Back in the late 1940's when B.B.'s career was in its infancy, one of his stops on the road was in Twist, Arkansas. It used to get quite cold in Twist in the evenings, and in order to keep the dance hall warm, kerosene was used for heat. A large barrel was placed in the center of the room and was filled about half way up with the fuel. The kerosene was then lighted to heat the room, a practice which was not uncommon in those days.

One cold night in 1949, two men started fighting and knocked over the barrel of burning kerosene. The burning fuel spilled over the floor like a river of fire. Every one, including B.B., ran out the front door. Once outside, B.B. realized that he left his guitar, a Gibson acoustic, inside the inferno. He went back inside the collapsing building to save his guitar, almost losing his life in the process. The blaze that night claimed two fatalities.

The next morning, B.B. discovered why the two men were fighting the night before. It seems as though they were fighting over a lady, and although he never met the woman, B.B. learned her name was Lucille. B.B. named that guitar Lucille, and also every guitar he has owned since that night, "to remind me never to do a thing like that again." 

 B.B. King has influenced the guitar playing of Eric Clapton, the late Mike Bloomfield, Stevie Ray Vaughn, Albert Collins, Albert King, Jimi Hendrix and many others. He is one of his country's living, national treasures, a humble but proud, spiritual and beautiful human being, 

King of the Blues

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      In 1963 at the age of  8, Stevie began playing the guitar (under brother Jimmie's influence ), and was playing in local teen combos a few years later. Stevie didn't do well in high school, as He would sit at the back of the classroom and doze off due to his playing music all night. As a result, his grades suffered.

      In 1972, Stevie dropped out of high school and moved to Austin Texas to play music full-time. Doyle Bramhall, a songwriting partner of Stevie's and longtime friend, was the first one to tell Stevie that he had potential as a guitar player.

     In the early seventies, Stevie played in a band with Doyle called the Nightcrawlers. During the mid-seventies, Stevie played with a popular Austin band called the Cobras.

      In 1976, Stevie formed a blues-R&B band called Triple Threat Revue, starring himself, Lou Ann Barton, W.C. Clark, Fredde Pharoah & Mike Kindred.

This band evolved into Triple Threat with Stevie, Lou Ann, Chris Layton and Jackie Newhouse. When Lou Ann left in 1980 to go to the Roomful of Blues, Stevie spoke up and renamed the group to Double Trouble. In January 1981, Tommy Shannon replaced Jackie Newhouse on bass.

      On December 20 1979, Stevie married Lenora (Lenny) Baily in between sets of a gig at the Rome Inn in Austin Texas. Sometime later Stevie wrote an awesome instrumental song and titled it "Lenny". 1982 proved to be Stevie's most eventful year. David Bowie saw him at the Montreaux Festival and asked him to play on Bowie's LET'S DANCE album.Also, Jackson Browne gave him studio time at his Studio in Los Angeles. In addition, John Hammond from Epic Records signed Stevie Ray Vaughan & Double Trouble to their label. This was the beginning of Stevie's worldwide touring and international stardom.

      In 1983, TEXAS FLOOD Stevie and Double Trouble's debut album, was released and the band appeared on Austin City Limits for the first time. Meanwhile,the El Mocambo video was recorded in Toronto Canada.

      In 1984,COULDN'T STAND THE WEATHER was released.

      In 1985, SOUL TO SOUL was released. In addition, Stevie played 5 songs and produced Lonnie Mack's comeback album STRIKE LIKE LIGHTNING.

      In 1986, LIVE ALIVE was released. Later that year, Stevie entered rehabilitation to rid himself of his drug problems. He stayed away from people who could supply him with drugs, and rebuilt his relationship with his mother Martha. Stevie remained sober and drug free for the rest of his life.

      In 1987, Stevie appeared in a movie called Back to the Beach as himself. In the movie, he played a duet with Dick Dale and they performed the song "Pipeline". Also in 1987, Stevie filed for a divorce from Lenny.

      In 1988, Stevie performed an acoustical set on MTV. Later that year, his divorce became final with Lenny.

      In 1989, IN STEP was released. Stevie also toured with Jeff Beck, and recorded his 2nd Austin City Limits performance. Both Austin City Limits performances were released some time later on a single video called LIVE FROM AUSTIN TEXAS.

      In 1990, Stevie toured with Joe Cocker, and recorded FAMILY STYLE with his brother Jimmie.

      On August 27 1990 Stevie Ray Vaughan died in a helicopter crash right after leaving a concert he performed with Robert Cray, Eric Clapton, Buddy Guy and his brother Jimmy held at Alpine Valley, Wisconsin.

John and his brother, Tom Fogerty, formed the band in El Cerrito, California in the late 1950s as Tommy Fogerty and the Blue Velvets. The name was changed to The Golliwogs in the mid 1960s, but the band remained unpopular.

The Government tried to draft Fogerty in 1966 but he managed to avoid it by joining an Army reserve unit. He served at Fort Bragg, Fort Knox and Fort Lee.

By 1968, things started to pick up for the band. The band released its first album, the self-titled Creedence Clearwater Revival, and also had their first hit single, "Susie Q". Other hit singles of the band were "Proud Mary", "Fortunate Son", "Up Around The Bend", "Green River", "Down On The Corner", "Travelin' Band", "Lookin' Out My Back Door", "Bad Moon Rising" and "Who'll Stop The Rain."

Upset by John's prominence, in 1971 John's brother, Tom, left the band. John subsequently demanded that Stu Cook and Doug Clifford write and sing one third each of the next album, Mardi Gras. They protested, saying it wouldn't be a CCR album, and that the fans would not understand. John replied, "My voice is a unique instrument and I will not lend it to your songs." He threatened to quit the band immediately if his ultimatum was not met; Mardi Gras turned out to be their last album as Fogerty bought himself out of his contract and officially left the band.

However, his influence was not forgotten with his departure. His guitar playing with CCR would later lead Rolling Stone to name him the 40th greatest guitarist of all time.

 (WHY ONLY THE 40TH?)

UDDRAG AF ARTIKEL FRA

NOVEMBER 2004

John Fogerty startede som bekendt karrieren i det efterhånden legendariske band, Creedence Clearwater Revival, og står bag klassikere som Bad Moon Rising, Proud Mary og Wholl Stop The Rain. I 1972 gik CCR hvert til sit, og i 1975 udsendte Foggerty sit første egentlige soloalbum, hvis man ser bort fra cover-albummet the Blue Ridge Rangers. Herefter blev der stille om Fogerty i hele 9 år.

I 1984 dukkede han kort op igen, først med det anmelderroste album Centerfield, og to år efter med det knap så vellykkede Eye of the Zombie. Og så var der tilsyneladende igen behov for en pause, for de næste 11 år, kom der ikke mange toner fra Fogerty. Der skulle stå 1997 i kalenderen før sangeren igen lod høre fra sig med Blue Moon Swamp. Året efter kom Premonition, og i september i år kom så 'Deja Vu All Over Again'.

I år har Fogerty turneret med blandt andre Bruce Springsteen og R.E.M. til de såkaldte 'Vote for Change' koncerter til støtte for den amerikanske præsidentkandidat John Kerry. Nu er valget overstået, og Fogerty er klar til at indtage Europa med sit nye materiale.

