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MACHINE HEAD | THE EPIC 1972 ALBUM THAT PUT THE “DEEP” IN DEEP PURPLE

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Deep Purple credits none other than Led Zeppelin for finally giving the band their focus.  The boys in Deep Purple had experimented a lot with their sound in their early years– adding elements of psychedelia, and funk to their sound.  With Led Zeppelin (and Black Sabbath) blazing the way by laying down the most epic, indestructible and powerful ‘Riff Rock’ tracks of all time– they finally knew exactly how they wanted to sound.  The Mk II lineup was unstoppable– Ian Gillan (easily one of Rock and Roll’s best vocalists), guitarist Ritchie Blackmore (’nuff said), Roger Glover on bass, Ian Paice on drums, and arguably one of the most important elements to the “Deep Purple” sound that truly separated them from the pack– the eloquent and driving keyboard playing of Jon Lord.

Coming off a huge 15 month tour to support their successful In Rock, the band holed up in ‘Le Pavillon’, an old hotel in Montreux, Switzerland. Using the Rolling Stones’ mobile recording unit, Deep Purple recorded one of the hardest rocking albums of all time– Machine Head. Apparently the locals were not aware or appreciative that Rock history was in the making. In the middle of recording ‘Smoke on the Water’ the Swiss police showed up– pounding on the door to shut them down for keeping up the entire town of Montreux.  Deep Purple’s roadees were holding the doors shut so that the band could get the track down on tape before getting thrown out.  Deep Purple had to find new digs to record in, and finally came across a grand old Victorian hotel on the edge of town that was shutdown for the season– it was now the depths of winter.  They found a tiny, quirky little space off of the main lobby where they could setup, and that was where Machine Head would be recorded– in just 3 weeks.  Quick, dirty, and epic.

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1971, Montreux, Switzerland — Singer Ian Gillan of  Deep Purple playing guitar. Their epic album “Machine Head” was recorded in an old hotel in Montreux, Switzerland using the Rolling Stones’ mobile recording unit. – Image by © Shepard Sherbell/Corbis

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“…Highway Star was written on a bus going down to Portsmouth. We were playing Portsmouth Guild Hall– and we took some of the filthy press down with us, to, um… and Ritchie was dickin’ around on his banjo, and one of them said, ‘Well, how do you write a song then?’ And Ritchie went like this– he just went ‘ding,ding, ding, ding, ding, ding, ding, ding… and looked out the window playing ‘ding, ding, ding, ding, ding, ding, ding, ding’–  just playing one note. So, I started singing– and uh, we played the song in the show that night.”

–Ian Gillan of Deep Purple

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’71, Montreux, Switzerland — Deep Purple’s Ritchie Blackmore — Image by © Shepard Sherbell/Corbis

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“We had the Rolling Stones’ mobile recording unit sitting outside in the snow, but to get there we had to run cable through two doors in the corridor into a room, through a bathroom and into another room, from which it went across a bed and out the veranda window, then ran along the balcony for about 100 feet and came back in through another bedroom window. It then went through that room’s bathroom and into another corridor, then all the way down a marble staircase to the foyer reception area of the hotel, out the front door, across the courtyard and up the steps into the back of the mobile unit. I think that setup led to capturing some spontaneity, because once we got to the truck for a playback, even if we didn’t think it was a perfect take, we’d go, ‘Yeah, that’s good enough.’ Because we just couldn’t stand going back again.”

–Ritchie Blackmore


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’71, Montreux, Switzerland — Deep Purple Bassist Roger Glover — Image © Shepard Sherbell/Corbis

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’71, Montreux, Switzerland — Deep Purple Drummer Ian Paice — Image by © Shepard Sherbell/Corbis

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’71, Montreux, Switzerland — Deep Purple Keyboardist Jon Lord  – Image © Shepard Sherbell/Corbis

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’71, Montreux, Switzerland — Singer Ian Gillan of Deep Purple — Image by © Shepard Sherbell/Corbis

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1971, Montreux, Switzerland — Guitarist Ritchie Blackmore of  – Image by © Shepard Sherbell/Corbis

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1971, Montreux, Switzerland — Deep Purple Bassist Roger Glover playing around on Ritchie’s Fender Strat guitar during the making of Machine Head — Image by © Shepard Sherbell/Corbis

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1971, Montreux, Switzerland — Deep Purple Keyboardist Jon Lord rehearsing during the making of Machine Head — Image by © Shepard Sherbell/Corbis

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1971, Montreux, Switzerland — Deep Purple Bassist Roger Glover — Image © Shepard Sherbell/Corbis

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’71, Montreux, Switzerland — Deep Purple Keyboardist Jon Lord  – Image © Shepard Sherbell/Corbis

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1971, Montreux, Switzerland — Bass Guitarist Roger Glover and Guitarist Ian Gillan of Deep Purple — Image by © Shepard Sherbell/Corbis

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1971, Montreux, Switzerland —  (Deep Purple) Roger Glover’s Rickenbacker Bass Guitar — Image by © Shepard Sherbell/Corbis

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Deep Purple, Mach II lineup

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Deep Purple – Machine Head

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THE ACCIDENTAL MUSICAL GENIUS WHO UP AND WALKED AWAY | BILL WITHERS

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Thoreau said– most men live lives of quiet desperation.

I would like to know how it feels for my desperation to get louder.

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–Bill Withers

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1974 — Muhammad Ali and singer/songwriter Bill Withers chat during the Zaire ’74 Music Festival that preceded the epic Ali vs. Foreman’Rumble in the Jungle’ fight on Oct. 30th, 1974. Other performers included– James Brown, B.B. King, the Spinners, the Fania All-Stars, Miriam Makeba and  Zairian musical artists, all chronicled in the 2008 film,’Soul Power’. When asked later if it felt like a moving, historic racial event at the time Withers recalled, “No. It was two big guys going to fight each other at four o’clock in the morning. It wasn’t this great intellectual pursuit. And there’s a certain reality to going someplace where there’s a dictator. You notice the disparity in the wealth.” And in regard to the African-American movement that was hapeening to re-discover their roots? “Awwww, come on, man. It wasn’t a great historical moment. Interesting, but that was that. No great spiritual experience. Mostly what everybody found out was–we had been shaped and transformed by American culture and the history we had here, and they had been shaped by whoever colonized their place. They weren’t speaking any African languages. We were speaking English and they were speaking French. How African is that?” — Photograph by © Lynn Goldsmith/Corbis via

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Bill Withers was no natural born musician, or polished product of the recording industry. He was a simple man, a bit manic depressive he’d even tell you himself– and that may be why his plain spoken words, delivered so powerfully, pack the punch they do. The youngest of six kids, Withers was born in a bleak West Virginia town where coal mining was your best prospect.  He’d be the first man in his family to escape its grip.

Withers joined the Navy and got the hell outta there. It turned out to be a nine year hitch, and along the way picked up singing in bars wherever he found himself stationed. Later he picked up the guitar and taught himself a crude, but effect, playing style where he’d form simple barre chords and rhythms– this allowed him to passionately pound out songs without having to give much thought to his fingering– he could just slide his hand up and down the neck.

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“Bill played just enough guitar to do what he did– But, what he did was really good.”  –Craig McMullen, Bill Withers backing guitarist.  Withers openly admitted he was a hack on the guitar, but he managed to wrench more power and emotion out of his instrument than other, more accomplished, players. –Photograph by © Fin Costello

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After the Navy, Withers found himself working at an airplane assembly plant.  It was glamorous work– he was bolting toilets seats on planes.  He was also hanging out in LA clubs– mostly to meet girls. When he overheard how much a club owner was paying one of the acts– a light went off. “I wasn’t particularly interested in music, though I sat up when it was Lou Rawls or Little Willie John. Then one night this guy behind the bar was moaning that the performer was late and he said, ‘You know, I’m paying this guy $2,000 a week and he can’t even show up on time!’ I thought, “They’re paying this guy $2,000 a week? He doesn’t even get up in the morning!” Withers got to honing his craft, and scraped up enough dough to cut a demo. His big break came when the small Sussex label agreed to put out his album– and hired the highly regarded Booker T. Jones as producer. Booker saw potential in Withers, even with as raw as his talent was, and drafted his own session band (The MG’s) to back him up.

Even after the release of ‘Ain’t No Sunshine’ Withers kept his day job. He later recalled, “I had been working at Weber Aircraft and then I got laid off. Then ‘Ain’t No Sunshine’ started appearing on the radio. And it’s funny, I got two requests in the same day. A letter from my job, telling me I was called back to work. And a request to do ‘The Tonight Show’ with Johnny Carson.” Bill Withers vulnerably revealed the essence of who he was that night when he told Johnny Carson, “I would like to say something that has not been said so much. I would like for music to be real for a change.”

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Bill Withers in concert. “In my lifetime, music went through a huge transition, to where the biggest music in the world was derivative. White people imitating black people. Some journalist got really insulted a while back, because he asked if Elvis had influenced me. Hell, no! To do what?” — Photograph by © Jeffrey Levy-Hinte/Sony.

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In 1975, the label that had discovered and launched Bill Withers, Sussex, went belly up. CBS came along and bought out his album and recording rights for a paltry hundred grand. The relationship between Withers and CBS was strained. Sadly, long gone now were the days of his hard strummin’, foot poundin’, woeful, soulful tunes.  His recordings for CBS were over-produced, pandering pop songs that lacked much resemblance to his honest, early work.  1985 would mark his last original release– Bill Withers decided he was done. Fortunately, with over 250 artists eventually covering his tunes, he and his family would be able to live  comfortably off of the songwriting and licensing royalties for decades to come.  And he did it without caving in to the industry’s pressure for him to crank out ‘black’ music “with the horns and the three chicks.”

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1973 — Bill Withers featured in Playboy magazine

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“You gonna tell me the history of the blues? I am the goddam blues. Look at me. Shit. I’m from West Virginia, I’m the first man in my family not to work in the coal mines, my mother scrubbed floors on her knees for a living, and you’re going to tell me about the goddam blues because you read some book written by John Hammond? Kiss my ass.” –Bill Withers

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1970 — singer/songwriter Bill Withers — Photograph by David Redfern/Redferns

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1974 — Muhammad Ali, Bill Withers, and Don King at the ’74 Zaire Music Festival. — Photograph by © Jeffrey Levy-Hinte/Sony

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ca. 1970s, Los Angeles, CA — singer/songwriter Bill Withers — Image by © Jeff Albertson/Corbis

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PHOTOGRAPHY OF ROBERT ALTMAN | PAPA WAS A ROLLING STONE

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After attending Hunter College in NYC, Robert Altman apprenticed under none other than Ansel Adams. He then went on to serve as Chief Staff Photographer for Rolling Stone magazine from 1969-1971. Many of Altman’s images became iconic for the brilliant and passionate way he captured those that shaped music history in particular, and the ’60s & ’70s culture at large.

The Sixties: Photographs by Robert Altman is a must own. Oh, and he’s not to be confused with Robert Altman the film director – both epic in their own right.

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Holy Man Jam festival, Boulder, Colorado, August 1970 — Image by © Robert Altman. “I love this photograph. You’ve got the perfection of a very pretty young lady, hands raised, holding a maraca. Right between her is this jubilant face… Another second or two, and her expression may have changed, an arm might have moved in front of an eye, and it’s a whole different photograph. Sometimes photography is alchemy, pure magic. Sometimes it just all comes together.” –Robert Altman

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January, 1970 — Author Ken Kesey at home in Springfield, OR — Image by © Robert Altman. Kesey, author of “One Flew Over the Cuckoo’s Nest” and a master mind of The Sixties was an original and much loved figure, and the focus of Tom Wolfe’s best seller “The Electric Kool-Aid Acid Test.” Sadly Rolling Stone ran this photo as a double page spread when Ken passed the acid test and also passed onto the next great adventure. via

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The Gold Rush Festival, October 4, 1969 – Tina Turner, ”The Fan” — Image by © Robert Altman

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The Gold Rush Festival, October 4, 1969 – Tina Turner, ”Cover” — Image by © Robert Altman

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December, 1969 — The Rolling Stones at Altamont — Image by © Robert Altman

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(Lt.) Hollywood, California, 1972 — Keith Richards, Rolling Stone cover — Image by © Robert Altman

(Rt.) Los Angeles, October 1969 — Keith Richards, “Let it Bleed” session — Image by © Robert Altman

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Mick Jagger & Keith Richards in the Elektra Studio with Producer Jimmy Miller –”Let It Bleed” session, October 1969 — Image by © Robert Altman

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Mick Jagger, Rolling Stones “Let It Bleed” sessions, Hollywood, 1969 — Image by © Robert Altman via

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Altamont Speedway, December 6, 1969 — the legendary Gram Parsons — Image by © Robert Altman

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Crosby Stills & Nash, Big Sur, CA 1969 — Image by © Robert Altman. An idyllic California dreamin’ weekend when love was in the air– David Crosby with Christine Hinton, Stephen Stills with Judy Collins (Suite Judy Blue Eyes), and Graham Nash with Joni Mitchell. This photo played an integral part of Neil Young’s film poster– “CSNY / Deja Vu” which closed the 2007 Sundance Film Festival to great acclaim. via

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Neil Young with Crazy Horse, CA March, 1970 — Image by © Robert Altman via

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The Grateful Dead, San Francisco, CA 1970 — Image by © Robert Altman via

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San Francisco, June 1969 – The Jefferson Airplane at the Family Dog  — Image by © Robert Altman

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Golden Gate Park, San Francisco, May 7, 1969 — Grace Slick of The Jefferson Airplane — Image by © Robert Altman

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San Francisco, CA, July 19, 1969 – Pete Townshend of The Who at The Fillmore West, “Tommy” The West Coast Rock Opera Premiere — Image by © Robert Altman via

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The Jack Tar Hotel, San Francisco, CA, June 1972 — Dennis Hopper and wife Daria Halpirn — Image by © Robert Altman. Dennis Hopper was uneasy about his then latest film following “Easy Rider”– “The Last Movie.” Hopper was forlorn and thought his film director’s career was over after disastrous reviews appeared, and for him it could  ironically be– the last movie. via

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PEOPLE ALWAYS CALLED ME BLONDIE | AT SOME POINT I BECAME DIRTY HARRY

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“Hi, it’s Deb.  You know, when I woke up this morning I had a realization about myself.  I was always Blondie.  People always called me Blondie, ever since I was a little kid. What I realized is that at some point I became Dirty Harry.  I couldn’t be Blondie anymore, so I became Dirty Harry.”

–Debbie Harry

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Debbie Harry of Blondie, Coney Island, NY, 1977 — Image © Bob Gruen

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“It was in the early ’70s and I was trying to get across town at two or three o’clock in the morning.  This little car kept coming around and offering me a ride.  I kept saying ‘No’ but finally I took the ride because I couldn’t get a cab.”  

“I got in the car and the windows were are rolled up, except for a tiny crack.  This driver had an incredibly bad smell to him. I looked down and there were no door handles.  The inside of the car was stripped. The hairs on the back of my neck just stood up.”  

“I wiggled my arm out of the window and pulled the door handle from the outside.  I don’t know how I did it, but I got out. He tried to stop me by spinning the car but it sort of helped me fling myself out.”

” Afterwards I saw him on the news–  Ted Bundy.”

–Debbie Harry

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Debbie Harry, NYC, 1976 –  Image © Bob Gruen

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1978 — Debbie Harry of Blondie — Image by © Martyn Goddard/Corbis

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Debbie Harry, New Jersey, 1978 – Image © Bob Gruen  New Jersey’s own Debbie Harry is an icon and sex symbol (those dead eyes and daft lips…) of the 1970s Punk / New Wave / Art scene.  She originally hailed from Hawthorne and went on to graduate from Centenary College in Hackettstown — all just a long stones’ throw from my own stomping grounds.  Eesh.

