Jun 11, · Esper "Home Grown Sounds Of Rush" US Private Drug Psych Experimental,Electronic A7 Sonic 4 A8 Home Grown A9 Sonic 5 A10 Esoterical A11 Sonic 6 coming off the heels of an otherwise excellent, mostly covers album titled Distortions. The $ Fine LP was released Bordel do Rock. Jeff Dahl - Wicked - CD. "A sonic sound spectacular, 'Home Grown' is intended to be listened to while stoned. It is designed to give the listener a multiplicity of rushes. I define sonic rush as pulsating spirits of good. Vibrations that reverberate through your body in rippling waves of pleasure. The sounds are primitive. The beat is basic. The effects are personal.". Esper - Home Grown: Sounds Of Rush - Vinyl LP - - JP - Reissue kaufen im Online Music Store von HHV - Neuheiten & Topseller auf Vinyl, CD & Tape - Versandkostenfrei bestellen ab 80€!Artist: Esper.
Retrieved 8 July Guitar World. Archived from the original on 3 October Archived from the original on 23 April Retrieved 17 January Select : Archived from the original on 10 December Archived from the original on 1 January Archived from the original on 9 September Retrieved 24 August Archived from the original on 30 August Archived from the original on 10 May Retrieved 10 May Los Angeles Times.
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Retrieved 25 September Hung Medien. Retrieved 30 October I was real busy with session work in those days. In one week I did 26 sessions. Red Telephone? Jack and Neil were tight. And Neil was able to sell it. And once you see them live you can understand their records. But it does happen. And guys like Jack and Neil with 8-track now had more options and tracks to fill. But what makes me wonder how did Brian Wilson do it on 4-track? Neil knew it earlier. And I would love to have said how big Neil was gonna get.
Goodness gracious. I knew he was a songwriter. Some of the tunes were movies. They were scripts. To me, Neil was like another Bob Dylan. He could do Dylan but I think he did Dylan his way. It was Neil Young. Guys who would arrive with an entourage.
Neil would show up by himself. You have to realize that as great as a musician and as great as a songwriter he is, Neil would also realize talent himself.
He realized a sound that he liked from a guitar. Neil knew that the only way to get it was to have that guitar.
Neil liked to experiment. He had the time to take his time. I like this. And, Neil had Ahmet Ertegun in his corner. I think, and we discussed this before, Ahmet had some of the music publishing.
Ahmet encouraged the guys in Buffalo Springfield to write and do demos at Gold Star. I lived at Gold Star throughout the entire sixties. Ahmet and Nesuhi were two of the smartest people in the record business. They almost signed me to Atlantic. Neil came opening night and would later in the seventies or eighties would come to the club.
I think he was sweet on one of the waitresses. And everyone hung out there at the beginning. Great idea. People we want to thank. I like the fact that the art director at Atlantic had the sense to step back and put his hands up.
This is a west coast product. November saw the release of Buffalo Springfield Again, a defining moment in L. Rumor has it that it's an ode to Jefferson Airplane's Grace Slick. True or not, the character he portrays was ultra-fresh in 'a free-spirited woman that is not a fan or a muse. Some of those bands contained members that looked like they'd wandered in straight from the local soda fountain. Even the Doors seem like a happy accident of youth at times, pink-cheeked college kids jamming jazz on summer break.
Many members had been around the block, had flopped out at Monkees auditions and paid bar band dues. Who else could play a complex jam like "Bluebird"--a pop-soul-folk blowout with acid rock frenzy, Gabor Szabo-style meanderings, and dense harmonies, all cascading into an Appalachian banjo denouement? When played live they would extend the song with longer solos and rock the house. Here were two of the best singers going in rock in their primes singing lead on the same track.
It was a show stopper. During this period, I had a band called The Men from S. D who was very popular in East Los Angeles. We absolutely loved doing these songs. We hadn't heard anything like this in a pop context. Dylan talked about other people and he crawled up their asses with microscopes.
It was a great show. During springBuffalo Springfield were trapped in what looked to be a scene right out of the episode of The Twilight Zone Rod Sterling and team had written. Dickie Davis: Going on tour with the Buffalo was getting together.
By that time we hardly spoke to each other while we were in town. And we tightened up. Because if that happened in town we drifted apart. On tour we became friends again.
And on May 5,Buffalo Springfield voluntarily fled from their stage stable and became a mythical fable. Or I figured it was just a temporary re-arrangement. They were all alive and still living in town. I was waiting for some local deejay one late night to announce their reformation. All fringe and cowboy hats. They were just part of that magic Summer. For some reason that version wasn't put on the album. For about 2 years, there was a Buffalo Springfield Stampede and then the flame was gone.