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Creedence Clearwater Revival fik sit helt store gennembrud i 1969 med hits, ´´Proud Mary & Born on the Bayou´´ begge skrevet af John Fogerty. Gruppen blev lynhurtigt det mest populære rockband i USA, og i slutningen af 60´erne,fulgte flere hits, bla, Bad moon rising, Green river, Fortunate son, Down on the corner, Travelin´ band, Up around the bend, Looking out my backdoor.

Med albummet Cosmo´s Factory, nåede gruppen sit kunstneriske højdepunkt. Det var John Fogerty der skrev sangene, men de øvrige medlemmer syntes efterhånden at han dominerede gruppen alt for meget. I 1971 forlod Tom Fogerty  gruppen efter en række skænderier med lillebror John. De resterende medlemmer fortsatte som trio men uenigheden gik dybt.

Ved indspilningerne af album nummer 7 ´Mardi gras´´ bøjede John Fogerty sig for Stu Cook & Doug Clifford og lod dem skrive nogle sange. Dette var et uheldigt træk, eftersom det resulterede i gruppens absolut dårligste album. Derefter meddelte John Fogerty dem, at løbet var kørt. 1 Oktober 1972 blev gruppen opløst.

Med Creedence Clearwater Revival skabte John Fogerty en unik fusion af rockabilly, rhythm´n´blues og cajun. Han skrev nogle meget enkelte og iørefaldene sange baseret på simple og effektive guitarriffs. En lang række af de bedste numre regnes for rockklassikere. På knap fire år nåede Creedence Clearwater Revival at sætte så kraftige musikalske fodspor, at de stadig kan ses her mange år senere.

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ALBERT KING 

A Mississippi Musician

Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does — his style has influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does — he's had his own style and unique tone from the beginning.

Albert King plays guitar left-handed, without re-stringing the guitar from the right-handed setup; this "upside-down" playing accounts for his difference in tone, since he pulls down on the same strings that most players push up on when bending the blues notes. King's massive tone and totally unique way of squeezing bends out of a guitar string has had a major impact. Many young white guitarists — especially rock & rollers — have been influenced by King's playing, and many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he's one of the most important blues guitarists to ever pick up the electric guitar.

Born in Indianola, MS, but raised in Forrest City, AR, Albert King (born Albert Nelson) taught himself how to play guitar when he was a child, building his own instrument out of a cigar box. At first, he played with gospel groups — most notably the Harmony Kings — but after hearing Blind Lemon Jefferson, Lonnie Johnson, and several other blues musicians, he solely played the blues. In 1950, he met MC Reeder, who owned the T-99 nightclub in Osceola, AR. King moved to Osceola shortly afterward, joining the T-99's house band, the In the Groove Boys. The band played several local Arkansas gigs besides the T-99, including several shows for a local radio station.

After enjoying success in the Arkansas area, King moved to Gary, IN, in 1953, where he joined a band that also featured Jimmy Reed and John Brim. Both Reed and Brim were guitarists, which forced King to play drums in the group. At this time, he adopted the name Albert King, which he assumed after B.B. King's "Three O'Clock Blues" became a huge hit. Albert met Willie Dixon shortly after moving to Gary, and the bassist/songwriter helped the guitarist set up an audition at Parrot Records. King passed the audition and cut his first session late in 1953. Five songs were recorded during the session and only one single, "Be on Your Merry Way" / "Bad Luck Blues," was released; the other tracks appeared on various compilations over the next four decades. Although it sold respectably, the single didn't gather enough attention to earn him another session with Parrot. In early 1954, King returned to Osceola and re-joined theIn the Groove Boys; he stayed in Arkansas for the next two years.

In 1956, Albert moved to St. Louis, where he initially sat in with local bands. By the fall of 1956, King was headlining several clubs in the area. King continued to play the St. Louis circuit, honing his style. During these years, he began playing his signature Gibson Flying V, which he named Lucy. By 1958, Albert was quite popular in St. Louis, which led to a contract with the fledgling Bobbin Records in the summer of 1959. On his first Bobbin recordings, King recorded with a pianist and a small horn section, which made the music sound closer to jump blues than Delta or Chicago blues. Nevertheless, his guitar was taking a center stage and it was clear that he had developed a unique, forceful sound. King's records for Bobbin sold well in the St. Louis area, enough so that King Records leased the "Don't Throw Your Love on Me So Strong" single from the smaller label. When the single was released nationally late in 1961, it became a hit, reaching number 14 on the R&B charts. King Records continued to lease more material from Bobbin — including a full album, Big Blues, which was released in 1963 — but nothing else approached the initial success of "Don't Throw Your Love on Me So Strong." Bobbin also leased material to Chess, which appeared in the late '60s.

Albert King left Bobbin in late 1962 and recorded one session for King Records in the spring of 1963, which were much more pop-oriented than his previous work; the singles issued from the session failed to sell. Within a year, he cut four songs for the local St. Louis independent label Coun-Tree, which was run by a jazz singer named Leo Gooden. Though these singles didn't appear in many cities — St. Louis, Chicago, and Kansas City were the only three to register sales — they foreshadowed his coming work with Stax Records. Furthermore, they were very popular within St. Louis, so much so that Gooden resented King's success and pushed him off the label.

Following his stint at Coun-Tree, Albert King signed with Stax Records in 1966. Albert's records for Stax would bring him stardom, both within blues and rock circles. All of his '60s Stax sides were recorded with the label's house band, Booker T. & the MG's, which gave his blues a sleek, soulful sound. That soul underpinning gave King crossover appeal, as evidenced by his R&B chart hits — "Laundromat Blues" (1966) and "Cross Cut Saw" (1967) both went Top 40, while "Born Under a Bad Sign" (1967) charted in the Top 50. Furthermore, King's style was appropriated by several rock & roll players, most notably Jimi Hendrix and Eric Clapton, who copied Albert's "Personal Manager" guitar solo on the Cream song, "Strange Brew." Albert King's first album for Stax, 1967's Born Under a Bad Sign, was a collection of his singles for the label and became one of the most popular and influential blues albums of the late '60s. Beginning in 1968, Albert King was playing not only to blues audiences, but also to crowds of young rock & rollers. He frequently played at the Fillmore West in San Francisco and he even recorded an album, Live Wire/Blues Power, at the hall in the summer of 1968.

Early in 1969, King recorded Years Gone By, his first true studio album. Later that year, he recorded a tribute album to Elvis Presley (Blues for Elvis: Albert King Does the King's Things) and a jam session with Steve Cropper and Pops Staples (Jammed Together), in addition to performing a concert with the St. Louis Symphony Orchestra. For the next few years, Albert toured America and Europe, returning to the studio in 1971, to record the Lovejoy album. In 1972, he recorded I'll Play the Blues for You, which featured accompaniment from the Bar-Kays, the Memphis Horns, and the Movement. The album was rooted in the blues, but featured distinctively modern soul and funk overtones.

