#foxy lady riff

[forged-in-kaoss]

#muse #muse band #matt bellamy #matthew bellamy #matthew james bellamy #nishe #psycho #compliance #foxy lady riff #god he looks so fucking good

[billboard-hotties-tourney]

Jimi Hendrix (1942-1970) The Jimi Hendrix Experience - guitar and vocals Songs: "Voodoo Child," "Foxy Lady" Defeated Opponents: Elvis Costello, Clyde McPhatter, Robin Zander, Arlo Guthrie, Brian Eno Propaganda: none

Brian May (1947-) Queen - guitar Songs: "White Queen (As It Began,)" "The Prophet's Song" Defeated Opponents: Ronnie Lane, John Coltrane, Roger Hodgson, Paul McCartney Propaganda: "He's very tall, his hair is the stuff of legends, his brain is the size of planets, he has a doctorate in astronomy, he built the guitar he still plays to this day (like a god) as a teenager. His songwriting and musical abilities have made him a legend in his own right and he also plays with this little group called Queen. Everyone who's ever met him unanimously say that he's the nicest, most decent person there ever was. Also, he's ridiculously beautiful in every decade he's been on this earth. Need I say more?" "While Freddie is hot and Roger is pretty, Brian stands out as sort of ethereally beautiful. He floats across the stage in Zandra Rhodes while delivering heavy riffs, then switches to self-harmonizing in as light and fae a manner as you could wish." "An Angel singing with his beautiful voice and his very own special guitar. On the best Rock tracks ever! His face like a greek god surrounded by heavenly curls, prancing skillfully on the stage with his long legs in platform shoes."

Freddie Mercury (1946-1991) Queen - lead vocals and piano Songs: "Bohemian Rhapsody," "Seven Seas of Rhye" Defeated Opponents: Leonard Cohen, Sting, Sammy Davis Jr., Marc Bolan Propaganda: see visual

Visual Propaganda for Brian May:

Visual Propaganda for Freddie Mercury:

#jimi hendrix #brian may #freddie mercury #billboard hotties tourney #quarterfinals

[sunburnacoustic]

Thank goodness for Musers. Someone uploaded Muse's entire Isle of Wight fest, which was broadcast only on Sky in the UK, though the audio of the set was broadcast through Absolute Radio (and so could be accessed worldwide during the live broadcast... but they were quite annoying about cutting back to their studio in between the songs and talking over the beginnings like babe! I know you are commercial radio but please please please shut up DO not talk over the Psycho riff oh my god. They also skipped over some parts of the show to play other songs like MATE. WHY are you covering this gig at all if you just want to play Kasabian's studio albums again?? Hello?? Commercial radio I swear.)

Anyway, for as long as it is still up, here's Muse's full filmed set from Isle of Wight 2022 on the Europe festivals run!

Setlist:

Will of the People Interlude + Hysteria (w/ "Back in Black" riff ) Drill Sergeant + Psycho Pressure Citizen Erased Won't Stand Down (Slipknot's "Duality" riff outro) The Gallery Compliance Thought Contagion Time Is Running Out Nishe Madness Supermassive Black Hole (Jimi Hendrix's "Foxy Lady" riff outro) Plug In Baby (Guns n' Roses' "Sweet Child o' Mine" outro) Behold, the Glove Uprising Prelude + Starlight

Encore: Kill or Be Killed Man with a Harmonica + Knights of Cydonia

#Muse band #Muse live #2022 festivals tour #wotp festivals tour #2022 #Isle of Wight #Isle of Wight 2022 #now if I had kept my tags straight from the start this would be the actual usage of the 'muse live' tag: #gig footage and performance links rather than just pics of the band #music festivals #live music #< okay let's try using this tag instead. Hope this helps anyone rummaging through lol #muse #muse band #muse live #matt bellamy #chris wolstenholme #dom howard #dan lancaster #Youtube #gig archive #there's finally a tag for it

[tartrazeen]

Things I appreciate in the FNaF movie as I go, but under the cut so I don't spoil things for people:

(update: watched the whole thing, excellent movie for fans, pretty fun movie for those who are new to the franchise, will be best experienced back-to-back once all the movies are out, may finally be the thing that causes MatPat's head to pop)

