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Cool rock n roll photos
- Thread starter Chad-Chicago
- Start date
What’s wrong with this picture?
You know where.
You know where.
Yes, mistagged.
The “you know where” employee who placed it needs glasses or at least a willingness to be thorough and diligent about their job.
Did you see this at your local store?
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Nah, just an online shot, but it’s so classic.
Norwood Fisher of Fishbone at the Speedway Cafe in Salt Lake City December 3, 1988
Janis arriving at Detroit's Grande Ballroom for 2 shows with Big Brother & the Holding Company, March 1-2,1968
photo-Elliot Landy
photo-Elliot Landy
Kate Bush photographed in Italy, 1978.
Corey Glover of Living Colour at the Speedway Cafe in Salt Lake City on February 13, 1989
March 1968 - Paul Stanley at 16yrs old
Thundercat, ASAP Rocky, and Danny Elfman--they performed together on SNL the other night.
Jimmie had finally put together a great band, he called it Texas, but a couple of gigs proved it to be too hokey, so he changed it to Texas Storm, and eventually it became just the Storm. The group was a motley crew of Texas hippies, destined to later become some of the most respected names in Texas blues, Doyle Bramhall on vocals and drums (who went on to front the Nightcrawlers, the Millionaires, the Heartbeats, and the Juke Jumpers), Phil Campbell on drums, Sammy Piazza on second drums, Billy Etheridge on organ, and Jimmy Chilton on bass. Playing obscure blues, their habitats included such legendary nightlife dungeons as the notorious Cellar in Dallas and Fort Worth. When the Storm's bass player was thrown in jail, Jimmie asked his 14yr old brother to fill in on bass for a few gigs, one of them being a road trip to Austin for the band's debut at the Vulcan Gas Company. Steve was excited about being in the same band with Jimmie, and tried a little too hard to keep up with the older guys. In fact he hardly remembered his first gig in Austin because he spent most of it upchucking his liquor outside the club. The rest of the band wasn't in much better shape; besides racing on speed, they were falling down drunk, too.
Robert "Cutter" Brandenburg saw Steve playing bass with the Storm that year, and was blown away by his skill, not even knowing the younger Vaughan played guitar. Cutter had been stricken with polio as a kid, but the sheer physical strength of this stocky, lumbering hippie impressed Steve enough to have him join the band as a roadie, a job he held for most of Stevie's career. Cutter was loyal; it didn't matter if the band was making three dollars a night or three hundred, he would dutifully haul the guitars, amps, speakers and drums around with nary a complaint because he simply loved helping Steve any way he could.
Stevie and Doyle at Lee Park, Dallas 1969
photo-Jan Harris
c1978 with Freddie 'Pharoah' Walden on drums
Jackie Newhouse, Stevie, Chris at the Rome Inn 1978
photo-Joe Miranda
in 1979 Don Davis captured Stevie's 1950's greasy disco perm in early Double Trouble; Stevie and Johnny Reno at the Rome Inn
1988
by Cutter Brandenburg aka Mr. Cee: Here's a little thang that happened kinda early on. For the few different shows we were doin' things were kinda weird, you would never know what you would really need. After about two or three shows I discovered that we needed to have some serious extra long heavy gauge extension cords with at least four outlet junction boxes. So, I bought three. One was 150 ft, one was 100 ft and the third was 50 ft. Stevie always had some weird electric thang going on. I swear I would hook him up separate from anything and anyone else and check everything, no shocks, very little noise. Well, with a Strat ya might just pick up a cop car call or something, no tellin'. But anyway, Stevie would go and immediately get shocked. I would stand there and he would let go I would grab the guitar and not get shocked. Then he would reach over and touch me and boom we both were zapped. I'd say, "Vaughan, damn it, don't touch me." He'd laugh and say, "Well, I got zapped too." Man it was weird. It was always like that. Years later I heard he was still getting zapped when others wouldn't. Stevie also liked to play around. Sometimes, as I was just getting ready to introduce them, but it would still be dark, Stevie would reach out and touch me on the shoulder and Zap! I'd yell out, "shag!" That's the first word the audience would hear. He would crack up. I'd have to walk way away to do the introduction, just so I could keep an eye on him. He also got so used to being plugged into his own power and not sharing at all. We always had less noise if his power was totally his. One time, somewhere, we had power available where we could separate each instrument