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15.02.2015
Pour toute information, n'hesitez pas a me contacter Articles pouvant vous intéresser Katie Melua au Zenith de Lille – une journee en apesanteur! Pour toute information, n'hesitez pas a me contacter Highlight 2015 en concerts L'Envol Katie Melua au Zenith de Lille - une journee en apesanteur!
Interestingly, Phil Lynott was to come to our concert at the Lyceum Ballroom in the Strand, London and he was immediately struck by the twin lead concept.
Strangely, after FAMILY split up, I was approached by Mick Ralphs who asked me would I like to join BAD COMPANY. Thanks for the compliment but generally solos don’t count on songwriting credits… I wish they did, occasionally! My sense of when things were done is not too good, but I think I wrote stuff with him before that. When I first played some shows with him after FAMILY broke up, it was around 2004, he did a country song that is impossibly fast. I think that working with lots of different artists from THE GYPSY KINGS to Willie Nelson by way of Joe Cocker and Rod Stewart, gives me a range of experiences that you don’t necessarily get if you are in a band that relentlessly tours and records its own stuff.
As for the future, I have been playing and talking to Kenney Jones and his band mates, Rick Wills and Robert Hart, about working together on another version of THE JONES GANG. Fredrika Stahl Meiko Permis A reussi : Debuts sur un monstre de 275Kg Earsonics EM3-Pro - Le test Katie Melua en concert L'autopsie.
Although many musicians came from art school backgrounds in those days, there weren’t many at my school. At one time there was to be a cartoon series based on the band, and even though that never happened, the sleeve notes were set up for it. We were a real live band known as THE INGOES and working seven nights a week in Paris and eventually all over France. I was immediately struck by their use of twin leads since myself and my co-guitarist from THE DEKOIS, Eamon Percival. He came on and got Brian Godding and me in a row and suggested we take turns swapping eight bars each. Drummer John Wilson was really leading that band and had enough of playing the blues at that point.
We just wrote and played whatever we felt like on the day with no thought for commercial success or how well the audience would like it. We were working on some music and getting ready for a US tour which never happened, when this American pianist Kevin Hoidale arrived and offered me the gig in OBJECTIVO. As I said, I played my first gig with them at the Reading Festival in front of 35,000 people. We had tried with no success to crack America, and there was this endless cycle of making money in Europe and spending it touring at a loss in USA.
I suppose the answer is, you need enough ego to give you confidence but you still have to be committed to being a team player.
But how did it feel during the Cat Stevens tour when your sparring partner was Alun Davis, one of the most underrated acoustic player? We had become good friends, and telling Steve that I had the gig with Rod was very difficult.
I played on the record and, as I said earlier, being part of a band that is laying down a serious groove is very satisfying. As usual, management likes to separate the artist from the band although Gaff had deliberately left all that alone and didn’t interfere with the music or recording in any way. New hot producers arrived with session men, outside writers were encouraged to contribute and unnecessary personnel changes were made. Jeff Golub and I handled most of the guitar parts with Ronnie joining in when he felt like it. And were your appearances a result of the QUEEN man’s love of Stewart’s classic line-up?
Kevin Savigar and I wrote together all the time and we asked Bernie to write lyric for several songs. Before the first gig, I asked him not to give me a solo in that song because I can’t play that quickly. Of course, I love acoustic music and had made some recordings with Rod at my home studio that Roger liked. Snuffy did a track for an album of various artists I was producing for BMG in LA where I was a staff producer for a few years. So, if a style doesn’t matter, what qualities should an artist have for you to want to produce them?
I suppose it would be the second incarnation of the Rod Stewart group with Kevin Savagar on piano, Robin LeMesurier on guitar, Tony Brock on drums, Jay Davis on bass, John Corey on keys and guitar and Jimmy Roberts on sax.
Mais le single Hold On sort dans les bacs aujourd’hui, du moins en Angleterre (en France je ne sais pas trop!). But then again, all the classics that Jim played on sound as contemporary as his parts on Katie Melua’s records.