1. The cold open's Chekhov's Loose Screw

2. The very charming 16-bit snatch-and-grabs that Golden Bonny super casually pulled off

3. The Dream Theory book

4. The absolute mockery of the canonicity of any theory and how it "depends on what you believe" 🤣🤣🤣🤣🤣 Loved that

5. Mike's PTSD-fuelled fountain tackle

6. The very slight room for hope I have that Matthew Lillard is somehow Phone Guy but as an employment centre guy

7. The fact that they are not gonna say Mike's last name lmaooooooo

8. The obvious Evil Inspiration mood switch from Matthew Lillard as soon as he gets to Mike's last name

9. The fact that they're only barely pretending that Abby isn't actually seeing real ghosts

10. The slight possibility that Garrett is gonna be the Puppet rather than Golden Freddy

11. The suspicious hint that pictures are the most canon thing out of all the evidence we have in the series so far 👀

12. The fact that none of the letters in the sign are burnt out

13. The fact that oh my god YES Matthew Lillard is covering Phone Guy's role, but is obviously also gonna be Purple Guy, CONFIRMING ONE OF MATPAT'S ORIGINAL THEORIES RETROACTIVELY LET'S GOOOOOOOOOOOOOOOOOO

14. How little Training Lady blinks

15. The training tape that ABSOLUTELY has freeze frame lore bits in it

16. baby bb :3

17. The static in the speaker gearing up to be the IT'S ME hallucination

18. Omg the five kids in the dream - is this actually proving me right about the brother being the Puppet?!

19. is that fucking matpat

20. IS THAT FUCKING MATPAT

21. DO YOU KNOW HOW SCARED I GODDAMN WAS THAT HE WASN'T GONNA BE REFERENCED IN THIS MOVIE LIKE SOME WEIRD SNUB BECAUSE NO ONE WAS TALKING ABOUT IT AND THIS GUY HAD A GODDAMN ROLE IN IT THE WHOLE TIME

22. DO YOU KNOW HOW HAPPY I AM YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAYYYYYYYYYYYYYYYYY 🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳

23. THIS MOVIE GETS A FREE PASS ON LITERALLY ANYTHING ELSE THAT CAN HAPPEN NOW 💖😍💖😍💖😍💖😍💖😍💖😍💖

24. Also that interrupted the thing I like being that my dumb ass only now realized that "I wish somebody would buy me a ring" wasn't a reference I missed, just her saying she had a crush on Mike lmao

25. The black crying tears :3

26. 🤔 The interesting but satisfying choice to write IT'S ME in the mirror instead

27. The real possibility that they're going to make Vanessa a legit twist villain this time to make up for Security Breach

28. Bonny's eyes opening first 👀

29. Casual use of the word 'golden' to mean good lmao

30. Fuckin' Chica's stare at the other guy, narrowing her eyes like that LMAOOOOOOOOO

31. The kids havin' a little giggle on the phone

32. LMAOOOOOOO THE LOADING OF THE CUPCAKE INTO THE VENT

33. Foxy sticking to that Sixth Night in FNaF 1 from Help Wanted insta-trigger

34. The Bite of Whatever-Year-This-Is 😍

35. Vanessa's very creepy over-familarity

36. The description of Mike's family dinners matching the dinner scene in the Security Breach basement

37. Chekhov's Electric Guitar Riff

38. Abby putting a hit on Mike with the robots by scribbling his face out lol

39. The pharmacist 🤣💖

40. The actual legit deal the kids are trying to make, which is WAY more story than this series has ever had

41. This movie have the backbone to show actual on-screen violence - like, legit and genuine and soooo overdue violene, FINALLY

42. The screw paying off 👏🏽

43. The set up for Abby to actually become Baby 👀

44. The hope she'll call him the Purple Guy

45. Ahhahahahahhaha the disappointment that she didn't looooool oh well, I guess they're making that part of Security Breach canon somehow? Vanessa being his daughter? Okay

46. The genuine hope that Matthew Lillard is actually just Phone Guy, which would be amazing, because I really hope Springtrap doesn't reveal who's inside until the third movie

Edit: goddammit nvm

47. Sweet performance though, this is legit the voice Afton should've always had, not that weird British thing

48. How pissed Golden Freddy's ghost looks LOLOLOLOLOLLOLOL just closing that door

49. 👀 surprisingly bad-ass end credits song

50. 🤔 the odd realization that I'm not sure that was five nights

51. >:3 bb

In conclusion:

- shockingly good!

- I can't believe there was an actual story!

