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Cool rock n roll photos
- Thread starter Chad-Chicago
- Start date
Norwood Fisher of Fishbone, and Stephen Perkins of Jane's Addiction, both board members of the Watts Conservatory of Music (which was getting an award that day).
At the same place, Norwood and HR of Bad Brains.
At the same place, Norwood and HR of Bad Brains.
Last edited:
The Who at the Charlton Athletic Football Ground, London - May 31 1976
photo-Michael Putland
photo-Michael Putland
Ronnie Wood in 1968 at Detroit's Grande Ballroom, one of his ten appearances at the venue, here with the Jeff Beck Group,
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Born to Be Wild
How Steppenwolf, Easy Rider, and a motorcycle anthem changed American culture forever, by Bob 'Big Chopper' Rose
Few songs are as deeply woven into the fabric of American popular culture as Steppenwolf's "Born to Be Wild." More than half a century after its release, the opening guitar riff still conjures images of chrome motorcycles, endless highways, desert landscapes, and a restless search for freedom. It has become so synonymous with the open road that many people assume it was written specifically for the landmark 1969 film Easy Rider. In reality, the story behind the song—and how it became the defining soundtrack to one of the most important films of the counterculture era—is far more fascinating. The origins of Steppenwolf can be traced to Canada in the mid-1960s. Before the group became international stars, vocalist John Kay was fronting a Toronto-based band called Sparrow. Born Joachim Fritz Krauledat in East Germany during World War II, Kay's early life was marked by upheaval and displacement. After escaping Communist East Germany with his family, he eventually settled in Canada, where music became both an outlet and a calling. Sparrow developed a loyal following but struggled to break through commercially. By 1967, the band relocated to Los Angeles and reinvented itself as Steppenwolf, taking its name from Hermann Hesse's influential novel about individuality and rebellion. The timing could not have been better. America was in the midst of enormous social and cultural change. The Vietnam War was escalating, the civil rights movement was reshaping the nation, and a generation of young people was challenging traditional authority. Steppenwolf's aggressive blend of blues, hard rock, and psychedelic influences perfectly captured the growing sense of unrest and liberation. Their self-titled debut album arrived in early 1968 and introduced a sound that felt heavier, louder, and more dangerous than much of what was dominating radio at the time. At the center of that album was "Born to Be Wild," a song that would become the band's signature recording. Ironically, it was not written by a member of Steppenwolf. The song was composed by Mars Bonfire, the stage name of Dennis Edmonton, who happened to be the brother of Steppenwolf drummer Jerry Edmonton. Bonfire had originally written the song while riding his motorcycle through the streets of Los Angeles, inspired by the growing biker culture that was emerging throughout Southern California. The lyrics captured a spirit of freedom and rebellion that resonated instantly. Yet one particular phrase would have an impact far beyond anything Bonfire could have imagined. During the second verse, the singer describes "heavy metal thunder," referring to the roar of motorcycle engines. While the phrase was intended as imagery rather than a musical description, rock historians frequently point to this lyric as the first appearance of the term "heavy metal" in a rock song. Whether or not "Born to Be Wild" can truly be called the first heavy metal record remains a matter of debate, but there is little question that its thunderous guitars and aggressive sound helped pave the way for bands such as Black Sabbath, Deep Purple, and Led Zeppelin.
By the time "Born to Be Wild" climbed the charts in 1968, a very different project was taking shape in Hollywood. Actor Peter Fonda, fresh off the counterculture success of Roger Corman's The Wild Angels and The Trip, had become increasingly interested in creating a film that reflected the changing values of young America. Together with fellow actor Dennis Hopper and screenwriter Terry Southern, Fonda developed what would become Easy Rider, a low-budget road movie that explored freedom, alienation, and the widening cultural divide between generations. The film follows Wyatt and Billy, two bikers played by Fonda and Hopper, who finance a cross-country motorcycle trip with the proceeds from a cocaine deal. What begins as a celebration of freedom gradually evolves into a darker meditation on intolerance and the limits of the American dream. Along the way, the riders encounter hippies, small-town conservatives, communal living experiments, drug use, and growing hostility from those who fear what they represent. Part of what made Easy Rider so revolutionary was its commitment to authenticity. Unlike most Hollywood productions of the era, the filmmakers sought to capture the genuine atmosphere of the counterculture. Real marijuana was reportedly used during several scenes, and numerous sequences blurred the line between documentary and fiction. The famous New Orleans cemetery sequence, featuring LSD use, remains one of the most controversial and discussed moments in American cinema. The film's soundtrack proved equally groundbreaking. Prior to Easy Rider, most movies relied heavily on orchestral scores composed specifically for the production. Hopper and Fonda instead wanted contemporary rock music that reflected the world their characters inhabited. Songs by The Byrds, Jimi Hendrix, The Band, and Roger McGuinn were incorporated throughout the film, helping create what many regard as the first truly modern rock soundtrack. "Born to Be Wild" became the centerpiece. The moment Wyatt and Billy climb aboard their customized motorcycles and head onto the open highway while Steppenwolf's opening riff explodes from the speakers remains one of the most iconic sequences in movie history. The pairing feels so natural that it is difficult to imagine either the song or the film without the other. Yet the connection was not planned from the beginning. As Hopper assembled the soundtrack, he recognized that Steppenwolf's anthem perfectly captured the film's themes of independence, wanderlust, and defiance. Once the song was married to those images of motorcycles rolling through the American Southwest, it became inseparable from the cultural mythology surrounding the open road.