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Debbie Harry & Iggy Pop, Toronto, Canada, 1977 – Images © Bob Gruen 

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1982 — Debbie Harry of Blondie — Image by © Lynn Goldsmith/Corbis-

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New York, 1978 — Debbie Harry of Blondie — Image by © Martyn Goddard/Corbis

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Los Angeles, California, 1977 — Clem Burke, Jimmy Destri, Chris Stein, Debbie Harry, Gary Valentine. — Image by © Michael Ochs Archives/Corbis

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Los Angeles, California, 1977 — Chris Stein, Jimmy Destri, Debbie Harry, Gary Valentine, Clem Burke. — Image by © Michael Ochs Archives/Corbis

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1977 — Debbie Harry of Blondie — Image by © Lynn Goldsmith/Corbis

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A young Debbie Harry

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1978 — Debbie Harry and Chris Stein of Blondie — Image by © Martyn Goddard/Corbis

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1978 — Debbie Harry, lead singer of the Rock Group, Blondie — Image by © Lynn Goldsmith/Corbis

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1978 — Debbie Harry, lead singer of the Rock Group, Blondie — Image by © Lynn Goldsmith/Corbis

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1979 — Blondie — Image by © Martyn Goddard/Corbis

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ca. 1980s — Debbie Harry of Blondie — Image by © Lynn Goldsmith/Corbis

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Los Angeles, California, 1977 — New wave band Blondie, from left– Gary Valentine, Debbie Harry, Chris Stein, Jimmy Destri, and Clem Burke. — Image by © Henry Diltz/Corbis

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1978 — Debbie Harry with a Knife — Image by © Lynn Goldsmith/Corbis

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Debbie Harry, Basquiat, Fab Fred, NYC 1981 – Image by © Lynn Goldsmith

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Debbie Harry of Blondie models for one of Andy Warhol’s paintings — Image by © Chris Stein  via

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ca. 1970s — Rockers Vicki Blue, Joan Jett, Debbie Harry, David Johansen, Joey Ramone, and Mickey Leigh perform a fake wedding ceremony. — Image by © Corbis

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Debbie Harry of Blondie

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1978 — Joan Jett and Debbie Harry of Blondie backstage at the Tower Theatre in Philadelphia, PA at a gig featuring The Runaways, The Ramones & The Jam — Image by © Scott Weiner/Retna Ltd./Corbis

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Debbie Harry and Nancy Spungen

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The Clash with Al Fields, David Johansen and Debbie Harry, NYC, 1979 — Image by © Bob Gruen

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ca. 1970s — Debbie Harry of Blondie booty-bumpin’ a beater.

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1978 — Debbie Harry and Chris Stein — Image by © Martyn Goddard/Corbis

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1978, Philadelphia, PA — Chris Stein and Debbie Harry — Image by © Martyn Goddard/Corbis-

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New York — An early publicity photo of new wave band Blondie. From left– Gary Valentine, Clem Burke, Debbie Harry, Chris Stein, and Jimmy Destri — Image by © Bettmann/Corbis

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1978, London, England — Debbie Harry and Chris Stein of Blondie at the opening of Blondie in Camera exhibition at the Mirandy Gallery — Image by © Martyn Goddard/Corbis

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1978, London, England — Debbie Harry of Blondie at the opening of Blondie in Camera exhibition at the Mirandy Gallery — Image by © Martyn Goddard/Corbis

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Debbie Harry, 1969

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RISE AGAIN LEE SCRATCH PERRY | PLAYING CRAZY TO CATCH WISE

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“For me to survive, me have to find something for myself and it was like a spiritual vibration, so me said– me going to make spiritual music.  This spiritual music coming– they call it Reggae.”

–Lee “Scratch” Perry 

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Reggae and Dub master, Lee “Scratch” Perry is often overshadowed by the Reggae giants that followed in his footsteps– namely Bob Marley.  Not that Marley doesn’t deserve praise– Perry is just long overdue, and grossly under-acknowledged.  Growing up in rural Jamaica, he later moved to Kingston and worked his way up from music studio janitor to songwriter and producer. Perry’s debut single “People Funny Boy” was one of the first recordings to sample– the sound of a baby crying.  In fact, what “Scratch” Perry was able to lay down on old, broken-down, low-tech equipment is nothing short of genius.  Perry’s crazy garb and outlandish, eccentric behavior have oft played perfectly to his reputation for being crazy– but many believe (and by his own admission) it was more a ploy to shield himself from the brutality of Jamaica’s badasses.

Now, to coincide with Lee “Scratch” Perry’s 75th birthday, there’s the release of the new album Rise Again, and documentary film called The Upsetter (narrated by Academy Award Winner Benico Del Toro)which chronicle’s Perry’s epic songwriting and producing career– highlighting his pioneering recording techniques, and ground-breaking (and still influential) contributions to reggae and dub music.

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Reggae / Dub master Lee “Scratch” Perry at his Black Ark studio in Jamaica

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Lee “Scratch” Perry

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Jamaica, 1976 — Lee “Scratch” Perry (and The Heptones) — Image by © Kate Simon  via

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Lee “Scratch” Perry

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Jamaica, 1976 — Lee “Scratch” Perry (and The Heptones) — Image by © Kate Simon

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Lee “Scratch” Perry

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Lee “Scratch” Perry (bottom left)

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Lee “Scratch” Perry at his Black Ark studio in Jamaica

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Lee “Scratch” Perry

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Lee “Scratch” Perry

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Lee “Scratch” Perry’s Black Ark Studio

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Lee “Scratch” Perry’s Black Ark Studio
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Lee “Scratch” Perry’s Black Ark Studio
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Reggae / Dub master Lee “Scratch” Perry at his Black Ark studio in Jamaica
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Reggae / Dub master Lee “Scratch” Perry at his Black Ark studio in Jamaica
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Reggae / Dub master Lee “Scratch” Perry at his Black Ark studio in Jamaica
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Reggae / Dub master Lee “Scratch” Perry at his Black Ark studio in Jamaica
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Reggae / Dub master Lee “Scratch” Perry at his Black Ark studio in Jamaica
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Lee “Scratch Perry with The Jackson Five

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Related TSY posts:

BOB MARLEY & THE SPORT OF SOCCER | NATURAL MYSTIC OF THE PITCH

THE WILD LIFE AND UNTIMELY DEATH OF THE REGGAE LEGEND PETER TOSH

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“GREGORY’S GOING TO GET SCREWED-UP FROM TIME TO TIME– AND SO AM I.”

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“Our whole world as we knew it was shot to ratshit.  I ought to write a soap opera.” 

–Cher

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Being a child of the ’70s, the one over-riding vibe stuck in my memory is that it felt messy. Very messy. Nothing felt solid, like it could all collapse at any given time. Maybe we were all dealing with the after effect of the ’60s free love, drugs, rock & roll deal– only now there were kids, complicated relationships, and worldly responsibilities popping-up that we didn’t feel ready for and certainly didn’t fully embrace. Still hanging on to our freedom– no one wanted to admit it was time to grow up and get real. We graduated from pot to cocaine and hard drugs, and went back to our father’s crutch– booze. Too much.

Looking back on these pics of Gregg Allman and Cher, I’m struck by that feeling. Two messy lives, neither one able to get out of their own way, coming together for an epic meltdown. People magazine, and the like, would have all the coked-out celebrity fodder ever needed to fill the racks at the supermarket checkout lines. Business was strong. Life felt cheap. You better at least look fucking fabulous if you want to survive.

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Cher, smoking in bed, in the grip of a 1,000 yard stare… The Allman Brothers Band (and  fans) did not have kind words for Cher– likening her to their own ‘Yoko Ono’ for distracting Gregg and the resulting disintegration of the group. Truth is, Allman was seriously coked-out and a mess.  His weight dropping down to 125 lbs at one point. His head was all fucked-up from the loss of his beloved brother Duane Allman in a motorcycle wreck. Then, unthinkably, almost exactly a year after Duane’s tragic passing–  ABB bassist Berry Oakley also died in a motorcycle wreck only about a block away.   

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1973, San Francisco– Gregg Allman of the Allman Brothers Band –Image © Neal Preston/Corbis. While with Cher, Gregg Allman found himself labeled a snitch for testifying against ABB’s road manager Scooter Herring in exchange for his own immunity in a drug case. Seems Scooter was busted for supplying Gregg with 1/2 gram of cocaine a day– he reportedly even saved Allman’s life once by resuscitating him during an overdose. Cher stood by her man claiming, ”Gregory makes a great villain because he’s taken drugs. They acted as if he had turned his road manager into a drug dealer when it was the other way around.” Most folks didn’t see it Cher’s way. Allman’s name became mud in Macon– death threats were flying and the locals wanted his head. Even the federal judge on the case smelled a rat stating, “the person who ought to be prosecuted is Mr. Allman.” Gregg claimed things were cool between he and Scooter, and that they both understood what Allman had to say and do to escape a prison sentence. It was all cool. In Allman’s mind, if anyone was the fall guy it was him. Somewhere in the middle there lies the truth.

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June 30, 1975– Gregg Allman & Cher’s wedding photos.  The couple were wed (in Las vegas on a Lear jet) just 3 days after Cher’s divorce from Sonny Bono was finalized, and ironically, Cher would file for divorce from Allman a scant 9-10 days after the wedding. The two remained rockily married until 1979 and produced a child, Elijah Blue.

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December 14, 1975– With advance man, Earl Simms leading the way, Cher arrives with husband, Gregg Allman, backstage at the Mid-South Coliseum prior to The Allman Brothers Band set. –Image by © Barney Sellers/The Commercial Appeal. 

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1975– Cher arrives with husband, rocker Gregg Allman at The Dick Cavett Show. Things look tense. Allman is wearing a cast from busting his wrist in a recent motorcycle spill. –Image by © Ron Gallela/WireImage

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January 21st, 1977– Cher and Gregg Allman on Wisconsin Avenue in Georgetown for Jimmy Carter’s Inaugaration. –Image by © Ron Gallela/WireImage

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(Above Lt.) 1975– Glamorous portrait of singer Cher –Image by © Bettmann/Corbis

(Above Rt.) ca. 1973– Greg Allman in a motel room –Image by © Neal Preston/Corbis

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January 21st, 1977– Cher and Gregg Allman on Wisconsin Avenue in Georgetown for Jimmy Carter’s Inaugaration. –Image by © Ron Gallela/WireImage

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Superstar singer/performer Cher flaunting her 1970′s assets. 

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November 1977, Brussels, Belgium — Gregg Allman & Cher sing “Love the One You’re With” in concert. –Image by © Bettmann/Corbis

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January, 1975– ’70s Superstar Cher getting into her Ferrari Dino 246 –Image by © Douglas Kirkland/Corbis. Cher’s taste in cars ran a bit more exotic than Gregg Allman’s– she most notably tooled-around in a midnight blue Jensen Interceptor, while he was (and remains) a Corvette guy.

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Gregg Allman & Cher

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ca. 1975 — 1970′s Superstar Cher –Image by © Douglas Kirkland/Corbis

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(Above Lt.) Gregg Allman of the Allman Brothers Band –Image by © Neal Preston/Corbis

(Above Rt.) Gregg Allmann, shirtless, aboard a boat. –Image by © Lynn Goldsmith/Corbis

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1977, Los Angeles, CA– Cher with Gregg Allman –Image by © Michael Ochs Archives/Corbis

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Cher and Gregg Allman at a party –Image by © Neal Preston/Corbis

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1977, LA– Cher with Gregg Allman (and Rona Barrett) –Image by © Michael Ochs Archives/Corbis

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ca. 1973– Gregg Allman of the Allman Brothers Band –Image by © Neal Preston/Corbis

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THE ROLLING STONES’ 1972 AMERICAN TOUR | STP– STONES TOURING PARTY

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“Some of my most outrageous nights– I can only believe actually happened because of corroborating evidence.  No wonder I’m famous for partying!  The ultimate party– if it’s any good– you can’t remember it.” 

–Keith Richards 

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Keith Richards & Mick Taylor of The Rolling Stones on stage, 1972 –Image by © Ethan Russell

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The Rolling Stones embarked on their 1972 American tour to support the release of Exile on Main Street– which in and of itself was a push into new territory for the band, both musically and commercially. What followed rewrote the game for The Stones and the music industry, and basically set the stage for a decade of big, balls-out tours that went from being simple promotional vehicles the pop culture events. Nothing like this had been done in Rock ‘n’ Roll prior and all subsequent tours would follow the ’72 tour blueprint for scale, attempted musicality, logistics, legal entanglements, drugs, women, hilarity, hangers-on, and general debauchery.

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Mick Jagger & Keith Richards of The Rolling Stones on the  STP tour, 1972 –Image by © Ethan Russell

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After months in France at the now legendary Villa Nellcote recording Exile, Keith Richards (after being thrown out of France for drug charges) went to L.A. and there the album was remixed and completed for release in May of 1972. At this point a tour was in order. The Stones had not toured America since their Altamont disaster in 1969 (which led to heightened security– private planes, limos, and higher stages to reduce public access to the band), and being the biggest band in Rock and needing some cash, they set out to put together a tour like no other. What followed that June and July of ’72 is the stuff of legend. You could make the argument the overused term “party like a rock star” was born here. The private plane with the famous tongue logo, the glamorous celebrity hangers-on, the traveling press corps, the massive amount of drugs, and a much publicized four day orgy at the Chicago Playboy mansion are a few of the legendary tales to come out of the tour. The tour was covered by the press of the day like a Presidential election. What is interesting for me is that at this point the innocence of the 1960s, that somehow rock could change the world, was completely gone. The Stones killed it. The Stones were now a fully formed massive enterprise with the associated money deals, merchandising, and horde of lawyers, handlers, and spiritual advisors. This tour was not about changing the world– it was about money, fame, cynicism, celebrity and pushing the limits in every way possible. The “Me Decade” had officially begun.

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Guitar virtuoso Mick Taylor of The Rolling Stones on the  STP tour, 1972 –Image by © Ethan Russell

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The Stones’ STP Tour brought together a blend of high and low society, almost unthinkable in rock music a mere 10 years earlier. Mick Jagger and wife Bianca were members of the global jet set. While there were other famous and glamorous frontmen, Mick was by this point at another level and his ego and paranoia grew along with it. The tour had a traveling press core– Truman Capote (by this point a total drunk and addicted to tranquilizers), Terry Southern, and Robert Greenfield all covered the tour for various news outlets. Even the Kennedys, who seem to pop up at every moment of cultural importance, followed the tour. Lee Radziwill and her husband, the artist Peter Beard, were after-party regulars. Capote, after focusing on New York society ladies, must have felt he had gone to Mars with this assignment, and left the tour (along with his own entourage) in New Orleans only to reappear at the final shows at Madison Square Garden. Southern, and especially Robert Greenfield, gave a more complete accounting of the tour and wrote some fine stuff.

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Mick Jagger & Keith Richards of The Rolling Stones on the  STP tour, 1972 –Image by © Ethan Russell

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Every stop on the ’72 tour had its attendant bedlam in the form of crowd riots and arrests. Throw into this bubbling cauldron– Hells Angels putting a bounty on Mick’s ass over the lingering Altamont mess, Keith’s increasingly dark drug use and carrying a gun throughout most of the tour out of fear of the Angels as well, the verbal needling between dueling divas Bianca Jagger and Anita Pallenberg, Mick & Keith getting thrown in jail in Rhode Island for getting into a fight with photographer Andie Dickerman– and you have Rock ‘n’ Roll my friends!

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Frontman Mick Jagger of The Rolling Stones on the  insane STP tour, 1972 –Image by © Ethan Russell

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Interestingly, The Stones (& company) were probably never better musically– once they all got into their groove. With the swirl around them, they were dialed-in on stage. During the Exile recording The Stones brought in a lot of supporting musicians, and driven by Keith, really stretched themselves musically. The horn player Bobby Keys was the greatest example of a great supporting player who would become part of the inner circle and would be a key contributor to The Stones’ sound in the 1970s. Robert Greenfield summed up the tour best, “The musicians completely locked into one another and on time, like a championship team in its finest most fluid moments. But only the people, who listen, like Ian Stewart, and the Stones themselves and their supporting musicians, are aware of the magic that’s going down. Everyone else is either worrying about logistics or trying to get off.”