- Springtrap really said "hi i'm here too but i left the car running so chop chop on this scene plz"

- The "Come Find Me" spelled at the end of credits was good 👀

- Soooooooooo incredibly excited to have MatPat slam through this and have his head exploding juggling movie-verse, book-verse, and game-verse. I think we can actually break him, you guys!! :D

#fnaf movie #fnaf movie spoilers #spoilers #five nights at freddy's #talkin' tartra

[schibborasso]

FOXY LADY FUZZ RIFF

#guitar #guitar riffs #guitar tabs #hendrix

[beatlesonline-blog]

[tripleaxeldiaz]

I loooooove music asks, so have a whole bunch of them: 2, 8, 12, 15, 30, 35, 45, 54 and 60 for Beatsteaks - Hand in Hand (I've been having a whole festival throwback day so they're kinda really on my mind, I'm so sorry🤣🙈)

(@like-the-rest-of-la)

2. Do you still buy CDs (or other physical media)?

sadly i do not!! i just use spotify so unless my paying for a premium membership counts 😅😅 i honestly can’t remember the last cd i even bought that’s kinda sad!!

8. Is there an artist or song that you like, despite being of a genre you don't usually like?

idk if this counts but i’m really not a county music girl EXCEPT for anything that came out before 2008. also zac brown band

12. Who’s the most obscure artist you listen to?

HMMM i don’t know that any of my music is ~that~ obscure. maybe foxy shazam

15. A song or album from the 60s:

30. Songs you love to sing along to:

here’s 5!

35. A song you like in a language you don’t speak:

45. A non-musical movie or show with a soundtrack you love:

does the 911 soundtrack count?? because they really do pick all the bangers 😂😂😂 otherwise i love the lion king soundtrack to the ends of the earth

54. An album you loved since the first time you listened to:

american idiot by green day. changed me at a molecular level from the very first riff

60. [Send me a song and I'll tell you what time of the day or season of the year it made me think of.]

this reminds of driving back from a high school party at midnight and no one’s on the road and your friends dare you to do circles around the roundabout because who’s gonna catch you anyway? and you do and you’re all crying laughing and being a teenager doesn’t suck so bad for a minute

music asks 🎵

#answered #yes that last one is a personal experience 😂😂 #like-the-rest-of-la

[musicman69love]

Billy Gibbons with Hendrix, late 60′s.  Hendrix taught him opening riff to Foxy Lady.  He still uses it when they play it live.

#billy gibbons #BillyGibbons #jimi hendrix

[kickmag]

Throwback: The Jimi Hendrix Experience-Foxy Lady

The Jimi Hendrix Experience came from Jimi Hendrix's years of being a supporting and session musician for others including The Isley Brothers, Little Richard, Sam Cooke and Ike and Tina Turner. Chas Chandler, who managed English rock group The Animals, took Hendrix to England to start a solo career. Hendrix, Noel Redding (bass) and Mitch Mitchell (drums) became The Jimi Hendrix Experience and Are You Experienced? was their 1967 debut album. "Foxy Lady" was rumored to be inspired by Hendrix's Harlem girlfriend Lithofayne "Faye" Pridgon and it was all about Hendrix aggressively approaching women walking down the street although he was actually shy in his daily life. Hendrix's sultry guitar riffs and bold vocals jolted rock audiences into full attention on the new rock trio. "Foxy Lady" fully represented Hendrix's style that drew from R&B, blues and jazz with his individual psychedelic imprint. Are You Experienced? opened up new possibilities in music for the way Hendrix and his band finessed the blues into transcendental euphoria. The Hendrix-penned "Foxy Lady" was amongst his signature songs that became synonymous with the '60s and one of rock's lasting creations beyond its original time. 

#jimi hendrix #jimi hendrix experience

[auskultu]

The Black Elvis?

Michael Lydon, The New York Times, 25 February 1968

SAN FRANCISCO —“Will he burn it tonight?” asked a neat blonde of her boyfriend, squashed in beside her on the packed floor of the Fillmore auditorium. "He did at Monterey,” the boy friend said, recalling the Pop Festival at which the guitarist, in a moment of elation, actually put a match to his guitar. The blonde and her boy friend went on watching the stage, crammed with huge silver-fronted Fender amps, a double drum set, and whispering stage hands. Mitch Mitchell, the drummer, came on first, sat down, smiled, and adjusted his cymbals. Then came bassist Noel Redding, gold glasses glinting on his fair, delicate face, and plugged into his amp.

“There he is,” said the blonde, and yes, said the applause, there he was, Jimi Hendrix, a cigarette slouched in his mouth, dressed in tight black pants draped with a silver belt, and a pale rainbow shirt half hidden by a black leather vest.

“Dig this, baby,” he mumbled into the mike. His left hand swung high over his frizz-bouffant hair making a shadow on the exploding sun light-show, then down onto his guitar and the Jimi Hendrix Experience roared into “Red House.” It was the first night of the group's second American tour. During the first tour, last summer, they were almost unknown. But this time two LP’s and eight months of legend preceded them.

