#there's other rythym guitarists

[handmemyglockenspiel-imgoingin]

Tourist Trapped: Smallest Emo Rythym Guitarist Falls Into World's Largest Bong Roadside Attraction, Fans in Uproar

41-year-old rythym guitarist and father, Frank Iero, was found this Tuesday morning, miraculously uninjured but inexplicably stuck at the bottom of one of America's lesser known tourist attractions, the World's Largest Semi-Smokable Bong.

While bandmates and friends seem somewhat desperate to save their guitarist, fans seem content to pose at the scene for selfies and autographs - the latter being understandably more difficult to accomplish.

"He was small enough to get in this mess, you'd figure he'd be small enough to get out of it," frontman Gerard Way told the press at the scene of the incident. "Ah, well. He's got air, he'll be fine."

To ensure the guitarist does not go hungry, the remaining members of alternative emo rock band My Chemical Romance have come together to provide sustenance.

"See here," said Ray Toro, lead guitarist and cupcake connoisseur, "We've got all these chip bags, right? He loves these - but the trick is getting them in there. So we're kind of just chucking them in the air the best we can and hoping they'll make it in."

As he said this, bassist Mikey Way demonstrated for the assembled crowd, while his ever-supportive brother cheered him on in the background.

"That was a ten-pointer!" the frontman declared, the lucky bag of Doritos making its landing on the head of the presumably disgruntled Iero.

"Yeah," Way continued, squinting against the sun as he observed the scene. He took a long, contemplative sip of his Starbucks latte, then nodded. "He's alright in there."

While Way seems mostly unconcerned, rumors are circulating that a petition is in place to attempt to smoke the man if it receives 420 signatures in a 69 hour time frame.

In the meantime, a small gang of fans have posed the idea of assembling a crane outside the bong - not to rescue Iero, but to deliver his guitar to him so he can perform for the crowd, even in his time of distress.

Although this is certainly a trying time for the guitarist, some have expressed doubts as to what exactly the man was doing in order to have fallen into the monstrously oversized vessel in the first place.

"He went, 'I'm gonna blaze it!' and just fuckin' bolted," Way said to the press. "I've never seen him climb like that for anything. He was really goin' for it."

Foul play is not suspected.

Iero could not be reached for comment.

More to come as events unfold.

[alecscudder1987]

seven inches of this cock

[aamircoeur]

stop and stare ー Ken Sato rockstar au.

wherein someone in the crowd catches the eye of kenji sato, the lead guitarist and main vocalist of the band kaijus.

rakista kenji so real. sfw, one-shot. gn!reader, band!au. UNEDITED

edit: check out this art by @preatzells !! https://shorturl.at/kpMZd

the cheers started when each of the band members made their way up to the stage, but the volume of the screams only reached their climax when kenji sato made his way towards the center with his white electric guitar, a small wave directed to the crowd, and his million-dollar smile.

finally done prepping their instruments and themselves, their first song started with a beat from the drums, with the rhythm guitarist following its lead. kenji sato held the mic with one hand and his guitar with the other as he leaned in to the mic to sing.

ー "the mirror's image tells me its own time. but, i'm not finished, 'cause you're not by my side."

you had your hand up high, holding your phone while it recorded the band. you were a few rows behind the barricade, right at the middle, parallel to where kenji sato was singing.

ー "and as i arrived i thought i saw you leaving, carryin' your shoes,"

kenji was swinging his hips slowly as he sung and strummed his guitar, his rings reflecting the light of the spotlight that he was under. his eyes kept wandering within the crowd, looking at the row that was furthest from the stage before flicking his sight to the ones at front.

ー "decided that once again i was just dreamin' of bumpin' into you."

he took a step away from the mic before dropping his head low along with his torso for a headbang, before coming up to the mic, his rings scratching onto the windscreen.

ー "now it's three in the morning, and i'm try'na change your mind,"

you lowered your hand and stopped your phone from recording to stare at the way his fingers plucked at the strings of his guitar.

ー "left you multiple missed calls and to my message, you reply,"

it was as if kenji's body was in complete sync with the song that his band was playing; the way his chest rose and fell after and before every lyric that he sung, his hair, untamable, swaying and dropping to his face while he moved his head to the rythym.

ー ""why'd you only call me when you're high?""

you sung along.

ー ""hi, why'd you only call me when you're high?""

you were absolutely starstruck. working overtime at your job was definitely worth it just to afford vip tickets for your first concert now that you're in the middle of kaiju's crowd with kenji sato singing his heart out in front of you.

ー "somewhere darker, talkin' the same shite. i need a partner, well, are you out tonight? it's harder and harder to get you to listen, more i get through the gears."

you watched him, not caring of the pushes that the people beside you gave you out of their own excitedness. staring at him, the way he ran his hand through his hair for the nth time, and the way that his black-colored eyes ran it's way through the crowdー

ー "incapable of makin' alright decisions, and havin' bad ideas."

before it landed on you.

ー "now it's three in the mornin' and i'm try'na change your mind,"

your lips parted and your breath hitched at the eye contact. he was staring right at you.

ー "left you multiple missed calls and to my message you reply,"

his eyes quickly broke the contact, making you remember that you were actually allowed to breathe. you ran your hand through the side of your hair, tucking it behind your ear as an attempt to compose yourself.

ー ""why'd you only call me when you're high?""

without missing a beat, his eyes were on you again. flustered, you looked away to see the bassist smiling as they played, then your eyes were back to looking at him.

ー ""hi, why'd you only call me when you're high?""

to your surprise, his eyes were still on you. you felt as if there was a spotlight on you, too. everyone else, including the music that was playing, were nothing but background noise to you at the moment. kenji sato was looking at you.

taking a deep breath, you looked up at him and smiled, mouthing a simple "hello," to the vocalist.

you saw kenji sato smile from ear to ear before leaning into the microphone. "hello, baby."

[ktamina]

09/30/08 - Mick 7 answers your questions!

This is an old interview of Mick (#7) that I found, enjoy!!

Hey, I am like, the UK's number 1 Slipknot fan, and have always wanted to know, what inspired your mask design?

Matthew Fulton- 14

MICK: Nothing. I had my original latex hockey mask way back and then my leather one and I was using those designs and it morphed into what it is now. There isn’t something crazy creative about it.