Indeed, indeed…

–Eli M. Getson

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1972– Mick Taylor and Mick Jagger of The Rolling Stones perform with Stevie Wonder at Madison Square Garden. The concert was the final performance of the group’s 30 city, 3 month tour of the United States and Canada. –Image by © Bettmann/Corbis

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Frontman Mick Jagger of The Rolling Stones on the  insane STP tour, 1972 –Image by © Ethan Russell

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A view of Mick Jagger from the crowd on the Stones’ American tour, 1972 –Image by © Ethan Russell

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Mick Jagger on the harmonica. The Rolling Stones N. American tour, 1972  –Image by © Ethan Russell

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Mick Jagger, Mick Taylor & Keith Richards on the infamous STP tour, 1972 –Image by © Ethan Russell

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Mick Jagger and Bobby Keys on stage during the STP American tour, 1972 –Image by © Ethan Russell

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The Rolling Stones onstage during the infamous STP American Tour, 1972 –Image by © Ethan Russell

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Related TSY posts:

THE ROLLING STONES @ ALTAMONT | WE’RE NOT IN WOODSTOCK ANYMORE…

KEITH RICHARDS & GRAM PARSONS 1971 | SUMMER IN EXILE @ VILLA NELLCOTE

THE ROLLING STONES | ROAD WORN, FORLORN & ALMIGHTY GUITAR PORN

1969 DESERT TRIPPIN’ | GRAM PARSONS, ANITA PALLENBERG & KEITH RICHARDS

MARIANNE FAITHFULL | SISTER MORPHINE

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THE FABULOUS THUNDERBIRDS, ca. 1980 | PHOTOGRAPHY OF ART MERIPOL

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So I recently came across these incredible images of the Fabulous Thunderbirds taken back in the ’80s by photographer Art Meripol that really grabbed me. The shots of Jimmie Vaughan are epic, and Kim Wilson is also looking pretty damn good. The bands’ storied bassist, Keith Ferguson (July 23, 1946 – April 29, 1997), the most colorful character in the bunch (and the original hipster), was even in a few of the pics. Ferguson was an anchor in the Austin music scene whose longtime drug use and increasingly odd behavior eventually led to his separation from Austin’s legendary Antone’s and many of those he once called friends. One thing’s for certain, he will always be an Austin legend (in many ways) and a revered musician. They say that to see Keith Ferguson in his prime was unforgettable. I dug through the archives of The Austin Chronicle and Dallas Observer to get the skinny…

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“…When I first saw Ferguson with the Fabulous Thunderbirds at Rome Inn in 1976, about a year after they’d formed, it was one of the most memorable musical experiences of my life. Not quite 30, Ferguson was the oldest member of the band, yet he, like the rest of them, played the blues like a grown man– and they sure as hell didn’t sound like a bunch of “white kids.” Still a decade away from commercial success (there were about 25 disinterested patrons at Rome Inn that night), Ferguson, Kim Wilson, Jimmie Vaughan, and the soon-to-join Mike Buck already showcased the indelible influence they would have on blues bands coast to coast, and around the world. Collectively and individually, the original T-Birds sired cults and mini-cults, changing the way musicians played, dressed, stood, combed their hair.”

“At the center of all this was Ferguson– a unique, colorful, even charismatic persona, but that was just the icing on the mystique. At its core was one simple truth– he was as good a blues bass player as there was in the history of blues bass players. Even in capable hands, the subtle art of blues bass can be the musical equivalent of the witness protection program, yet Ferguson carved out a singular niche without ever saying ‘look at me’ with his instrument.” 

–Dan Forte for The Austin Chronicle

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Austin, Texas, 1980– Blues guitar great Jimmie Vaughan playing with his band, the Fabulous Thunderbirds. “Jimmie Vaughan playing behind his head” –image by © Art Meripol. via ”It’s whispered that the T-Birds were the only white blues band that intimidated the Rolling Stones, for whom they opened twice at the Dallas Cotton Bowl, and twice at the Houston Astrodome during the 1981 tour.” –Josh Alan Friedman for the Dallas Observer

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ca. 1980– The Fabulous Thunderbirds’ lead singer/harpist Kim Wilson with legendary bassist and band mate Keith Ferguson in Austin, TX. –image by © Art Meripol. via ”…there were knock-down, drag-out, shit-kicking fist-fights between Ferguson and Wilson — the distinguished, sharply dressed ambassadors of the blues.” via

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“Keith Ferguson died with a monkey on his back. I’m not speaking figuratively– the man literally died with a picture of a monkey on his back. It was tattooed there, the head of a fang-toothed baboon permanently inked into his shoulder. That was Keith Ferguson’s statement to the world. So, when a friend called last week to tell me that Ferguson was in the hospital and probably wouldn’t make it out alive, it didn’t come as much of a surprise. Not to me, and probably not to Ferguson, either. The obituary cited liver failure as the cause of death, and that may indeed be what’s on the death certificate– but that’s like jumping off the Golden Gate Bridge and having the resultant death termed a swimming accident. Liver failure was the cause of death in name only, because for 30 of his 50 years, Ferguson shot heroin.” 
–Dan Forte for The Austin Chronicle
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“The Fabulous Thunderbirds Onstage” –image by © Art Meripol. Jimmie Vaughan plays the guitar behind his head, with Kim Wilson and legendary bassist Keith Ferguson onstage. via ”The Fabulous Thunderbirds spearheaded a re-animation that stabilized the course of blues, spawning back-to-basics bands that proliferate to this day. Blues cognoscenti even began to emulate Jimmie Vaughan’s slicked-back hair and open-collar, Fifties rayon shirts, newly designed and imported from India by Trash & Vaudeville in the East Village. Ferguson’s transparent camisas tripled in price at Austin clothing stores. ‘That’s just the way we dressed in high school,’ Ferguson says. ‘The fashion of pachucos and thugs who’ve long since died — or gone double-knit’”. –Josh Alan Friedman

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Kim Wilson of The Fabulous Thunderbirds blows his harp onstage. –image by © Art Meripol. via ”Kim Wilson applied no fake rasp to his voice, no black affectations, no phonetic imitations of slurred words. He sang it straight.”  –Josh Alan Friedman 

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The Fabulous Thunderbirds, ca. 1980– Blues guitar great Jimmie Vaughan (stringing his guitar), and lead singer/harp player Kim Wilson (enjoying a smoke) backstage in Austin, Texas before a gig. –image by © Art Meripol. via ”Muddy Waters heard us at Antone’s. We fried him. We were told we sounded like his best band from the Fifties, with Jimmy Rogers. We weren’t trying to. It was innate. He went back North ravin’ about us, and Jimmie started gettin’ calls. So we got in our little van from Austin to Boston, nowhere in between. We started openin’ for [Kansas City jump-blues revivalists] Roomful of Blues. Then it got to where they were openin’ for us. People seemed astonished by us.” –Keith Ferguson

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Kim Wilson lights up, with bassist Keith Ferguson in the background –image by © Art Meripol. via ”It wasn’t until his mid-twenties that Ferguson found out who his father was– John William Ferguson, concert pianist with the Chicago Symphony. He never even knew his father was a musician. ‘You ass-wipe,’ he told the maestro during their next encounter. ‘I’ve been beat, ripped off a thousand times playin’ clubs. There’s so much you could have taught me.’ After the Thunderbirds tore up the Houston Juneteenth Festival, being the only white band there, they received a four-page spread in the Houston Post. From then on, the elder Ferguson began showing up at Thunderbirds gigs. ‘He would point me out to his friends, ‘My son, the rock star,’ recalls Ferguson. ‘He picked up girls at our shows. Johnny Winter and ZZ Top sent their limos for him to attend concerts. After I left the T-Birds, I never heard from him again.’” –Josh Alan Friedman

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ca. 1980– The Fabulous Thunderbirds’ lead singer/harp player Kim Wilson enjoying a smoke backstage in Austin, Texas before a gig. –image by © Art Meripol. via

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1982– The Fabulous Thunderbirds’ legendary guitar great Jimmie Vaughan onstage at Antone’s in Austin, TX. –image by © Art Meripol. via ”The Fabulous Thunderbirds were the first white blues group that didn’t look and play like hippies. The T-Birds took it back 20 years. Jimmie Vaughan exorcised all the rock-guitar innovations– as if Beck, Hendrix, Clapton, Winter, and Bloomfield never existed– and threw it back to a long-abandoned, spare, Fifties Chicago groove, more authentic than early Rolling Stones. Countless guitarists took heed.” –Josh Alan Friedman

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1982– The Fabulous Thunderbirds’ Jimmie Vaughan and Kim Wilson onstage at Antone’s in Austin, TX. –image by © Art Meripol. via  “Ferguson played bass on the first four Thunderbirds albums (the essential ones), as well as on the Havana Moon collaboration with Santana. He was fired in the mid-Eighties, about the period when the Thunderbirds switched to CBS Records and began scoring on Top 40. Ferguson leveled a lawsuit at the T-Birds claiming owed money, refused to settle, and was trounced in court. For many years, there was acrimony and scorched earth.” –Josh Alan Friedman

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1982– Blues guitar great Jimmie Vaughan playing with The Fabulous Thunderbirds at Antone’s in Austin, TX. –image by © Art Meripol. via ”Jimmie Vaughan and Kim Wilson never did anything to hurt him. You can’t guess at this. It’s too deep. Don’t even try.” –Clifford Antone ”Perhaps he was too bluesy, too primitive, too tattooed — The Illustrated Man, The Man With the Golden Arm — or couldn’t cross borders. Maybe he got so hip, he just hipped himself right off the planet.” –Josh Alan Friedman

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1982– Playing in one-time home club Antone’s in Austin with his original band the Fabulous Thunderbirds. Jimmie, brother of Stevie Ray Vaughan, has an amazing smooth style steeped in the vintage sounds of fellow Texan T-Bone Walker and Slim Harpo. –image by © Art Meripol. via

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RELATED TSY POSTS:

BLUESMAN STEVIE RAY VAUGHAN | TRIBUTE TO AUSTIN’S FAVORITE SON

DAMN RIGHT I’VE GOT THE BLUES | LEGENDARY BADASS BLUESMEN

ROCK & ROLL LEGEND EDDIE COCHRAN | 50 YRS GONE, BUT NEVER FORGOTTEN

ROKY ERICKSON | THE GREAT, LOST TEXAS PIONEER OF ROCK AND ROLL

WINTER WHITES | JOHNNY & EDGAR LEGENDARY WINTER BROTHERS

TOWNES | YOU’VE GOTTA MOVE– OR JUST YOU’RE WAITIN’ AROUND TO DIE

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PEACE ON EARTH | BING & BOWIE’S EPIC AND TIMELESS HOLIDAY CLASSIC DUET

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“Peace on Earth” has long been one of my all-time favorite Holiday tunes. Even more so when I learned about the odd and magical pairing of David Bowie & Bing Crosby many years ago. It was an epic moment in music history that almost didn’t happen– in more ways than one.

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Bing Crosby & David Bowie taping the TV special “Bing Crosby’s Merrie Olde Christmas” back in 1977.

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When the producers of Bing Crosby’s “Merrie Olde Christmas” TV special asked Bowie to sing “The Little Drummer Boy” with Bing in 1977, he flatly refused.

Ian Fraser, Buz Kohan and Larry Grossman left the set and found a piano in the studios’ basement. In about 75 minutes, they wrote “Peace on Earth,” an original tune, and worked out an arrangement that weaved together the two songs. Bowie and Crosby nailed the performance with less than an hour of rehearsal. Bowie liked it.

Bowie, who was 30 at the time, and Crosby, then 73, recorded the duet Sept. 11, 1977, for Crosby’s “Merrie Olde Christmas” TV special. A month later, Crosby was dead of a heart attack. The special was broadcast on CBS about a month after his death.

It’s unclear whether Crosby had any idea who the Hell this Bowie kid was. Buz Kohan says he was never sure Crosby knew anything about Bowie’s work. Fraser has a slightly different memory: “I’m pretty sure he did. Bing was no idiot. If he didn’t, his kids sure did.”

via The Washington Post

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September 11th, 1977– Iconic crooners Bing Crosby & David Bowie shake hands during the taping of the television special “Bing Crosby’s Merrie Olde Christmas”.

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David Bowie agreed to the duet with Crosby on his Christmas special only if Bing would also air a Bowie solo performance. Bing introduced and showed Bowie’s progressive video for “Heroes”– and when you think about how this must’ve stuck out like a sore thumb on Bing’s special, it’s pretty amusing. It was also pretty ballsy of Bing, given his audience– it’s a pretty trippy piece in this context.

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TSY RELATED POSTS:

1972 DAVID BOWIE IN TECHNICOLOR | CH-CH-CH-CH-CHANGES ROCK ‘N’ ROLL

BING CROSBY, THE FIRST HIP WHITE PERSON BORN IN THE UNITED STATES 

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SEXTON BROS & ARC ANGELS | AUSTIN, THE BRAMHALL LEGACY & VAUGHAN…

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I love Texas. There are more Rock, Country, Folk and Blues music greats from the Lone Star State than you can shake a stick at– not to mention the colorful and storied scene they created that lives-on today. The loyal fans who were around back then dutifully keep it alive through a rich oral history.

My buddy Bruce is one of those guys. Ask him if he recalls when the Sex Pistols toured through Texas in ’78 and his eyes light up like a Christmas tree. Before you can catch your breath, out come tales of the filth, fury & raucousness of that time like it was yesterday– “You mean that Sid Vicious kid?  Yeah man, of course I remember it. It was a mess! He was runnin’ his mouth, spittin’, and swingin’ that bass around like a baseball bat on stage– mowin’ people down.  They wanted to kill him!” Ask him about Charlie Sexton, and out come tales of the early days of him and his lil’ brother Will playing in clubs before they were teens…then with the Vaughan brothers (Jimmie & Stevie Ray)…and Charlie’s much-loved band, Arc Angels, with Doyle Bramhall II, son of the legendary Doyle Bramhall…and how Doyle (Senior) and the Vaughan brothers own history together (among many others, Jimmie and Doyle both came out of the legendary band, The Chessman) was foundational in laying the groundwork for the Dallas / Austin music scene in the 1960s & 1970s that is so prolific, relevant, and vital to this day. Whew.

These three families– The Vaughans, the Bramhalls, & the Sextons, are forever entwined with one another in the history of Texas music. Everyone knows about Jimmie & Stevie Ray Vaughan, ’nuff said. Doyle Bramhall (Senior) is a legend who left his mark on this world that sadly lost him back in November. Doyle Bramhall II is known for his early days with Charlie Sexton in Arc Angels. Young Doyle went on to be a singer in his own right, and a much in-demand guitarist who has backed-up some of the greats like Roger Waters and Eric Clapton. Then we have the Sexton brothers…

Charlie Sexton was often railed as a Post-Wave pretty boy, which he definitely was during his mainstream popularity. (I remember a few of the hip girls in High School with Charlie Sexton posters on their walls, and tee-shirts emblazoned with his pouty lips & piled-high coif on their budding chests.) His rising star somehow failed to reach its promised heights back then, but over the years Charlie has silenced his critics by becoming a very well-respected musician (his guitar playing is simply incredible) and producer who has toured and recorded with some of the biggest names in the business– Bob Dylan, Lucinda Williams, Keith Richards, Ronnie Wood, to name just a few. And for you hipsters out there– he even played with Spoon on Austin City Limits back in 2010. Will Sexton is less known, but no less talented– and perhaps even the more sensitive, thoughtful musicians of the two. Definitely more folksy, in a good way. (In all fairness, the video clips I chose of the Sexton brothers are of when they were very young, back in the ’80s, in fact. I think it’s safe to say we all have some fashion / hair moments from those days that we’d all like to forget. Go on YouTube to see their current work, which is very solid.) Charlie and his little brother Will went off on different musical paths, but those paths will bring them together again, as both make their mark in the annals of Texas music history for us to savor, and the next generation to discover.