The crowds in San Francisco—their three nights here were the biggest in the Fillmore’s history—were drooling for Hendrix in the flesh. They got it: this time he didn't burn his guitar ("I was feeling mild”) but, with the careless, slovenly and blatantly erotic arrogance that is his trademark, he gave them what they wanted.

He played all the favorites, “Purple Haze,” “Foxy Lady,” “Let Me Stand Next to Your Fire” and "The Wind Cries Mary.” He played flicking his gleaming white Gibson between his legs and propelling it out of his groin with a nimble grind of his hips. Bending his head over the strings, he plucked them with his teeth as if eating them, occasionally pulling away to take deep breaths. Falling back and lying almost prone, he pumped the guitar neck as it stood high on his belly.

He made sound by swinging the guitar before him and just tapping the body. He played with no hands at all, letting his wah-wah pedal bend and break the noise into madly distorted melodic lines. And all at top volume, the bass and drums building a wall of black noise heard as much by pressure on the eyeballs as with the ears.

• • •

The black Elvis? He is that in England. In America James Brown is, but only for Negroes; could Hendrix become that for American whites? The title, rich in potential imagery, is a mantle waiting to be bestowed. Within his wildness, Hendrix plays on the audience’s reaction to his sexual violence with an ironic and even gentle humor. The D.A.R. sensed what he is up to: they managed to block one appearance with the Monkees last summer, because he was “too erotic.” But if Jimi knows about his erotic appeal, he won’t admit it.

"Man, it's the music, that’s what comes first,” he said, taking a quick jerk of Johnny Walker Black in his motel room. “People who put down our performance, they’re people who can’t use their eyes and ears at the same time. They got a button on their shoulder blades that keeps only one working at a time. Look, man, we might play sometimes just standing there; sometimes we do the whole diabolical bit when we’re in the studio and there ain’t nobody to watch. It’s how we feel. How we feel and getting the music out, that’s all. As soon as people understand that, the better.” 

• • •

The Jimi Hendrix Experience, now doing a two-month tour (they will be at Hunter College on Saturday and at Stony Brook, L. I., on March 9), was formed in October, 1966, just weeks after Hendrix came to London from Greenwich Village encouraged by former Animal Chas Chandler. Mitchell, 21, came from Georgie Fame’s band, a top English rhythm and blues group, and 22-year-old Redding switched to bass from guitar, which he had played with several small-time bands. Their first job, after only a few weeks of rehearsal, was at the Paris Olympia on a bill with Johnny Hallyday.

Their first record, “Hey Joe,” got to number 4 on the English charts; a tour of England and steady dates in the in London clubs, plus a follow-up hit with “Purple Haze,” made them the hottest name around. Men’s hairdressers started featuring the “Experience style.” Paul McCartney got them invited to the Monterey Pop Festival and they were a smash hit.

But Jimi Hendrix, born James Marshall Hendrix 22 years ago in Seattle, Wash., goes a lot further back. Now hip rock’s enfant terrible, he quit high school for the paratroopers at 16 (“Anybody could be in the Army, T had to do it special, but man, was I bored”). Musically he came up the black route, learning guitar to Muddy Waters records on his back porch, playing in Negro clubs in Nashville, begging his way onto Harlem bandstands, and touring for two years, lost in the bands of rhythm and blues headliners: the Isley Brothers, Joey Dee, Little Richard, and King Curtis. He even played the Fillmore once, but that was backing Ike and Tina Turner and long before the Haight-Ashbury scene.

• • •

“I always wanted more than that,” he said, “I had these dreams that something was gonna happen, seeing the numbers 1966 in my sleep, so I was just passing time till then. I wanted my own scene, making my music, not playing the same riffs.

“Like once with Little Richard, me and another guy got fancy shirts ’cause we were tired of wearing the uniform. Richard called a meeting. ‘I am Little Richard, I am Little Richard,’ he said.‘the King, the King of Rock and Rhythm. I am the only one allowed to be pretty. Take off those shirts.’ Man, it was all like that. Bad pay, lousy living, and getting burned.”

Early in 1966 he finally got to Greenwich Village, where he played at the Cafe Wha as Jimmy James with his own hastily formed group, the Blue Flame. It was his break and the bridge to today’s Hendrix. He started to write songs—he has written hundreds—and play what he calls “my rock-blues-funky-freak sound.”

• • •

“Dylan really turned me on—not the words or his guitar, but as a way to get myself together. A cat like that can do it to you. Race, that was okay. In the Village people were more friendly than in Harlem where it’s all cold and mean. Your own people hurt you more. Anyway, I had always wanted a more open and integrated sound. Top-40 stuff is all out of gospel, so they try to get everybody up and clapping, shouting, ‘yeah, yeah.’ We don’t want to get everybody up. They should just sit there and dig it. And they must dig it, or we wouldn’t be here.”

