One of my biggest bass heroes, Bernard Edwards.
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Cool rock n roll photos
- Thread starter Chad-Chicago
- Start date
A rare photo indeed.
Somehow, this does not seem...logical.
Manfred Mann - Sept. 11, 1967 - Left to right: Tom McGuinness, Dave Berry, Klaus Voormann, Mike Hugg, Manfred Mann, Mike d'Abo.
Mike Garson:
Can you believe it!? On September 18, 1972, fifty years ago to the day, I left my one-year-old daughter at home with the piano student I had been giving a first lesson to after getting a call to be at RCA studios for an audition that would change my life within the hour. Side note: I don't recommend leaving your baby with a stranger. My wife wanted to kill me. She's forgiven me since.
As I walked into the studio at RCA, I saw them for the first time: Mick Ronson at the piano with David Bowie, Trevor Bolder, and Woody Woodmansey in the control room. They were so different from anyone else I had ever met.
To top it off, I had never heard their music before. I was a jazz musician playing with the best players but making five bucks a set for maybe five people in the crowd. Something had been wrong with this picture and needed to change. I had recently told my wife that I needed to go out with a rock band.
Mick was conducting my audition. He showed me the chords to a song I had never heard called "Changes" and asked me to play. Eight seconds into that audition, he stopped me and said, "You've got the gig!" I had barely started, but he could tell. My first concert with them would be on the Ziggy Stardust tour in Cleveland just four days later.
I was originally hired for eight weeks, thrown into an iconic rock band by a legend in the making. I was lucky to make music with David over the next four decades, and I am forever grateful to him for the opportunity.
Here's a photo of many of us at the beginning of that US leg of the Ziggy tour. That's Mick and me on the left, with Ken Fordham, Woody and June, Geoff MacCormack, Trevor, Ann, their daughter, and the rest of the tour team…
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Can you believe it!? On September 18, 1972, fifty years ago to the day, I left my one-year-old daughter at home with the piano student I had been giving a first lesson to after getting a call to be at RCA studios for an audition that would change my life within the hour. Side note: I don't recommend leaving your baby with a stranger. My wife wanted to kill me. She's forgiven me since.
As I walked into the studio at RCA, I saw them for the first time: Mick Ronson at the piano with David Bowie, Trevor Bolder, and Woody Woodmansey in the control room. They were so different from anyone else I had ever met.
To top it off, I had never heard their music before. I was a jazz musician playing with the best players but making five bucks a set for maybe five people in the crowd. Something had been wrong with this picture and needed to change. I had recently told my wife that I needed to go out with a rock band.
Mick was conducting my audition. He showed me the chords to a song I had never heard called "Changes" and asked me to play. Eight seconds into that audition, he stopped me and said, "You've got the gig!" I had barely started, but he could tell. My first concert with them would be on the Ziggy Stardust tour in Cleveland just four days later.
I was originally hired for eight weeks, thrown into an iconic rock band by a legend in the making. I was lucky to make music with David over the next four decades, and I am forever grateful to him for the opportunity.
Here's a photo of many of us at the beginning of that US leg of the Ziggy tour. That's Mick and me on the left, with Ken Fordham, Woody and June, Geoff MacCormack, Trevor, Ann, their daughter, and the rest of the tour team…
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3/23/75 S.N.A.C.K. Benefit, billed as Jerry Garcia and Friends playing the unheard Blues for Allah
this was the last usage of venerable Kezar Stm. where the Dead had often held court in the Haight
Photo by Peter Simon
this was the last usage of venerable Kezar Stm. where the Dead had often held court in the Haight
Photo by Peter Simon
Fishbone: When we say "all ages", we mean ALL AGES… come on, pop that @advil.
MM is RnR. I listened to him daily in The Credibility Gap and learned more in 15mins than school.
My biggest bass influence, Steve Harris of Iron Maiden
IMMusicRulz
Commercial User
Writer/director Martin Davidson has said that the inspiration for "Eddie and the Cruisers", released on this date in 1983, came from a desire to "get all my feelings about the music of the last 30 years of rock music into it." He optioned P. F. Kluge's novel of the same name with his own money and at great financial risk. He wrote the screenplay with Arlene Davidson and decided to use a "Citizen Kane" (1941)-style story structure. He remembered, "That was in my head: the search."