For two years they were as good as it got to be. What an interesting melodic bass player. Only played the notes he had to play. Dewey Martin our drummer.
I have never seen a group use three guitars as tastefully as they do, weaving a finely detailed fabric whose pattern never blurred from overlapping. Richie Furay: Everything happened so fast.
We were young. We were new. When we did a six week house band stint at The Whisky we thought we had no competition. Five young guys who brought five different elements together. We were pioneers, and I see that. Buffalo Springfield was very eclectic. I mean, we reached into so many genres. There were nine people out of the Springfield in two years. Jimmy Messina came in late in the game and did a fine job.
I worked with him on Last Time Around. The mystique has lasted for some reason. Our legacy speaks for itself. Thrasher's Wheat just recently published two highly popular articles by Harvey Kubernik:. For they are writing a multi-narrative book on Jimi Hendrix for the same publisher. A German edition was published in It was just nominated for Three Emmy nominations. Harvey served as Consulting Producer on the singer-songwriter documentary, Troubadours directed by Morgan Neville.
The film screened at the Sundance Film Festival in the documentary category. Legends of Laurel Canyon hosted by Tina Malave. He was the project coordinator of the recording set The Jack Kerouac Collection. Labels: albumbuffalo springfieldreview. Thrasher, These Kubernick posts hold some gems, yet I fear are a little too long and not organized enough to be thoroughly readable.
Even the shifting typefaces that occasionally creep in are distracting. Please understand, I intend this as constructive criticism. Fussiness, aside, however, this post is the way to contextualize and celebrate The Springfield's legacy.
Much more effective than worrying about what Stills does today with a song that he, after all, wrote. Imho, Stills' tic-toc to the DNC will go down as a footnote in Springfield history; it shows a man who acts on the strength of his convictions, but certainly doesn't lessen or in any way alter of the song across the last 50 years of American history.
I have no fundamental investment, or "faith", in the DNC or LP political party. So those trying to shift the argument or score points by laundry listing the DNC's greatest misses are barking up the wrong tree with me, missing the point s about what I'm really trying to discuss.
Or worse, they are ignoring substance in favor of easy strawmen. Regardless, lazy ideological posturing is what I take exception to. And, imho, it's much more corrosive to discourse than Neil making a few pleasant, but inconsequential, remarks about the DNC. In those comments, I sense some of the "zeal of the convert" in the context of Neil's newfound citizenship--but also, look back at his comments on Reagan or even the early years of the Bush II administration. It's clear to me, and Nash's leery indications to the contrary notwithstanding, that Neil is capable--at times--of being a team player.
I read his recent comments in that spirit, and to say anything more about that specifically seems like a case of mountains and molehills. Without getting too dry here about politics, primaries are essentially intra-party exercises, in which a specific party organization coalesces to select its preferred candidates. These parties exist, when you strip away everything else, to build electoral coalitions and finance candidates and campaigns.
The problem isn't necessarily with primaries--which, in a narrow sense, can give voters more say than they'd otherwise have over the choice of candidates--but the fact that there are, particularly in the US, very few two powerful political parties guarding the lion's share of electoral power between them, significantly limiting realistic options for the voter.
My ideal scenario would involve the Green Party emerging as a national force to rival Democrats, while the Republicans splinter, with the genuine small-government, free enterprise libertarians decisively and permanently breaking from the religious right. Something like that could open up the marketplace of ideas to pluralistic possibilities, creating multiple parties that might actually be functional and palatable to cross-sections of the public, giving voters several nuanced options instead of having to line up one side or the other.
Of course, all this would make it more difficult for parties to build the massive, tenuous coalitions some would call these Faustian bargains that make Album) easier to get first past the post. The point, for me, is to build and maintain a system in which we all can participate and from which everyone can gain by pooling resources to mutual benefit. It's vital to uphold individual liberties, but simultaneously no one can do all of it alone. What is democracy, what is our ongoing investment in civic institutions and economic development if not an affirmation that, insofar as we rely on one another's labors on a daily basis, we need to work together?
Post a Comment. Logo Credit. Enter your email address Delivered by FeedBurner Mailing list subscribers eligible to win cool Neil stuff! No spam. We promise. Ballandia was the sunny place where Balls spend their carefree days, jumping and playing. But at one such a funny day, Burs are coming. They were from sad, always cloudy place Thornia, and want to take away Ballandia lands.
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The Call Break game is played using a deck of 52 cards where Spades serve as trump cards, meaning that all cards belonging to the suit of Spades have a greater value than cards from any other suit. The first dealer is chosen randomly and the turn to deal next rotates counterclockwise from the first dealer in the game. The suit that card belongs to becomes the lead suit. If they don't have a higher value card of the lead suit, they can throw a lower value card but they won't win the hand in that case.
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