A John Wayne movie played silently on the television in the stale and disordered room, and Hendrix started alternating slugs of scotch and Courvoisier. He stopped and turned to the window, looking out over San Francisco. “This lookslike Brussels, all built on hills. Beautiful. But no city I’ve ever seen is as pretty as Seattle, all that water and mountains. I couldn’t live there, but it was beautiful.”

Besides his music, Hendrix doesn’t do much. He wants to retire young and buy a lot of motels and real estate with his money. Sometimes he thinks of producing records or going to the Juilliard School of Music to learn theory and composition. In London he lives with his manager, but plans to buy a house in a mews; in his spare time he reads Isaac Asimov’s science fiction. His musical favorites, as he listed them, are Charlie Mingus, Roland Kirk, Bach, Muddy Waters, Bukka White, Albert Collins, Albert King, and Elmore James.

• • •

“Where do you stop? There are, oh man, so many more, all good. Sound, and being good, that’s important. Like we’re trying to find out what we really dig. We got plans for a play-type scene with people moving on stage, but everything pertaining to the song and every song a story.

“We’ll keep moving. It gets tiring doing the same tiling, coming out and saying, ‘Now we’ll play this song,’ and ‘Now we’ll play that one.’ People take us strange ways, but I don’t care how they take us. Man, we’ll be moving. ’Cause man, in this life you gotta do what you want, you gotta let your mind and fancy flow, flow, flow free.”

#the jimi hendrix experience #jimi hendrix #psychedelic rock #blues #1968 #1960s #sixties #60s

[s1mpl3sp0ng3]

rip me because i remembered luna and perry don't get to actually grow old together

luna ages normally but perry doesn't, by the time they're both 80 she'll be a lil old lady and he'll still look 40 because his species' life span is 150 years give or take

perry officially becomes a Foxy Grandpa when he's like somewhere around 100 -- 120, that's when he starts really greying out. he's a fit old man tho

A FIT OLD MAN WHO GETS TO WATCH HIS OLDER SISTER DIE *PUTS ON SUNGLASSES AND PLAYS A SAXOPHONE RIFF* *COLLAPSES ON THE GROUND*

oh and then alfred, tori, and aden watch him die because they're all technically immortal so the suffering continues

#death /// #dumb ocs #i need to draw them all old and shit #luna is a cute fat lil old lady with a beehive and cat eye glasses #perry is a Sexy Sweater Grandpa with various visible scars

[fabioferreiraroc]

As 10 mais importantes canções de rock da história da música

É óbvio que o rock não errou. No máximo, confundiu, provocou, tirou sarro, consumiu noites de sono de papais e mamães, interrompeu a inércia de políticos e burocratas de um status quo viciado em castração mental. Roqueiros com pedigree não se deixam seduzir por zonas de conforto. Aliás, se for pra zonear, que seja no terreno do eterno confronto entre o novo e o velho. E que vença o melhor, ou seja, o novo, sempre.

É óbvio que o rock não errou. No máximo, confundiu, provocou, tirou sarro, consumiu noites de sono de papais e mamães, interrompeu a inércia de políticos e burocratas de um status quo viciado em castração mental. Roqueiros com pedigree não se deixam seduzir por zonas de conforto. Aliás, se for pra zonear, que seja no terreno do eterno confronto entre o novo e o velho. E que vença o melhor, ou seja, o novo, sempre.

Fazer rock  transcende o ato de tatuar o corpo com imagens de caveiras, perfurar o clitóris com parafuso, deixar a cabeleira crescer, surrar com a palheta uma guitarra distorcida, sentar a pua no “sex and drugs”. Em essência — antes de mais nada — rock é atitude. Aliás, ultimamente, anda faltando um bocado deste atributo aos moradores de um planeta que parece desgovernado, não apenas na esfera musical.

Por mais risível e sem noção que a analogia possa parecer, o que o rock’n’roll fez pela Humanidade, no que concerne a questionar “estados de coisas” e peitar o conservadorismo arbitrário, em particular, na segunda metade do século passado, é comparável ao advento dos anestésicos para a ciência médica. Fiquem comigo, pois eu insisto em viajar na maionese: a diferença entre ambos era o objeto. Quer dizer, o éter e o clorofórmio amorteciam a dor física; o rock, a dor na alma. Poético, não? Dá até pra compor uma balada roqueira com coisas desse tipo.