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July 4th, 1982 — A very young Charlie Sexton,13-yrs-old, playing with the Joe Ely Band (which toured as the opener for The Clash back in the day– you heard me right, this kid opened for The Clash.) at Gilley’s, Pasadena, TX. That Rockabilly look would carry through to Charlie’s next band, the Eager Beaver Boys– in fact, the hair would get higher and higher. –image Tracy Hart

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1979 — Great shot of Joe Strummer of The Clash, and Texas music legend Joe Ely at the Tribal Stomp II concert. –Image by © Roger Ressmeyer/Corbis

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Another old, undated pic of the very young Sexton brothers, Charlie & Will, playing together in Texas. Both Charlie and Will were taught to play guitar by Texas legend and “Godfather of Austin Blues”– W.C. Clark (who along with the Vaughan brothers, Doyle Bramhall and others, was critical in laying the early  foundation for the Austin Blues scene). In 1988, the brothers formed the band “Will & the Kill” and released a 38 minute self-titled album produced by Joe Ely that featured Jimmie Vaughan on a few tracks. The album was recorded at the Fire Station Studio and released on MCA Records.

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On many occasions, the extraordinary, young Sexton brothers– twelve-year-old Charlie and ten-year-old Will opened for Stevie Ray Vaughan and joined him on stage. –via Cheatham Street, San Marcos, Texas. Whate were you doing when you were 10? Good God.

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Charlie Sexton’s big hit single “Beat’s So lonely” broke into the Top Twenty charts back in 1985. Yep, it’s Teen Beat fodder, but the kid was a no slouch– check out the pick harmonics during his guitar solo in the video below. 

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Texas music legends Roky Erickson and Will Sexton, Ritz 1987 –Image by Martha Grenon, via The Austin Chronicle. Will Sexton is one of Austin’s most beloved singer/songwriters whose solid style has been compared to Nick Lowe and Tom Petty. There is a great podcast interview with Will Sexton here.

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Classic freakin’ clip of  young Will Sexton being interviewed during the “Will & the Kill” days, so ’80s! If you were around back then, this will slay you.

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The band Arc Angels was formed sometime around 1991 featuring Charlie Sexton and Doyle Bramhall II, backed by the legendary Tommy Shannon & Chris “Whipper” Layton of “Double Trouble” (Stevie Ray Vaughan’s backing band) fame. “Arc Angels” released a self-titled album on Geffen Records in 1992, produced by Steven Van Zandt. Personally the band couldn’t hold it together– communication issues, drugs, etc, began to break them down. It would be the band’s only official release, and “Arc Angels” would break-up within 3 years. In the video below, check how Doyle’s left-handed guitar is strung, high strings on top– its the opposite of how Jimi Hendrix (the most famous lefty guitarist) strung his. 

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Another shot of “Arc Angels”, featuring Charlie Sexton and Doyle Bramhall II, backed by the legendary Tommy Shannon & Chris “Whipper” Layton of Double Trouble (Stevie Ray Vaughan’s backing band) fame. In 1995, Charlie formed “The Charlie Sexton Sextet” and released “Under The Wishing Tree” that while being somewhat of a commercial flop, was critically well received.

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Charlie Sexton, Stiv Bators, Adam Bomb, Johnny Thunders and that’s the Sex Pistols’ Steve Jones just out of frame. Limelight VIP room in NYC. This shot was published in Melody Maker. —-image via Adam Bomb

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February 1991– Doyle Bramhall II & Charlie Sexton of the Texas band Arc Angels –image Tracy Hart

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March, 1991– Doyle Bramhall II & Charlie Sexton, the Arc Angels performing at Austin Music Awards –image Tracy Hart

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Feb, 1991– Charlie Sexton and Chris Layton at Bon Ton Room in Houston, Texas –image Tracy Hart

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You can’t mention Doyle Bramhall without paying tribute– one of the forefathers of the Dallas / Austin music scene. Bramhall (on drums) partnered with Jimmie Vaughan in Dallas (on guitar, of course) to form a blues band– The Chessmen during the 1960s. Later the two, along with Jimmie’s younger brother, and soon-to-be- Blues God, Stevie Ray Vaughan (he played in Bramhall’s band The Nightcrawlers in the 1970s, and it’s widely recognized that Bramhall was a major influence on Stevie’s vocal style), headed south to Austin to help create the the rich & vital music scene there that is still a hotbed of talent today. Many take solace in the thought that Doyle and Stevie are now together again making music in heaven.

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RELATED TSY POSTS:

ROKY ERICKSON | THE GREAT, LOST TEXAS PIONEER OF ROCK AND ROLL

THE FABULOUS THUNDERBIRDS, ca. 1980 | PHOTOGRAPHY OF ART MERIPOL

BLUESMAN STEVIE RAY VAUGHAN | TRIBUTE TO AUSTIN’S FAVORITE SON

WINTER WHITES | JOHNNY & EDGAR LEGENDARY WINTER BROTHERS

TOWNES | YOU’VE GOTTA MOVE– OR JUST YOU’RE WAITIN’ AROUND TO DIE

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STRAY CAT STRUTTIN’ STYLE | BRIAN SETZER AND THE BOYS ROCK THIS TOWN

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I loved the early days of the Stray Cats back when they were young, raw and fresh from Long Island. Seeing lil’ Brian Setzer in these grainy old pics (if you can help out with any photo credits, I’d appreciate it!), some even from his pre-tattoo days built like a matchstick with a pile of hair that entered the room a full minute before he did…well, they are a sight to see. Their style was pretty tough back in the hungry years before the big payday when they rocked on a steady diet of engineer boots, creepers, skinny jeans, polka dot thrift shop tops with cut-off sleeves, bandanas and a sneer. Soon the look was gobbled up by the mainstream made-for-MTV crowd and regurgitated into a uniform with elements of new wave / new romantics fluffy hairdos, argyles, leopard print, gold lamé, Zodiac boots, and over-sized sportcoats.

Give the Stray Cats their due. Not only were they heavily responsible for a resurgence of interest in American roots Rock, Rockabilly, Swing, and Greaser culture– Brian Setzer was honored with being the first artist since Chet Atkins to be granted a Gretsch artist model guitar built and named for him. A true reflection of how strongly he was identified with Gretsch, and how he helped cement them with a new generation as the true player’s guitar for anyone serious about Rockabilly and the like. After the Stray Cats, guys like the Reverend Horton Heat, Mike Ness (Setzer played on Cheating at Solitaire) and others like them have carved-out their own sound and legacy on a Gretsch– and they owe a nod to Brian Setzer for paving the way.

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A young and well-coiffed Brian Setzer of the Stray Cats back in the early 1980s

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1982, Paris– A couple of lean, mean rockers Thierry Le Coz & Brian Setzer. Brian and the Stray Cats hit the road for the UK and Europe early on, as the Teddy Boy movement and the strong  love abroad for the Sun Records & rockabilly music legends (Elvis, Carl Perkins, Johnny Cash, Jerry Lee Lewis, Eddie Cochran, Gene Vincent, Duane Eddy, and many more) called them there to make their mark. Thierry (yep, he’s French) is a great guitarist and started out in the Rockabilly band Teen Kats back in the early 1980s, and met Brian and the boys while they were there touring Europe.  Le Coz moved to Austin, Texas in ’84, played with Will Sexton in Will and the Kill among others, and is still doing his thing. I love that pic of them, great style.

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1983– Dave Edmunds and Brian Setzer of the Stray Cats rock New York City’s Roseland Ballroom with an encore of Eddie Cochran’s “C’mon Everybody”

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“KNOWLEDGE SPEAKS, BUT WISDOM LISTENS”| THE WISE WORDS OF JIMI

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“Knowledge speaks, but wisdom listens.”

― Jimi Hendrix

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Too often in life we seek only to be heard instead of truly listening to, and understanding those who matter to us most– the ones that we love in this world. Jimi knew, and it would serve us well (me especially) to heed his wise words. At the end of the day, it’s the love that we give and receive– in other words, relationships, that make this life beautiful and worth living. Sometimes we must decrease so that the relationship can increase. After all, what’s more important–  being happy, or proving how smart we are and being right all the time?

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Jimi Hendrix, 1967  Image by © Gered Mankowitz

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Jimi Hendrix, 1967 ― Image by © Gered Mankowitz

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Jimi Hendrix, 1967 ― Image by © Gered Mankowitz

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Jimi Hendrix, 1967 ― Image by © Gered Mankowitz
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Jimi Hendrix, 1967 ― Image by © Gered Mankowitz

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“I’m the one that’s got to die when it’s time for me to die, so let me live my life the way I want to.”

― Jimi Hendrix

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MILES DAVIS |“IT’S NOT ABOUT STANDING STILL AND BECOMING SAFE…”

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The epic tales of Miles Davis and his need for speed have been on heavy rotation again lately, as they are just too damn good to die. I mean, who splits their Lambo Miura on the West Side Highway, and screams at a good samaritan responder for dumping two bags of blow for him before the cops show up? Both ankles were crushed and all Miles wants to do is jump out to see how busted-up his ride is. Cocaine is a helluva drug. The love of cars can be a vice all its own, and Miles had it bad from early on.

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Miles Davis, Red Ferrari, New York City, 1969 – Image by © Baron Wolman

Miles Davis And His Mercedes 190SL:

“…In 1955 Miles Davis dragged his quintet into the Prestige Records studio and recorded five albums in a row for the purpose of satisfying his obligations to the label. Although Davis himself had turned away from the worst of his heroin addiction, his crew was all hooked on something — from John Coltrane, who had conspicuous tracks up both his arms, to ‘Philly’ Joe Jones, who showed up to the session with just one drum and a hi-hat because he’d pawned the rest to get high — and nobody could have predicted that the group would settle down and turn out some of the greatest music in recorded history.

Miles hated Prestige. They famously paid $300 a record and didn’t seem to be familiar with the concept of residuals. The moment he had a chance to jump the fence to Columbia, he did so, and celebrated by buying a Mercedes 190SL with pretty much all the money he had at the time.

A new 190SL cost about four grand — easily four times what Davis had just cleared on the Prestige session — and it was not exactly a rapid automobile. Most of them wheezed perhaps 85 horsepower back to the swing-axled rear wheels to push the 2600lb mass. The real hot ride was the 300SL, famous today as the ‘Gullwing’ but far more popular as a convertible back in the day, but Miles would have had a hard time buying one and a harder time keeping it maintained.

Miles eventually fell in with the fast crowd, which included the Baroness Pannonica ‘Nica’ de Koenigswarter-Rothschild. She rolled in a Bentley, and she was well known among the community. PIanist Hampton Hawes recalls:

Thelonius Monk and his wife and Nica and I driving down Seventh Avenue in the Bentley at three or four in the morning… and Miles pulling alongside in the Mercedes, calling through the window in his little hoarse voice… ‘Want to race?’ Nica nodding, then turning to tell us in her prim British tones, ‘This time I believe I’m going to beat the Mother F#cker.’”

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Miles Davis, Red Ferrari, New York City, 1969 – Image by © Baron Wolman

“That photo of Miles Davis and his red Ferrari (275 GTB) was taken on New York’s West Side Highway in 1969. We had just shot some portraits in his apartment near Central Park. He said he wanted to go to Gleason’s Gym to work out. He was am amateur boxer, as you probably know. Anyhow, we’re driving along and I said, ‘Miles, pull over. Let’s do some shots of you and this totally cool car.’ He said ‘yes’, we did, and then proceeded to the gym where he threatened to knock me out.” –Baron Wolman

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Miles Davis, Red Ferrari, New York City, 1969 – Image by © Baron Wolman

“Davis had an affinity for flashy cars and trouble seemed to follow him whenever he was in one. While it’s been rumored that he cruised around in his Lamborghini Miura with a .357 magnum under the seat and enjoyed outrunning the fuzz with people sitting shotgun (he once scared Jimi Hendrix half to death), Davis was arrested in 1970 on weapons charges when he was sitting in his red Ferrari and an officer noticed he had accented his ensemble of a turban, white sheepskin coat and snakeskin pants with a pair brass knuckles. One might have thought brass knuckles might not be enough protection, considering he had been shot in the hip while sitting in another Ferrari less than a year earlier in an alleged extortion plot. In 1972 he crashed his Lamborghini Miura and broke both of his ankles. He promptly ordered another.” Via

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Miles Davis, Lamborghini Muira – Image by © Joe Sackey

Director James Glickenhaus Tells Jalopnik: “How I Saved A Coked Up Miles Davis After He Crashed His Lamborghini.”

“Someone posted in Ferrari Chat that Miles Davis had fallen asleep at the wheel and stuffed his Lambo. I was there and responded.

There was a bit more to it than that. He didn’t fall asleep at the wheel. He tried to make a right angle turn at 60 mph from the left lane of the West side Highway to the 125 ST exit across three lanes of traffic. He didn’t make it. He hit the WPA Stone exit ramp and the Lime Green Miura came apart like Brazilian plywood in the rain. I pulled over and ran back to his car. He was wearing leather pants and the bones of both of his legs were sticking through the pants. He was bleeding badly.

He looked at me and said, ‘Is my car f#cked up?’ I told him the car was gone. He said, ‘I got to take a look.’ I told him both legs were broken and he wasn’t going anywhere. I ripped up a shirt I found on the floor and told him to hold the cloth over the bleeding with pressure as it was getting bad but not arterial. There were two large plastic bags filled with white powder on the floor and one had broken open. The interior was dusted. I grabbed the bags and ran to the sewer and chucked them. He screamed, ‘What The F#ck You Doing!!??’ I used rain water to wipe down the car as best as I could. The cops arrived. One of them asked me who I was. I told them just one of the guys he cut off. He looked at Miles and at me and told me to split.

Years later I was directing ‘Shakedown’ with Peter Weller. Weller liked Miles’s music and I told him that story. One night he went to hear Miles. He went back stage where Miles recognized him. ‘Hey Robo’ Peter told him the story and asked if it was true. Miles got real quiet and said, ‘I always wondered who that White Mother F#cker was. You thank him for me, and tell him to come by anytime.’

Miles was in the hospital for a long time and didn’t play for almost a year…” –Director James Glickenhaus

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THE PHOTOGRAPHY OF KIRK WEST | ICONIC IMAGES OF MUSIC LEGENDS — THE BLUES

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Kirk West is probably best known as the long-time tour manager, archivist, and photographer for the Allman Brothers Band– but before that he spent many years shooting many other musical legends while living in Chicago. Many of those images laid dormant for decades, and now with time on his hands since his 2010 retirement from ABB, the amazing images have now come to light– and many of them are stunning in their honest, fly-on-the-wall, honest energy. Being a lover of the Blues, I was instantly strike by many of his images of legends in a bygone time that I’d love to step back into.

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1978 — Blues guitar great, Johnny Winter at Chicago’s Park West theatre –Image by © Kirk West There’s a famous story about a time in 1962 when Johnny and his brother went to see B.B. King at a Beaumont club called the Raven. The only whites in the crowd, they no doubt stood out. But Johnny already had his chops down and wanted to play with the revered B.B.”I was about 17,” Johnny remembers, “and B.B. didn’t want to let me on stage at first. He asked me for a union card, and I had one. Also, I kept sending people over to ask him to let me play. Finally, he decided that there enough people who wanted to hear me that, no matter if I was good or not, it would be worth it to let me on stage. He gave me his guitar and let me play. I got a standing ovation, and he took his guitar back!” via

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1985 — Late guitar great, Stevie Ray Vaughan at the Chicago Blues Fest –Image by © Kirk West     From Guitar World Magazine ’85 — “Vaughan remembered something that came from Johnny Winter, the first white Texas blues guitar hero, who’d preceded him down the long path. ‘He said something to me when the first record was doing so well,’ Stevie Ray recalled. ‘It made me feel a lot of respect for what we did, for the music. He said that he wanted me to know that people like Muddy Waters and the cats who started it all really had respect for what we’re doing, because it made people respect them. We’re not taking credit for the music. We’re trying to give it back.’” I dig that attitude– doing what you love, and doing it well– to give back to those who cam before you– and the music as a whole. You don’t hear  enough talk like that these days. That’s real heart and soul right there.

