The Band
Phil White
PJ Jennings
Bass Guitar?
Nick (Ted) Meyers
Album Artwork
- Beguiled FB Feed
."Well I mean, they're not gonna kill ya, so like, if you give 'em a quick sh...short, sharp shock, they don't do it again. Dig it"--
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When this happens, it's usually because the owner only shared it with a small group of people or changed who can see it, or it's been deleted.The quite excellent Opeth.
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When this happens, it's usually because the owner only shared it with a small group of people or changed who can see it, or it's been deleted."YES"--Turn of the Century------A classic and quite beautiful...Something we need in these rather troublesome times..I will say no more..Progtastic..
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When this happens, it's usually because the owner only shared it with a small group of people or changed who can see it, or it's been deleted.There are 'guitar legends' and 'drumming legends' along with 'bass legends' etc…. Trying to say who was the 'best' is a matter of personal taste. The same goes for 'keyboard / piano / organ legends'.
One of the greats, Rick Wakeman, who is best know for his time with YES.
Born and raised in West London, Wakeman intended on being a concert pianist but quit his studies at the Royal College of Music in 1969 to become a full time session musician. His early sessions included playing on "Space Oddity", among others, for David Bowie and songs by Junior's Eyes, T. Rex, Elton John, and Cat Stevens. Wakeman became a member of Strawbs in 1970 before joining Yes a year later, becoming part of the band's "classic" line-up and playing on some of their most successful and influential albums across two stints until 1980. Wakeman began a solo career during this time, in 1973; his most successful albums are his first three: The Six Wives of Henry VIII, Journey to the Centre of the Earth, and The Myths and Legends of King Arthur and the Knights of the Round Table. He formed his rock band, The English Rock Ensemble, in 1974 which he continues to perform with.
Wakeman pursued solo projects throughout the 1980s that varied in levels of success; his most successful album was 1984, released in 1981, which was followed by his minor pop hit single, "Glory Boys", from Silent Nights, in 1985. He hosted the television show Gastank, and produced the first of many New-age and ambient albums. In 1988, he co-formed Anderson Bruford Wakeman Howe which led to his third Yes stint until 1992. He returned twice more between 1995 and 2004, during which he completed several more solo projects and tours, including venturing into Christian music. Wakeman continues to perform concerts worldwide in various capacities.
Wakeman's discography includes over 90 solo albums that range from several musical styles. He has made many television and radio appearances and has written three books; an autobiography and two memoirs.
Oh yeah and he plays on all of Black Sabbath's Sabbath Bloody Sabbath---Say no more..No wonder Marc,Bowie,Sabbath,Cat Stevens .and all wanted him on their sessions..This content isn't available at the moment
When this happens, it's usually because the owner only shared it with a small group of people or changed who can see it, or it's been deleted."Beyond The Realms of Death"..
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When this happens, it's usually because the owner only shared it with a small group of people or changed who can see it, or it's been deleted.Yeahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
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When this happens, it's usually because the owner only shared it with a small group of people or changed who can see it, or it's been deleted."Day 5 My Classic Albums"---The Who/-Who's Next---Pete Townshend was brimming with ideas as the '60s turned into the '70s. The Who were coming off their most monumental album, Tommy, and the massive tour that followed. An entire generation was sparked by the work, which eventually spawned a movie, a Broadway musical and countless imitators. Tommy was a cultural milestone, which left Townshend reeling: What's next?
For the band's guitarist and chief songwriter, the answer was another rock opera.
In 1970, Townshend started to piece together a new project for the band's fifth LP, Lifehouse – which was, like Tommy, a story-driven album. The initial concept stemmed from the Who's enormous growth over the past several months, as the band moved further and further away from its fan base – figuratively and literally, as concerts became huger and the divide between the stage and audience widened. But at the same time, Townshend never felt more connected to his fans.
The sci-fi concept of Lifehouse took this all in: In the future, rock music is banned. But the kids found a way to experience it through a form of virtual reality in a place where they gathered to listen and commune – a house(actually a old disused Lifehouse and Bobby replaces Tommy as the central character) where the music takes on an almost religious quality. Songs were written and recorded, and a rough sketch of how it all comes together was laid out.
But Lifehouse hit some bumps along the way, not least of which was nobody but Townshend could make sense of the thing. Plus, Townshend has said he suffered a nervous breakdown when he couldn't assemble the piece in a cohesive way. Still, he liked several of the new songs enough that he continued to work on and refine them, even after he abandoned his original concept (or rather, he put it on a back burner and revisited the project many times over the course of the Who's career as well as his solo career). And he wasn't too thrilled about undertaking another heady rock opera after Tommy, despite his initial feelings on the matter.
So he scrapped Lifehouse (for now), carried over some of his favourite songs and started to assemble a straightforward rock 'n' roll record. The result, Who's Next, was released in August 1971, and stands as the Who's best album, a filler-free explosion of guitar-powered riffs, generation-sparking lyrics and larynx-shredding anthems.
Who's Next was comprised of many of the Lifehouse project's songs, including "Baba O'Riley," "Bargain," "Going Mobile," "Behind Blue Eyes" and "Won't Get Fooled Again." Bassist John Entwistle contributed one song, "My Wife," which was supposed to be on a solo album. And the Who, producing themselves with some help from Glyn Johns, recorded most of the album in a relatively short two months in a London studio. After Gly Johns had cherry picked Townshend’s masterwork that never was Lifehouse.
Townshend began to experiment with synthesizers around this time, a musical addition that added to the forward-looking nature of the record. The celebrated looped intro to "Baba O'Riley" (named after spiritual guru Meher Baba and minimalist composer Terry Riley) particularly propelled the Who's music into the new decade, which was still coming down from the '60s. Who's Next didn't put an end to the Woodstock era, but it was one of the albums that audaciously carried rock 'n' roll into the next age.
Throughout the album, the synths add texture to the tracks, but just as often they serve as the centre to many of the key songs. Album opener "Baba O'Riley" and the eight-and-a-half-minute closing tune "Won't Get Fooled Again" are so powered by them, both cuts sound neutered without their presence. It was a bold move on the part of Townshend, who wanted the Who to break from their past, and an exciting move.
In a way, the iconic cover photo of the four band members urinating on a giant stone monolith can be perceived as the Who pissing on their past. They were ready to break from parts of it. Tommy wiped them out, but the long, gruelling tour in support of the album made them better. Townshend, merging electric and acoustic instruments again, opened up his music on Who's Next, Keith Moon pretty much set up air-drum heaven here and Roger Daltrey's famous scream at the end of "Won't Get Fooled Again" is still one of rock's all-time greatest.
After the release of Who's Next, which climbed to No.1 their first chart topping album, Townshend tinkered with a couple more concepts before he settled on Quadrophenia, another rock opera that is better than Tommy itself in the Who's catalogue. But Who's Next is the band at its best. Stripped of the ambitions, expectations and pretensions they were becoming saddled with, they made an album of pure rock 'n' roll power. There was a time when the Who were one of music's greatest and most important bands. Who's Next proves why.It don't come much better than this---And of course the genius of Pete Townshend..YeahhhhhhhhhhhhhhhhhhhhhhReal nice version of this classic Greg Lake song..Actually I do a cover of this hey Christina fancy doing a duet with me--Ding-Dong..