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Author Topic: RAIDERFORUM MUSIC THREAD  (Read 4284 times)
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« Reply #180 on: January 18, 2014, 01:56:52 AM »

https://www.youtube.com/watch?v=GT_H-Cz3v8Y
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« Reply #181 on: January 28, 2014, 03:49:43 AM »


Folk singer, activist Pete Seeger dies at 94




NEW YORK –  Pete Seeger, the banjo-picking troubadour who sang for migrant workers, college students and star-struck presidents in a career that introduced generations of Americans to their folk music heritage, died Monday at the age of 94.

Seeger's grandson, Kitama Cahill-Jackson said his grandfather died peacefully in his sleep around 9:30 p.m. at New York Presbyterian Hospital, where he had been for six days. Family members were with him.

"He was chopping wood 10 days ago," Cahill-Jackson recalled.

Seeger -- with his a lanky frame, banjo and full white beard -- was an iconic figure in folk music. He performed with the great minstrel Woody Guthrie in his younger days and marched with Occupy Wall Street protesters in his 90s, leaning on two canes. He wrote or co-wrote "If I Had a Hammer," "Turn, Turn, Turn," "Where Have All the Flowers Gone" and "Kisses Sweeter Than Wine." He lent his voice against Hitler and nuclear power. A cheerful warrior, he typically delivered his broadsides with an affable air and his banjo strapped on.

"Be wary of great leaders," he told The Associated Press two days after a 2011 Manhattan Occupy march. "Hope that there are many, many small leaders."

With The Weavers, a quartet organized in 1948, Seeger helped set the stage for a national folk revival. The group -- Seeger, Lee Hays, Ronnie Gilbert and Fred Hellerman -- churned out hit recordings of "Goodnight Irene," "Tzena, Tzena" and "On Top of Old Smokey."

Seeger also was credited with popularizing "We Shall Overcome," which he printed in his publication "People's Song," in 1948. He later said his only contribution to the anthem of the civil rights movement was changing the second word from "will" to "shall," which he said "opens up the mouth better."

"Every kid who ever sat around a campfire singing an old song is indebted in some way to Pete Seeger," Arlo Guthrie once said.

His musical career was always braided tightly with his political activism, in which he advocated for causes ranging from civil rights to the cleanup of his beloved Hudson River. Seeger said he left the Communist Party around 1950 and later renounced it. But the association dogged him for years.

He was kept off commercial television for more than a decade after tangling with the House Un-American Activities Committee in 1955. Repeatedly pressed by the committee to reveal whether he had sung for Communists, Seeger responded sharply: "I love my country very dearly, and I greatly resent this implication that some of the places that I have sung and some of the people that I have known, and some of my opinions, whether they are religious or philosophical, or I might be a vegetarian, make me any less of an American."

He was charged with contempt of Congress, but the sentence was overturned on appeal.

Seeger called the 1950s, years when he was denied broadcast exposure, the high point of his career. He was on the road touring college campuses, spreading the music he, Guthrie, Huddie "Leadbelly" Ledbetter and others had created or preserved.

"The most important job I did was go from college to college to college to college, one after the other, usually small ones," he told The Associated Press in 2006. " ... And I showed the kids there's a lot of great music in this country they never played on the radio."

His scheduled return to commercial network television on the highly rated Smothers Brothers variety show in 1967 was hailed as a nail in the coffin of the blacklist. But CBS cut out his Vietnam protest song, "Waist Deep in the Big Muddy," and Seeger accused the network of censorship.

He finally got to sing it five months later in a stirring return appearance, although one station, in Detroit, cut the song's last stanza: "Now every time I read the papers/That old feelin' comes on/We're waist deep in the Big Muddy/And the big fool says to push on."

Seeger's output included dozens of albums and single records for adults and children.

He also was the author or co-author of "American Favorite Ballads," "The Bells of Rhymney," "How to Play the Five-String Banjo," "Henscratches and Flyspecks," "The Incompleat Folksinger," "The Foolish Frog" and "Abiyoyo," "Carry It On," "Everybody Says Freedom" and "Where Have All the Flowers Gone."

He appeared in the movies "To Hear My Banjo Play" in 1946 and "Tell Me That You Love Me, Junie Moon" in 1970. A reunion concert of the original Weavers in 1980 was filmed as a documentary titled "Wasn't That a Time."