Because, when soloing, the acoustic has very little sustain and is difficult to bend the strings, so you need different techniques to be effective. There was a piano player call Levy, I think his first name was Dave and he really took me under his wing. We were just happy to be making records and went along with whatever the management suggested.
Was it Giorgio Gomelsky who was drawing you from rhythm-and-blues into pop in the beginning? We were managed by Eddy Kennedy for whom I have little respect and he let his son Billy be our producer. He is an excellent player but when he was out of work he came on the road with me as my guitar tech. All my serious musician friends were surprised I was joining what was considered a pop band.
Halfway through the one-hour set, the wind blew all my notes and chord sheets across the stage and away forever. I just played this year for the first time with Mick Ralphs at a jam with the Kenney Jones’ band, THE JONES GANG. You could sense the glory days were over for the band, and although we were doing OK and had a strong fan base, it was time to quit. I have worked in bands where certain musicians were blatantly using the gig as a showcase for their often dubious talents. The band was: Max Middleton on keys, guitarist Robert Ahwai replacing Phil Chen on bass, Daryl LeQue on congas and me on guitar.
And so Steve came to the studio to hang out and get into trouble… Eventually, it seemed normal that he would contribute to the writing as much of it was done in the studio. Plus, there are all these people dancing and partying right in front of you, and that energy is enormously uplifting. So now we have a situation where the band were used to getting their own way and working as a unit. We toured that album for nearly a year, in 1993-1994, though I only expected to do three months. We did a lot of pre-production at my house, but the record itself was recorded quite quickly because we had all the right players. We actually used some of the Stewart band on that first record where THE QUIREBOYS were having trouble getting it right. He was just starting to record Katie at his house when I showed up, and he invited me to play.
I feel there are three reasons for a song to exist: it should move you to dance, to think, or to be touched in some way, like to feel good or cry.
I have the good fortune as a producer to see many engineer’s techniques and am constantly learning As for my own solo work, I really should put out an album.
So would you, please, welcome one of the most in-demand artist in rock and one of its best kept secret weapon, Mr. At the same time I was able to develop my band, THE DISSATISFIED BLUES BAND while learning something about art. I suppose that’s why I would use the fast trill on a single note to make it last and build tension.
Giorgio thought we had potential and took us off the road, changed our name and produced that first BLOSSOM TOES’ album. We were the first band to work this way, although later we heard the American band SPIRIT had been doing the same thing at much the same time. Georgio and the arranger took it away and for reasons only known to them, turned it into an awful tango at a tempo that did nothing for the original idea. Heavily influenced by Tony Williams’ LIFETIME, we all played as fast as we could in the strangest time signatures we could think of.
The first gig I did with [Steve] Harley was the Reading festival with only two days of rehearsals and an all new band apart from the wonderful Stuart Elliot on drums. When a band is working like a unit, it has an energy and strength that no one person can provide. Well, these were the wonderful hippy years, and Steve, or Cat, most generously invited all of us to join in during the second half of the show. Ironically, it was partially because there was no writing in COCKNEY REBEL, and there was going to be some with Rod. That record did incredible business for them, and Katie is still one of the most delightful and unspoiled people in music.
It’s always difficult to get the balance right between being talented and easy to tour with. I enjoy all the aspects of it, writing being my favourite but also producing and performing on stage. We lived together in this house in Fulham and wrote and jammed but didn’t play a gig for ages.


I later met up with Jim Cregan and talked to him about this when he was in COCKNEY REBEL, before he joined Rod Stewart. Then he joined the COCKNEY REBEL for a while, but I don’t think it was his kind of music. Harley’s stage presence was formidable, and it was after the gig that he asked if I wanted to join.
We played as a band on the albums we sang all the background vocals and we toured and made the videos. He didn’t really need me as he is a fantastic producer himself, but I think my enthusiasm was useful in making decisions.
As to qualities needed… I like a challenge, so I enjoy working in different genres and the artist must have something of interest to offer. Jimmy Reed, Sonny Boy Williamson, Howlin’ Wolf with Hubert Sumlin, BB King and so on. THE SPENCER DAVIS GROUP, THE YARDBIRDS and actually played with Howlin’ Wolf with Hubert Sumlin. Steve Harley recently invited me to sit in for a show in St Petersburg, Russia, opening for THE ROLLING STONES in the Palace Square in front of 60,000 people.
Later, when I was asked to join THIN LIZZY, I suggested Snowy for the job and the same thing happened when I was asked if I wanted to play with the FLOYD. We had been together for five years and were just on the verge of becoming a really successful live band when we crashed our car, and Brian Godding decided to call it quits. Alun Davies and I are still very good friends and I occasionally jam with his band, A FEW GOOD MEN IN THE JUNGLE. We didn’t see much of each other till I moved to LA in 1980, and then I would go to parties at his house occasionally. I used an old trick from my FARM DOGS days and that was to have two guitarists playing a solo together. It limits my technique but forces me to play more simply and potentially with more feeling. As I got to the end of the chart, Mike realized it was incomplete so just yelled the changes at me while I was playing… Somehow, it made it to the record. We had all finished by the time he got there but three months later when he was back in England he called me from his car to apologise. He pulled himself out of a drug and alcohol habit that almost killed him, to become America’s foremost TV music composer.
My parents gave me a guitar for Christmas that year and I haven’t put one down since.
They had stage clothes made and did all the hype associated with the show biz side of music.
Rod and I were already there when Harley came in, and before anyone said a word, Rod went over and gave Steve a huge hug like they were old friends.
He is now married, a father of two and a sponsor of many alcoholics whom he mentors with great compassion. People often play their best if the track is being recorded live, as against everyone overdubbing individually to a click or drum loop. Wow… We were just a ragbag collection of students who knew practically nothing but he encouraged us nevertheless. Et aussi, les deux Katie, Melua et Tunstall, vont passer sur la superbe emission Taratata cette annee. Les places pour les enregistrements de ces deux emissions sont malheureusement deja toutes prises.
Dommage que ca soit du 128kb ou moins parce que sur mon casque ca rend vraiment degueulasse. Et si ca peut te rassurer, de ce cote-ci de la frontiere, il y a aussi au moins 90% des CDs dans les bacs qui sont a jeter!
Mes chansons preferees sont : All In My head, If the lights go out, Spellbound, Ghost town, What I miss about you, Perfect circle oh et puis zut je crois bien que je les adore toutes. Si je devais donner mes trois preferees, je dirais If You Were a Sailboat, What I Miss about You et Mary Pickford.
J’adorerai que Katie mette sur son prochain single When you Taught me How to Dance tire du la BO de Miss Potter. Les champs obligatoires sont indiques avec *CommentaireNom * Adresse de contact * Site web Prevenez-moi de tous les nouveaux commentaires par e-mail.



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