By the mid-'70s, Stax was suffering major financial problems, so King left the label for Utopia, a small subsidiary of RCA Records. Albert released two albums on Utopia, which featured some concessions to the constraints of commercial soul productions. Although he had a few hits at Utopia, his time there was essentially a transitional period, where he discovered that it was better to follow a straight blues direction and abandon contemporary soul crossovers. King's subtle shift in style was evident on his first albums for Tomato Records, the label he signed with in 1978. Albert stayed at Tomato for several years, switching to Fantasy in 1983, releasing two albums for the label.

In the mid-'80s, Albert King announced his retirement, but it was short-lived — Albert continued to regularly play concerts and festivals throughout America and Europe for the rest of the decade. King continued to perform until his sudden death in 1992, when he suffered a fatal heart attack on December 21. The loss to the blues was a major one — although many guitarists have tried, no one can replace King's distinctive, trailblazing style. Albert King is a tough act to follow.

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FROM FOR EXAMPLE

"BOSTON" AND "RTZ": 

BARRY GOUDREAU

(TELLS HIS OWN STORY:)

I remember having a keen interest in music from an early age, standing in the back seat of my mother's car, jumping up and down to the sounds of Elvis and Roy Orbison. This was pre-seat belts of course! I decided I wanted to play guitar and asked my parents to buy me one. They felt it was just a phase I was going through and refused. By the time I was eleven years old, they had given in and borrowed and acoustic guitar from a friend and let me take lessons. As the song goes, I played it ‘till my fingers bled, and they realized I was serious, and had the drive to continue. They bought me my first guitar, a white '62 Fender Stratocaster. Boy, I wish I still had that one! The first time I played guitar in front of and audience was at a church affair. I played “Jingle Bell Rock”.

At age 13, I joined my first band. We called ourselves the “Tornadoes”. My father brought us around to our gigs in a VW bus with our name on the side. We had arrived!

At age 15 I joined band with Sib Hashian on drums, Johnny V, the other guitar player, seemed to know every song there was. He would often call out a key and a song title, count it off, and off we would go. It was a real learning experience. We would sometimes play in a nightclub 7 days a week, 7 sets a night. The go-go dancers were very friendly though. Sib and I are still playing together to this day, although the venues have changed.

It was around this time that I met Fran Sheehan and Brad Delp. Fran's house was the place musicians went to and jam. We had some great times there, refining our chops until the wee hours. I'm sure the neighbors didn't appreciate it as much as we did. I met Brad when I auditioned for his band. The guitar player had decided to leave and brought me there as his replacement. Brad sang Led Zepplins' “Communication Breakdown”. I had never heard anybody sing like that before, I will never forget it. Unfortunately, I did not get the gig.

When I started college I tried to put music aside to concentrate on my studies in Geology. That didn't last long though and soon I had a band with an old high school friend. I was at Boston University and he was across the river at MIT. We practiced in the basement of his fraternity house and played their parties. This was the real “Animal House”! We decided to add a keyboard player, and I put an ad in the Boston Phoenix. Tom Scholz answered the ad. He had just graduated from MIT with a master's degree in 5 years and was looking to do something musical outside the corporate world he had entered.

Although Tom joined as the keyboard player, he was picking up guitar quickly and was starting to write songs. The first song he wrote that we played was a piece that would become “Foreplay”. We soon were looking to record and since Tom had a “real” job, he began to finance it. The first song we recorded in the studio was “San Francisco Day” which would later become “Hitch A Ride” on the first Boston record. To defray the costs of recording Tom began to put together his own studio. We worked with a couple of different singers through this time, with mixed results. I remembered having auditioned for Brad, and arranged to have him meet Tom and me at a club on Revere Beach for an afternoon jam session. The first song we ever played together was the Alman Brothers song “Whipping Post” with me on guitar and Tom on the Hammond organ and Brad singing. It was magical!

Eventually we put together a demo tape, and brought it to New York to shop for a record contract. I remember sitting in waiting rooms, not able to get past the receptionist. I think it was these several years of constant rejection that drove Tom to continue to refine the songs and recordings to a point where they could no longer be denied. The fact that both of our original managers were radio promotion guys certainly helped. They had radio convinced it was a hit, before anyone had ever heard it! Of course it didn't hurt that the songs and recordings were everything they promised.

We were signed to Epic Records in 1975. The first album was released in August 1976. We had hopes that the record would sell 200 thousand copied, because that was what we felt we had to sell in order to do another record. When the record sold that many in the first few weeks, we knew we had arrived.

We began to do shows that were booked before the record had come out. They were mostly in night clubs. There was such a buzz about the band and the record, that the lines often circled for blocks. It was really trial by fire. We didn't have the equipment we needed, or the personnel to run it. We hired people on the spot to fill out our road crew. Early on we even set up our own gear. That would soon change as we quickly went from playing in nightclubs to opening in arenas, to headlining arenas, all in the course of 6 months. The pressure was enormous on us, but our first tour was everything a rock player could ever ask for.

After the second tour ended in Europe in the fall of 1979, Tom had a group meeting and told us he was taking a year off, and suggested that if we wanted to do another project, solo record or whatever, now was the time.

Although I hadn't really thought too much about it before, I decided to try a solo record. I began to write some songs with Brad. The ideas came quickly and soon we had several songs. We brought them to Tom to see what he thought. To my surprise he asked to produce the record. I had hoped he would say he had an interest in using the songs for a Boston record. Brad and I felt that the record label would not allow Tom to produce a solo record when they were waiting for another Boston record. We continued writing. It was at this time I met Fran Cosmo through a crew member. He contributed several songs and lead vocals to the record. It was the beginning of a long relationship. The record was done in 6 months and released in 9 months. I felt I still had enough time to promote it and still be in the year long time frame. When the album was released the label ran an ad campaign that said “millions of people have heard his guitar, we would like to introduce you to its owner”. Tom felt as though they were promoting me as the “force” behind Boston and was furious. I suppose the fact that both Sib and Brad appeared on it , made Boston comparisons inevitable.Looking back with 20/20 hindsight,I probably would have handled things differently. The album was pulled, and Tom and my relationship suffered.

In January 1980 Tom called a group meeting and asked me to leave the band. I felt as though I had no support in the band and I needed to leave. The band thought I wanted out. In recent months Tom Scholz and I have been in touch again after more than 20 years. I think the most difficult part for me has been realizing that if I had taken the time to cool off and gotten back in touch, things might have turned out differently.

In 1985 Fran Cosmo and I hitched up again and began Orion the Hunter.We enlisted Bruce Smith, a bass player that Fran had been working with, along with former Heart drummer Michael DeRosier. I had met Michael on the road at one of the many shows we did with Heart. Keyboardist Brian Maes rounded out the band when it was time to tour. We recorded a record for CBS, toured opening for Aerosmith on their Back in the saddle tour, and had a video on MTV. The band didn't have the success we had expected and when it came time to follow up with a new record, the band folded. It was back to the drawing board again.

Brad and I had stayed in touch through this time and had continued writing songs. He was my brother-in-law after all!