so I did not use this long ass cord. I plugged him straight in the wall. As the show started I saw that he was really having a time with somethin', all during the first song he was lookin" around and kept going to the amp and checkin' the knobs. Which reminds me by the way, he used to put his hand under all the knobs and pull his hand back so that every knob was on ten in one quick pull back. I use to say, "Vaughan, why don't I just superglue them bastards on ten?" Anyway, by the end of the first song I went to him and said, "What's wrong?" He said, "Somethin', man, I ain't sure." We checked everything and he pulled the cables out of this pedal and back in, jiggled this and tapped on top of the amp, then hit it with his fist. I said, "Stevie, it's all ok, everything is right." So he went to the second song. I mean by the middle of the second song he was really bummed. I walked up. and before I could say anything he said, "It sounds like dog shag!" I said, "What the hell does dog shag sound like?" He said, "That." I said, "Man, the only thing I can see different is that I did not use that extension box." He leaned over the amp and looked and said, "Cee would ya mind, let's try that." I said, "No man, but I don't see how that could be anything." I pulled this dang, long ass cable out and plugged him in, and I'll be danged, it sounded better and he smiled and took off on song three. I always used that cable box from then on, no matter what. So, I'm not sure, but I know there must be some kinda mojo blues thing, 'cause he took off after I replaced that cable. He smiled and winked at me as if to say, "I knew somethin' was not right." As years went by the old cable was spliced, repaired, tapped and well, I finally had to retire it. It laid in my garage for years, it moved whenever and wherever we moved.
photo-Dana Brown
Robert "Cutter" Brandenburg saw Steve playing bass with the Storm that year, and was blown away by his skill, not even knowing the younger Vaughan played guitar. Cutter had been stricken with polio as a kid, but the sheer physical strength of this stocky, lumbering hippie impressed Steve enough to have him join the band as a roadie, a job he held for most of Stevie's career. Cutter was loyal; it didn't matter if the band was making three dollars a night or three hundred, he would dutifully haul the guitars, amps, speakers and drums around with nary a complaint because he simply loved helping Steve any way he could.
Stevie and Doyle at Lee Park, Dallas 1969
photo-Jan Harris
c1978 with Freddie 'Pharoah' Walden on drums
Jackie Newhouse, Stevie, Chris at the Rome Inn 1978
photo-Joe Miranda
in 1979 Don Davis captured Stevie's 1950's greasy disco perm in early Double Trouble; Stevie and Johnny Reno at the Rome Inn
1988
by Cutter Brandenburg aka Mr. Cee: Here's a little thang that happened kinda early on. For the few different shows we were doin' things were kinda weird, you would never know what you would really need. After about two or three shows I discovered that we needed to have some serious extra long heavy gauge extension cords with at least four outlet junction boxes. So, I bought three. One was 150 ft, one was 100 ft and the third was 50 ft. Stevie always had some weird electric thang going on. I swear I would hook him up separate from anything and anyone else and check everything, no shocks, very little noise. Well, with a Strat ya might just pick up a cop car call or something, no tellin'. But anyway, Stevie would go and immediately get shocked. I would stand there and he would let go I would grab the guitar and not get shocked. Then he would reach over and touch me and boom we both were zapped. I'd say, "Vaughan, damn it, don't touch me." He'd laugh and say, "Well, I got zapped too." Man it was weird. It was always like that. Years later I heard he was still getting zapped when others wouldn't. Stevie also liked to play around. Sometimes, as I was just getting ready to introduce them, but it would still be dark, Stevie would reach out and touch me on the shoulder and Zap! I'd yell out, "shag!" That's the first word the audience would hear. He would crack up. I'd have to walk way away to do the introduction, just so I could keep an eye on him. He also got so used to being plugged into his own power and not sharing at all. We always had less noise if his power was totally his. One time, somewhere, we had power available where we could separate each instrument so I did not use this long ass cord. I plugged him straight in the wall. As the show started I saw that he was really having a time with somethin', all during the first song he was lookin" around and kept going to the amp and checkin' the knobs. Which reminds me by the way, he used to put his hand under all the knobs and pull his hand back