Davidson made a deal with Time-Life, a company that was going into the movie-making business. However, it quickly left the business after making two films that were not financially successful. He was understandably upset and a couple of days later he went out to dinner and met a secretary who had worked on his first film. He told her what had happened to his film, and she gave his script for "Eddie and the Cruisers" to her business partners. In a relatively short time, a deal was struck with Aurora and Davidson was given a $6 million budget.
In order to get a credible looking and sounding band for the film, Davidson hired Kenny Vance, one of the original members of Jay and the Americans. He showed Davidson his scrapbook, the places the band performed, the car they drove in, and how they transported their instruments. Vance also told Davidson stories about the band, some of which he incorporated into the script. Tom Berenger has said that he did not try to learn piano for the film but did practice keyboards for hours in his trailer. Matthew Laurance actually learned how to play the bass through rehearsals.
Michael Paré was discovered in a New York City restaurant working as a chef. He said of his role in the film that it was "a thrill I've never experienced. It's a really weird high. For a few moments, you feel like a king, a god. It's scary, a dangerous feeling. If you take it too seriously."
Davidson had the actors who played in Eddie's band rehearse as if they were getting ready for a real concert. Pare remembers, "The first time we played together - as a band - was a college concert. An odd thing happened. At first, the extras simply did what they were told. Then, as the music heated up, so did the audience. They weren't playacting anymore. The screaming, stomping and applause became spontaneous." Davidson recalls, "One by one, kids began standing up in their seats, screaming and raising their hands in rhythmic applause. A few girls made a dash for the stage, tearing at Michael's shirt. We certainly hadn't told them to do that. But we kept the cameras rolling." Additionally, New Jersey musician Southside Johnny Lyon was hired as a technical advisor for the film.
According to Davidson, when he completed the film, three different studios wanted to distribute it, and he went with Embassy Pictures because they offered him the most money. However, they had no prior experience in distribution and were unable to properly release it in theaters. Davidson remembered, "And six months later, somebody said, 'Your picture is appearing on HBO this weekend,' and I didn't even know." (Wikipedia)
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Davidson made a deal with Time-Life, a company that was going into the movie-making business. However, it quickly left the business after making two films that were not financially successful. He was understandably upset and a couple of days later he went out to dinner and met a secretary who had worked on his first film. He told her what had happened to his film, and she gave his script for "Eddie and the Cruisers" to her business partners. In a relatively short time, a deal was struck with Aurora and Davidson was given a $6 million budget.
In order to get a credible looking and sounding band for the film, Davidson hired Kenny Vance, one of the original members of Jay and the Americans. He showed Davidson his scrapbook, the places the band performed, the car they drove in, and how they transported their instruments. Vance also told Davidson stories about the band, some of which he incorporated into the script. Tom Berenger has said that he did not try to learn piano for the film but did practice keyboards for hours in his trailer. Matthew Laurance actually learned how to play the bass through rehearsals.
Michael Paré was discovered in a New York City restaurant working as a chef. He said of his role in the film that it was "a thrill I've never experienced. It's a really weird high. For a few moments, you feel like a king, a god. It's scary, a dangerous feeling. If you take it too seriously."
Davidson had the actors who played in Eddie's band rehearse as if they were getting ready for a real concert. Pare remembers, "The first time we played together - as a band - was a college concert. An odd thing happened. At first, the extras simply did what they were told. Then, as the music heated up, so did the audience. They weren't playacting anymore. The screaming, stomping and applause became spontaneous." Davidson recalls, "One by one, kids began standing up in their seats, screaming and raising their hands in rhythmic applause. A few girls made a dash for the stage, tearing at Michael's shirt. We certainly hadn't told them to do that. But we kept the cameras rolling." Additionally, New Jersey musician Southside Johnny Lyon was hired as a technical advisor for the film.
According to Davidson, when he completed the film, three different studios wanted to distribute it, and he went with Embassy Pictures because they offered him the most money. However, they had no prior experience in distribution and were unable to properly release it in theaters. Davidson remembered, "And six months later, somebody said, 'Your picture is appearing on HBO this weekend,' and I didn't even know." (Wikipedia)
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