Hey Mick! I just want to let you know that you are a huge inspiration to me. You were one of the reasons I picked up a guitar, B.C Rich 7 string Warlock as my own first purchase, and got serious about it. My question is, how do you get new ideas for riffs and solos. I've made a couple of my own songs, but I always get stuck trying to make cool catchy riffs or solos. Got any advice?

Jim- 16

MICK: Yes. Don’t over-think it. Just let it happen. Things come out. If you try and plan or force it will sound forced or dishonest. I never try and over-think a direction whatever comes out 1st time I play it comes out. I never spend a ton of time thinking because it sounds forced. If you spend too much time thinking about it, it won’t sound like you. Don’t try and sound like someone else.

How does it feel to be getting back to work with the rest of Slipknot after a 3 year hiatus? Did it feel great knowing you were going to be back behind the mask and in a recording studio once again or was it just the same as it was 3 years ago?

Matt Haynes- 16

MICK: Things are always different when doing a new record. You are a different person than you were years ago. I don’t think in those terms. I just do what I do! But yes it felt good getting back to work.

What has been your scariest nightmare?

Paul Hawkins- 16

MICK: I wouldn’t say I have had a scariest nightmare but it would probably be something that deals with me not having genitals anymore…

If you could play any other role except Rythym/Lead guitarist in the band which would it be?

Bryan Lares

MICK: I wouldn’t.

What was the biggest culture shock you experienced in a foreign country during SK a tour?

Marcelle Andrade- 21

MICK: Being forced to shit into an ornate porcelain hole in the ground in Japan. OR having a warm stream of water tickle my asshole from the bidet in my hotel, also in Japan.

Mick, what advice would u give to young metal musicians trying to get our band noticed without reverting to the typical main stream sound?

Alex Munro- 16

MICK: Music should be honest, it should be an extension if you. You shouldn’t try and achieve a sound. It should just be you and not what you are trying to manufacture. We didn’t pay attention to the trends at the time when we wrote. We did what we felt and that is what you should do. You should play music for you and not to be noticed.

I'm Marina. OK I know that you probably get this question asked a lot by fan-girls but are you single, and can i ask u out on a date if you are :) ?

Marina Spevak- 25

MICK: Send pictures and I will get back to you.

Hi Mick! What Pedals do you use for Before I Forget and Heretic Anthem, and what Guitar would you recommend for a O.K Metal player at good price (like below $400)?

Alex Hayden

MICK: I don’t use pedals on either one of those songs or any pedals of any kind. But if its distortion you are referring to I just have a tube head turned up loud. There isn’t one really so buy used. You can’t get anything new that price worth anything. Look at pawn shops and buy a decent used early to late 90’s Ibanez especially an RG 570.

Hey micl! I'm from Iran. First you should know you've got MANY fans in Iran! Seriously. :D My question is what's the meaning of the tattoo on your arm? The Asian one…

Sohrab Alimardani- 18

MICK: It means hate in Japanese.

What do you think is the meaning of life?

Krista

MICK: Life is without meaning. And we are all totally insignificant in the whole scheme of things.

Just touring with slipknot but be crazy but what is the single most brutal moment you can recall while on tour?

Shawn Jarvis- 15

MICK: Watching a guy die in a police chase about 100 feet in front of me...

[phantomlordreshiram]

Ellis' band, Shattered Truth, is made up of trainers, so they were also turned into pokemon in the Hybridmon AU. I won't reveal their names but will refer to them by their stage names. They can still play because they have human features they're just anthro pokemon in the AU.

The Judge (This is Ellis): Became a reshiram. He is the lead vocalist and (sometimes) plays rhythm guitar when the other one isn't able to.

Tesla: Became a luxray. He is the lead guitarist and backing vocalist.

Stryfe: Became a mightyena. He is the drummer.

Outlaw: Became a furret (no I am not joking). He is the bassist.

Enigma: Became a whimsicott (no I am not joking). He is the actual rythym vocalist.

[pcrks]

foals inspired / mid to late thirties / currently touring

hello! this request is for the bandmates of shades of cool, an alt-ish rock band that’s been around since the mid-2000′s. the band was initially formed by brian o’malley (played by perks) and the lead vocalist (played by alias). they had been in a band previously (currently unnamed, but it was probably awful) but were interested in pursuing something that was more laidback and fun. tey had been friends with the bassist for awhile and, together, they formed shades of cool. 

the rythym guitarist and the keyboardist were brought in later on, think around a year later, after being introduced to the group through mutual friends. they’ve all been performing together ever since and have achieved a decent amount of success. the band is the primary source of income for all members but it wouldn’t be unusual for a few of them to have a part-time job or some other source of income on the side. 

as for the sound of the band, i stated above that they are foals inspired. here are a few links to some specific songs that i feel best represent what the sound of shades of cool is: inhaler, what went down, and my number.

everything regarding the backgrounds of the members is open apart from what i’ve stated above. they should all be in their late mid to late thirties and have resided in california since the mid-2000′s. their genders, histories, personalities, and everything else are up to you! 

feel free to shoot me a message on discord (perks#9525) if you’d like to chat details or have any questions. x

lead vocals, lead guitar, songwriting

name / age / member group / played by alias

bass, percussion, vocals, songwriting

name / age / member group / played by alias

rhythm guitar, rhodes piano, synthesizer

name / age / member group / played by alias

keyboards, synthesizer, backing vocals

name / age / member group / played by alias

drums, percussion, backing vocals, songwriting

brian o’malley / 38 / tarantino / played by perks

[handwritten-yo-blog]

day 1. “never stick too close to your dreams”

I feel amazing. top of the world.

 I've got that "new start" feeling you get when you go on the first date with a girl that you'll likely think of for the rest of your life. 

I am sweaty, I am smiley, I am stoked. 

All I've ever wanted since breaking up my high school band in 2009 when we all moved away, was to get sweaty and excited and sound good playing loud. I've stuggled. I had a project in uni that was a lot of fun but only played a handful of gigs (though we did record a release I am very proud of). After that I spent years holding back my dreams while playing accordion in a bluegrass band. A few years ago I started getting the desire to get loud again and about a month in to me putting serious thoughts to writing punk songs, they kicked me out. Great timing really. 

I worked a summer for my father at the Star Track courier company, driving around cranking bands like Foley and Camp Cope on the stereo and writing songs in my phone down the highway as i delivered 4wd light bars to rural farms. I moved down to melbourne with big dreams of finding great musicians to start a band with, and two years later now and that dream was never realised. 