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1978– Johnny Winter, Bob Margolin, & Muddy Waters at Harry Hope’s, Cary IL where they recorded Muddy “Mississippi” Waters – Live  –Image by © Kirk West. During early live performances, Johnny Winter would often recount about how, as a child, it was dream of his to one day play with the great blues guitarist Muddy Waters. In 1977 Winter’s his manager creating Blue Sky Records to be distributed through Columbia,  Winter now had the opportunity to bring Waters into the studio for Hard Again. The album became a best-seller, with Winter producing and playing back-up guitar on the set that included Waters, and  the legendary James Cotton on harmonica. Winter produced two more studio albums for Muddy Waters – I’m Ready (this time featuring Walter Horton on harmonica) and King Bee. The partnership produced Grammy Awards, a best-selling live album (Muddy “Mississippi” Waters Live), and Winter’s own Nothin’ But the Blues, on which he was backed by members of Muddy Waters’ band.

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1978– Blues great Muddy Waters at Harry Hope’s, Cary, IL where Muddy “Mississippi” Waters – Live was recorded –Image by © Kirk West. Muddy Waters — Born McKinley Morganfield in Rolling Fork, Mississippi back in 1915. His Mama died when he was just 3 yrs old, and so he was raised by Grandmother in Clarksdale. Muddy started playing the harmonica at the age of 13, and a few years later picked-up the guitar. Muddy was very big on legendary Delta bottle-neck guitar masters — Son House and Robert Johnson. Soon, Muddy was a master himself — being one of the best guitarists and vocalists in the region  – and now recognized as one of the best ever. In 1941, Alan Lomax and a team of Library of Congress field collectors visited and recorded Muddy Waters for the Library’s folksong archives (they were originally looking for Robert Johnson at the time, but had no idea that he had died three years earlier). Muddy finely-honed his blues chops in the tough, back country juke joints until 1943 —  when he left for Chicago. Waters worked hard to make a name for himself, and by the 1950s, he had a string of recordings that solidified his reputation as one of the best. Numerous members of his bands through the years have gone on to become legends themselves– guitarists Jimmy Rogers, Sammy Lawhorn and Luther Johnson, harmonica players Little Walter, Junior Wells and James Cotton, pianists Otis Spann and Pinetop Perkins — adding to Muddy Waters’ enormous Blues legacy.

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1980– Bluesman John Hammond at ChicagoFest –Image by © Kirk West. John P. Hammond, Jr. is an American Blues & Roots music legend with crazy vocal, guitar and harmonica skills. John Paul Hammond hasn’t had huge commercial success, but that hasn’t stopped him from becoming one of the most respected musicians among his peers. Legend has it that Hammond had both Eric Clapton and Jimi Hendrix side-by-side in his band for five days in the 1960s when Hammond played The Gaslight Cafe in New York City. He’s the son of famed record producer John H. Hammond, and interestingly enough– great-grandson of William Henry Vanderbilt. You would never know he’s a Vanderbilt by listening to him. In fact, you’d swear he was raised on the Mississippi Delta. Hands-down on of my favorite artists of an genre or era. I missed-out seeing him at the New Hope, PA Winery a few months back– and have still not gotten over it.

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1979– A young George Thorogood tunes his resonator guitar backstage before a show at Harry Hope’s in Cary, IL –Image by © Kirk West. In the 1970s, Thorogood played semi-professional baseball in the Roberto Clemente League. A skilled second baseman, he was even awarded rookie of the year. His baseball dreams would take a backseat to music after seeing a young John Hammond onstage. From then on, George knew he was meant to play the Blues. “The people who helped me out were all the guys in Muddy Waters’ band, all the guys in Howlin’ Wolf’s band. They were wonderful to me, and they wanted to help me. They saw what I was trying to do. It (Blues) was a lifestyle as well as an art form, as far as music goes. They were singing about what their life was like on a daily basis. Sonny Boy Williamson and Wolf and Muddy Waters – they didn’t think they were the baddest cats in the world, they knew they were the baddest cats in the world. They had to be, or they wouldn’t have survived. There’s nothing glamorous in it – that’s just the facts. They had to fight their way through on a daily basis just to keep their heads above water. That’s very clear in a lot of their songs.” –George Thorogood. Back in the day, Thorogood and John Hammond (not to mention Clarence “Gatemouth” Brown) would take the stage at John & Peter’s in New Hope, PA — a legendary, original music venue still going strong after 40 yrs. What it lacks in size, it definitely makes up for in spirit! 

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Clarence ‘Gatemouth” Brown, Biddy Milligan’s –Image by © Kirk West. A Bluesman, he was. But this Texan legend is hard to put in a neat little box– spread his love across multiple musical genres– Country, Bluegrass, Calypso, Jazz… you name it, Gate played it. The “Gatemouth” nickname came from a high school teacher who said he had  a “voice like a gate,” and it stuck. His big break came in 1947 concert when he filled-in for T-Bone Walker onstage at Don Robey’s Bronze Peacock Houston nightclub. Clarence “Gatemouth” Brown took up his guitar and played “Gatemouth Boogie” and his career was off and runnin’. In the 1960s, Gate called Nashville home and became a fixture there– appearing on a syndicated Country music TV show, and laying down some Country tracks. Roy Clark had become a good buddy– the two recored an album together, and Gate even show-up on the (very white) TV show ‘Hee Haw’. In the late ’60s, Gate tired of the music scene and headed to the desert of New Mexico and turned in his guitar for a badge– becoming a Deputy Sheriff. Gate’s fans soon came calling like never before. In the ’70s American Roots music swept Europe–  Gates was in demand, and he toured Europe extensively. His guitar style is legendary, and cited for influencing the likes of Albert Collins, Guitar Slim, J. J. Cale, Johnny “Guitar” Watson, and Frank Zappa– who declared Clarence “Gatemouth” Brown s his all-time favorite guitarist. via

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1981– Lefty Dizz, Chicago Blues legend, at the Checkerboard Lounge –Image by © Kirk West. Lefty was a fiery guitarist, and balls-out showman who still doesn’t get nearly enough press for his legend, his skill, and his bravado. A self-taught “lefty” he was 19 yrs old when he picked up a guitar for the first time. Like many lefties back then, he played on a right-handed guitar–  and  did not reverse the strings, as some do. Legend has it that another ‘lefty’ guitar great, a young and then unknown Jimi Hendrix, caught-up with Lefty Dizz at a Seattle gig– and that Lefty’s aggressive playing had an influence on Hendrix. And Jimi wasn’t his only Rock ‘n’ Roll fan– The Rolling Stones, Foghat, and others would often catch Lefty’s Chicago gigs.       

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5/3/1983– “To Muddy”, Blues greats James Cotton and Buddy Guy at the Checkerboard Lounge for Muddy Waters’ funeral wake –Image by © Kirk West. Muddy was the man, and upon his passing in 1983, anyone who was anyone in Blues came to pay tribute to one of the most important musical icons of the last century. Period. End of story.

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THE ROLLING STONES ROCK WARHOL’S EAST HAMPTON PAD | MONTAUK, 1975

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Andy Warhol cultural icon, and Mick Jagger of The Rolling Stones – Image by © Ken Regan

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It was spring of 1975, and The Rolling Stones were gearing up for their epic Tour Of The Americas (TOTA)– which they would later kick off  in NYC by performing “Brown Sugar” on the back of a flatbed truck driving down 5th Ave. Looking for a place to rest up, rehearse for the tour, and work on songs for their upcoming album, Black and Blue, the boys rented their pal Andy Warhol’s pad (for 5k a month), and got busy being themselves. Let’s just say their presence did not go unnoticed by their buttoned-up neighbors:

“Throughout April sensationally loud music welled through the windows, into the ruts and hollows over the tangled crab-grass of an estate in Montauk, Long Island. Residents of the Ditch Plains trailer park were woken in the night – yapping dogs, even wolves, the loud grief of coyotes. From East Hampton to New York the word spread with the ferocity of a brush fire: The Rolling Stones were rehearsing!”

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June, 1975 — The Rolling Stones, with guest percussionist Ollie E. Brown, outside their rehearsal room at Andy Warhol’s Montauk Church Estate – Image by © Ken Regan. Although the Stones tried to keep a low profile, their fans found their hide away. Andy Warhol remembered, “Mick Jagger really put Montauk on the map. All the motels were overflowing with groupies. Two girls with no hair and black cats on leashes followed them all the way to Montauk. Mr. Winters, the caretaker of the estate, found them hiding in the bushes!”

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June, 1975 — The Rolling Stones, with guest percussionist Ollie E. Brown, outside their rehearsal room at Andy Warhol’s Montauk Church Estate – Image by © Ken Regan. Following Mick Taylor’s leaving the band, Ronnie Wood stepped in to (try and) fill his shoes. Wood was still a member of the Faces while he toured with the Stones on TOTA, and recorded with them on Black and Blue. The Faces wouldn’t officially announce they’re breakup until Dec. 1975, and the Stones announced Wood as an official member of the band in Feb. 1976. “I remember learning 150 of their repertoire (laughs). I gave up trying to remember which key each one was in or the chord sequence to a lot of them. I did a lot of it by feel in the end, you know. Had to, it’s impossible to log all of those songs. It was intense– to get hit with all of those Mick Taylor lines, to echo what Brian had done, then to add my own bluesy input to it all.” –Ron Wood

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Here’s a great little read from Montauk Life that recounts the days of Andy Warhol’s move to East Hampton, The Rolling Stones’ legendary visit to the Church Estate that Warhol owned, and other interesting tidbits of that time:

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If there was one thing Andy loved more than fame, it was money. That’s what first brought the intensely urban Warhol to wide open Montauk. A long time visitor to the Hamptons proper, he and Paul Morrissey, director of many of Andy’s early avant garde films, decided a home here would be a great investment. Ironically, they turned to East Hampton realtor Tina Fredericks, who had been one of Andy’s early champions when art director of Vogue in the mid-1950′s.

One rainy weekend in early 1972, Andy and Paul piled into Tina’s Eldorado for a tour of the East End. She started showing them houses in the primest of areas of the East End – Southampton’s tony Gin Lane, East Hampton’s posh Further Lane and Ocean Avenue, but nothing moved Andy. It wasn’t until they drove into Montauk that eccentric Andy began to perk up.

According to Tina, it was the unlikely sight of the absurd architecture of the Memory Motel and Ronjo Motels that caught Andy’s eye. It seems the mix of Polynesian, Tudor, and “Motel Six” design amused Andy. Driving east of town along the ocean Tina brought them to a dramatic compound, overlooking the Atlantic on the wind swept cliffs of Montauk.

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1972 — Mr. Winters on his tractor at the Church Estate, Montauk. — Image by Peter Beard  via

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The Church Estate was a collection of 5 classic, clapboard houses built in the 1920s. Set on 20 acres high above the Atlantic, they had been designed by noted architect Stanford White. The main house, with 7 bedrooms, 5 baths, 4 stone fireplaces and large living areas would be perfect for entertaining. The 4 smaller cottages would be guest accommodations. They agreed to the price and Andy and Paul split the $225,000 cost. As it turned out, this good investment was the best buy of Andy’s life. Currently on the market for a cool $50,000,000, it’s the most expensive home for sale on the East End, and one of the most expensive in all of America. (Currently owned by J.Crew’s Mickey Drexler.)

Although Andy was happy with his new house, his primary concern that first year was finding a tenant to help with the bills. That started a long parade of celebrity renters for the Montauk home. That first year Andy rented the main house to Lee Radziwill, Jackie Onassis’s famed sister. In her recent bio, Happy Times, Lee remembered that Summer fondly. “The main house had a floor of huge old flagstones and two enormous fireplaces opposite each other. It smelled of cedar and the sea.”

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1971 — Andy Warhol’s beach home– the Church Estate, Montauk, Long Island, New York.  via

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Andy she saw in a different light – “He was almost allergic to fresh air, but once in a while felt obliged to leave the city and check in on the happenings at his place in Montauk. Here a somewhat different person was on display. He loved children and was inventive with them, creating activities in which they became totally abandoned such as when he sat them down at a large round table in the living room to show them how to edit a film in a simple way. He was something of a pied piper, always keeping their attention, always admiring and encouraging them at whatever they did.”

“We spent long lazy afternoons on the beach, talking and burying each other in the sand. At times like this, Andy wasn’t as strange as he initially seemed, but revealed himself as a keen, subtle observer of everything around him.”

“He had a simple supper every night at six before going out, seven nights a week to observe. He didn’t eat the rich food at the dinners and parties that he constantly attended. He was too fragile after the attempt on his life and his serious operation.”

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1973, New York — Andy Warhol and Lee Radziwill  – Image by © Condeˆ Nast Archive/Corbis. Jackie Kennedy Onassis’s sister, Lee Radziwell rented the largest of the five houses on Andy Warhol’s property in Montauk during the first summer he bought it. Lee was there to supervise the “rescue” of Grey Gardens where her eccentric East Hampton cousins, the Beales, lived. Jackie visited Lee several times that summer. It was Lee Radziwell’s idea for the Maysles Brothers (who had filmed The Rolling Stones’ Altamont concert for the documentary “Gimme Shelter”) to film her cousins which became the famous documentary, Grey Gardens.  via

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That Summer, Jackie came for a number of visits with young Caroline and John John. Andy remembered, “They used to run around throwing balloons filled with water at everybody. They were always having egg fights. John John was the ring leader. He was about 12 then. He told the funniest stories and the best jokes. John John and Caroline loved to go down to the candy store to look for pictures of themselves in the movie mags.”

Andy was so proud of his association with the first family of America, that Bob Colacello Interview editor and one of Andy’s closest companions, remembers – “Andy joked about putting up gold plaques that said ‘Lee slept here’ and ‘Jackie slept here.’” The shy boy from the wrong side of the tracks had come a long way.

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1976 — Peter Beard (photographer, writer, painter, playboy, you-name-it-he-is-it) and friends. – Image by © Larry Fink

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It seems one of the reasons Lee spent 1972 in Montauk had to do with Andy’s charismatic next door neighbor, Peter Beard. Andy described him as – “one of the most fascinating men in the world … he’s like a modern Tarzan. He jumps in and out of the snake pit he keeps at his home. He cuts himself and paints with the blood. He wears sandals and no socks in the middle of Winter. He lived in a parked car on 13th Street for six months. He moved when he woke up and found a transvestite sleeping on the roof.” He also thought Peter was one of the best looking men he’d ever seen. So did Lee.

Peter was both Andy’s neighbor and artist in arms. Unlike some who built his reputation around Andy, Peter had established himself as one of the great nature and fashion photographers long before meeting Andy. Grandson of a well to do western family, Manhattan/England/Yale educated, he began his career while still in college, signed to a $12,000 a year contract by Vogue in 1955. That was also the year he first traveled to Africa, a trip that would forever change his life and work. His landmark work, The End of the Game (1963), a collection of essays and photographs on the rapid decline of Africa and it’s wildlife, is a testament to early ecological and sociological sensibilities.

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Montauk, 1975 — Mick Jagger, Catherine Deneuve, and Andy Warhol – Image by © Peter Beard

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Peter first came to know Andy through his uncle, Jerome Hill, one of the early partners in Andy’s Interview magazine. Beard in turn came to know Lee when he was assigned a photo shoot of The Rolling Stones’ Exile on Main Street tour in 1972. Long remembered as one of the most decadent rock and roll campaigns of the overly indulgent ’70s, the frenzy to report this momentous event was such that the most prominent papers of the day battled to cover this bacchanalian tour. Rolling Stone magazine topped them all by assigning Truman Capote to follow the tour, and Peter Beard to photograph.

While on tour Peter became good friends with Mick Jagger. They partied they way across the country in the “Lapping Tongue” – the Stones speciality outfitted DC-7. As has been well documented they flew considerably higher than the clouds that surrounded them. Half way through the tour, Truman Capote met the group in Kansas City. In tow was his new best friend, Lee Radziwill. The mix of rock royalty and Fortunate Four Hundred did not work well. Jagger hated Capote’s mincing manners, and Capote called Mick – “…a scared little boy… about as sexy as a pissing toad.” Stones guitarist Keith Richards welcomed the cultured Radziwill by banging on her hotel door that night, screaming “Princess Radish… C’mon you old tart, there’s a party going’ downstairs!”