I had worked with a couple other singers during this time, but it was Brad I really wanted to work with. In 1990 Brad left Boston to record and tour with our new band, RTZ. Brian Maes joined as keyboardist, and he introduced me to drummer David Stefanelli and former New Man bassist Tim Archibald. In an ironic twist, Tom replaced Brad in Boston with singer Fran Cosmo. RTZ released a record on Warner Brothers and toured extensively. When it came time to follow up the first record, which hadn't achieved the success we had hoped for, and without a record label, spirits sagged and Brad left to return to Boston . The grunge era had bitten us in the ass. The demo recordings from before the release of RTZ and the demos for the follow up cd are available on the site. (Lost / Found)

In recent years I‘ve produced two CDs with singer/guitarist Lisa Guyer and have done some shows with her to promote them. She's a talented artist I hope breaks through soon. I also sit in with bluesman James Montgomery from time to time as well as being a member of Ernie and the Automatics with Sib Hashian, Tim Archibald and “car guy” Ernie Boch, Jr. As you can see by looking at the website, Brad and I maintained a good relationship and have recently done another record. The Delp/Goudreau cd is available on the site.

My best,

BARRY

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 Gary Moore Biography 2006
 
Gary Moore is acknowledged as one of the finest musicians that the British Isles has ever produced. In a career that dates back to the 1960s, there are few musical genres that he has not turned his adroit musical hand to, and has graced the line-ups ever several notable rock bands, Thin Lizzy, Colosseum II and Skid Row to name but three.

Gary was born in Belfast, Northern Ireland, on April 4th
1952. Like many others, he was turned on to rock and roll first through hearing Elvis Presley, and then via The Beatles. Seeing the likes of Jimi Hendrix and John Mayall's Bluesbreakers in his hometown in the mid-60s opened up to him the rich world of The Blues. Hearing the art of the Blues guitar performed by such lauded exponents as Peter Green fired Moore's nascent talent, and it wasn't long before he was being hailed as a teen musical prodigy. Indeed, it was Green himself who helped foster Moore's career, a debt that was repaid handsomely when Gary cut his warm and heartfelt tribute to his mentor, the 'Blues For Greeny' album, released in 1995.
 
         Gary's first band of note, the power trio Skid Row, secured a record deal with the CBS label in 1970. By this time, Gary had moved to Dublin, and befriended Phil Lynott, who filled the vocal role with Skid Row until shortly before the CBS deal was signed. Gary cut three albums with the band, and toured the USA supporting The Allman Brothers Band, and Mountain amongst others, before he split Skid Row to embark on a solo career. This proved short-lived, as Gary was soon to reunite with Phil Lynott as replacement for Eric Bell in the Thin Lizzy line-up. Although he was in the band for a relatively brief tenure, he would rejoin their ranks following the departure of Brian Robertson in 1977, and again, finally, for the 'Black Rose' tour in 1978.

In 1979, Gary's solo career began in earnest with the evocative hit single, 'Parisienne Walkways', which pitched Gary's tasteful, blues-soaked lead guitar with a moody Phil Lynott guest vocal. The single reached the UK Top Ten in April of that year, and the subsequent album, 'Back On The Streets' was similarly well received. The late 1970s and early 80s were characterised by Gary's restless search for the best musical settings for his talents; a reunion with Phil Lynott produced the powerful 'Out In The Fields' hit single (1985). He explored his Celtic roots on the album 'Wild Frontier' (1987), but it was with the 1990 album, 'Still Got The Blues', that Gary arrived at a rich musical vein within which his creativity could flow freely. This and its successor, 'After Hours' saw cameo appearances from the likes of such Blues guitar greats as Albert King, BB King, and Albert Collins, and it is a testament to Gary's own remarkable talents that he more than held his own amongst such august company. In 1994, Gary worked alongside Ginger Baker and Jack Bruce in the band BBM, cutting one accomplished album, before resuming his solo career.

The, 'Back To The Blues' (2001) album saw this consummately talented musician revisit The Blues with renewed vigor and determination, after the more experimental 'Dark Days in Paradise' (1997) and 'A Different Beat' (1999) albums. A ten-track collection that mixes excellent Moore originals with gritty and intense covers of standards such as 'Stormy Monday', 'You Upset Me Baby' and 'I Ain't Got You', the album is nothing less than a resounding return to form. Gary effortlessly mixes and matches contrasting styles within the idiom whilst displaying awesome feel for the music and dazzling technique. 'Back To The Blues' swings and rocks, and shows Gary Moore to be a True Keeper of the Blues Flame. 

         
         But, in the tradition of keeping his fans and critics guessing, 2002 saw Gary Moore crashing back onto the music scene with what has to be his heaviest collection of songs to date, once again forcing people to reassess any opinions and preconceptions they may have of him. That time round though, Moore had decided to share the limelight, joining forces with ex-Skunk Anansie bassist Cass Lewis and Primal Scream drummer Darrin Mooney to form "Scars", a true power trio in every respect. The "Scars" album was completed in early 2002 and that line-up, then went on to record the "Live at the Monsters of Rock" 2003 live CD and DVD, which featured the band's set as performed on two separate nights on the UK Tour of the same name in May 2003. That live set encompassed a diverse range of material, from across Gary's playing career. 

  

Following 1970’s

Following his second departure from Deep Purple, Blackmore reformed Rainbow in 1994, recording and touring with them throughout 1995, 1996 and 1997. In ’96 he began moving in a new direction, without Rainbow. Teaming up with vocalist and lyricist Candice Night, they released the acoustic Renaissance album Shadow of the Moon as Blackmore’s Night, and followed it up in 1999 with Under a Violet Moon and 2001’s Fires at Midnight. Taking a decidedly different turn from the usual rock tour, Blackmore’s Night has instead undertaken "castle tours" of Europe, in which they play special evenings in medieval and Renaissance castles, as well as fairs and smaller venues.

1975 - In April, RITCHIE BLACKMORE would depart Deep Purple to form a new band, RAINBOW. He teams up with the core of the American band Elf, which contains Ronnie James Dio on vocals (who along with BLACKMORE, would become one of the main songwriters), Mickey Lee Soule on keyboards, Craig Gruber on bass, and Gary Driscoll on drums. Prior to this formation, BLACKMORE recorded "Black Sheep Of The Family" with Elf (on Purple Records) which had toured as the support band for Deep Purple. In May, the band would record Ritchie Blackmore's Rainbow at Musicland Studios in Munich, Germany. As the album escalates up the charts (reaching #30 in U.S.), Soule, Gruber, and Driscoll would depart the band, and BLACKMORE would recruit ex-Hariot bassist Jimmy Bain, ex-Blessings keyboardist Tony Carey, and ex-Jeff Beck Group drummer Cozy Powell.

ANMELDELSE PÅ puls.no EFTER TOTO-KONCERTEN I OSLO

4. MARTS 2006:

Solid håndverk fra Toto

Toto er ett av de få bandene som har svært så dedikerte fans. Toto selv kaller de venner, og i Oslo Spektrum lørdag kveld var 5.000 av Steve Lukathers kompiser møtt opp for å få to timer av rått samspill fra et band med en imponerende backkatalog. Slikt blir det fest av.

Deres ferskeste album bærer navnet Falling In Between, et album som viser Toto med alle sine styrker. Fremragende individuelle prestasjoner, tidvis progressive elementer samt lageret fullt av fengende refrenger, tøffe gitarriff og smekre detaljer. Mange hevder at Toto har lyktes 100% for første gang siden The Seventh One med dette albumet.