By the 1990s, no longer a party member but still styling himself a communist with a small C, Seeger was heaped with national honors.

Official Washington sang along -- the audience must sing, was the rule at a Seeger concert -- when it lionized him at the Kennedy Center in 1994. President Clinton hailed him as "an inconvenient artist who dared to sing things as he saw them."

Seeger was inducted into the Rock and Roll Hall of Fame in 1996 as an early influence. Ten years later, Bruce Springsteen honored him with "We Shall Overcome: The Seeger Sessions," a rollicking reinterpretation of songs sung by Seeger. While pleased with the album, Seeger said he wished it was "more serious." A 2009 concert at Madison Square Garden to mark Seeger's 90th birthday featured Springsteen, Dave Matthews, Eddie Vedder and Emmylou Harris among the performers.

Seeger was a 2014 Grammy Awards nominee in the Best Spoken Word category, which was won by Stephen Colbert.

Seeger's sometimes ambivalent relationship with rock was most famously on display when Dylan "went electric" at the 1965 Newport Folk Festival.

Witnesses say Seeger became furious backstage as the amped-up band played, though just how furious is debated. Seeger dismissed the legendary tale that he looked for an ax to cut Dylan's sound cable, and said his objection was not to the type of music but only that the guitar mix was so loud you couldn't hear Dylan's words.

Seeger maintained his reedy 6-foot-2 frame into old age, though he wore a hearing aid and conceded that his voice was pretty much shot. He relied on his audiences to make up for his diminished voice, feeding his listeners the lines and letting them sing out.

"I can't sing much," he said. "I used to sing high and low. Now I have a growl somewhere in between."

Nonetheless, in 1997 he won a Grammy for best traditional folk album, "Pete."

Seeger was born in New York City on May 3, 1919, into an artistic family whose roots traced to religious dissenters of colonial America. His mother, Constance, played violin and taught; his father, Charles, a musicologist, was a consultant to the Resettlement Administration, which gave artists work during the Depression. His uncle Alan Seeger, the poet, wrote "I Have a Rendezvous With Death."

Pete Seeger said he fell in love with folk music when he was 16, at a music festival in North Carolina in 1935. His half brother, Mike Seeger, and half sister, Peggy Seeger, also became noted performers.

He learned the five-string banjo, an instrument he rescued from obscurity and played the rest of his life in a long-necked version of his own design. On the skin of Seeger's banjo was the phrase, "This machine surrounds hate and forces it to surrender" -- a nod to his old pal Guthrie, who emblazoned his guitar with "This machine kills fascists."

Dropping out of Harvard in 1938 after two years as a disillusioned sociology major, he hit the road, picking up folk tunes as he hitchhiked or hopped freights.

"The sociology professor said, 'Don't think that you can change the world. The only thing you can do is study it,"' Seeger said in October 2011.

In 1940, with Guthrie and others, he was part of the Almanac Singers and performed benefits for disaster relief and other causes.

He and Guthrie also toured migrant camps and union halls. He sang on overseas radio broadcasts for the Office of War Information early in World War II. In the Army, he spent 3 1/2 years in Special Services, entertaining soldiers in the South Pacific, and made corporal.

Pete and Toshi Seeger were married July 20, 1943. The couple built their cabin in Beacon after World War II and stayed on the high spot of land by the Hudson River for the rest of their lives together. The couple raised three children. Toshi Seeger died in July at age 91.

The Hudson River was a particular concern of Seeger. He took the sloop Clearwater, built by volunteers in 1969, up and down the Hudson, singing to raise money to clean the water and fight polluters.

He also offered his voice in opposition to racism and the death penalty. He got himself jailed for five days for blocking traffic in Albany in 1988 in support of Tawana Brawley, a black teenager whose claim of having been raped by white men was later discredited. He continued to take part in peace protests during the war in Iraq, and he continued to lend his name to causes.

"Can't prove a damn thing, but I look upon myself as old grandpa," Seeger told the AP in 2008 when asked to reflect on his legacy. "There's not dozens of people now doing what I try to do, not hundreds, but literally thousands. ... The idea of using music to try to get the world together is now all over the place."

http://www.foxnews.com/entertainment/2014/01/28/folk-singer-activist-pete-seeger-dies-at-4/#
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« Reply #182 on: March 09, 2014, 10:19:35 PM »

For fans of thrash metal that non-stop kicks your ass.  If you love bands like Exodus and Slayer you will like this band, Warbringer.  This is their debut album.