I met a double bass player who played for a friends band and had him record on a couple of my EPs, and I continued gigging with my fiddle player hannah. After taking my friends band "this is a robbery" on tour, I began jamming with his rythym section, two brothers from Taroona in Hobart. It sounded good, so I moved down to hobart. It wasn't my dream of being a band in melb, but it was only a one a bit hour flight from being that dream. 

We tried to jam every week but only jammed about once a month. It was okay, but it wasn't great. The rehearsals were often marred by hangovers or the bass players dog running off in to the bush and the search for it taking up all our rehearsal space time. We learnt a small handful of songs and played a few shows that were always energetic and amazing, but never tight and impressive.  I constantly made plans in my note book along the lines of "we'll rehearse all through january and I'll book studio time for march" that would then be overwritten with "we'll rehearse all through july and record in august" and after two years of that and the drummer joining a band that more suited his style, I gave up propositioning them for rehearsals.  that brings us to now. I got back from Hobart a week ago and brought my hobart friend Ella up with me to cruise around Melbourne going on dates and seeing a perth friend of ours who was here. On the last day of Ella's week up here I took her to do my favourite thing- aimlessly walk through suburbs noticing things about the space and once your legs give up, jump on public transport back home. We walked from footscray to williamstown and were having a blast, in the highest of spirits after putting up a fake "toilet" sign on a wooden door we found near the peir that was definitely not a toilet. the perfect prank. 

We were sat down at a swanky joint on the coast, having just ordered expensive pizza and cocktails having thought we were getting a good deal seeing the happy hour sign that was left out even though it was not a weekday (and hence not a happy hour). I checked my phone and was excited to see that some people I half-know had tagged drummers that they half-knew on the FB post I had made earlier in the day that read "Melb drummers, get at me". Really it was half meant in jest, as every one knows that its impossible to find a drummer in melbourne who isnt already in eleven other better bands. I'd made this post many times before and always found diddly squat luck. I didn't expect to this time and the first comment I got was "this is a tough one hey, best of luck". I and the two other people who liked that comment knew it to be true and couldnt agree more. 

Little did I know I would find some success. SIx years ago I was in Lismore, studying music at lismore southern cross university and dating a girl who I was utterly infatuated with. We'd go to every little community event, market, gig or talk we could and found ourselves at the unibar gig of a brisbane band called The Clues. We were the only people there who stood near the stage, enjoyed it and had a boogie. After a brief chat with the memebers we said seeya. I went to a another gig of theirs a few weeks later in Byron bay and drunkenly talked further with them. Lovely guys. Cool band. they broke up not too long afterwards, but I drunkenly added on FB the guitarist who I found particularly pleasant to talk to. 

Not having spoken to the guitarist since really, he commented on my post, tagging his Brisbane mate who moved to melb a few years ago. I just so happened to have met this mate of his at a Purplene reunion show a couple years back when I first arrived in Melbourne and went to the show alone. He and I drunkenly sang words towards each others faces and bonded over how wonderful it was that Purplene broke their 20 year hiatus to return for a one-off show at the old bar. We added each other on facebook, briefly noted that we shared a mutual friend in the clues guitarist and left it at that.  The drummer tagged, Ty, hit me up to send him some demos and I did. it was an ever such succinct chat. 

-hey dude, chuck me your tunes. 

then

-they sound good dude, wanna come round tomorrow night to try them. 

then 

-sweet as, heres my address, see you at six thirty. 

I read these messages while eating the tastiest vegetarian (half side cheese) pizza and downing a marzapan flavoured cocktail called the GodFather. I was pretty excited about this and remained excited for the next 24hrs. The day passed both quick and slow and I drove myself in the rain with my useless old wiper blades from footscray to Brunswick east. I arrived half an hour early and was busting to piss. I wandered around in the rain looking for an alleyway to use, got quite wet, found a spot and was glad to have had a way to pass the half hour that wasn't just sitting in the car excitedly nervous. 

I knocked on the door, met Ty's lovely partner Jazzy and the small old blind dog. The rehearsal room was warm and I was offered a list of drinks "would you like a beer? a wine? a tea? a coffee? we've got juice, you could have a cordial" and I said I'd love a beer. I was then given a list of all the different beers they had and told I could ask for whatever I wanted. I wasn't sure what to say and I said I was happy with anything. Jazzy came out holding an armful of different beers against her and I was delighted to see a stubbie of Tooheys Old. I delightfully picked that one and both Jazzy and Ty agreed that it was a very good choice. 

We got straight to rehearsing and it was the most instantanous and impressive song learning I had ever been a part of. Really wonderful accents and fills in all the right places. I had a really good time and we worked through all of two new songs that I have written. I'm commented on how easy and profficient the songs were coming along and Ty replied "yeah, I'm old hat at doing this". I sweated through my shirt, bopping on my toes as i lost my voice and gave Ty the eyes whenever the tricky to remember little-fill was about to come up.  We worked through the outro of the last song and then went out the back for Ty to have a smoke. We talked about Steven the Magpie that he raised from baby and now lives in the park next door and comes over each morning at ty's whistle. We talked about possums and how the cats and dogs he owned were too old to have any luck hunting them. He showed me the massive old rear-projection TV in the back garage that he found on curbside, and then we scheduled another rehearsal for next week and I set off home, listening to the recordings we had made on my phone. 

I told Ty that I was keen to record these songs as soon as we got them tight and he is keen as well. About a month ago at a Hard Aches show, Ben David said he was interested in hearing my new songs and would be interested in helping me get them recorded. Awfully kind of him and I hope to take him up on that offer in the future. He's quite a busy person though and I am very impatient with my need to get these new songs out, so I will be looking into all posibilities of studios to get these songs recorded. I'm excited to begin rehearsing with my double-bass player Matt and have the full band release I've always dreamt about. Just gotta keep at the songwriting slog hoping good ones happen, and continue rehearsing with Hannah, Matt and Ty. 

I'm going to try to keep a journal here of the progress. I may also make it a zine. "Handwritten" is a possible name for the band, due to my affinity for handwritten journal keeping, letter writing and list making. I wanted this here post to be hand written and scanned, but i have other things to do tonight and was worried I wouldn't get this all out in time before if escaped my memory like everything does so quickly these days. 