The success of Easy Rider transformed both the film and the song into enduring symbols of the era. Produced for less than $400,000, the movie became a box-office sensation, earning tens of millions of dollars and helping usher in the New Hollywood movement that would dominate the 1970s. It demonstrated that young filmmakers could create culturally significant films outside the traditional studio system, paving the way for directors such as Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. For Steppenwolf, the film ensured that "Born to Be Wild" would enjoy a life far beyond the normal lifespan of a hit single. The song became the unofficial anthem of biker culture and a permanent fixture of classic rock radio. Its influence can still be heard in countless films, television shows, commercials, and sporting events. More importantly, it helped define the sound and attitude of an entire generation.
More than 50yrs later, both Easy Rider and Born to Be Wild remain powerful reminders of a unique moment in American history. Together they captured a nation's hopes, anxieties, and yearning for freedom during one of the most turbulent periods of the 20th century, their collision created a cultural touchstone that continues to resonate with every new generation that dreams.
How Steppenwolf, Easy Rider, and a motorcycle anthem changed American culture forever, by Bob 'Big Chopper' Rose
Few songs are as deeply woven into the fabric of American popular culture as Steppenwolf's "Born to Be Wild." More than half a century after its release, the opening guitar riff still conjures images of chrome motorcycles, endless highways, desert landscapes, and a restless search for freedom. It has become so synonymous with the open road that many people assume it was written specifically for the landmark 1969 film Easy Rider. In reality, the story behind the song—and how it became the defining soundtrack to one of the most important films of the counterculture era—is far more fascinating. The origins of Steppenwolf can be traced to Canada in the mid-1960s. Before the group became international stars, vocalist John Kay was fronting a Toronto-based band called Sparrow. Born Joachim Fritz Krauledat in East Germany during World War II, Kay's early life was marked by upheaval and displacement. After escaping Communist East Germany with his family, he eventually settled in Canada, where music became both an outlet and a calling. Sparrow developed a loyal following but struggled to break through commercially. By 1967, the band relocated to Los Angeles and reinvented itself as Steppenwolf, taking its name from Hermann Hesse's influential novel about individuality and rebellion. The timing could not have been better. America was in the midst of enormous social and cultural change. The Vietnam War was escalating, the civil rights movement was reshaping the nation, and a generation of young people was challenging traditional authority. Steppenwolf's aggressive blend of blues, hard rock, and psychedelic influences perfectly captured the growing sense of unrest and liberation. Their self-titled debut album arrived in early 1968 and introduced a sound that felt heavier, louder, and more dangerous than much of what was dominating radio at the time. At the center of that album was "Born to Be Wild," a song that would become the band's signature recording. Ironically, it was not written by a member of Steppenwolf. The song was composed by Mars Bonfire, the stage name of Dennis Edmonton, who happened to be the brother of Steppenwolf drummer Jerry Edmonton. Bonfire had originally written the song while riding his motorcycle through the streets of Los Angeles, inspired by the growing biker culture that was emerging throughout Southern California. The lyrics captured a spirit of freedom and rebellion that resonated instantly. Yet one particular phrase would have an impact far beyond anything Bonfire could have imagined. During the second verse, the singer describes "heavy metal thunder," referring to the roar of motorcycle engines. While the phrase was intended as imagery rather than a musical description, rock historians frequently point to this lyric as the first appearance of the term "heavy metal" in a rock song. Whether or not "Born to Be Wild" can truly be called the first heavy metal record remains a matter of debate, but there is little question that its thunderous guitars and aggressive sound helped pave the way for bands such as Black Sabbath, Deep Purple, and Led Zeppelin.