STEVE LUKATHER & BOBBY KIMBALL

 FYENS STIFTSTIDENDE 8. MARTS 2006:

De musikalske kraftkarle

KONCERT: Toto narrede os næsten - de seks Toto-gutter havde spillet ekstranumre og var, stående på scenekanten med armene om hinanden, blevet hyldet af publikum.

Så var de gået, og lyset på scenen var slukket.

Nede bagved var nogle af tilhørerne på vej ud for at hente deres jakker. Andre stod og kiggede lidt forvirret på hinanden. En fyr skrålede: "Her går vi rundt i vores egen lille verden...".

Og selv om det var den helt forkerte Afrikasang, var meningen god nok. Hvad var der blevet af monsterhittet "Africa"?

Og de trak den længe, gjorde Toto. Men så pludselig, fra den mørke scene, lød Simon Phillips' karakteristiske jungletrommer, og salen eksploderede i jubel og fællessang. Således blev aftenens sidste nummer også Toto-festens absolutte toppunkt, men det var på en aften, hvor niveauet var højt, og toppene lå tæt.

Toto kørte som et velsmurt tog fra første nummer. I løbet af mere end to timer pløjede bandet sig igennem godt 20 numre med en forbilledlig energi og et stort nærvær, der smittede af på publikum som skrålede, klappede og dansede med.

Mod slutningen af koncerten virkede det dog, som om publikum kørte lidt træt. Måske var det de teknisk meget overlegne, men kilometerlange soloer, der gjorde det, måske var det bare gennemsnitsalderen, som lå et pænt stykke over de 30, der trykkede.

Toto spillede en del nyere numre, blandt andet fra det nyeste album "Falling In Between", men heldigvis blev der også plads til gamle klassikere som "Rosanna" og "Hold The Line", som fik nostalgien til at drive tykt ned ad væggene i Lillebæltshallen.

Især Greg Philliganes på keyboard og Simon Phillips på trommer leverede musikalske kraftpræstationer, der fik gulvet til at ryste og salen til at koge.

Bedst var dog energibomben Steve Lukather, der gang på gang vred næsten ufattelige

lyde ud af guitaren, og samtidig havde overskud til, med et skævt gavtyvesmil og en smittende

energi, at holde en tæt kontakt til salen.

Al respekt til Toto-fyrene, der, på trods af et stramt program med 200 koncerter

om året, alligevel er i stand til at skabe en overdådig fest og få publikum helt med på den.

At Toto-fyrene efterhånden er lidt oppe i årene, kunne ikke mærkes på koncerten mandag aften. Her er det Bobby Kimball, der trykker den af ved mikrofonen, og i baggrunden til højre står guitarist Steve Lukather, der leverede aftenens bedste musikalske præstation.

MIT INDLÆG PÅ FYENS STIFTSTIDENDES HJEMMESIDE:

 LÆS EN MASSE OM STEVE LUKATHER LÆNGERE NEDE PÅ SIDEN! 

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BAD LUCK FOR ALLE FANS:

FRA stevelukather.net JUNI 2008

The end of Toto

Friday 06 June 2008 10:54 by Arend

In several interviews and blogs Lukather made some (little) allusions to the end of Toto. The die heart fans got the message, BUT a lot of people didn’t got the clue and wouldn’t believe that Toto is over before they read it loud and clear from Steve Lukather himself. Here's Luke's announcement about the end of the Toto era.

Steve Lukather: "I would like to make a formal annoucement as I have been barraged by e-mails and speculations on various websites.

The fact is yes I have left Toto. There is no more Toto. I told the guys before the last leg of our tour.
We had some differences in how business was being done. The other fact is that I have been the only guy who was at the first rehearsal till the last gig a month or so ago. When Jeff died part of us all died with him. We pursued it and had some great times. Simon was a champ replacing Jeff at a most difficult time. Bobby was out of the band for 16 years and then came back and you know the other singer stories. Other than Bobby, Joe was the only guy that really fit with us cause he was a high school buddy as well. No offence to Bobby at all.
 
When Dave retired that was REAL hard for me cause we started the band together. Hell its 35 years if you count High School where the core all met. When Mike fell ill and had to leave that was it for me. If there isnt a Paich or at least one Porcaro how can we even call it Toto? It was bittersweet cause I finally got to tour with my dear friend and musical legend Leland Sklar whom I have known since I was 19 years old. We had some laughs and great times
Honestly I have just had enough. This is NOT a break. It is over. I really cant go out and play Hold the Line with a straight face anymore. I was 19 when we cut the record. I am 50 now.

I have only the deepest respect for the guys that have been in and out of this band over the years. We had a great run and I owe an awful lot to the experience and the success we had. We hung in there hard despite being the most hated band in the world by most so called "rock critics". We took the punches and kept going. Our old label President Donnie Ienner ruined us in the USA by not releasing our records and not letting us out of our contract for over 10 YEARS! And that really set us back. Why? You have to ask the man himself cause we never knew why. He just didnt like our music or us personally I guess. We will never know.

The USA turned there backs on us and it was very hard for me to keep smiling thru it all. It just sort of festered inside me and I was hurting myself in the process and eventually I had to be honest with myself and I was not happy at all. The guys in the current line-up could not be more different individuals and the only real thing we had in common was music. This was NOT the high school band of brothers that we started in the 70's. We had a magic thing and the same sense of humour and the same views on life. Somehow that was lost. Its not the new guys fault. It is what it is.
 
I just cant do it anymore and at 50 years old I wanted to start over and give it one last try on my own. As the only original member that had NEVER ever left or missed even ONE gig or recording I figured I might as well do it myself now while I can still get out and do it and have a new record that just came out and a new band that is unreal and a tour booked that will take me thru the end of summer 2009 and beyond. The title of my record says it all. Ever Changing Times.

Today I confered with my soul brother and founding member David Paich on this matter. He wrote me back and he said "We are FREE"! I laughed out loud. I dont think he thought this was Toto anymore either.
There are no bad feelings from me to the other guys at all. I wish them only the very very best and all the good things in life and I am sure we will run into each other here or there and it will be hugs and all, hope so anyway.
So, there you have it. I hope you will come out to one of my shows and thank you for 31 years of friendship."

Addition June 8th 2008

Steve Lukather: "Hey guys,
Well It seems I started a fire storm. That was never my intent. It was really to explain myself. My comment about Hold the Line was a bit harsh and it reads more serious than I meant it. I was a tongue in cheek statement. ALL those songs have been VERY VERY good to me and the guys. I am sorry if I sounded like an asshole. I would like to retract that statement. I am a bit BURNT on it but they have become somewhat classic so who am I to say such stupid things. I am sorry. YOU guys have made Toto and aslo been there for me as well. I hope that doesnt change.

I also have nothing but the deepest respect for all the guys. I did not want to make it seem otherwise. This was a personal decision that I needed to make and they all knew it before the last tour anyway.

I want to thank everyone for the well wishes and understanding. This is NOT a hateful move at all. It has been a long time coming for me and those around me. Paich and the Porcaro's knew and totally understood and I asked them before I posted. I was just getting alot of e mail about all of it due to my comments so I wanted to post my feelings. You might get other opinions from other people but speculation on WHY I left is ridiculous unless you know me or someone in the band and even then one mans truth is not another mans truth alot of the time.
Sometimes one just has to move on.