This will be an interesting trip, as i think the musicians journey is often kept secret to create hype and suspense and make it look effortless. Its not effortless and it takes up so much of me trying to make this happen. Join me to see whether we find any success this time or I fail gloriously in public view of this blogs readers. 

[jerome-blog1]

The Sounds of the Sixties

Bristol & West Country Bands – Music of the 60’s

In the heady days of the early 1960’s, a time of massive change and innovation in the world of popular music. Fuelled by the excitement and electricity surrounding the new sounds of the time.

Merseybeat stars head down south – With the Merseyside inspired "Beat Boom" in full swing, the big stars in Bristol this week in 1963 had to be from up north.

Topping the bill at the Colston Hall were Billy J Kramer and the Dakotas who had just had a couple of massive hits with Do You Want to Know a Secret (No.2) – a Beatles’ written ditty – and Bad to Me (No.1).

You certainly got your money’s worth in those days. Also on the twice-nightly bill was Tommy Roe, an American who had shot up the charts with Sheila and the Folk Singer, plus a string of lesser acts. Tickets ranged from four shillings and sixpence to 10 shillings and sixpence (average wages were then about £10 a week).

The end of the month would see Freddie and the Dreamers, the Searchers and Brian Poole and the Tremeloes (who were riding high in the charts with Do You Love Me) invading the city. The Tremeloes had previously reached No.4 with that "oldie, but goodie" Twist and Shout – a raucous number recorded by the Beatles on their first album.

Topping the bill was Roy Orbison, who had just made the top 10 with In Dreams and Falling. His Blue Bayou would reach the No.3 spot on September 19. Top tickets, in the balcony, would set you back 12 shillings and sixpence.

In 1963, the smallish, local venues were still torn between promoting beat music or jazz. Local bands Johnny Slade and the Vikings plus Dean Prince and the Dukes were on stage at Clifton’s Victoria Rooms, with the Chinese Jazz Club at the Corn Exchange booking the Alan Elsdon Jazz Band.

"Thomas Alstone", the man with his finger on the pulse, tells us that local instrumental band the Eagles (and stars of the Bristol-made film Some People) were about to try their hand at vocals as well.

The result, on the Pye label, was an updated version of the Helston floral dance called Come on Baby, to the Floral Dance. I don’t think it made the charts. If you really wanted to know what was going on in the city in 1963 then the newly published Bristol Beat was the thing to read. Billed as "Young Bristol’s entertainment paper", it cost six pence.

This magazine informed us that the best- selling single in the city was She Loves You by the Beatles. Runner-up was Billy J Kramer’s Bad to Me. Other top sellers were Wishing by Buddy Holly and I’m Telling You Now by Freddie and the Dreamers.

If classical guitar was you thing then Julian Bream was playing at Stourhead gardens on the Sunday evening. The two guinea tickets included soup, cheese, French bread and a glass of wine.

Back in the city – the Centre to be precise – comedian Jimmy Edwards was getting astride a horse to promote his autumn spectacular at the Hippodrome. If none of this was your cup of tea then how about a trip to the movies to see some really big stars – a trio in fact.

At the ABC you could join the queue to see Marlon Brando, Trevor Howard and Richard Harris in Mutiny on the Bounty. And in September 1963, Bristol Zoo had its very own stars on show to the public – the only pair of white tigers in the world (outside India).

Bristolians were huge fans of Billy J Kramer and the Dakotas.

Recommended Link

bristolrock.net/c.aspx

www.bristolarchiverecords.com/people/people_Tony_Dodd.html

Johnny Carr and the Cadillacs

The original Bristol Comets and special guest star Sandra McCann. Formed in 1958 and playing Hamburg’s Kaiser Keller Club alongside The Beatles, Johnny Carr and the Cadillacs are the authentic sound of the ’60s. It was said that The Cadillacs were performing Twist and Shout, You’ll Never Walk Alone and Shoutlong before they became hits for The Beatles, Gerry and the Pacemakers and Lulu.

Formed in 1958. Lineup: Vocalist; Lead guitar; Rythm Guitar; Bass guitar; Drums Dave Purslow. For many years considered by most to be the most popular ‘pop group’ in Bristol. Every teenager knew of them. A very polished group fronted by the stong vocals of Johny Carr (Con Sullivan), they had a solid style and had that certain charisma that got them noticed. This was what took them to Hamburg’s Kaiser Club and playing alongside The Beatles, Johnny Carr and the Cadillacs became the authentic Bristol sound of the 60s.

The Cadillacs were performing songs like Twist and Shout, Youll Never Walk Alone and Shout before they became hits for The Beatles, Gerry and the Pacemakers and Lulu. In the early 1960s the drummer was Dave Purslow, a very large gentleman. John rennie writes: Downend had a very popular R & R club which was every Wednesday I think. Knowle had serious Saturday evening dances at the community centre featuring top local groups. Speedwell TA hall had some big dances, one easter I remember starring Johnny kidd and the Pirates with Johnny Carr and the Cadillacs supporting. There was a memmorable local group R & R concert at the old Cabot cinema (before it closed down) in Filton along the same lines as the ones at the Colston hall. What about the rag week mersey versus avon beat shows at the Vic rooms in the early 60,s I hope this stirs some memories. Regards John Rennie.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2050007986/

Chet And The Triumphs

This Bristol band once supported The Beatles at The Bath Pavilion in the early sixties. The drummer was Graham Nicholson, who lived in West Park Road, Downend. His practice sessions could often be heard when you passed by on the pavement outside. His father was an inspector on the buses, based at nearby Staple Hill Depot.

John Coldrick lived a few doors away, also in West Park Road. He often passed by when we children were playing in the street outside our house on the corner of West Park Road and North Street. He always had a cheery word for us and took it in good spirit when we called out cheeky things about teddy boys and suchlike. A thoroughly nice young man. Regards Fray Bentos

Email to the webmaster: Hi, just looked through your website,brilliant! i saw a picture of Johnny Coldrick, with his band The Triumphs. I knew john in the early 60s and would love to get in touch with him.can you help? Regards Paul Newman….would be good to hear from anyone with contact details.