By the time "Born to Be Wild" climbed the charts in 1968, a very different project was taking shape in Hollywood. Actor Peter Fonda, fresh off the counterculture success of Roger Corman's The Wild Angels and The Trip, had become increasingly interested in creating a film that reflected the changing values of young America. Together with fellow actor Dennis Hopper and screenwriter Terry Southern, Fonda developed what would become Easy Rider, a low-budget road movie that explored freedom, alienation, and the widening cultural divide between generations. The film follows Wyatt and Billy, two bikers played by Fonda and Hopper, who finance a cross-country motorcycle trip with the proceeds from a cocaine deal. What begins as a celebration of freedom gradually evolves into a darker meditation on intolerance and the limits of the American dream. Along the way, the riders encounter hippies, small-town conservatives, communal living experiments, drug use, and growing hostility from those who fear what they represent. Part of what made Easy Rider so revolutionary was its commitment to authenticity. Unlike most Hollywood productions of the era, the filmmakers sought to capture the genuine atmosphere of the counterculture. Real marijuana was reportedly used during several scenes, and numerous sequences blurred the line between documentary and fiction. The famous New Orleans cemetery sequence, featuring LSD use, remains one of the most controversial and discussed moments in American cinema. The film's soundtrack proved equally groundbreaking. Prior to Easy Rider, most movies relied heavily on orchestral scores composed specifically for the production. Hopper and Fonda instead wanted contemporary rock music that reflected the world their characters inhabited. Songs by The Byrds, Jimi Hendrix, The Band, and Roger McGuinn were incorporated throughout the film, helping create what many regard as the first truly modern rock soundtrack. "Born to Be Wild" became the centerpiece. The moment Wyatt and Billy climb aboard their customized motorcycles and head onto the open highway while Steppenwolf's opening riff explodes from the speakers remains one of the most iconic sequences in movie history. The pairing feels so natural that it is difficult to imagine either the song or the film without the other. Yet the connection was not planned from the beginning. As Hopper assembled the soundtrack, he recognized that Steppenwolf's anthem perfectly captured the film's themes of independence, wanderlust, and defiance. Once the song was married to those images of motorcycles rolling through the American Southwest, it became inseparable from the cultural mythology surrounding the open road.
The success of Easy Rider transformed both the film and the song into enduring symbols of the era. Produced for less than $400,000, the movie became a box-office sensation, earning tens of millions of dollars and helping usher in the New Hollywood movement that would dominate the 1970s. It demonstrated that young filmmakers could create culturally significant films outside the traditional studio system, paving the way for directors such as Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. For Steppenwolf, the film ensured that "Born to Be Wild" would enjoy a life far beyond the normal lifespan of a hit single. The song became the unofficial anthem of biker culture and a permanent fixture of classic rock radio. Its influence can still be heard in countless films, television shows, commercials, and sporting events. More importantly, it helped define the sound and attitude of an entire generation.
More than 50yrs later, both Easy Rider and Born to Be Wild remain powerful reminders of a unique moment in American history. Together they captured a nation's hopes, anxieties, and yearning for freedom during one of the most turbulent periods of the 20th century, their collision created a cultural touchstone that continues to resonate with every new generation that dreams.
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Paul playing the right handed Jazz Bass that was frequently used by Wings’ Denny Laine and Jimmy McCulloch in the mid seventies.
IMMusicRulz
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IMMusicRulz
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| The Butts Band was a British-American group formed by ex-members of The Doors, Ray Manzarek, John Densmore and Robby Krieger that was active from 1973-1975. Members included: Ray Manzarek (keyboards, vocals) Robby Krieger (guitar) John Densmore (drums) Jess Roden (vocals, guitar) Phil Chen (bass, guitar) Roy Davies (keyboards, vocals; died 1986) Mick Weaver (keyboards) Michael Stull Karl Ruckner Mike Berkowitz Alex Richman (vocals) |
Not my pic, but I was there, albeit outside….Jason Momoa and his band Oof Tatata, at this tiny joint, the Red Dog Saloon…
Just a screen grab of a Reels video by someone in the wall to wall crowd. My wife and I elected to stay outside on the porch, comfortably in chairs at a table, but the big guy and his crew did stroll by. The gig was a free promotional event for his vodka brand, Meili, and this place is out in an area called Pioneertown, a former old west town movie set built by Roy Rogers in the 40’s. There’s a much larger venue down at the other end, Pappy and Harriet’s, that features notable acts…
pappyandharriets.com
…whereas the Red Dog is more about local bands. And Jason is local, of sorts, he supposedly has a little getaway spread out here(High Desert, north of Palm Springs, near Joshua Tree).
How crowded was it? Well…
Just a screen grab of a Reels video by someone in the wall to wall crowd. My wife and I elected to stay outside on the porch, comfortably in chairs at a table, but the big guy and his crew did stroll by. The gig was a free promotional event for his vodka brand, Meili, and this place is out in an area called Pioneertown, a former old west town movie set built by Roy Rogers in the 40’s. There’s a much larger venue down at the other end, Pappy and Harriet’s, that features notable acts…
Live Music – Pappy and Harriets
pappyandharriets.com
How crowded was it? Well…
Feb. 21 1969 at the Hideout in Clawson, Michigan, on bass with the MC5 is Michael Davis. he was born in the Motor City, graduated from Cass Tech High School and saw Bob Dylan concert in Detroit. afterwards, in late 1965 he joined the MC5, replacing original bass player Pat Burrows. Michael and the MC5 were inducted into the Rock & Roll Hall of Fame. this Friday June 5th marks the 83rd birthday remembrance of Michael Davis.
photo-Peggy Bach
photo-Peggy Bach