Convencido de que Deus e o amor até que ajudam, mas, quem salva pra valer é a música (nesse caso, eu reverencio toda a boa música feita no mundo, inclusive, a brasileira), compilei as dez mais importantes, significativas, emblemáticas e transformadoras canções de rock dos últimos 60 anos.

Vou logo avisando que não são as dez canções de rock que mais gosto. Trata-se apenas de um pequeno roteiro, uma cartilha, uma colinha, um resuminho da bíblia do rock, um be-a-bá, um puxadinho de hinos para serem cantados — sem hipocrisia, nem fanatismo — com as crianças, seja em casa, na escola, no playground ou num leito de hospital. Eu sei que o ditado é careta e brega, mas, quem ama cuida: é crucial educar os ouvidos dos incautos, antes que “arrochas e lepo lepos” ponham tudo a perder.

Rock around the clock (Bill Haley and his comets, 1954)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Rock-around-the-clock-.mp3

Bill e seus cometas penetraram na atmosfera musical dos anos 1950 com um som tão impressionante e carismático que era impossível não se deixar desintegrar com os riffs e acordes. Depois de “Rock around the clock” — primeiro grande hit do estilo — os esqueletos nunca mais pararam de sacudir.

Blue suede shoes (Carl Perkins, 1955)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Blue-suede-shoes-.mp3

Não bastava ser roqueiro, era preciso parecer roqueiro, não só pelo ar insolente, pela atitude despojada, mas, pelo estilo de vida e vestuário. Alguém aí trocaria todas as facilidades do mundo por sapatos de camurça azul? Carl Perkins, sim.

Long tall Sally (Little Richard, 1957)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Long-tall-Sally-.mp3

Romance, paixão, diversão a dois. Eis a sedutora fórmula apregoada nos primórdios pelos mensageiros do rock. Para completar, com o advento das pílulas anticoncepcionais no início da década de 1960, ninguém mais segurou o pequeno Richard e a esguia Sally: o amor começava, finalmente, a se tornar livre.

Jailhouse rock (Elvis Presley, 1957)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Jailhouse-rock-.mp3

É impensável que os detentos de Pedrinhas do Maranhão trocassem toda a bruteza — deles e do cruel sistema carcerário do Estado — pelo som contagiante do Rei do Rock. Mas, não custa sonhar. Aliás, o sonho é um predicado da música e da arte. Que rolem as pedras. As cabeças, por favor, não. Não na frente das crianças, como disse minha avó quando papai tocou Elvis na vitrola da sala de estar pela primeira vez.

Johnny B. Goode (Chuck Berry, 1958)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Johnny-B.-Goode.mp3

Um caipira tocando guitarra numa cabana de madeira no meio da floresta. Qual a chance deste tema virar um sucesso de vendas no mercado da música sertanejo-universitária? Zero, ora bolas! No repertório das duplas urbanoides brasileiras, de sertanejo mesmo, só os motoristas burros pilotando seus camaros amarelos.

What’d I say (Ray Charles, 1959)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/What’d-I-say-.mp3

Em terra de cegos, quem tem um olho é rei, certo? Errado. O rock existe justamente para quebrar conceitos e paradigmas. Ray perdeu a visão ainda na meninice, acometido pelo tracoma, doença infecto contagiosa que atinge a pobreza, os desassistidos sociais do Estado. Mesmo sendo negro, mesmo sendo pobre, mesmo não enxergando o teclado do piano, ele cravou o seu nome da história da música.

Please please me (The Beatles, 1962)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Please-please-me.mp3

Esta foi a primeira composição de Lennon e McCartney a atingir o topo nas paradas de sucesso inglesas, catapultando os Garotos de Liverpool ao estrelato e eternizando a sua obra. Por favor, me agradem: toquem aí qualquer canção dos Beatles, mesmo que seja uma tão bobinha e boa quanto “Please please me”.

(I can’t get no) Satisfaction — (The Rolling Stones, 1965)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/I-can’t-get-no-Satisfaction.mp3

Havia uma falsa rivalidade acirrada entre os Beatles e os Stones, um confronto sutil estereotipado entre os bem comportados e os “bad boys”. Havia um enorme jogo de cena, artimanhas mercadológicas para que ambas as bandas conquistassem o público. Na verdade, os rapazes eram bem próximos e amigos, inclusive, Lennon e McCartney cederam “I wanna be your man” para que Mick Jagger e sua trupe de antissociais gravassem. “Satisfaction” ficou marcada como a mais popular gravação dos Stones. Eu, por exemplo, sempre que ouço, quero um pouco mais. Eu nunca consigo me satisfazer, mas eu tento.