Email to the webmaster: I have great memories of the Glen ballroom and the club next door called Cupids Bar. Also the bouncer at the door of the Glen being David Prouse (of Darth Vader fame)I often would have a quick dance with him which looked strange as I was barely five feet tall and he was probably at least six seven. I now live in Australia but have great memories of Bristol, which I return to on a regular basis. I was also married for nineteen years to a member of the rock band Chet & The Triumphs. Regards Pam and Gary O’keefe

See photo link below

www.flickr.com/photos/brizzlebornandbred/2975315707/

Fred Wedlock

Once described as a ‘West Country Billy Connolly, although he probably came first’, Bristolian singer and raconteur Fred Wedlock has been performing in folk clubs and concerts since the late 1960s. He was born in Bristol, England, on 23rd May 1942 and had various jobs, including being a teacher, before turning professional in the early 1970s. He is related to ‘Fatty Wedlock of Bristol City FC fame. Fred had various albums on small labels issued in the 1970s, and became widely known early in 1981 when his single The Oldest Swinger In Town hit the UK charts, rising to no. 6. Unfortunately he has never maintained that success, but the song is almost guaranteed to be played at family gatherings such as wedding receptions, as the middle-aged uncles and aunts take to the floor to gyrate after a few drinks.

Acker Bilk

The chances are that if you were asked to name a clarinet player, the first name that would spring to mind is Acker Bilk. Somerset-born Acker became world famous in May 1962 when he became the first British artist to top the US pop music charts, paving the way for other acts from the UK, such as a then still unknown band who were to have a fair amount of success on both sides of the pond a year or so after Acker’s trailblazing hit – The Beatles!

Acker’s US chart-topper Stranger On The Shore had topped the British chart some six months earlier, following its use as the theme tune of the eponymous BBC children’s TV series. The record, which would nowadays be described as easy listening, perhaps seems an unlikely double number one on both sides of the Atlantic, but in those pre-Beatle days the charts contained a fairly eclectic mixture of ballads, rock ‘n’ roll and Dixieland-style ‘trad’ (short for traditional) jazz.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2080583036/in/se…

Pete Budd and the Rebels

Pete Budd and the Rebels Line up: Lead guitar/vocals, Rythym Guitar, Saxophone, Bass and Drums. Pete Budd, then apparently voted as the ‘best guitarist in the West’ (according to the local pop music magazine ‘The Western Scene’) succeeded Les Watts as the lead vocalist and guitarist. Ivor Newick played drums and there was also had a saxophinist.

‘Somerset Born And Proud’ Pete later replaced Reg Quantrill as the Wurzels’ guitar and banjo player. One of the trio who continued after Adge Cutler’s death, he was the only member of the 1970s Wurzels who actually comes from Somerset. His is the distinctive lead voice on all of their 1970s chart hits, including their number one smash Combine Harvester and the follow-up hits I Am A Cider Drinker, Farmer Bill’s Cowman, etc. Pete is still with the band today, and therefore the second longest serving current Wurzel after Tommy Banner. Pete started out in the band Pete Budd and the Rebels and also made a few records in the 1960s in a band called The Rainbow People. Pete was running a pub/restaurant in the West Country for a while. A keen fisherman, Pete emigrated to Devon a while back. His voice has been heard in recent years singing on the TV commercials for Ambrosia Creamed Rice.

Adge Cutler

The original and indisputably the greatest Wurzel of all time, and the brains behind the whole concept. Born 1930 in Nailsea, north Somerset. Held a series of jobs before becoming a Wurzel, including working as road manager for famous clarinet player Acker Bilk (who is also from Zummerzet) and his Paramount Jazz Band, working in a cider mill (Coates of Nailsea), and working on building a power station in North Wales. Spent a year in Spain working as an agent looking for property. During his time there he grew to love the country and the Spanish way of life, as well as becoming fluent in Spanish. Formed the Wurzels in 1966 and continued to gig and record with the band until his career was sadly cut short by his untimely death in 1974, when he overturned his MGB sports car at a roundabout while driving himself home from a gig. Buried in Christchurch, Nailsea.

The Comets

One of Bristol’s own first-generation rock ‘n’ roll bands the Comets they had supported such acts as Gene Vincent and Billy Fury. The Comets were almost certainly the first Bristol based band to make the enormous leap from Skiffle to amplified music, and thus paving the way for countless other local bands in the late fifties – early sixties.

A talent contest at the Glen Ballroom in 1958 in which the Sapphires, a vocal group, and the Comets were competing. Their sound blew everyone away that night. They not only sounded great, they looked great as well, dressed like quintessential rockers of that era.

In 1960 a unique show took place at The major concert venue in the city of Bristol, England….The Colston Hall. 2000 fans packed the place on December 16th to witness the best of the cities young Rock,n,roll bands & singers, even though not one of them had a recording contract, and some of the musicians were still in school ! Such was the popularity of local bands, when there was no such thing as a disco. let alone MTV, and when there was very little "pop music" on the then austere stiif upper lip Radio.

Andy Perrott (acoustic guitar and vocals) started out as half of the ‘Antones’ with Tony Sweet and has featured in several local rock’n’roll bands including the ‘Echoes’ and the legendary ‘Bristol Comets’. Andy left the music business for a twenty year sabbatical but returned in 1984 as front man with the reformed ‘Comets’.

Tony Dodd (electric guitar and vocals) started his career in music at about the same time, as guitarist for ‘Mike Tobin and the Magnets’. Unlike Andy, Tony has been playing continually since those heady days with the Magnets, including a band in the USA where he lived for three years. Locally Tony held down a residency at the renowned ‘Dug Out’ club and his bands include ‘Hugget’ and ‘Dodds Army’, and he is now a member of the Bristol Comets’.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2050007986/

The Eagles

The Eagles were formed by Terry Clarke www.terryclarke.com/ (lead guitar), Johnny Payne (rhythm guitar), Michael Brice (bass), and Rod Meacham (drums), all students at Connaught Road School in Bristol. Their name came from the youth organization, the Eagle House Youth Club, to which they all belonged. The quartet played local dances, parties, and bingo halls, performing during the intervals between the sessions at the latter, often for whatever was in the hat that was passed around.

The Eagles were a Bristol music quartet active from 1958 through the mid 1960s.

Led by guitarist Terry Clarke, who used a homebuilt custom instrument, the group included drummer Rod Meacham, bassist Michael Brice, and Johnny Payne on rhythm guitar. Playing primarily instrumental rock, they began their career in Bristol playing local venues such as dance halls.