<a href="http://www.youtube.com/v/syRH4SxyWl0&rel=0" target="_blank">http://www.youtube.com/v/syRH4SxyWl0&rel=0</a>
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« Reply #183 on: April 13, 2014, 06:38:03 PM »

https://www.youtube.com/watch?v=pd7dCbEfTs4
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« Reply #184 on: April 13, 2014, 06:42:32 PM »

https://www.youtube.com/watch?v=ducEUo6aTtA
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« Reply #185 on: April 13, 2014, 06:52:08 PM »

https://www.youtube.com/watch?v=6VCdJyOAQYM
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« Reply #186 on: April 30, 2014, 04:02:50 AM »

https://www.youtube.com/watch?v=ACdwCIld3kE

Samba Pa Ti - Santana (Live in Mexico)
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« Reply #187 on: May 05, 2014, 01:46:26 AM »

https://www.youtube.com/watch?v=8WYHDfJDPDc
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« Reply #188 on: May 14, 2014, 03:31:03 AM »

https://www.youtube.com/watch?v=jEC_8BjLQoE

Chicago - Does Anyone Really Know What Time It Is?
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« Reply #189 on: May 14, 2014, 03:31:41 AM »

https://www.youtube.com/watch?v=iUAYeN3Rp2E

Chicago 25 Or 6 To 4
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« Reply #190 on: May 14, 2014, 03:33:45 AM »

https://www.youtube.com/watch?v=XI5aD6m7ub0

Chicago - Beginnings
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« Reply #191 on: May 14, 2014, 03:35:26 AM »

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War - Low Rider 1975 (HQ audio)
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« Reply #192 on: June 05, 2014, 04:57:05 AM »

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Moonshine Bandits - California Country
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« Reply #193 on: June 09, 2014, 06:17:12 PM »




Jimmy Page and Robert Plant: how we made Led Zeppelin III
The baby needed bathing, the tape recorder needed batteries and the band needed cider … the veteran rockers on the classic Led Zep album that began life at a cottage in Wales

    Interviews by Michael Hann   
    The Guardian, Monday 26 May 2014 10.51 EDT   
   

Led Zeppelin's Jimmy Page and Robert Plant in 1975
'Critiques of the album don't matter. What matters is whether you did the right thing …' Jimmy Page, left, and Robert Plant in 1975. Photograph: Neal Preston/Corbis
Jimmy Page, guitarist and producer

We had done a lot in 1969. We'd done six months of solid touring in America. We'd performed all over Europe. We'd also done an album on the road. It was exhilarating, but it was nice to be able to stop. We finally had the chance to slow down, and that's reflected in our third album. One of the things that was important about Zeppelin was John Bonham's drumming. I'd played with some incredible drummers in my time, but I knew instinctively that if you're going to have a three-piece band you need to have a drummer who's not just messing it all up, but with the technique to be able to fill in the spaces and allow you to have space. John Bonham knew how to tune his instruments – he'd hit that tom-tom and he'd be tuning the lower skin so that when he hit it, it would project back out again as an acoustic instrument. He had such a wonderful balance in his playing, so he could hit those accents with the bass drum or the snare – you don't want to lose any of that, you wanted all of it because it was an important part of the collective.

I think we produced something really good: a courageous album, a band standing up for its convictions, doing what felt natural without being at the beck and call of record labels or A&R men. We were able, without any hindrance, to keep pushing the boundaries.

I had already written Immigrant Song, and came up with Friends a day or two before we got together at Robert [Plant]'s house in the West Midlands. I was keen to do Gallows Pole because I had an arrangement I wanted to try, and I had Tangerine from a number of years beforehand – before Led Zeppelin.

Then Robert and I went to Bron-yr-Aur, a cottage in Snowdonia. I think Robert had been there on holiday with his mum and dad and knew it was a great place to get away from everything. He had his daughter Carmen and his wife there, and my girlfriend came, too. We had a couple of roadies staying, then the families went home and we carried on. We just had cassette recorders, and That's the Way came out of there as a complete song.