Foxy lady (Jimi Hendrix, 1967)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Foxy-lady-.mp3

Em matéria de habilidade no manejo de uma guitarra, Jimi Hendrix é uma unanimidade entre seus colegas e fãs de música. Considera-se que ele seja o maior guitarrista desde a explosão do “Big Bang”. Neste momento, enquanto escrevo este texto, manifestantes ateiam fogo em pneus interrompendo o trânsito na cidade, ocupando os noticiários, intoxicando o meu dia. Outro protesto contra o Governo. Ato legítimo, atentado antidemocrático ou manifesto punk-rock? Impossível não recordar Hendrix metendo fogo na própria guitarra num palco em Monterey, em 1967.

Stairway to heaven (Led Zeppelin, 1971)

http://www.revistabula.com/wp/wp-content/uploads/2014/05/Stairway-to-heaven.mp3

Muitos, inclusive eu, consideram esta a melhor canção de rock de todos os tempos. Trata-se de uma composição inspiradíssima, possivelmente ditada por Deus ou por um alienígena, a trilha sonora perfeita para adentrar no Paraíso, sentar-se à direita ou à esquerda do Pai — tanto faz — para juntos ouvirmos, com a máxima atenção, cada qual a sua maneira, outra grande obra de criação.

As 10 mais importantes canções de rock da história da música Publicado primeiro em https://www.revistabula.com

[theeroticbookreview]

Cover Reveal: Rock Star by SC Daiko

Axel Wainwright. British rock god. Bad boy.   He sets the crowds on fire with his voice and his words. Singing backup for him is my dream job. My big chance to get recognised and become a star. Music is my life and now it consumes me. HE consumes me. But I have my career to think about; I’ve worked years for this. I need to keep my distance from Axel, or he'll burn me to ashes. Except, guess what? The best-laid plans have a habit of going wrong. My name is Phoenix Johnson, and, like Icarus, I've flown too close to the sun.  

“Can’t wait to see yours,” I countered, my voice breathy. I guessed it was this sexy dress… he’d treated me one hundred percent professionally while I’d been practicing with him at his place, keeping his distance and not repeating the kiss he’d given me that first time. We took up our positions, the stage lights hitting us and an eruption of whistles and screams broke out. Foxy clacked his sticks three times, then brought them down on the skins. Rhys launched into the riff, his guitar wailing. Zach came in on the keyboards. Axel added the bass and his voice cut through the air like a shard of glass. ‘Ghost in the Heart’—all crashes and slashing cords lit by flashing, almost blinding white light—was the perfect overture, and I felt honored to be contributing my voice harmonies toward it. With bated breath, I waited for the ‘off the shirt’ moment. When it came, toward the end of the set, my legs felt as if they would slip from under me. Dammit he was ripped. Freaking beautiful. He threw his tee into the audience and the spotlight followed it to the lucky recipient, a dark-haired lady who let out a squeal of pleasure before burying her nose in it. Axel held every woman in the audience in his hands at that point. I wouldn’t have been surprised if they’d thrown their panties at him. I stared at the stunning bass guitar tat on his shoulder and I couldn’t help smiling. He was such a bad ass.

Creep Radiohead The Drugs Don’t Work The Verve All I Want is You U2     Read the full article

#coverreveal #eroticbookreview #rockstar #scdaiko

[vinylbay777]

Jimi Hendrix 49 Years Later: Looking Back at the Legendary Guitarists Most Iconic Songs

It has been 49 years since legendary singer / guitarist Jimi Hendrix passed away. He was just 27 when he overdosed on a mix barbiturates and alcohol in 1970.

Over the course of his short life and career, Hendrix had a huge impact on music. His guitar work and compositions, and in particular his use of the wah-wah pedal and effects like distortion and feedback, were nothing but revolutionary for a time when hard rock and psychedelia were starting to come into their own. More than five decades later, Hendrix’s music is still influencing artists and inspiring new fans around the world in a multitude of genres.

To honor the life of Jimi Hendrix, Vinyl Bay 777, Long Island’s music outlet, is taking a look back at the revolutionary guitarist’s most iconic songs. Here are six that helped change the trajectory of rock music forever.

1.       “Purple Haze”: Rolling Stone’s number two greatest guitar song of all time and Q Magazine’s number one, “Purple Haze” became Hendrix’s signature song. It’s lyrical hook, “‘Scuse me while I kiss the sky,” and its accompanying guitar riff, as well as his usage of the 7#9 chord (dubbed the “Hendrix chord”) are iconic pieces of rock history. Released on his debut album, ‘Are You Experienced?,’ it was the echoes, harmonics and effects that Hendrix added post-initial recording that made the track stand out.   