I hope to see some of you at one of my shows and hope we can still be friends. I know some of you may be upset with me. I guess I cant help that Anyone who REALLY knows me knows where I am at.
I am sorry if I have upset anyone. The music will live on. I am very proud of what we have done over ALL the years and I am sorry if I made it sound like I wasnt.
Have a great day,
Luke."

  _______________________________________________________________

STEVE LUKATHER & LARRY CARLTON

SAMMEN OG HVER FOR SIG

Oprindeligt mødtes Steve Lukather (LUKE), Bobby Kimball, Steve Porcaro, David Hungate, Jeff Porcaro og David Paich hinanden i high school. I 1976 dannede de Toto, der ved at forene tidens discopop og rockmusik opnåede den ene plade succes efter den anden. Bandet modtog i begyndelsen af 1980’erne en hær af priser for hvad der senere er blevet en af rockens klassikere: albummet ”Toto IV”.

TOTO producerer stadig den karakteristiske rocklyd der har kendetegnet dem igennem deres lange karriere og som har resulteret i et albumsalg på over 25 millioner eksemplarer!

 Steve Lukather, word class guitar player, singer and songwriter. Born in 1957 in Los Angeles, Steve Lukather has been a force in the music industry for twenty-two years. Luke, as his friends call him, began playing the six string at the young age of seven. Within two years, he was handling blues scales and Clapton and Hendrix solos well enough to play with others twice his age. By the age of eleven, Lukather was already earning money with his talent, performing on the party circuit around L.A. It was in the halls of Grant High School that Steve met the musicians that eventually led to the formation of Toto, which have sold an estimated 20 million copies worldwide. Outside of Toto, Steve Lukather has added his trademark licks to countless recordings from a diverse musical spectrum.

"I have been very fortunate to work with just about all the heroes that I've ever had, in a live setting or in a recording studio. I've worked with Eric Clapton, Jeff Beck, Elton John, George Harrison, Paul McCartney, Don Henley etc.."

 _______________________________________________________________________________

LARRY CARLTON

Larry Carlton began taking guitar lessons when he was six. His first professional gig was at a supper club in 1962. After hearing Joe Pass on the radio, he was inspired to play jazz and blues. Wes Montgomery and Barney Kessel became important influences soon after he discovered the jazz guitar stylings of Pass. B.B. King and other blues guitarists had an impact on Carlton's style as well. He honed his guitar-playing skills in the clubs and studios of greater Los Angeles. He attended a local junior college and Long Beach State College for a year until the Vietnam War ended. Carlton toured with the Fifth Dimension in 1968 and began doing studio sessions in 1970. His early session work included studio dates with pop musicians like Vicki Carr, Andy Williams and the Partridge Family. In 1971, he was asked to join the Crusaders shortly after they'd decided to drop the word "Jazz'' from their name, and he remained with the group until 1976. In between tours with the Crusaders, he also did studio session work for hundreds of recordings in every genre. But it was while he with the Crusaders that he developed the highly rhythmic, often bluesy style he has now. His credits include performing on more than 100 gold albums. His theme music credits for TV and films include Against All Odds, Who's the Boss, and the theme for Hill Street Blues. The latter won a Grammy award in 1981 for Best Pop Instrumental Performance.

Carlton delivered his self-titled debut for Warner Bros. in 1978, shortly after he was recognized for his ground-breaking guitar playing on Steely Dan's Royal Scam album. (Carlton contributed the memorable guitar solo on "Kid Charlemagne.'') He released four more albums for Warner Bros., Strikes Twice (1980), Sleepwalk (1981), Eight Times Up (1982), and the Grammy-nominated Friends (1983), before being dropped from the label.

He continued studio session work and touring in between, emerging again in 1986 on MCA Records with an all-acoustic album, Discovery, which contained an instrumental remake of Michael McDonald's hit, "Minute by Minute." The single won a Grammy Award for Best Pop Instrumental Performance in 1987. Carlton's live album, Last Nite, released in 1987, got him a Grammy nomination for Best Jazz Instrumental Performance.

While working on his next album for MCA, On Solid Ground, Carlton was the victim of random gun violence, and was shot in the throat by gun-wielding juveniles outside Room 335, his private studio near Burbank, California. The bullet shattered his vocal cord and caused significant nerve trauma, but through intensive therapy and a positive frame of mind, Carlton completed work on On Solid Ground in 1989. Carlton formed Helping Innnocent People (HIP), a non-profit group to aid victims of random gun violence.

Carlton's most recent albums include two releases in 1996 for GRP Records, Gift and With a Little Help from My Friends. His other recordings include 1990's Collection and 1992's Kid Gloves for the same label, Playing/Singing (1995, Edsel), and Renegade Gentleman, a 1993 release for GRP. 

LARRY & LUKE WIN THE GRAMMY!

http://www.bandboston.com/

TOM SCHOLTZ

FRA

 

 

Scholtz graduated from Ottawa Hills High School in Toledo, Ohio, in 1965, where he went on to maintain a 4.8 GPA out of 5.0 at MIT. Being 6' 5" he was known to be a skilled basketball player rather than a killer guitarist. Tom graduated MIT with a Masters Degree in Mechanical Engineering and went on to become Senior Product Designer for Polaroid.

His strong interest in classical music, coupled with innate talents in the physical sciences and mathematics, resulted in his creating a rock-n-roll sound that was technically and artistically unlike anything anyone had ever heard. He finally got a record contract with Epic in 1976, and the Boston debut album sold over 16 million copies, making it the biggest selling debut album in history (sixth biggest selling overall!). Every Boston album has been certified platinum.

Tom is the main creative force, producer, and engineer on all the Boston albums, and he plays lead and rhythm guitars (acoustic and electric), bass, piano, Hammond organ, and percussion. In 1980 Tom started his own firm to design and manufacture signal-processing devices for musical instruments. This company, Scholtz Research & Development, first created the Rockman line of products to help achieve that trademark Boston guitar sound (which had previously required extensive vintage tube circuits) using solid-state electronics.

The first device Tom manufactured was the Power Soak. This device, a little box that allows your amp to achieve great sound at low volumes, quickly became a hit among big-time guitarists. In 1982, Scholtz Research & Development released the Rockman headphone amp, a small gadget the size of a peanut butter sandwich, which has a sound as big as a wall of amplifiers (and won't wake the neighbors!).

 

 

Since then, Scholtz Research & Development has manufactured an extensive line of analog signal processors for guitar. Ultimately, the Rockman products revolutionized the way guitars were to sound and were to be recorded; Rockmans can now be heard on hundreds of commercial albums and hit records. Over the years, Tom has received some two-dozen electronic, mechanical, and electro-mechanical design patents. Tom sold the Rockman line to Dunlop Manufacturing in 1995, and subsequently closed Scholtz Research & Development.