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Biance Jagger, Mick Jagger –Images by © Peter beard

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The final date of the tour was scheduled for Mick’s birthday – July 26, at Madison Square Garden. Afterwards a lavish party was given for the 29 year old Stone by Ashmet Ertgun, president of Atlantic Records, at his palatial roof top suite atop the St. Regis Hotel. Overlooking Manhattan, the creme de la creme of arts and society came to honor the pouting prince– including Andy, Peter, Truman, and Lee. Andy provided the high light of the party. A naked girl popped out of a towering birthday cake, and twirled her silicon tits as a dozen black tap dancers provided a chorus line. The New York Post reported, “In the perfumed twilight of the Roman Empire unspeakable things went on. Are we entering that same twilight?”

The next day Peter invited the exhausted Mick and bride Bianca, to visit his house In Montauk for a quick R&R. They flew into Montauk airport and spent the next few days relaxing at the shore, water skiing on Lake Montauk, and walking the beach. It was an introduction to Montauk that would lead to a much longer stay.

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1975 — The Rolling Stones, with Ollie E. Brown, at Warhol’s Montauk home – Image by © Ken Regan

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By the Spring of 1975, the Stones were in the midst of planning their next American tour. What better place to cool out and prepare, than quiet Montauk? Andy rented Mick and the boys the compound for a princely sum of $5,000 a month, and the Stones began rehearsals for what would become Black and Blue. As was then reported: “Throughout April sensationally loud music welled through the windows, into the ruts and hollows over the tangled crab-grass of an estate in Montauk. Long Island. Residents of the Ditch Plains trailer park were woken in the night – yapping dogs, even wolves, the loud grief of coyotes. From East Hampton to New York the word spread with the ferocity of a brush fire– The Rolling Stones were rehearsing!”

Andy and Jagger first met in 1963, when The Rolling Stones were invited to play a birthday party for then Warhol starlet, Baby Jane Holzer, at the New York Academy of Music. Over the years the artistically inclined Jagger kept tabs on the musically inclined Warhol. Mick was such an admirer, that in 1972 when the Stones formed their own record company, they tapped Andy to design their logo. With characteristic flair Andy came up with the stylized Jagger mouth and tongue that would grace all their albums. Andy also designed the infamous cover for that year’s release, Sticky Fingers-- a cover shot of Jagger from the hips down, in skin tight jeans, with a fully working zippered crotch!

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Mick Jagger taking a walk in Montauk where The Rolling Stones were rehearsing for 1975 Tour of the Americas. – Image by © Ken Regan

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Andy Warhol visited the boys often that Summer. Although the Stones tried to keep a low profile, their fans found their hide away. Andy remembers, “Mick Jagger really put Montauk on the map. All the motels were overflowing with groupies. Two girls with no hair and black cats on leashes followed them all the way to Montauk. Mr. Winters – the caretaker of the estate – found them hiding in the bushes!”

At times the attention went beyond mere fan worship. Andy remembers playing with Mick and Bianca’s then 4 year old daughter, Jade. As he often did with small children he delighted in showing her how to draw and paint. At one point Andy was searching for some material, opened a drawer and much to his surprise found a loaded gun. Jade said,“That’s my daddy’s!” Turned out, Jagger was being hounded by a pair of Rolling Stones obsessed fans that summer, and felt the need for a little extra protection.

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Keith Richards cooking in the kitchen of Andy Warhol’s Montauk home where The Rolling Stones were rehearsing for their 1975 Tour of the Americas. – Image by © Ken Regan

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Little Jade was Andy’s favorite Jagger– “I love Mick and Bianca, but Jade’s more my speed. I taught her how to color and she showed me how to play Monopoly. She was four and I was forty-four. Mick got jealous. He said I was a bad influence because I gave her champagne.”

One of Mick’s favorite hang outs that summer was the Shagwong on Main Street. A little rougher around the edges in those days, it’s main attractions were a pool table and a juke box full of rock and roll. Only problem was, the only Stones tune on it was the by then golden oldie “Get Off My Cloud.” They’d play it every time Mick came in for a drink. One night Mick had enough. After 10 Pina Coladas, and the same number of “Get Off My Cloud”, Mick got off his bar stool, put a quarter in the box, punched up the classic disco tune – “Stand, Stand, Stand” – and started singing along. The whole place got quiet at first, and then exploded.

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Keith Richards on phone in the kitchen of Andy Warhol’s Montauk home where the Rolling Stones were rehearsing for their 1975 Tour of the Americas.  – Image by © Ken Regan

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Now as then, Jimmy Hewitt owned the Shagwong. He remembers Mick and Bianca would come in once or twice a week. “They were great for business. We had girls camped out three deep up and down the sidewalk waiting for them!” Mick would take up a stool at the end of the bar, where he’d sit with his private bottle of Grand Marnier. Bianca would waltz into the kitchen to pick out dinner, and kibitz with the crew. She’d roll up the sleeves of her Yves Saint Laurent dresses and open clams. Many nights after closing, Mick would invite Jimmy back to the hose to hear the Stones rehearse. The only problem was the nocturnal Stones wouldn’t even start 2 or 3 in the morning. By then it was time for Jimmy to go home.

Of course one of the indelible remains of the Stones stay in Montauk, is the song “Memory Motel.” Named for the bar and motel of same name, this lament for a lost girl has become one of the Stones signature tunes.

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“Hannah honey was a peachy kind of girl
Her eyes were hazel
And her nose were slightly curved
We spent a lonely night at the Memory Motel
It’s on the ocean, I guess you know it well
It took a starry to steal my breath away
Down on the water front
Her hair all drenched in spray”
(Jagger/Richards – C- Rolling Stones/Virgin Records 1975 )

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As atmospheric a tune as it was, the truth is, the Memory Motel was not the center of the Stones stay in Montauk. Peter Beard remembers taking Mick there one afternoon, with disastrous results. It seems the owners, an older couple, didn’t much care for the Stones. The bartender as much as told Jagger that to his face. So far as Peter can remember, that was the only time they set foot in the place! As for the “honey of a girl” mentioned in the song, it wasn’t some lovely Montauk lass Mick was pining after, but the Stones traveling photographer, Annie Liebowitz.

One girl who many in Montauk pined for, was a certain Barbara Allen. The pretty young wife of Joe Allen, one of Andy’s Interview backers, Barbara attracted attention where ever she went. Years before she and Peter had a fling. That summer married Mick seemed to find her company very enjoyable. According to Bob Colacello, he was inadvertently present at a night time rendezvous while staying at Peter Beard’s house. One hot summer’s night he was dropping off to a peaceful night’s sleep, when through the open window comes none other than Mick! Seemed he’d mistaken Bob’s room, for Barbara Allen’s. Poor Bob, it was the closest he’d get to having a Rock ‘n’ Roll star in his bed that summer.

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Ken Regan with The Rolling Stones at Camera 5 Studios  – Image by © Ken Regan

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ZIGGY STARDUST | YOU’RE JUST A GIRL… WHAT DO YOU KNOW ABOUT MAKEUP?

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Brian Duffy photograph of David Bowie for the Aladdin Sane album cover, 1973. “Bowie’s sixth studio album marked the birth of the ‘schizophrenic’ character Aladdin Sane who was a development of the space-age Japanese-influenced Ziggy Stardust. To create the compelling album cover image, Bowie collaborated with photographer Brian Duffy and make-up artist Pierre Laroche. The result was one of the most recognizable images in popular culture– a ‘lightning flash’ design which has been reproduced in multiple forms world-wide.” via

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Unless you’re living under a rock (which may be the case if you depend on TSY for current affairs), there’s no way you could not feel the intense media blitz that’s happening around all things David Bowie. The release of the new single and album “The Next Day”…the 40th anniversary of Ziggy Stardust…the “David Bowie is” exhibit at London’s V&A…even the whole androgyny thing that’s sweeping the fashion scene bears his mark. Bowie is everywhere you turn, for chrissakes.

Look, there are those that revere Bowie as an ahead-of-his-time visionary who revolutionized Rock ‘n’ Roll. And there are those who see him very black & white, as a plodding opportunist who coldly studied what was happening around him (heavily borrowing from  true innovators at the time like Marc Bolan), and then expertly went about merchandising himself for mass commercial consumption. Both are fucking true. Bowie is an epic genius who learned through years of toil, trial, and error how to create a magical out-of-this-world persona and artistically sell it to us on a silver platter. No one has done it better in recent memory, and it’s unlikely that anyone in our lifetime will top him. Period. End of story.

There’s an incredible account by Glenn O’Brien in the recent issue of Out Magazine. Gay or straight, get over it, go buy it, and devour the entire spread on David Bowie. It is brilliant. You can read a chunk of it here after the jump. Now go– oh, you pretty things.

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 who revolutionized Rock ‘n-

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“David Bowie (AKA Ziggy Stardust) wearing a sensational creation by Kansai Yamamoto. Born in Yokohama in 1944, the Japanese fashion designer was only 27 when he held his first international fashion show in London in 1971. The Japanese division of RCA records made MainMan aware of Yamamoto’s work and Bowie purchased the “woodlands animal costume” from Kansai’s London boutique– which he wore at the Rainbow Concert in August 1972 and which was later remade by Natasha Korniloff. Bowie subsequently viewed a video of a rock/fashion show that Kansai had staged in Japan the previous year and reportedly loved the costumes which were a combination of modern sci-fi and classical Kabuki theatre. Kansai and Bowie met in New York where he gifted Bowie two costumes during the 2nd US Tour. Kansai was then commissioned to create nine more costumes based on traditional Japanese Noh dramas for Bowie to pick up in Tokyo in April 1973. These were the flamboyant androgynous Ziggy Stardust costumes Bowie wore on the 3rd UK tour in 1973.” via The Ziggy Stardust Companion –photo by Masayoshi Sukita, the David Bowie archive

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David Bowie as Ziggy Stardust –photo by Mick Rock via

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David Bowie as Ziggy Stardust –photo by Mick Rock via

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David Bowie as Ziggy Stardust for the Pin Ups album and promo material, 1973. –Photo by Mick Rock via

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David Bowie (as Ziggy Stardust wearing an eye patch) performs “Rebel Rebel” on the TV show TopPop in Hilversum, Netherlands, 1974. This was Bowie at the end of his Ziggy era. (Photo by Gijsbert Hanekroot/Redferns/Getty Images) via

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David Bowie as Ziggy Stardust –Photo by Mick Rock via

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David Bowie as Ziggy Stardust –Photo by Mick Rock via

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David Bowie as Ziggy Stardust rocking the famous platform boots from his Aladdin Sane tour.

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David Bowie and Mick Ronson on stage during the Ziggy Stardust tour, December 1972 / January 1973. Bowie is wearing a pair of platform shoes decorated with palm trees by Pelican Footwear, New York. –Photo by Mick Rock via

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David Bowie as Ziggy Stardust –Photo by Mick Rock via

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David Bowie on stage in Scotland during the Aladdin Sane tour, 1973. –Photo by Mick Rock via

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David Bowie on stage in Scotland during the Aladdin Sane tour, 1973. –Photo by Mick Rock via

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Lou Reed, Mick Jagger and David Bowie, Café Royale, 4th of July. 1973. “After the very last Ziggy gig at Hammersmith Odeon on 4 July 1973, came the Ziggy Farewell Party in Piccadilly. All kinds of characters showed up, including Ringo Starr, Jeff Beck, Bianca Jagger and Lulu, but David spent much of his time chatting and laughing with Lou Reed and Mick Jagger. From all the photos I took, you can see how focused they were on each other. Later Mick and Lou even danced together (I have the photo). The most famous photos are the ones with all three of them in a kind of cuddle and the shot of Lou and David about to kiss. This shot has only been published once previously.” –Photo by Mick Rock via

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David Bowie with Cyrinda Foxe, 1972. “Cyrinda travelled with us for part of the first Ziggy Stardust US tour. She’s the blonde in the now classic Jean Genie video that I directed. She was spawned by Warhol’s Factory and was a light-hearted fun person to be around. This shot is from a series of photos I took in some old bar in the Hollywood Hills. David liked it because it looked like something from an Edward Hopper painting. One of the shots was copied as an illustration for the original US Jean Genie single release ad. Recently it has been used on the picture disc limited edition re-release of the single, but in a colourised version.” –Photo by Mick Rock via

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David Bowie prays at the window, 1973. “Backstage, Scotland, May 1973. I’m not sure that he’s necessarily praying, but he’s certainly in deep contemplation, thinking no doubt about the continued vertical trajectory of his career! It’s one of my favourite shots of Bowie, although it took some 30 years for it to be published in my book collaboration with David, Moonage Daydream in 2002. It’s taken before the show, and from the light streaming through the window you can see that it’s still daylight. Quite often on that tour the gigs were in the early evening starting around 6pm.” –Photo by Mick Rock via

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David Bowie in make-up, 1973. “David was very adept at applying his make-up and did it himself mostly in those days. Lindsay Kemp had taught him the rudiments in the days when David had studied the art of mime with him in the late 60s. On his trip to Japan earlier in 1973 he had had met with Tamasaburo, the Japanese Kabuki star, who had given him a lot of tips on how to apply Kabuki-style makeup. David brought back with him a whole array of exotic make-up. In Moonage Daydream he writes, ‘I used to enjoy doing the make-up. It felt relaxing and put me in a kind of serene state before the show.’ The slew of photos I have of him applying make-up bear witness to his focused demeanour.”  –Photo by Mick Rock via

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David Bowie lunch on the train, 1973. “Taken on the train up to Aberdeen for the first gig of David’s final Ziggy tour, 15th of May, 1973. Another image that got lost in the archive until it finally surfaced in Moonage Daydream. I have a slew of photos on the train and in the stations of David in that amazing jacket. But the favourite one for fans is this one. Of all my limited edition fine art prints, this may be the one that has sold the most. Maybe it’s got something to do with the ridiculously ‘glam’ look of the magic duo and the obviously mundane nature of their British Rail lunch – lamb chops, boiled potatoes, peas with the bread rolls and pats of butter. But also perhaps something to do with the warm conspiratorial way they are looking at each other. They had the rock scene by the horns and they were savouring it!”  –Photo by Mick Rock via

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Who wouldn’t want to be there when Bowie met Warhol for the first time?

For OUT magazine by Glenn O’Brien

In 1971, David Bowie was having his Greta Garbo moment. On the cover of Hunky Dory, he looked a bit like her and sang a song called “Oh! You Pretty Things.” That was his vibe when he came to visit Andy Warhol at the Factory, on September 14, 1971. He was with his manager, Tony DeFries. They were in town to sign with a new record company, RCA, and Bowie wanted to pay homage to Warhol. Andy had been a hit in London in ’71 with his play, Pork, and Bowie had recorded a single, “Andy Warhol,” and he wanted to sing the song to Andy in person.

I don’t know if they had an appointment, but I remember someone saying, “There’s somebody here named David Bowie to see Andy.” I had been reading about Bowie and had heard The Man Who Sold the World. It had Bowie with long curly locks reclining odalisque-style in a vintage dress on the cover, and it only reached 105 on the Billboard charts. The Factory was the world’s HQ for drag queens at the time, and I thought that Bowie was jumping on the bandwagon. But something was in the air; hippies were wearing feather boas, and, unbeknownst to us, the New York Dolls were rehearsing somewhere. I said that Bowie was pretty famous and that we should, of course, let him in.

David had long hair and was wearing huge Oxford bags-style trousers, a floppy hat, and Mary Janes with one red sock and one blue — he was clearly aiming for a sort of eccentric androgynous look. I was immediately struck by his eyes, with their electric pupils. I was also struck by David’s wife, Angie, who looked more boyish than David and had quite a presence, and by the contrast of Tony DeFries, who looked like a Sicilian Elvis impersonator. Not very glam.

Bowie had studied with the famed mime Lindsay Kemp and had toured with Kemp’s company, so he certainly had the best mime credentials, but none of us knew quite what to make of the mime he performed for Andy. Then he sang “Andy Warhol.” I don’t think Andy could tell whether it was an homage or a send-up, with its rather ambiguous lyrics, but everyone was very nice and polite. I’ve recently seen the silent black-and-white video [of the visit]. The Factory’s video technique was even worse than its film technique, and I’m curious about the conversation I can be seen having with Bowie, my hair almost as long as his. I recall David asking me where he could get a copy of the Index Book and I recall that I had no idea what that was.