so that every knob was on ten in one quick pull back. I use to say, "Vaughan, why don't I just superglue them bastards on ten?" Anyway, by the end of the first song I went to him and said, "What's wrong?" He said, "Somethin', man, I ain't sure." We checked everything and he pulled the cables out of this pedal and back in, jiggled this and tapped on top of the amp, then hit it with his fist. I said, "Stevie, it's all ok, everything is right." So he went to the second song. I mean by the middle of the second song he was really bummed. I walked up. and before I could say anything he said, "It sounds like dog shag!" I said, "What the hell does dog shag sound like?" He said, "That." I said, "Man, the only thing I can see different is that I did not use that extension box." He leaned over the amp and looked and said, "Cee would ya mind, let's try that." I said, "No man, but I don't see how that could be anything." I pulled this dang, long ass cable out and plugged him in, and I'll be danged, it sounded better and he smiled and took off on song three. I always used that cable box from then on, no matter what. So, I'm not sure, but I know there must be some kinda mojo blues thing, 'cause he took off after I replaced that cable. He smiled and winked at me as if to say, "I knew somethin' was not right." As years went by the old cable was spliced, repaired, tapped and well, I finally had to retire it. It laid in my garage for years, it moved whenever and wherever we moved.
photo-Dana Brown
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The Who at Anaheim Stadium on June 14, 1970
photo-Claire Saltz
Pete at the Holiday Inn in Michigan on August 23, 1967 where Keith Moon celebrated his 21st birthday by driving a Lincoln Continental into the pool.
June 14 1967 in Ann Arbor at The Fifth Dimension Club 4 days before Monterey Pop
up in flames
Nov. 22 1973 LA Forum I was lucky to be there
photo-Claire Saltz
Pete at the Holiday Inn in Michigan on August 23, 1967 where Keith Moon celebrated his 21st birthday by driving a Lincoln Continental into the pool.
June 14 1967 in Ann Arbor at The Fifth Dimension Club 4 days before Monterey Pop
up in flames
Nov. 22 1973 LA Forum I was lucky to be there
Tommy Shannon was 8yrs Stevie Ray Vaughan's senior and had the chance to make a name for himself before joining Double Trouble with his experiences, including Woodstock backing Johnny Winter. he met Stevie Ray the same day he left Winter's band. "I was starving," says Tommy as he recalls flying over to Dallas with nothing but $2,000, where he chanced upon the other guitarist who was performing at a gig. As it turns out, Stevie was short a bass player, and Tommy was ready to jump in: "There was this club in Dallas called The Fog. I was playing there one night, and Johnny was playing, and his bass player didn't show up, so, one of Johnny's buddies recommended me to him; he asked me to come and try out with him, and we got on so well that he asked me to join. Johnny was easy to get along with, and we locked in musically immediately."
of the 15yr old guitarist, Tommy said: "When I met him, he was just a kid, but as soon as we talked, I could tell that Stevie was special. He let it rip, and I listened, and I was like, 'Man… here's this little kid playing better than anyone else I've seen, after he got off stage, we talked more and became fast friends. Even back then, Stevie was playing a Strat. That's really the only guitar I ever saw him play."
they wouldn't start working together in earnest until their second meeting when Tommy met Stevie again through Dusty Hill's brother, Rocky Hill: "We got to talking, and we rekindled our friendship, getting together with Rocky was a blessing because I couldn't find a gig due to my past. He hooked me up with Alan Haynes and The Texas Boogie Band, and I was on the road with him for around nine months, one night, we were in Houston at the same time Stevie was, and I thought, 'Let me go down and see my old friend.' Well, man, let me tell you – seeing Stevie that night was like a religious experience. I watched him and thought, 'That's where I belong.' So, I went up to Stevie and told him, 'I'd like to join your band.' And a few weeks later, he called me on New Year's Eve, 1981. He wasn't cocky and never acted like he was better than anyone. Even when Stevie was a kid, though, he was special. But that didn't matter; despite how great he was, Stevie would look at all the older guys and talk about how great they were. I remember saying, 'Stevie, you're already better than all these guys. Don't you know that?' But none of that mattered to him; he respected the musicians in Austin, Texas, and he never wanted to leave anybody behind. He was a great guitar player, but Stevie Ray Vaughan was an even better man."