 

 

 

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FRA FANTASTISKE  "EAGLES":

GLENN FREY

Frey eventually decided, however, that Detroit wasn't the place for him to launch a serious career in rock music and headed west to California. He was fortunate enough to make contact with John David Souther, a fellow Detroit transplant who was already a promising practitioner of what would soon be known as country-rock. He was dating Frey's girlfriend's sister, and he soon showed Frey how to play and sing country music, which was increasingly making itself felt in the rock music coming out of the Golden State. The two tried composing as a team, even landing a publishing contract that helped keep them going during those lean late-'60s years, splitting 90 dollars a week between them -- the publishing deal fell apart through their inability to write the kind of commercial material that was being sought, but in the course of writing together, they also developed a coherent sound that soon became very attractive, and something they could build on. Thus was born Longbranch Pennywhistle, a country-rock group whose timing was a little premature on a commercial level but not too soon to be signed to Amos Records, a small Los Angeles-based label. The group's self-titled album, which included Doug Kershaw, as well as Ry Cooder and the renowned L.A. sessionmen James Burton on guitar, Larry Knechtel on piano, and Joe Osborn on bass, never got the promotion it would have taken to make it a success. Souther and Frey kept making the rounds of the folk clubs in the city and the surrounding area, crossing paths with the likes of Jackson Browne -- then an ex-member of the Nitty Gritty Dirt Band with some great songs to his credit as a composer -- and Linda Ronstadt. Eventually, Frey, Souther, and Browne ended up sharing a house together, and the two of them sang on Browne's demo of "Jamaica Say You Will." Browne was already being managed by David Geffen, who, at Browne's urging, also became Frey's informal music business advisor. Meanwhile, he and Souther were forced to disband their own group in order to get out of the contract with Amos Records, which seemed like a dead end, and both spent a fair amount of time around The Troubadour, the club that constituted the folk-rock mecca for the West Coast. Frey wanted to try and form a new group, but was persuaded instead to consider going on the road backing Linda Ronstadt, who was about to tour in support of the release of her debut Asylum Records album, Silk Purse.

Frey also met Don Henley, who was in a band called Shiloh -- which was also signed to Amos Records and also getting nowhere fast -- and persuaded him, in the course of their mutual commiserations, to join the band working behind Ronstadt. The ranks of the band, formed in the summer of 1971, eventually came to include Frey and Henley, and Randy Meisner, who'd lately played with Rick Nelson on-stage and on the Rudy the Fifth album, and ex-Flying Burrito Brothers member Bernie Leadon. Within a short time, however, they'd made plans to separate themselves from Ronstadt and go off on their own. After a cold audition -- with no advance demo tape -- in front of Geffen, they had a manager and, after getting Frey out of his contract with Amos Records, they went to Colorado for some time off. There they worked out who they were and what their sound would be, picked up their first producer, Glyn Johns, took on the name the Eagles, and were signed to Geffen's newly formed Asylum Records.

Although all four members of the Eagles composed songs and sang, Frey and Henley quickly emerged as the two with the most commercial musical ears, Frey as co-author (with Jackson Browne) and lead singer on their first single, "Take It Easy," which reached number 12 on the charts in the summer of 1972, and Henley as co-author (with Leadon) of "Witchy Woman," which got to number nine that fall. Although the group had succeeded in attracting generally favorable press attention and reasonably good sales, with one Top Ten single and a debut album that peaked at number 22 in a seven-week run on the charts, Frey and Henley between them decided that this was not enough, and that their next album would have to be something more than just a body of good tunes and a couple of AM-friendly cuts -- between them, they turned what became Desperado into a very ambitious (for the time) thematic-based concept album, which was something relatively unusual in country-rock. Frey and Henley also co-wrote the title track, which was perhaps the finest album track in the group's history (although it's arguable that every track on Desperado that didn't make it onto a 45 fits into that category). Although the concept caught Leadon and Meisner by surprise, especially as songwriters, they quickly came aboard and Desperado ended up being one of the finest records ever to come out of the '70s country-rock scene.

And it was a measure of the unity that the band still felt at this time that, when Desperado stalled on the charts just outside of the Top 40 and neither of its two singles did better than number 59 -- mostly owing to disorganization of Asylum Records at the time, which was being sold and merged with Elektra Records -- all of the members took this as a professional affront. Frey's singing also improved markedly between the first two albums, and he was now effectively, with Henley, the one of two co-equal focal points in the band. By the time of their third album, a fifth Eagle had joined in the guise of Don Felder, whose guitar sound toughened up the band's overall sound, and especially their harder rock & roll side. By the time he joined, for the On the Border album, which marked a commercial comeback, peaking at number 17, the band had split into two divisions, with Frey and Henley more or less the stable core, while Leadon -- who wasn't entirely happy over Felder's guitar being added to their sound, when he wanted to play more straight-ahead electric guitar -- and Meisner seemed to be part of a less cohesive unit just outside of that core. By the time they toured in support of their fourth album, One of These Nights, Leadon was on his way out, to be replaced by Joe Walsh, and Meisner followed out the door on the Hotel California tour. By that time, Frey and Henley (in coordination with their manager, Irving Azoff, a protégé of Geffen's who'd taken the latter's place when he became too wired up in running his record label), as co-authors of the string of hit singles that included "One of These Nights," "Lyin' Eyes," "Take It to the Limit," "Hotel California," "New Kid in Town," "Life in the Fast Lane," "The Long Run," "I Can't Tell You Why," and "Heartache Tonight," and one or the other of them on lead vocals for all but two of those songs, were more or less running things. Walsh, Felder, and new member Timothy B. Schmit stayed along for the ride that continued through 1982, when Frey and Henley, in conjunction with the others -- all of whom were now set up financially better than they ever could have dreamed, following a string of arena- and stadium-scale tours, hit singles, and three more multi-million-selling albums -- put the group on hiatus. What's more, the Eagles' catalog continued to sell for decades after, on LP and CD, in multiple editions of the latter.

Frey began a solo career in 1982 with No Fun Aloud, notching a pair of Top 40 hits with "I Found Somebody" and "The One You Love." He also embarked on an unexpected acting career in the wake of 1984's The Allnighter, which spawned the hit "Smuggler's Blues," a song that subsequently inspired an episode of the hit TV series Miami Vice on which Frey guest starred; his acting work later continued in an extended guest role on the acclaimed Wiseguy as well as a starring turn in 1993's South of Sunset, which as a result of its premiere episode's 6.1 Nielsen rating -- believed to be the lowest fall debut in major network history -- was canceled after only one episode.

Frey's solo musical career reached its peak in 1985 with the Top Ten smash "The Heat Is On," a single from the soundtrack to the Eddie Murphy comedy Beverly Hills Cop. Frey's contribution to the Miami Vice soundtrack, "You Belong to the City," was also a blockbuster, narrowly missing the top of the charts. However, his next solo LP, Soul Searchin', did not follow until 1988, notching only one Top 40 entry, "True Love"; Strange Weather, issued four years later, missed the charts altogether. After issuing Glenn Frey Live in 1993, he joined the reunited Eagles on their phenomenally successful Hell Freezes Over tour, with a live album of the same name reaching number one a year later. Since then, his releases have consisted of compilations of earlier solo work. In the late '90s, Frey co-founded his own label, Mission Records, with attorney Peter Lopez.

____________________________________________________________

George Harrison

(KING OF SLIDE!!!)