I don’t know what Andy thought of that day — probably not much, but he had that sense of judging a person’s self-esteem, and I think Bowie passed on that count. The next time I saw him was in London. RCA Records had gotten behind him big time, and, in 1972, they shipped a bunch of editors and writers over to see his new incarnation, Ziggy Stardust. It was a total transformation, with Bowie gone futurist with radical red hair, makeup, and Japanese designer clothes. It was fantastic. He was a new dandy prototype, a Beau Brummell for the publicity millennium. I saw the band play a great concert in a medium-sized hall in Aylesbury, and I hung out with David and his very friendly wife, Angie. We went dancing at Yours and Mine, a hip disco under a Mexican restaurant and, yeah, I danced with David Bowie. Fabulous!

Read the complete story here…

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“David Bowie is” — Victoria and Albert Museum

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BO DIDDLEY & THE CLASH, 1979 US TOUR | EVERY GENERATION HAS THEIR OWN LITTLE BAG OF TRICKS

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1979, Cleveland — Bo Diddley opened for The Clash on their US tour – Image by © Bob Gruen. In 1979, Joe Strummer and Paul Simonon of the Clash asked that Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Strummer, starstruck, told a journalist during the tour. For his part, Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!” via

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The Clash where huge fans of Bo Diddley, as many of the formative British bands (and American too) of the ’60s and ’70s were– The Rolling Stones, The Who, The Beatles, The Yardbirds, and many more. Bo Diddley joined The Clash as their opening act on their 1979 US Tour– opening up a radical, young, new crowd to the sound of the man many consider to be one of the most important pioneers of American Rock & Roll music. Bo Diddley himself made no bones about stating that HE was THE beginning of Rock & Roll. Bo Diddley not only influenced sound– he also influenced the attitude, energy, and look of Rock & Roll for decades to come. Look at the pics here, I see the bold plaids that Diddley and other Rockers of the ’50s wore (Plaid was for hipsters, not squares, in the ’50s..), that emerged again strongly in the ’70s through the Sex Pistols (great credit due to Vivienne Westwood), The Clash and others. You can also see and hear where Jack Black got the lion’s share of his game from– no doubt Bo Diddley. The man is a legend and has never gotten his due, and the due that came, came too late. He had a well-earned chip on his shoulder, and even insisted The Clash pay him upfront, as he’d been screwed over so many times before.

“I was the cat that went and opened the door, and everyone else ran through it. And I said– what the heck, you know? …I was left holding the doorknob” –Bo Diddley

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ca. 1950s — Norma Jean “The Duchess” Wofford in white blouse, Jerome Green squatting in front with maracas, and Bo Diddley with his signature rectangular Gretsch guitar. Bo and his crew were the badasses of their generation, just as The Clash were in theirs. – Image by © Michael Ochs

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“If you can play– all you need is one amp, your axe, and you. “ –Bo Diddley explaining his feelings about The Clash’s monstrous wall of sound during their 1979 US tour.

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1979, Cleveland — Bo Diddley opened for The Clash on their 1979 US tour. I love seeing Mick Jones in his red tartan plaid shirt, and then looking down at the photo of Bo Diddley and crew rocking them back in the ’50s, and looking extremely badass. – Image by © Bob Gruen  

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Bo Diddley and His Band

ca. 1950s, New York — Bo Diddley, Jerome Green on left playing maracas. – Image by © Michael Ochs. Back in the 1950s, plaids like this may have been accepted among the Hipsters, but it was a different story in Middle America where it was still thought of it as the fabric of a counter culture movement– outlaw fashion. via

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“This group the Sex Pistols pukes onstage? I don’t necessarily like that. That’s not showmanship… They gotta get themselves an act.”  –Bo Diddley

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Bo Diddley opened for The Clash in 1979 on their US tour, here on their bus. – Image by © Bob Gruen 

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So how did Bo reflect back upon his 1979 US tour with The Clash? I think he summed it up pretty well when he stated that, “Every generation has its own little bag of tricks…” Watch the video below–

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No mention of Bo Diddley would be complete with a nod to The Duchess

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Born Norma-Jean Wofford in Pittsburgh, Pennsylvania, she began her career in 1962. After the departure of his first female guitarist, Peggy “Lady Bo” Jones, wherever Bo Diddley played, he would hear discontented whispers in the audience– “Where’s the girl? Where’s the girl? That’s when I got The Duchess,” he told his biographer. “I taught her how to play guitar, and then I taught her how to play my thing, you know. Then, after I hired her in the group, I named her The Duchess, and I says, ‘I’m gonna tell everybody we’re sister and brother.’ Part of the reason I decided to go with that little lie was that it put me in a better position to protect her when we were on the road.” via

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Lending her inimitable style to the grooves (and sleeves) of 1962′s “Bo Diddley & Company” and 1963′s “Bo Diddley’s Beach Party” albums, she accompanied him on his first tour of England that same year, where her guitar prowess created a stir equalled only by that of her skin-tight gold lamé cat suit. Asked by one dauntless investigator how she managed to get into it, Norma-Jean responded by pulling out an over-sized shoehorn. Eric Burdon later immortalised her in the Animals’ “Story Of Bo Diddley”. via

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FRANCE’S FAIREST EXPORT– FRANCOISE HARDY | IMMORTAL BELOVED STYLE & MUSIC MUSE

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Francoise Hardy on the ‘Grand Prix’ film set seen wearing co-star James Garner’s helmet, 1966.

Francoise Hardy was a wistful breath of fresh air during the sex, drugs & rock ‘n’ roll of the 1960s. Mysterious, sweetly naive, and utterly desirable. She was adored by Bob Dylan, Nick Drake, Mick Jagger, David Bowie, and more. The incredible enduring images of Hardy, particularly those by famed photographer Jean-Marie Perier (who shot her donned in Dior, Yves Saint Laurent, Andre Courréges, and Paco Rabanne), made her an instant and timeless style icon. With her faraway gaze and lazy smile, Francoise Hardy is like a melancholy dream that you simply don’t want to wake up from. Her unease with fame and adoration is at times clearly evident in her photos– serving only to make her even more alluring.

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Francoise Hardy perched atop a Honda motorcycle is an all-time internet #babesonbikes favorite.

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Francoise Hardy resting in a Formula One race car during the filming of Grand Prix, 1966.

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Francoise Hardy sittting in a Formula One race car during the filming of Grand Prix, 1966.

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Francoise Hardy, Antonio Sabato, and director John Frankenheimer on the set of 1966′s Grand Prix, which won three Academy Awards. The four stars— James Garner, Yves Montand, Brian Bedford and Antonio Sabato did their own driving on real GP tracks. World-famous “Grand Prix” drivers who appear in the picture include 1962 world champion Graham Hill, Jack Brabham, World Champion in 1959, 1960 & 1966; five-time World Champion Juan Manuel Fangio (1951, ’54, ’55, ’56 & ’57), and 1961 World Champion Phil Hill. via

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Francoise Hardy with Formula One racing legend (Sir) Jack Brabham, three-time World Champion, during the filming of Grand Prix, 1966. Brabham was the first driver in history to be knighted for his services to motorsport, and the only Formula One driver to have won a world title in a car of his own construction – the BT19 – which he drove to victory in 1966. The following year the Brabham team won its second successive world championship when New Zealander Denny Hulme drove the BT20 to victory. via

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Francoise Hardy snapping photos during the filming of Grand Prix, 1966.

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Francoise Hardy – Photo by © Jean-Marie Périer

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Francoise Hardy posing at her Paris home (in a 670/671 Eames lounge chair?), 1970— Image by © Leonard de Raemy/Sygma/Corbis

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Francoise Hardy – Photo by © Jean-Marie Périer

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Francoise Hardy playing guitar

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Francoise Hardy in Central Park, 1969. — Image by © JP Laffont/Sygma/Corbis

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Francoise Hardy in Montmartre – Photo by © Jean-Marie Périer

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Sylvie Vartan & Francoise Hardy on French TV. — Image by © James Andanson/Apis/Sygma/Corbis

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Francoise Hardy at Olympia Hall in Paris, 1965. — Image by © Pierre Fournier/Sygma/Corbis

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Francoise Hardy in Amsterdam, 1969. – Photograph by Joost Evers

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Singers/songwriters/spouses, Jacques Dutronc & Francoise Hardy, 1965. — Image by © Leonard de Raemy/Sygma/Corbis

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Georges Moustaki and Francoise Hardy, 1969 International Pop and Rock Festival of the Isle of Wight. — Image by © Jean-Louis Atlan/Sygma/Corbis

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FranÁoise Hardy et Georges Moustaki, Paris, 1970 par Jean-Marie PÈrier

Georges Moustaki and Francoise Hardy on a Honda motorcycle in Paris, 1970. – Photo by © Jean-Marie Périer

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ELVIS AND HIS GOOD OL’ MEMPHIS MAFIA MEET THEM LONG HAIRED BOYS FROM LED ZEPPELIN

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Sept. 7th, 1976 — Joe Esposito (Elvis Presley’s Memphis Mafia buddy) wearing a Led Zeppelin 1975 Tour T-shirt at the Holiday Inn hotel with Elvis in Pine Bluff, Arkansas. 

I Was There. And more… as told by Elvis Presley’s step-brother

“I was 14 years old when Led Zeppelin came to Memphis in 1969. As the youngest step-brother to Elvis Presley, I was living at the Graceland Mansion. My divorced mother Dee Stanley married Elvis’s widowed father Vernon Presley on July 3, 1960. Anyway, I went to the concert with a friend and was blown away. John Bonham playing his solo on Moby Dick, Jimmy Page stroking his Les Paul with a fiddle bow, John Paul Jones laying down heavy bass, and of course the driving voice of Robert Plant. While growing up as Presley’s step-brother I was no stranger to great music. But it was Led Zeppelin that became MY MUSIC while growing up the King.

I started touring with Presley in 1972 when I was 16. I always had Zeppelin’s music with me. In 1974 while at the LA Forum Led Zeppelin came to see Elvis. Later that night after the show Robert, Jimmy and John Paul came to Elvis’s suite at the hotel across the street from the Forum. I met them as they came off the elevator and walked with them to Elvis’s room. I introduced myself, shook their hands and got their autograph. Of all the people I met during my life with Elvis, it was only Led Zeppelin’s autograph that I asked for.

As I continued to tour with Elvis till his death in 1977 I would often ask my friend Tom Hewlett of Concerts West (the tour company that handled Elvis and Zeppelin) how the Boys were doing. He always gave me updates.

There was one other time the Presley tour ran across the band while out on the road. It was at the Washington/Baltimore airport. We (the Presley tour) were playing in Washington and Led Zeppelin was playing at the Capital Centre. We arrived on the Lisa Marie, Elvis’ Private Jet, and Led Zeppelin arrived on the Caesar’s Chariot. It was a hell of a sight to see these two private jets sitting side by side on the private tarmac.

I asked Elvis if I could go with the band that night for their concert. He just looked at me and said, ‘No.’ When I asked him why he said, ‘Look at the bottom of your paycheck.’ As I entered the limo with Elvis I said they sure have a nice jet. Elvis leaned over and reminded me, ‘They lease their jet from Caesar’s Palace, I OWN mine.’”

To me Led Zeppelin was and still is the greatest band in the world. Thanks Guys For So Many Great Memories.

David E. Stanley
Writer/Director/Producer

ELVIS PRESLEY ED ROTH TRIKE MOTORCYCLE PHOTO

ca. 1975-’77 — Elvis Presley livin’ it up on his custom-built Ed Roth trike motorcycles.

Me and a Guy Named Elvis by Jerry Schilling

Richard Cole, Led Zeppelin’s manager, organized a meeting with Elvis via Jerry Schilling (Memphis Mafia member, and Beach Boys’ manager briefly). Elvis said it would be okay for them to come by the house… 

“From the moment Richard Cole (Led Zeppelin’s manager) stepped into Elvis’s house, he was loud and profane–packing an amazing number of F-bombss into everything he said.

‘You know,’ Elvis said to him. ‘I’d appreciate it if you’d watch your language in front of my lady.’

Things got very quiet. Everybody sat down. And it stayed quiet. Then Elvis decided to break the ice, and asked if he could see the fancy watch that Richard was wearing. He handed the watch over, and when Elvis put it on, Richard quickly said that if Elvis wanted the watch, he could keep it.

‘Does it have any special meaning to you?’ Elvis asked.

‘Well, a bit. Atlantic Records gave them to the group,’ said Richard.

‘OK, thanks,’ said Elvis.

I don’t know if Richard expected to lose his watch that easily, but about twenty minutes later Elvis went upstairs and came back down with another watch, a real piece of jewelry, covered in diamonds – a wristwatch you could trade in for a car. Maybe a couple of cars. ‘Here,’ he said to Richard. ‘Take this one.’ A very stunned Richard accepted.

From then on the night was nothing but fun, with a lot of laughs and a lot of quoting Monty Python routines (Elvis was the first Monty Python fanatic I ever knew). Elvis and Richard obviously shared a sense of humor. And I could tell Elvis also liked the much quieter John Paul Jones. At one point, Elvis excused himself, went back upstairs, and returned with an equally impressive watch for the bassist.

Before the evening was over, Elvis said he wanted to make another exchange. He was out of watches, but had another bit of fashion in mind. So he stood, eyed John, and said, ‘Let’s swap pants’, while simultaneously, in expert Python fashion, letting his pajama bottoms drop beneath his robe. The loud Richard was shocked into silence, while quiet John burst out laughing. Nobody accepted Elvis’ offer, but it was a great note to end the night on.”

ELVIS PRESLEY GUN

“It was like being in a whorehouse with a credit card.  It was really unbelievable. Ya’ know, it just NEVER stopped.” –Lamar Fike, on being in Elvis’s Memphis Mafia

Cameron Crowe: I love Led Zeppelin

“It’s hard to believe that they were ever in the same room, but in 1972 the two diametrically opposed corners of the music world came together. Led Zeppelin met Elvis Presley.

The matchmaker was their mutual promoter, Jerry Weintraub (later to produce the Ocean’s 11 series with George Clooney and Brad Pitt), who took Jimmy Page and Robert Plant up to Presley’s Las Vegas hotel suite. Zeppelin’s music then permeated the airwaves. They were enormously popular, an enigmatic force of hard rock. Presley had already reinvented himself as the jump-suited King of Vegas, and an ‘honorary drug-enforcement’ pal of Richard Nixon’s.

For the first few minutes of the summit meeting, Elvis ignored Led Zeppelin. The room was filled with an awkward silence. Bodyguards monitored the temperature. Jimmy Page – who had first picked up a guitar after hearing Elvis singing Baby Let’s Play House on overseas American radio – began to fidget. What was going on? Did Elvis really want to meet them? Was this a big misunderstanding?

Finally Elvis turned to his guests. His first question had nothing to do with Zeppelin’s music. It was their roguish reputation that interested him. ‘Tell me,’ asked Elvis, ‘is it true, these stories about you boys on the road?’

For a surreal moment, they found themselves staring at the three-dimensional embodiment of their own youthful rebellion. Plant spoke first, without cracking a smile. ‘Of course not,’ he said. ‘We’re family men. In fact, I get the most pleasure out of walking the hotel corridors, singing your songs.’ Plant leaned forward, and offered his own best Elvis Presley impersonation. ‘Treat me like a foooool, treat me mean and cruuuel, but loooooove me…’

Presley eyed Plant very carefully. Presley’s ‘Memphis Mafia’ studied the moment with growing intensity. And then Presley burst out laughing. The bodyguards burst out laughing. Suddenly, the atmosphere was dorm-room friendly.For the next two hours, Presley entertained them with his own road stories, and tales from his movie-making days. He confessed that he had never heard Led Zeppelin’s music, except for the one song his stepbrother played him – Stairway to Heaven. ‘I liked it,’ said Presley.

Later, walking down the hallway from the hotel room, Page and Plant congratulated themselves on their meeting with the King. Had it really gone as well as it seemed? The answer arrived a moment later.