on the final gig he played with Stevie Ray Vaughan prior to the musician's death in 1990; "I remember that it was one of our best gigs. Stevie came out to jam with Eric [Clapton] and Jimmie [Vaughan] at Alpine Valley Music Theater, and the crowd went crazy. Just thinking about it sends chills up my back. I can still hear that first note he played… that one note will remain with me forever. I will never forget that gig; we played our asses off. And I still remember the last thing Stevie said to me before he got on the helicopter: 'I'll see you back at the hotel. Love you, man.' We always used to say that whenever we'd part. God, it was so hard. It was total chaos. None of us knew what to do. We were facing the great unknown without Stevie. I didn't leave my house for about two weeks. That's how tore up I was over it. It hit me so hard having him gone, and that was bad enough. But once I accepted that he was gone, the next thought was, 'What am I gonna do? I don't have a gig anymore…' So, it was not an easy time by any means."
of the 15yr old guitarist, Tommy said: "When I met him, he was just a kid, but as soon as we talked, I could tell that Stevie was special. He let it rip, and I listened, and I was like, 'Man… here's this little kid playing better than anyone else I've seen, after he got off stage, we talked more and became fast friends. Even back then, Stevie was playing a Strat. That's really the only guitar I ever saw him play."
they wouldn't start working together in earnest until their second meeting when Tommy met Stevie again through Dusty Hill's brother, Rocky Hill: "We got to talking, and we rekindled our friendship, getting together with Rocky was a blessing because I couldn't find a gig due to my past. He hooked me up with Alan Haynes and The Texas Boogie Band, and I was on the road with him for around nine months, one night, we were in Houston at the same time Stevie was, and I thought, 'Let me go down and see my old friend.' Well, man, let me tell you – seeing Stevie that night was like a religious experience. I watched him and thought, 'That's where I belong.' So, I went up to Stevie and told him, 'I'd like to join your band.' And a few weeks later, he called me on New Year's Eve, 1981. He wasn't cocky and never acted like he was better than anyone. Even when Stevie was a kid, though, he was special. But that didn't matter; despite how great he was, Stevie would look at all the older guys and talk about how great they were. I remember saying, 'Stevie, you're already better than all these guys. Don't you know that?' But none of that mattered to him; he respected the musicians in Austin, Texas, and he never wanted to leave anybody behind. He was a great guitar player, but Stevie Ray Vaughan was an even better man."
on the final gig he played with Stevie Ray Vaughan prior to the musician's death in 1990; "I remember that it was one of our best gigs. Stevie came out to jam with Eric [Clapton] and Jimmie [Vaughan] at Alpine Valley Music Theater, and the crowd went crazy. Just thinking about it sends chills up my back. I can still hear that first note he played… that one note will remain with me forever. I will never forget that gig; we played our asses off. And I still remember the last thing Stevie said to me before he got on the helicopter: 'I'll see you back at the hotel. Love you, man.' We always used to say that whenever we'd part. God, it was so hard. It was total chaos. None of us knew what to do. We were facing the great unknown without Stevie. I didn't leave my house for about two weeks. That's how tore up I was over it. It hit me so hard having him gone, and that was bad enough. But once I accepted that he was gone, the next thought was, 'What am I gonna do? I don't have a gig anymore…' So, it was not an easy time by any means."
It’s mid morning and not too late to Tiran on! 
David Bowie chats with Roger Taylor and Brian May of Queen while sitting behind princess Diana.
IMMusicRulz
Commercial User
Keith Emerson torturing that organ in the middle of the Montreal Olympic Coliseum, filming the music video for Fanfare For The Common Man in 1977.