They were launched into the world of professional music in 1962 upon being noticed by composer Ron Grainer, probably best remembered for his theme to Doctor Who. Grainer was interested in The Eagles for a film project he was working on, Some People, about a fictional Bristol band not unlike themselves. The Eagles contributed to the Some People soundtrack, and became Grainer’s protegees, recording new versions of some of his film score work like the theme of the Maigret television series. The Some People soundtrack reached No.2 on the EP charts, and remained on the charts for a stay of 21 weeks.

The Eagles were awarded the Duke of Edinburgh Trophy for their work on the film, and soon after were signed to Pye Records, at the time among the top three labels in Britain. After releasing the singles ‘Bristol Express’ and ‘Exodus’, The Eagles embarked on a major tour of England along with more established acts Del Shannon, Stevie Wonder, Johnny Tillotson, and Dionne Warwick.

The tour world lasted much of 1963, during which their debut album, Smash Hits From The Eagles was released in the UK and the United States. The following year brought their most successful single and the one for which they are best remembered today, a vocal rendition of ‘Wishin’ And Hopin” backed with ‘Write Me A Letter’. Unfortunately, 1964 also brought a pair of tragedies which ultimately led to the end of the group: Grainer went blind, and Meachum suffered a nervous breakdown. Soon after, in late 1964, the band went their separate ways.

After The Eagles Clarke continued in the music business, with the band Pickettywitch and later as a session musician and solo artist, working with such artists as Michael Messer, Willie Nelson, Joe Ely, The Band, and Johnny Cash. He released nine solo albums between 1990 and 2006, on Transatlantic Records and various labels. Payne returned to Bristol and continued to play with local bands.

The Eagles’ music is available on many compilations of the era, and in 1998 Sanctuary Records released a massive 61-track two-disc compilation set Smash Hits from The Eagles and The Kestrels, by far the most accessible overview of the Eagles’ music today.

See photo link below

www.flickr.com/photos/brizzlebornandbred/2094324558/

Teach the world to sing – Rogers Cook and Greenaway

Britain’s best ever song-writers hail from Bristol, well Fishponds/Kingswood namely Rogers Cook and Greenaway. They used to be David and Jonathan in the sixties, wrote ‘If you like alot of chocolate on your biscuit join our club’ and Cookie formed Blue Mink. Later he went to Nashville where he become the only Briton ever to be inducted into the Country Hall of Fame.

Bristol’s Rolling Stones

Mick and Keith, Brian and Bill and, of course, Charlie were already world-famous as the Rolling Stones, pop music’s favourite rebels, by the autumn of 1965. They’d just celebrated their biggest hit of all, ‘(I Can’t Get No) Satisfaction’ when word came through that a Bristol band were claiming that they, not Jagger, Richards, Jones, Wyman and Watts, were the original Rolling Stones.

And it was all too true. Bristol’s Rolling Stones were the three Stone brothers who’d formed their own skiffle band at the height of the Lonnie Donegan era and played gigs like the Bristol Press Ball in 1957. Skiffle came from American blues music which often featured light travelling heroes described as rolling stones, so it was a good title.

The washboard group had changed their name to the Stone Brothers to avoid confusion when Mick, Keith and co. sprang to fame after taking their name from bluesman Muddy Waters’ classic ‘Rolling Stone’, but the matter still rankled. ‘We have no desire for the Jagger Stones to change their name. We only want to establish that the Bristol Stones are entitled to the name and were the first Rolling Stones,’ the group announced.

Top rock promoter/agent Tito Bums, then representing Mick, Keith and the rest chortled, ‘This would make a wonderful film.’ The Bristol Stones even consulted lawyers, but the matter ended quietly and amicably. . . and almost no one remembers the original Rolling Stones.

In the 1950s, Bill, his brother Ken and an unrelated Stone (Brian) formed a skiffle group. Their father was Moss Stone; not surprisingly, they called themselves The Rolling Stones. On the demise of the skiffle boom, they broadened their repertoire to include country and western . In 1965, there was a legal battle with the other ‘Stones’ which resulted in them being unable to continue with their name. A publicity leaflet for the Bristol Stones band at the time said ‘Bill Stone plays a very fine banjo and can perform equally well Liszt’s Liebestraum or Bye Bye Blues. Bill is a devotee of the great Eddie Peabody’ (an American plectrum style player)

The Pigsty Hill Light Orchestra

The bands who put our city on the map THE Pigsty Hill Light Orchestra, so the story goes, first got together after Fred Wedlock’s 1968 New Year party at Clifton’s much lauded Troubadour Folk Club in Waterloo Street. The "Piggies" as they were affectionately known, derived their unusual name from a specific location up the Gloucester Road – the section that goes uphill from the old Bristol North swimming baths to the turning just before Horfield prison.

Composed of musicians from other local groups the band weren’t in fact an orchestra at all but comparable to Viv Stanshall’s Bonzo Dog Doo-Dah Band or the zany Temperance Seven. John Turner (yes, the radio presenter and newspaper columnist) came from the Downsiders, Barry Back and Andy Leggett from the Alligator Jug Thumpers and Dave Creech from the Elastic Band.

Their music, which has been described as 1920s jazz and blues, actually sounded more jug band. Unbelievable sounds emanated from a collection of hot water bottles, plumbing pipes and the like. With a good dose of comedy thrown in, it all seemed to go down well. A music paper even labelled the "Piggies" the band "most likely to succeed". Things were looking up. With the Plastic Dog agency handling their gigs, a well received album, PHLOP, was released in 1970 on the Village Thing label. This was the year that John Turner left to be replaced by bass player Wild Bill Cole.

The band’s next album, Piggery Jokers, was recorded in Cornwall in 1973, had its distinctive cover put together by artist Rodney Matthews in a unique, self designed font. Now it was Barry Back’s time to call it a day being replaced by Jon "Wash" Hays on washboard. Then Andy Leggett left, too. But the "Piggies" weren’t ready to call it a day just yet. Dave Paskett, Richie Gould, Pat Small and Henry Davies, plus guitarists Chris Newman and Robert Greenfield came on board (plus, on occasion, a fine guitarist called Diz Disley who had tasted fame with folkie guitarist and singer Martin Carthy and legendary fiddler Dave Swarbrick).

