion's Mouth

Song:

Crazy Gang - Arabian Nights

[mattscoquette]

https://www.tumblr.com/mattscoquette/753889934941863936/nick-squishing-matts-cheeks-during-the-live-and?source=share

I BEGG FOR THIS CLIP

HERE U GO BAE

[ourshadowstallerthanoursoul]

Trampled Under Foot - interview to JPJ

(by Jeff Molten, Exposé - Oct. 1, 2000 - link)

Very interesting interview as always. Definitely worth a read. Enjoy!

Your new album fits into the aggressive instrumental mode vein than most other new releases. How did you find players to do the album live?

[Elvis Costello drummer] Pete Thomas moved to Los Angeles and Trey Gunn had got King Crimson commitments so Robert Fripp suggested Nick Beggs, who used to play with Roddy Frame. He's a got a varied background. That's what I like about instruments like the touch guitar. Players who use is usually got to it by thinking differently than using traditional guitar. In fact, the stick is probably more suited to what I'm doing than the touch guitar because it really is a two in one instrument. So (live) I'm playing the basses, Nick is playing the guitar parts, which we will continue to change in the show. People seem to be blown away by the dexterity, since the reception has been tremendous!

Well, you definitely have the surprise element on your side. DGM is a good independent label, but radio airplay for new instrumental albums is difficult.

I do radio interview, and Zeppelin gets a lot of radio airplay, which is still amazing to this day. After the interview is over, I do ask them to see if they would play a track from my album. You have to be realistic: give them a few Zeppelin things and maybe they'll play a few 'Zooma' things. Having decided to do this, I wanted to avoid doing any coat tailing. The rhythm section is similar, but the works with John Bonham are similar, it couldn't be more different.

What's it like to lead your own ensemble?

It's nice for me, with different tours in the past you're not in control as to who is on the road with you to make it as pleasant as possible. It's a nice team now and we're all pulling together. In that respect, it's fantastic since it makes everything that much easier. Part of the plan is to get it right. There has been tons of press and lots of work doing the album, and getting the equipment together. But it all comes together on the stage.

Aren't there some built in challenges doing an all instrumental set and no vocal as a counterpoint?

Nobody seems to have missed it. I do all of the album, a couple of soundtrack pieces and four Zep pieces. No one seems to notice the lack of lead guitar. I play bass lap steel on a stand too. It's not so rare; it's like a lap steel guitar. It's a great blues instrument and I've got extra strings.

You're occupying a lot of the low register with these tunes. And radio is only now playing aggressive low-end music (like Primus).

I wanted it (the album) to sound of the time. Like it was made last year and not just something drug up from twenty years ago. All the weird sounds on the album are made by the Kima sound system. I came to a point about ten years ago when I was looking for a high-end computer system - there were a few DSP systems. Looking through computer music journal I found it- it's just a box of processors in a nineteen inch rack. It's got an iconic front end and I run it from a laptop. Unlike all the classic synthesizers, you can do anything with this software in real time. It waits for me. I program the entire show with triggers, when I'm ready so I don't play with clicks (tracks). There are couple of samples, which go into loops. It's still an experimental show though. I hope to use more and more.

To balance that you also have an acoustic live set:

It's mostly traditional music done on traditional instruments. I like to use technology too. When I was in Zeppelin, I used analog synthesizers like the VCS3, but we didn't tell anyone about it. I've always been interested in experimental music and music Concrete. We're skiing through the trees sometimes (in the live set) plus if something doesn't work it's over in a minute.

How did you whittle down which Zep tracks to do?

Well, 'When the Levee Breaks' was made for steel guitar. I actually tried it live when I was touring with Diamanda Galas.

As an arranger you have to wear a different hat, how did you take what you do on the album and apply it to the studio?

The impetus for this album WAS the live show. I was thinking about doing the album for a long time. If I do an album, I will have a reason to go out and play it since it's designed to be played live. I spread the basses wide in stereo and it's quite a big sound on stage. Between the two of us (Nick Beggs) we cover a lot of territory. He even does string parts on stage as well.

The disc does not come off heavy-handed.

I look at the full album as a composition, from a micro level to the macro level. I arrive at everything the same way. You have compositional questions to answers and you just have to answer them.

You don't just start from a rhythmic state and work up the tracks from there?

Normally I just start with a walk. The album started from the three heavier riffs. I had to work out what I play. I like to play blues based rock, I'm not a jazz based player and not an experimentalist. Having to work out three of the heavier riffs and walking helped to determine what I needed.

What inspires you?

Pretty much everything. Nature does, literature and other forms of music as well. It will just set me off in another direction. I like how that happens. Not a lick or someone else's song necessarily; often times I like the way someone else has answered their questions. Like when I wrote 'Black Dog'. There was a track on Muddy Waters album, 'Electric Mud'. "That's a really nice construction", I thought. In that way I was inspired by that, but 'Black Dog' sounds nothing like it.

Is it cathartic for you to write?

Not specifically, but I can play something to get out of a bad mood.

Besides touring around your new album, licensing on DGM is just the beginning of some plans going forward?

We're going to Europe, UK, Japan, then come back to the US and go down south. You can't go everywhere since we didn't know what to expect at all. People don't about you, you know until you get there. When we toured with Diamanda, people said they wish they'd gone. Your representation follows you, not precedes you. Then after that I want to make another album. I've already got more ideas from this album and tour.