 George Harrison was born February 25, 1943, making him the youngest Beatle. The only Beatle who's childhood was not marred by divorce or death, he had two brothers, Harold Jr. and Peter, and a sister, Louise. His father, Harold, was a bus driver, and his mother a housewife, who all the kids in the neighborhood knew and liked.

George and Paul took the same bus to school, and soon found they had music and guitars in common. They spent many hours together at each other's homes practicing guitar. In 1956, Paul introduced the skinny and pimple-faced George to the Quarrymen. George was only 14 at the time. Not old enough to join the group, George hung around with the boys, and came to idolize John, doing everything he could to emulate him. George stood in the back of the room at all their shows with his guitar. A few times he filled in for the regular guitarist who didn't show up, and the boys were also welcomed in George's house by his mother to practice and for an occasional "jam buttie", encouragement which infuriated John's Aunt Mimi. Gradually, George became a member of the group, which by then had come to be called Johnny and the Moondogs.

From the very start of the Beatles' popularity, George was as major a vocalist as John and Paul. As the songwriting of Lennon and McCartney became world-known, George started to concentrate more on writing songs as well, although many of the early songs written while with the Beatles went unrecorded. The first Beatles song written by George was Don't Bother Me. George became a very serious musician who worked dilgently to perfect his playing. His concentration to his playing was apparent while on stage, especially compared to the wild antics of John and Paul.

George almost missed the Beatles' biggest appearance in America, the Ed Sullivan Show, on February 9, 1964, because of a sore throat. He met teenage model Patty Boyd while filming A Hard Day's Night and they got married on January 21, 1966.

In His Own Words

At their first session, when the Beatles were asked by George Martin if

there wasn't anything they didn't like, George replied:

"Well, I don't like your tie for a start."

About Indian music and philosophy, George said:

"After 'Norwegian Wood', I met Ravi Shankar at a friend's house in London, for dinner. He offered to give me instructions in the basics of the sitar, like how to sit, how to hold it, and the basic exercises. It was the first time I had ever really learned music with a bit of discipline. Then I started to listen to Indian music for the next two years, and hardly touched the guitar, except for recordings. Having all these material things, I wanted something more. And it happened that at just the time I wanted it, it came to me in the form of Ravi Shankar, Indian music, and the whole Indian philosophy."

ANDRE OPLYSNINGER OM GEORGE:

 LOS ANGELES, California (CNN) -- Stars and fans around the world are mourning the death of former Beatles guitarist George Harrison, who died aged 58 after a long fight against cancer.

Harrison died in Los Angeles at 1:30 p.m. (2130 GMT) on Thursday, spokesman Geoff Baker said, but further details were not available.

His former band-mate Sir Paul McCartney said: "I am devastated and very very sad. We knew he'd been ill for a long time.

"He was a lovely guy and a very brave man and had a wonderful sense of humour. He is really just my baby brother."

Fellow Beatle Ringo Starr paid tribute to Harrison, telling the UK Press Association: "We will miss George for his sense of love, his sense of music and his sense of laughter."

His family issued a statement saying:

"He left this world as he lived in it, conscious of God, fearless of death, and at peace, surrounded by family and friends. He often said, 'Everything else can wait but the search for God cannot wait, and love one another."'

"He died with one thought in mind -- love one another," friend Gavin De Becker told The Associated Press, adding that Harrison's wife, Olivia Harrison, and son Dhani, 24, were with him when he died.

Harrison was known as the quiet one of the Fab Four, which conquered the world with 27 number one hits in the United States and Britain.

His credits with The Beatles include the songs, "Taxman," "Here Comes the Sun" and "Something," the latter described by Frank Sinatra as the greatest love song of all time.

OG SÅ EN DANSK VERSION:

George, født George Harold Harrison, blev født i Liverpool-kvarteret Wavertree d. 24. februar 1943. George voksede op i et arbejderklassemiljø, og kom i 1954 på Liverpool Institute, hvor han mødte Paul McCartney.

Da de begge købte en guitar, begyndte George og Paul at mødes for at lære at spille efter George’s gør-det-selv-bog. Især George’s mor opmuntrede ham til at spille og i 1957 blev han en del af The Quarry Men , sammen med Paul McCartney og John Lennon, og gruppen blev senere berømt under navnet The Beatles.

I 1966 blev han gift med modellen Patti Boyd, men de blev skilt i 1977. Efter Beatles’ opløsning udgav George LP’en All Things Must Pass, som fik meget ros af kritikerne. Herefter gik det ned af bakke og op gennem 80’erne koncentrerede han sig i stedet om film, og dannede selskabet HandMade Films. Da selskabet blev solgt, på grund af underskud, var George tilbage på musikscenen med et nyt album og en turné til Japan, som begge fik stor succes.

I 1978 fik George sønnen Dhani med Olivia Trinidad Arias, en mexicaner som han mødte i Los Angeles, som han var blevet gift med kort efter hans skilsmisse fra Patti Boyd.

Barndommen

George Harrisons far skaffede smør på brødet til sin kone og fire børn med et lavtlønnet job som buschauffør. Familien boede i et rækkehus i Wavertree, et arbejderklassekvarter i Liverpool, men da George var seks år flyttede de til et større boligbyggeri i Speke i nærheden. Familien havde været på venteliste i 18 år. George var den eneste Harrison, som klarede sig så langt som til gymnasiet, men han brød sig ikke om lærerne. "De var alle sammen uduelige", sagde han senere. Han dumpede i alle fag undtaget kunst og valgte i stedet at gå i lære som elektriker i en af Liverpools stormagasiner.

George's forældre opfordrede ham til at spille guitar, og da George mødte Paul spillede de ofte hjemme hos George. Da George var 14 år blev han optaget i John Lennons band 'The Quarry Men'. John havde store problemer, da han accepterede ham som medlem, da George for John stadig var et barn, som rendte i hælende på ham og så op til ham. Men da George kunne spille guitar soloer, hvad ingen af de andre kunne, kom han med i bandet.

EN TOSSET GEORGE-SIDE:

 http://www.allthingsmustpass.com/harrison/index.html

OG:

HUSK AT BESØGE MIT BEATLES-SPACE PÅ:

http://flowerpowerii.spaces.live.com/

 

The Rolling Stones arrived yesterday to Copenhagen, where they have spent their evening.  

Maximo Park will do the opening act in Horsens. As it is the final show, and the biggest in Europe, we are waiting for the reports. Last month Madonna played Horsens too, and logistically it was a disaster. The promoters have promised this should work out to-day.

Set list:

Jumping Jack Flash - It's Only Rock'n'Roll - Oh No Not You Again - Bitch - Sway -  Streets Of Love - Midnight Rambler - Tumbling Dice - Intros - Slipping Away - Before They Make Me Run - Miss You - Rough Justice - Start Me Up - Honky Tonk Women -  Sympathy For The Devil - Paint It Black - Brown Sugar - You Can't Always Get What You Want (encore) - Satisfaction (encore)

Reviews:

Stones leverede jætteindsats i Horsens

Rolling Stones bød forholdene i Horsens trods og leverede en formidabel koncert, der kan blive et værdigt farvel til klodens ældste rockband.