All these musicians featured on the next album, imaginatively called The Pigsty Hill Light Orchestra, 1976. The music press were very kind. A Melody Maker hack wrote: "The Pigsty Hill Light Orchestra must be one of the most popular acts on the folk scene. Their spontaneous humour and good time songs have held many an audience anchored to the floor in wonder."

Three years later, despite a loyal following and much touring, the "Piggies" decided to throw in the towel. But still it wasn’t the end. In 1988, the band reformed, by request, to play at Trowbridge’s popular Village Pump Festival.

The gang were so well received and had so much fun that they decided to stay together, add Pat Small and singer Hannah Wedlock (Fred’s daughter) to the line-up and go on tour again. Out of it came yet another album, Back On The Road Again. This was in 1991, the year Jim Reynolds and Dave Griffiths joined the band. The following year, Musical History, a compilation album consisting of a selection of tracks taken from 1968 to 1992, was released.

Barry Back, who had been the driving force behind the "Piggies" reunion, sadly died in 1992 and, shortly after, the band decided to pack up for good. Al Read, in his excellent book about the Granary Club, says that the band’s first single on the Village Thing label, Shake That Thing/ Cut Across Shorty, can be bought for 47p.

The Retreads

One of the better bands was the Retreads, and were constantly booked to play most of the big venues, and played together with some of the bigger names of the time, Hollies, Searchers, Gene Vincent etc etc.

Jim Durcan, rhythm guitar, Derek Martin lead guitar and Ron Chappell on bass guitar, John Watson on drums. The band was soon signed up for Germany and spent a couple of years working the clubs there and under the management of the Star Palast owner Manfred Woitala, but returning every so often to play the Bristol scene.

While in Germany Jim had an accident and left the band, returning to his hometown Dursley in Glos, in the lineup at that time was a brilliant German pianist Jerry B, (Barthold Dunker) who made a great hit with the fans when the band once more returned to Bristol and on a longer tour covering the whole of the south of England.

After years in Germany and a few gigs in Sweden the Retreads returned to Bristol where eventually the band broke up. ( late 1966 ) Ron and Derek stayed in England and John Watson decided to go back to Sweden.

The Corvettes by Dark Haloun

I joined the corvettes as lead guitarist after Dave Fahy and Ray Truscott left for richer rewards. Steve Thynne had taken over as singer and rhythm guitarist. Geoff Fothergill played bass and Dave " Bocker" Box was on drums. We played most of the halls round Bristol and the villages within a fifty mile radius. Didn’t do much for my uni studies but it was fun.

Strictly a covers band, but weren’t they all back then. Alan B Williams drove the van and acted as roadie. He was chronically late, and we always told him that we were starting an hour before we really were. Geoff tried to teach me to drive in his Morris Minor, though without much success. When Steve moved on we got Alan Dale in as singer and Mike Morley( I think, memory is not what it used to be) on rhythm guitar. We discovered that Alan could sing a strong falsetto and started to do three part harmonies: Beach boys, Four seasons. It was a point of difference given that there were so many bands doing the same stuff. I was transferred to London and left the band in the mid-sixties.

Kinda lost touch with the guys after that. In 1973 I moved to Perth in Western Australia with my Aussie wife. Played in several bands over the years. For the last four years I’ve played lead in a sequenced trio, still doing the old fifties and sixties stuff. At 75 years of age it gives me an interest and keeps me off the sreets. Sorry I have nether photos nor memorabilia of the band but the memories remain undiminished. Dark Haloun

Anyone out there name any more ?

Email bristolhistory@googlemail.com

Can you Help ?

Does anyone remember the Glen Ballroom, Locarno, Dug Out, The Granary Club, Town’s Talk, Corn Exchange or any 1960s clubs or dance halls in Bristol?

The Glen

I’ve tried to find info & Pictures of it but no luck so far. We used to go ballroom dancing there back in the 60’s. There was a club attached to it but you had to be 18 to get in, they played rock ‘n’Roll their as apposed to the ‘Proper’ dancing in the ballroom.

Does anyone know if any of the Discs a gogo programmes were kept by the old TWW company.I would love to see us doing the Bristol Stomp again!

Anyone have any memories of the Mods & Rockers era and the coffee bars or the local West Coast Hells Angels in Bristol back to a time when British built motorcycles ruled the road ?

As a 51-year old Brisolian stuck in a 1960s timewarp, how many people recall the Monday night sessions between 1966 and 1968 at the then New Bristol Centre in the Locarno ballroom? (sadly now demolished) As I recall, this was THE place in Bristol at the time for 14-18-year-olds, with the entrance fee being 3s 6d for a session from 7pm to 10.30pm.

Records were provided via DJ (anyone recall names?) and there were two bars, The Bali Hai, where if you could stand tiptoe and lower your voice, you might get served with a half of cider by a waitress in a mock grass skirt!

Music was generally Top 30 stuff with a sprinkling of rarer Stax, Atlantic and Motown items which kept the Mods happy, and I am sure many a long-term relationship was started on the dance-floor.

Luckily, prior to demolition I was allowed in, and now am the proud owner of the Bali Hai mock Totem Poles which adorned the entrance to the bar, and also the sign from the Gents Stag Room – my partner thinks I’m crazy!

Chris Powell, Bradley Stoke

Danny Clarke and the Jaguars, Dean Prince and the Dukes, Jonny Slade and the Vikings, Mel Taylor and the Trek a beats, Dee Stars Predictions, A J and the others. The Road Runners.

The Quad. Mark Roman and the Javelins , Franklin big six, The Exiles, Mike Starr and the Citizens. The Blue Sound. The Lincolns, The Travellers The Concords The Ramrods. Dale Martin and the Mysteries. The Retreads The Strange Fruits The Burlington Berties. Venues the Vic rooms Carwadines Cool for cats (Yate) Bath pavilion the Corn Exchange the all nighter and all the church halls.

www.flickr.com/photos/brizzlebornandbred/5165126654/

Mods and Rockers

Email from Chris Powell to me: I was a 17 year old Mod living in St George/ Hanham at the time (1968/9). Most of us rode Lambrettas or Vespas, and The Rockers (or Greasers as we called them) rode old Vincents or Triumphs.