‘Hey,’ came a voice from down the hall. Elvis had poked his head out the door. They would never meet again, but this last image was one for the memoirs. It was Presley, serenading his new hard-rock friends with a perfect imitation of Robert Plant doing him. ‘Treat me like foooool…’”

elvis-presley-meets-president-richard-nixon-1970

December 21, 1970– Elvis Presley, at his own request, met President Richard Nixon in the Oval Office of The White House.  Elvis reportedly expressed his patriotism along with his contempt for the hippie drug culture, and that The Beatles, whose songs he used to perform in concerts, exemplified what he saw as a trend of anti-Americanism and drug abuse in popular culture.  Elvis presented President Nixon with a commemorative World War II Colt .45…and requested to be made “Federal Agent at Large” in the war against drugs, and received a Bureau of Narcotics badge. –photo by White House photographer Ollie Atkins (then chief White House photographer)

Elvis meeting one of rock’s greatest guitar players, Eric Clapton, by Jerry Schilling

“That happened through my friend, Richard Cole, who was Led Zeppelin’s road manager. After Zeppelin met Elvis, I became pretty good friends with Robert Plant, Jimmy Page and Richard Cole. I hung out a lot with all of them. I hadn’t seen Richard in a year or so, and he called me and said he was doing the ‘I Shot The Sheriff’ tour with Eric Clapton.

Richard said, ‘We’re doing this big show at the Mid-South Coliseum, and we’re supposed to fly in and fly out, but Eric will come in the night before if he can meet Elvis.’ I said, ‘Richard, Elvis doesn’t really meet many people.’ I really felt bad because when I went to a Led Zeppelin concert I’d sit on the side of the stage with Peter Grant bringing me Dom Perignon champagne. I said, ‘We go to movies quite a bit, so let me see if it’s okay with Elvis if he comes to one of the movies.’ I said to Elvis, ‘You remember Richard Cole?’ And he said, ‘Crazy Richard.’ I told him he was the tour manager for this tour and that Eric Clapton was this great guitar player. Is it okay if we go to the movies that I bring him by and introduce him?’ He said, ‘Yeah, that would be okay.’ We were down at the Circle G Ranch in cowboy boots and cowboy hats driving our trucks. As we’re going to the movie theater, I reminded Elvis that Eric Clapton was gonna be there. We drove up, and there’s two limousines, and there’s Elvis in a truck wearing a cowboy hat. He goes, ‘Who in the FUCK is Eric Clapton? Goddamn limousines! Why does he have to bring a fuckin’ limousine to a movie theater?’ I said, ‘Oh my God, what am I gonna do?’ Then, to top it, Elvis always sits in a certain place in the theater, and Eric’s sitting there (laughs). It’s like rubbing salt in the injury.

I made the introductions, and Eric was just his wonderful self, and he said everything right. Elvis liked him immediately. We stood and talked for about 15 minutes, and then it was time to start the movie. Elvis invited him and his wife, Pattie, to stay and watch the film. Then he went out to the bathroom, and someone would always go with him. When we go out there, he said, ‘Hey, you know that Eric is a pretty nice guy.’ (laughs). I told Eric that story years later when Scotty Moore was being inducted at The Rock & Roll Hall Of Fame. I went up to him and introduced myself, and he said, ‘I know you, Jerry. You introduced me to Elvis.’ I said, ‘Well, could I introduce you to Scotty Moore?’ and he said, ‘Where is he?’ So I got to make that introduction.”

elvis presley memphis mafia photo

Elvis romanticized the comradery of the mob, and so assembled his own Memphis Mafia to ‘TCB’ (Take Care of Business), a term he made iconic. Joe Esposito (third from right) was the most prominent and well-known of the group.

elvis-tcb logoelvis-tcb

 

“We got more ass than a toilet seat.” –The Memphis Mafia


BON SCOTT, RENNIE ELLIS & RICHARD RAMIREZ | THE HIGHWAY TO HELL IS PAVED IN MYSTERY

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Bon Scott Heathen Girls Rennie Ellis

1978, Bon Scott and the Heathen Girls, Atlanta, GA. — Image by © 2011 Rennie Ellis Photographic Archive. “Up in his room, Bon orders one of those fancy American cocktails, then dials California for a 20 minute call with an old girlfriend. Lead guitarist Angus Young, the ‘enfant terrible’ of AC/DC, arrives closely followed by Rose Whisperr and the Heathen Girls– four stunningly beautiful, heavily made-up girls who’s singing act at the local gay bars could loosely be called ‘bizarre chic’. The girls and the band had met at the backstage party that manager Michael Browning had thrown an hour or so before at the end of a typical raging AC/DC concert.”


Bon Scott, AC/DC’s legendary frontman, and perhaps the best ever in Rock & Roll, was bluntly and succinctly described by the (now deceased) famed photographer Rennie Ellis:

“His raspy voice, his tattoos, his broken tooth– punk-au-natural I guess one could call it….”

This was back when the badass Bon Scott was still walking the earth. Now, more than 33 years after his passing, the annals of Rock history list him as one of the most epic showmen and vocalists of all time. Rennie Ellis took many of the most striking shots of Bon Scott, capturing the legendary singer’s essence. Rennie also left behind personal recollections of what it was like being with Bon and the boys from AC/DC on tour in their early days, along with quotes from the band in 1978 on how they saw themselves and their music’s impact on the world. It’s really amazing stuff for any hardcore AC/DC fan out there. The mystery around Bon’s passing still hangs over our heads, no thanks to the shady accounts of his drinking partner that night, Alistair Kinnear, re-examined by Classic Rock magazine again this year.

ACDC BON SCOTT LIVE RENNIE ELLIS

AC/DC, Atlanta, Georgia 1978 — Image by © 2011 Rennie Ellis Photographic Archive. “The concert was vintage AC/DC aggression plus. Angus gradually disposing of most his now famous schoolboy uniform (complete with short pants, cap, and bag) hoofing it all over the stage like an over-wound Chuck Berry, his head snapping up and down, his sweat-soaked hair flicking silver beads of perspiration at the audience. Bon is strutting bare-chested. His tight, firm, tattooed body a pronounced contrast to the underdeveloped torso of the convulsing, grimacing Angus.”
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bob scott ac dc female fans groupies concert

Bon Scott the badass frontman for AC/DC, Moorabbin Town Hall, Melbourne ca. 1974 — Image by © 2011 Rennie Ellis Photographic Archive. “‘I guess I had always had the idea of being rich and having a lifestyle to which I was suited,’ says Bon Scott as he eases himself into the huge chauffeur-driven limousine that will drive him…”

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bon scott female fans groupies

Bon Scott’s adoring female fans, Moorabbin Town Hall, Melbourne ca. 1974 — Image by © 2011 Rennie Ellis Photographic Archive

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Bon Scott & Angus Young, Atlanta, Georgia 1978 — Image by © 2011 Rennie Ellis Photographic Archive. “‘In England,’ says Angus, ‘we were for a while like the ultimate cult band. We were the only band selling records, and I think we still are, on the sheer fact of live performances.’ Bon adds, ‘See there’s a road band, and there’s a radio band. And they’re two different worlds. A radio band very rarely becomes a road band.’”

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BON SCOTT ANGUS YOUNG BACKSTAGE RENNIE ELLIS

Bon Scott & Angus Young, Atlanta, Georgia 1978 — Image by © 2011 Rennie Ellis Photographic Archive. “We’re a road band. In Europe we never stopped workin’, and we were pullin’ crowds and fillin’ halls. And we built up a following and sold lots of albums. In Germany at one time we had three albums happening. In the charts, all in the top twenty. We had an album in the top twenty in England and our last single sat in the top twenty for six weeks. But not one bit of airplay in England. Our music is just too ‘UP’ for English radio.’”

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BON SCOTT AC DC JAIL BREAK

Left to right: Bon Scott, an unidentified “cop,” Malcolm Young, Phil Rudd, Angus Young, AC/DC’s then-manager George Browning, and Mark Evans have a laugh and a drink during a March 1976 photo shoot for “Jailbreak.” — Photo by Philip Morris via

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More AC/DC & Bon Scott photos:

ac:dc band photo bon scott ac:dc bon scott angus young concert photo ACDC band Angus Young Bon Scott ACDC BON SCOTT PUBLICITY STILL acdc bon scott ACDC Highway To Hell cover ACDC HIGHWAY TO HELL PHOTO SHOOT BON SCOTT acdc_atlanta_georgia_1978 angus young shoulders bon scott Angus_Young_and_Bon_Scott bon scott ac:dc concert BON SCOTT ACDC BACKSTAGE HEATHEN GIRLS BON SCOTT BACKSTAGE GIRL bon scott unzipped pants photo Bon_Scott_Angus_Young_AC_DC bon-scott-performs-in-sydney-data bon-scott-phil-rudd-malcolm-young Bon+Scott+Fraternity+Veronica++Bon_crop DIRTYDEEDS ACDC BON SCOTT Gary-Storm-with-ACDC-Angus-Young-Bon-Scott

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Below is an excerpt of Joe Bonomo’s review of the book on AC/DC & Bon Scott, “Highway to Hell”

Six years after Highway to Hell was released, Richard Ramirez was apprehended in Los Angeles. Between June of 1984 and August of the following year, Ramirez had murdered and raped sixteen people in the L.A. area, often leaving behind a sick signature of scrawled demonic ciphers, including a pentagram. Los Angeles police stated that Ramirez was a self-described fan of AC/DC, wore AC/DC t-shirts, and at the grisly scene of one of his violent sprees left behind an AC/DC cap. Allegedly, Ramirez’s favorite song was “Night Prowler,” the final track on Highway to Hell.

A haunting slow-blues, the six-and-a-half minute “Night Prowler” is remarkable for a number of reasons, not least of which is the controlled, vivid band performance in which Angus reaches deep into his love of blues-styled playing and offers affecting, evocative playing. An eerie crawl in 6/8 with the guitars tuned a half-step down, the closer colors in an unsettling way what comes before it. The tune begins with a sharp intake of breath, three chords that outline the music’s dark terrain, and then a tumble into the band performance held aloft by a long, sustained note by Angus that nearly perishes on the strings. Before Bon begins singing, the mood has been established: foreboding, fearful, and dark. Ten years earlier to the month (and only a few miles away) the Rolling Stones had recorded “Midnight Rambler,” a slow-blues similar to “Night Prowler” in its menace and lurch. Some see the Stones’ classic as an influence on Bon and the Young brothers; both songs begin and end in the source material of the blues, Malcolm and Angus’ first love. “Anyone can play a blues tune,” Angus noted to Vic Garbarini, “but you have to be able to play it well to make it come alive. And the secret to that is the intensity and the feeling you put into it.” He adds, “For me, the blues has always been the foundation to build on.”

One of the few songs by other artists that AC/DC would cover was Big Joe Williams’ standard “Baby, Please Don’t Go,” issued as the first song on their debut album in 1975. The guys likely dug Big Joe’s biography: he was a belligerent, itinerant bluesman who spent his formative years in the Delta as a walking musician who played work camps, jukes, store fronts, and streets and alleys from the South through the Midwest. Williams was a hard-working, highly unique and ramshackle kind of player who favored a funky nine-string guitar and a jerry-rigged, homemade amp. The brash and confident punks in AC/DC certainly favored what historian Robert Santelli describes as Williams’ “fiercely independent blues spirit.” The chugging “Baby, Please Don’t Go” became a favorite for Sixties and Seventies rock & roll bands to cover, extend, make their own. Williams’ 1935 version is acoustic mania; critic Bill Janovitz notes that “the most likely link between the Williams recordings and all the rock covers that came in the 1960’s and 1970’s would be the Muddy Waters 1953 Chess side, which retains the same swinging phrasing as the Williams takes, but the session musicians beef it up with a steady driving rhythm section, electrified instruments, and Little Walter Jacobs wailing on blues harp.”

AC/DC loved it. Their take on Muddy’s take of Big Joe’s lament was immortalized in a version broadcast on ABC’s (Australian) Countdown in April of 1975. The band seems to be having a blast with the galloping number, Angus and Malcolm running up and down their frets with a delinquent’s glee, but the kicker — of course — is Bon: he comes onstage dressed like a demented Pippi Longstocking, complete with a short skirt, blonde pig-tails, dark lipstick, and blue eye-shadow. During the solo breakdown, he stands next to Angus and theatrically lights a cigarette, and Pippi’s knee-sock innocent turns into the whore dear to Bon’s heart. Watch Rudd in the video: he can’t keep from laughing at the spectacle.

The blues in “Night Prowler” is slower, sexier, much more sinister than Big Joe’s, and no less indebted to the tradition within which the band has always worked. (I would have loved to have heard John Lee Hooker moan and turn it inside-out.) The tale of a shadowy stalking, though packed with narrative details, wouldn’t have won Bon a Pulitzer. The images in the first verse are hoary, well worn: the full moon; the clock striking midnight; the dog barking in the distance; a rat running down the alley. But Bon’s howling delivery — fully committed, and trusting the time-honored appeal of a dark night’s eeriness — sends tremors throughout the song. Because he believes this stuff, now so do we. The imagery in the second verse is more intimate; we’re in the girl’s bedroom now where she’s preoccupied and scared to turn off the light, fearing noises outside the window and shadows on the blind. Anticipating the second chorus, the verse ends with the singer slipping into her room as she lies nude, as if on a tomb. What’s going on here? Autobiography, or a spec script for a slasher movie? A little of both, likely, given Bon’s personal history and juicy imagination. He sings in the end that he’ll make a mess of her, and I always disliked the line; it adds explicit violence to a scenario that at the fork of fantasy and reality could’ve gone either way. Bon felt that it added to the mise-en-scène, I guess, or he was honestly owning up to hostile tendencies inside himself. Most likely, he was giving his listeners vicarious thrills on the dark side, what they wanted all along.

I didn’t want it. I hardly listened to “Night Prowler” after I bought the album, though I liked the slow burn of the band’s playing and how Angus’ soloing added a voice to the song. The song scared me a little, and I resented having to like a song that I disliked because it’s on a great rock & roll album. Richard Ramirez admitted to loving “Night Prowler” to the point of heinous identification, in part prompting L.A. media to dub him the “Night Stalker,” a nickname that will last in perpetuity. My friends and I rolled our eyes when we heard Ramirez’s story: another nut job trying to use rock & roll as an excuse, as a defense. I remembered years earlier watching The Dukes of Hazzard on television and marveling at the fifty-foot jumps that Bo and Luke would make in the General Lee in some hilly Georgian county. The moment that I belted myself into a Chevy Chevette in the high school parking lot for my first driver’s-ed lesson, I intuited Damn, this thing weighs a ton, and the disconnect between fantasy and actual life was made pretty clear. Ramirez didn’t or couldn’t make such a distinction, and because of that, the closing song on Highway to Hell will be forever linked to a homicidal maniac who tragically took sixteen innocent lives in brutal ways.

When news of Ramirez’s comments made its way into the insular AC/DC camp, the band recoiled, claiming that Ramirez wildly misunderstood the song: it’s just about a horny guy sneaking into his girlfriend’s bedroom at night, innocent, hormonal, high school stuff. Yet Bon Scott’s more treacherous imagery pushes the song into regrettably mean places. I’m not sure that the band can have it both ways.

A typically winsome gift from Bon himself ultimately rescues “Night Prowler.” In the closing moments, as the chords wane, Bon utters under his breath a weird, nasal phrase that I couldn’t figure out at the time. (What is that, some bizarre Aussie mantra?) Eventually I learned that he’d said, “Shazbot, Na-Nu, Na-Nu.” As AC/DC were recording in the Spring of 1979, Mork and Mindy was ranked third in American television Nielson ratings; Robin Williams’ interstellar character from the planet Ork was invading living rooms and rec rooms at a happy rate, and Bon was watching. “Na-Nu, “Na-Nu” was an Orkan greeting; “Shazbot” an Orkan curse. Maybe that’s what appealed to Bon: at the end of the band’s best album he gets to say hello and swear at the same time, channeling his inner alien. It’s testament to the band’s sense of humor that they kept the aside on the album. It’s a perfect way to send up the danger and fear lingering after “Night Prowler.”

The album ends with a joke, the final words from by Bon Scott on an AC/DC album. Shit! Hello! Perfectly weird.’

Bon Scott: The Mysterious Death of AC/DC’s Legendary Frontman by Classic Rock

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CHECK OUT: The Rennie Ellis Photographic Archive


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