Picking a label is tough situation — why not Atlantic Records?

They asked me tricky questions such as "Where is the single, where is the video?" In the old days we had Peter Grant to chase them all away. There's really not that much to understand business-wise - you either get paid for your albums or you don't. We didn't even have a contract with Peter Grant. It was done on trust. Obviously this works both ways. "What happens if you don't get paid?" Plus on DGM I like the policy of the artists owning their masters and license. They can still own their copyrights. There is nothing more soulless than losing the ownership of your work. It kills some artists (I won't mention any names) they can switch off for five years. It happens. The approach Fripp is taking is commendable. Plus DGM likes the album. And they are in touch with the Internet. He's the label leader, which is kind of funny.

How did you meet him? Having tea?

In a newspaper article in the lifestyle section "Our first meal" of the UK: They ask you what did you have to eat... I had some salmon last night. We did it for the engineer.

How did you manage to do some producing and arranging for REM?

They came to me - Scott Litt (producer/engineer) liked my stuff. I received a hand written a two-page hand written letter from Michael Stipe. Basically, I directed the sessions to ask if the musicians could come in about half way through. I came to Atlanta and used their symphony and had some good food. They paid my fair plus I enjoy getting paid and meeting interesting people.

You've worked with some developing artists such as Elephant Ride.

They were nice guys; I think they are disbanded now. Somebody re-mixed that album. And I told them that the voice is very delicate. If you lose the voice it will sound like some thin noise. I thought the singer had an interesting voice; please try to keep it clear. The label spent the whole of the budget on this remix. I thought, "Why am I doing this?" I thought we made a great record. I've remained friends with Paul Leary ever since. I put a lot of work into my productions. I beat them (the band) through pre-production. I told them "You're paying for this, not your record company, you're going to work? It was a sheer waste of time.

Budget nowadays goes to high profile artists.

Labels also decided the Buttlhole Surfers are strictly 250,000 unit act, that the band can sell up until that amount. Paul went out and bought their own promotion then they sold another 500,000. The company wasn't that interested. They would rather be working something, which make them multi-platinum. I'm happy not to be part of it. I know producers who are happy to just sit by the phone. I'm pleased with that, I'm notorious picky - you wouldn't believe who I've turned down.

Your work ethic is still intact from the early session days: ehen you were trying to get started, how did you decide you were going to be a session player?

I was in a major band when I was 17. In those days it was Duane Eddy, and surf bands. I got booked by a couple of people. I was a Motown cover artist. I was employed to make the artists sound American. Then I started to do arrangements and I connected with the Rolling Stones management. My father told me: never turn down work. That's how I got into it.

About how many sessions were you doing?

Two to three a day, six to seven days a week. All sorts of styles, country in the evening, swing from eight to nine; from nine to ten we'd do two commercials. Page got out earlier and joined the Yardbirds. I thought he was completely crazy. I couldn't spend all the money.

How did you switch over from sessions to Zeppelin?

My wife actually - she read that Page was forming a band. He said he was going up to Birmingham to try out a singer, considering, we had talked to Terry Reid first. Robert Plant was earning 40 pounds a week. We put him on wages for a while to start. I booked him on a PJ Proby session to get him some money. I booked Robert on Tambourine to get him on the session.

There is such legend about the Zeppelin chemistry during the early recording phase - you knew you hit on something so quickly.

It was a matter of timing as well. Cream just ended. We knew it was a good band. Page and I knew how to put together a good band. Plus it was the time of FM radio. You could actually hear bands such as the Buffalo Springfield on the radio. Radio played us to death. Live we started out opening for Fillmore East and West. Also at the Boston Tea Party: Arthur Lee and Janis Joplin. They couldn't believe us because we were pretty intense.

[uyax]

Howard Jones/Nick Beggs-Too Shy-Kajagoogoo Cover-Live In Hamburg Novembe...

激アツ！！！！！！！！！

[baccano-gauntlet]

ROUND 1 PART 2 MASTERPOST.

Donny v. Placido Russo

Renee Parmedes Branvillier v. Charkie

Dez Nibiru v. Carnea Kaufman

Ronny Schiatto v. Upham

Niki v. Donald Brown

Edith v. Edward Noah

Mark Wilmens v. Randy

Maria Barcelito v. Carzelio Runorata

John Drox v. Molsa Martillo

Celice Artia v. Rail

Salomé Carpenter v. Graham Specter

Luchino B. Campanella v. Firo Prochainezo

Lebreau Fermet Viralesque v. Bilt Quates

Jon Panel v. Nice Holystone

Misery v. Misao

Adele v. Krieck

Lucrezia de Dormentaire v. Tim

Jack v. Nile

Jacuzzi Splot v. Bride

Luck Gandor v. Melody

Sonia Bake v. Aging

Lua Klein v. The Former Felix Walken

Carol v. Lisha Darken

Nicola Casetti v. Natalie Beriam

Paula Wilmens v. Goose Perkins

Denkuro Togo v. Nicholas Wayne

Gustavo Bagetta v. Begg Garrott

Lester v. Claudia Walken

Nick v. Ricardo Russo

Tick Jefferson v. Spike

Lia Lin-Shan v. Maiza Avaro

Bill Sullivan v. Monica Campanella

Elmer c. Albatross v. Hong Chi-Mei

Carl Dignis v. Juliano