Generally there wasn’t any problems although it did kick off big time in the Summer of 1969 around the Centre- there were running battles for 2 or 3 nights and anyone on either a scooter or motorbike was considered "fair game"

A meeting was arranged on College Green between the Pascoe brothers (Willie and Angellino?) who were the "Ace Faces" in the Bristol Mod movement, and the leaders of the Rockers (names N/K)- there was the customary handshake and peace reigned thereafter. In all honesty, most of the "trouble" was built up by the media, as mainly Mods and Rockers were good friends. Indeed, I still have Lambrettas to this day and occaisionally meet Rockers of that era whilst out and about and chinwag over the good old days!

Main "Mod" places were- The Locarno; The Top Rank; The Never on a Sunday Cafe in Fairfax Street: Aunt Gemimas; Coke and Clobber; Beau Brummels on The Centre; The Weigh Inn (spelling) on College Green.

The Rockers used to hang out at The Starsreach Cafe in Staple Hill.

Posted by brizzle born and bred on 2007-12-08 14:55:08

Tagged: , 1958 , 1962 , 1966 , 1984 , 1963 , pacemakers , wurzels , ambrosia , adge cutler , cook greenaway , al read , nailsea , pye records , banner , dodd , pete budd , wedlock , spanish , beatles , corn exchange , bath pavilion , pigsty hill , eagles , sweet , towns talk , tww , johnny carr , johnny tillotson , kaiser keller club , blue mink , granary club , rock band , sandra mccann , sixties , spain , stevie wonder , del shannon , andy perrott , bristol comets , lulu , dionne warwick , mike tobin , chet triumphs , cadillacs , Merseybeat , Beat Boom , Billy J Kramer and the Dakotas , Johnny Slade and the Vikings , Dean Prince and the Dukes , Chinese Jazz Club , Bristol Corn Exchange , Devon , Somerset , Bristol-Music-&-Arts , Acker-Bilk , The Corvettes by Dark Haloun

The post The Sounds of the Sixties appeared first on Good Info.

[keithdcourtney]

Guitar Pro 7 Review

Guitar Pro 7 is a tab/notation software that aims to handle the entire compose-to-share cycle.

The goal is to help serious musicians notate, practice, arrange, and export guitar tab and scores. And, true to their goal, Arobas Music delivers a powerful piece of software that is not short of bells and whistles.

In addition, Arobas Music provides “MySongBook” – an online catalogue of guitar tabs and scores that can be played in Guitar Pro 7 (or in a free “light” player).

A Quick Feature Breakdown

Read Music Score and Tabs – Tab, Standard Notation, Slash Rythym

Music Score Edition – Customize layout, multitrack scores, notation and effects

Tools for Composing Music – Tools for Chords, Scales, Lyric input, Tuner, and Virtual Instruments

Print and Share Your Files – Formats listed below, also includes a LOCK feature Lock/Unlock a file with a password.

.gpx Guitar Pro Import/Export

.midi MIDI Import/Export

.musicxml MusicXML Import/Export

.pdf PDF Export

.ptb PowerTab/TablEdit Import

.ascii ASCII Import/Export

.audio MP3, WAV, FLAC, Ogg and AIFF Export

.png PNG Export

Languages – Available in English, French, German, Japanese, Portuguese, Russian, Simplified Chinese, Spanish.

Multi-Install – The purchased license gives you the right to install the software on a maximum of 5 computer or operating systems at the same time.

As you can see, Guitar Pro 7 has a lot of horsepower. If you want to write, compose, or arrange written music, it has the tools you need.

Purchasing Guitar Pro 7

Price is $75 for a new license, or $37.50 to upgrade an old license.

You can purchase the software directly here.

They also provide a 30-day trial.

Alternatives

If you’re looking for a simple Tab storage and editing software, you might look at Tabd. Not nearly the same amount of features, but a better fit for casual players who just need a place to save their tabs.

For heavy users, a serious alternative to Guitar Pro 7 is Finale by MakeMusic, a long-standing industry software for writing music. It is not tailored for guitar, but instead is aimed at the entire music industry.

Pros

Guitar Pro 7 has all the features you want. It’s highly unlikely that you will ever say, “too bad it doesn’t do x”.

The MySongBook companion library gives you a ready supply of tabs to learn, experiment with, and test.

The virtual sounds are great, a huge advancement over previous generations midi-sounding score playbacks

Guitar Pro 7 can import and export lots of file types.

They also have special packages available for education folks.

Cons

There’s a learning curve. As with all powerful software, it takes a while to learn how to do even (seemingly) small tasks. As mentioned, Tabd would be a better solution for guitarists unable to invest time in learning a dense piece of software.

iOS and Android apps are an additional charge (iOS – $6.99 and Android – $5.49) with limited functionality in editing and writing. So don’t expect a 100% seamless experience from laptop to handheld.

Final Opinion

Guitar Pro 7 is great. If you want to do some real work.

If you want to write professional looking tabs and sheet music, compose multiple parts, and share music with other serious musicians – than this is an excellent software for you.

If you just want to download and play tabs that other people have written, you should go with Arobas Music’s MySongBook. The local player software is free, and you just pay per tab download.

Finally, if pro quality isn’t an issue, and you just want access to popular tabs (and maybe jot down a few riffs yourself), I would recommend Ultimate Guitar’s site and app, and Tabd.

  The post Guitar Pro 7 Review appeared first on The Guitar Journal.

[insearchofpod]

Guitarist/Lead singer looking for a real RAWK band... (allen park)

Im a downriver classic rock loving hood rat looking for other guys to jam with. I want to be in a rock n roll band that is rebellious and kicks ass in the old school way without being 80s cheese. My gear is simple. I have a 2014 gibson melody maker and a 80s solo series 65 peavey bandit with no pedals. Simple but effective. If you want to rawk email me. I just want to form a real ballsy kick ass rock n roll band. Dangerous, fun and rebellious like a real band is supposed to be. No extreme metal oddball bullshit no one likes, but no fake fake bon jovi bullshit either. Real life lyrics, big time catchy riffs and a kick ass beat. A modern version of acdc, the rolling stones, motorhead, rose tattoo and guns n roses. Im no eddie van halen but i know my keys n chords and my vocals can rip paint off walls. Id like to start off with a few covers and eventually write enough tunes together to skip covers altogether. I need a drummer bassist, and 2nd guitarist. I'll do vocals and rhythm guitar or mix rythym and lead depending on who joins. What you do on your own time idc but at practice or gigs its beer and cigarettes only. If we practice at my house im not going to be responsible for anything illegal.