People sometimes misinterpreted my relationship with Robert. For example, not long after this, I met a Belgian girl who was giving out leaflets at Piccadilly Circus. I had a place in Scotland and was keen to take her up there: I was a pretty impulsive fellow. So I thought I might have to let her know who I was. I started to talk about being in Led Zeppelin and she said: "Did you go to that cottage in Wales?" I said: "Yeah." And she said: "You can't be Jimmy Page – he's gay." I said: "What the hell are you talking about?" And she replied that there was an inscription on the album that made Wales sound like a perfect place. I said: "That had nothing to do with any sexual conquests! It was about music!"

With Since I've Been Loving You, we wanted to do a blues track that wasn't a 12-bar, because we'd done that on the first album. So we came up with a blues in a minor key. It wasn't something that took for ever and a day: it came together very quickly and it was perfect, with its sentiment and how it was approached.

It felt right for the album to have a rocky side and a folky side – and the rocky side clearly had to start with Immigrant Song. With that hypnotic riff and Robert's bloodcurdling scream, I thought: "That's the way to open an album."

Reading on mobile? Click here to view Immigrant Song video

Led Zeppelin III shocked reviewers, because they couldn't see what it was all about. "Where's Whole Lotta Love?" Well, that's on the second album, thank you very much. We're moving on. Eventually, you'll get the picture. I wasn't hurt by the reviews, but I remember thinking: "OK, I won't read them any more."
Robert Plant, singer

By the end of 1969, it felt as if I was finally doing what I had to do – with the right people, too. I was a very healthy and excited young man, in an artistic environment that I could never have imagined. John Bonham [drummer] and I had spent a long, long time boring the pants off other musicians in the West Midlands, crowing on about how somewhere around the corner we were going to find what we were looking for.

And so, whatever our physical state was at the end of Led Zeppellin II, there was now only one place to go: up into the misty mountains with our families. Jimmy and I packed into an old Austin Champ with Strider the dog to do all the stuff you do when you're 21. The cottage had no electricity, no nothing. This was appropriate, since we were just trying to get some ideas down to bring back and work on. So there we were, up in the mountains with one of the very first Sony cassette recorders and a bunch of Ever Ready batteries, just sitting going: "Well, what shall we do?" Carmen was two and needed bathing. Strider needed feeding. And we needed cider.

Jimmy was much more of a man of the world than I was. He'd travelled a lot with the Yardbirds, he'd done those Dick Clark tours with the Shirelles and Little Anthony and the Imperials and whatever it was. And he was the face, so I was master at arms at that point in the development of our relationship – it was all developing before me. It was a very easygoing and very unaffected time – miraculous really.

I had no idea what I wanted Zeppelin to be at that point. I hoped we could combine acoustic and electric, which was not that easy to do live, and also lean towards that North African thing. I felt we started getting there with Friends. My wife's family were living in a part of the West Midlands where there were a lot of Gujaratis, so you heard this great music all the time around you, as well as bands from America, like Big Brother, or Kaleidoscope and their album A Beacon from Mars. We were aware of Bert Jansch, Davy Graham and early Fairport Convention stuff, too.

Immigrant Song was written after we had been to Iceland. It was a cultural exchange – although who they sent over here, I can't imagine. The song was a vignette of what it was like being there. Of course, it ended up spawning generations of guys with crossed axes tattooed on their arms. It's slightly funny now.

From what little I can remember of the subsequent recording sessions at Olympic Studios in London, it was a case of using mic placement and the right engineers to capture the rawness, energy and attitude of each track. Sometimes it was a bit of a struggle, but we did things quickly and were serious about making something pretty as well as powerful. The outro of Gallows Pole is great, with all the manic singing I'd overcooked horrendously prior to that. It started having some meaning. I was learning how to syncopate. I was flourishing.

Critiques of Led Zeppelin III don't matter. What matters is whether you did the right thing, whether you were with the right people, and whether everybody was doing their best. The contributions were all heartfelt and well-founded. That was the great thing about early Led Zep.

• Led Zeppelin, Led Zeppelin II and Led Zeppelin III will be released in remastered versions with bonus tracks on 2 June on Atlantic/Swan Song.

 

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« Reply #194 on: June 09, 2014, 09:49:05 PM »

https://www.youtube.com/watch?v=kXhy7ZsiR50
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