2.       “All Along The Watchtower”: Originally written and recorded by Bob Dylan, Hendrix’s version of “All Along The Watchtower” ended up overshadowing the original. Dylan didn’t seem to mind, as he has said that Hendrix’s version “overwhelmed” him and in turn influenced the way that he played the song from then on.

3.       “The Star-Spangled Banner”: Performed live at the Woodstock Festival in 1969, Hendrix’s performance of the “Star-Spangled Banner” was nothing short of stunning. His rendition was both a proclamation of love for his country as well as a political statement about the Viet Nam War. People have likened the sounds he made with his guitar to those of gunfire and “bombs bursting in air.” He didn’t need to put words to it, as the playing was powerful enough on its own.

4.       “Foxy Lady”: Another iconic rock track, “Foxy Lady” takes Hendrix’s usage of feedback and brings it into a blues setting. All Music calls his vocals “full of passion and desire,” while it’s “howling guitar” gives it “dynamism and vitality.”

5.       “Hey Joe”: Originally written by Billy Roberts in 1962, Hendrix’s slowed down, Tim Rose-inspired version became the most well-known recording of the song. It gave him his first top 10 U.K. single. The amount of personality Hendrix exuded in the recording was infectious, which was one of the factors that made him so popular in the years to follow.

6.       “Voodoo Child (Slight Return)”: Hendrix’s only British number one single, “Voodoo Child” is considered by many to be one of the greatest songs ever recorded. The song is a take on Muddy Waters’ “Rolling Stone” lasting 15 minutes and featuring some of his most impressive effects work. It was the product of a late night jam session, but ended up being recorded for his third album, ‘Electric Ladyland.’

Jimi Hendrix’s iconic guitar style and compositions have been a big influence in rock for more than five decades. His most iconic singles paint a picture of his talent, showcasing his futuristic use of effects and distortions. Gone too soon, Hendrix’s music remains as influential as it was when it first came out and will be for decades to come.

                                                             ---

Find music from Jimi Hendrix and more iconic artists at Vinyl Bay 777. As Long Island’s top new independent record shop, we have thousands of titles to choose from in a variety of genres. Browse our wide selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. With more titles being added all the time, you never know what you might find at Vinyl Bay 777.

#jimi hendrix #jimi hendrix experience #rock #icon #songs

[randomrecordreview]

“Arguably one of the most creatively dynamic, musically mould-breaking, and multi-genre influencing debut rock albums of all time. I bought my LP copy when I was about 15 or 16 from the much-loved and much-missed Andy’s Records in Norwich. My slice of vinyl is the 1980 German stereo reissue of the UK release. Not to be confused with the later US release which has a different track-listing. . Nothing beats the feel of the drop of the needle and the rippling vibrato intro of Foxy Lady (without the ‘e’ please, why would anyone want to spell it this way?) before that sexy guitar riff kicks in. Complete with Mitchell and Redding’s rhythm, assault and battery on the drums and bass, it gets the blood moving as much now as when it was released in 1967. . From the heights of Foxy Lady, Hendrix’s guitar drops into the grungy depths of Manic Depression. His vocal on this: “manic depression is touching my soul, I know what I want but I just don’t know how to go about getting it” blew the lid off my angst-ridden teenage brain..” . FOR FULL REVIEW & PLAYLIST CLICK LINK IN PROFILE: https://randomrecordreview.wordpress.com/2019/05/20/631-jimi-hendrix-are-you-experienced/ . #jimihendrix @jimihendrix #thejimihendrixexperience #areyouexperienced #noelredding #mitchmitchell #foxylady #manicdepression #thirdstonefromthesun #redhouse #vinyl #andysrecords #vinylcollection #recordcollection #nowplaying #nowlistening #randomrecordreview https://www.instagram.com/p/BxrQuO0JO7a/?igshid=ez27kgn4cwo2

#jimihendrix #thejimihendrixexperience #areyouexperienced #noelredding #mitchmitchell #foxylady #manicdepression #thirdstonefromthesun #redhouse #vinyl #andysrecords #vinylcollection #recordcollection #nowplaying #nowlistening #randomrecordreview

[rubiesintherough]

(( open --- Howl ))

   “ ‘Course I know how to play!  I got taught by the best... Mr. Hendrix, himself.  ---- You know the riff in   ‘ Foxy Lady ‘ ?   Yeah, he showed me how to do it, wanna see? “  

#open ( howl ) #i know ive said he does nothing to hide his ability... #and loves perpetuating the idea that he's some immortal being #bc its ' funny to see people's faces ' #my chaotic good time traveling son