The Rock And Roll Geek Show: Rock And Roll Geek Show 5/4/05 Podcast Interviews, music and more from a rock and roll geek. michael, you deservesuccess and you ve a great show (certainly, been my fav podcast from day 1), http://www.americanheartbreak.com/movabletype/archives/000255.html
Extractions: Comments Oh..nobody's spamming here. I'm just speaking my mind and I have a right to do it, too. Don't like what I write, don't read it. Posted by: cheryl at May 8, 2005 01:34 PM Further, Donna, those pictures were just a headshot of me, that's all. I have would never send a nude pic to anyone that I did not know intimately. I am a real prude, believe me. It was a joke. Whenever Michael mentions me and about it, he always has to drive it home that I did more than that and I did not. I think the man has no respect for me or other women, in general. He's always talking about supermodel shit and women nudes. If I were his wife and I heard him say he wanted to have sex with me and Paris Hilton, I'd kick him royally in the butt!!! That's just plain nasty. Cheryl:) Posted by: cheryl at May 8, 2005 01:30 PM
Extractions: Pull bar up for more space then back down to navigate Player Piano History and Evolution An Essay on the History and Principles of the Automated Piano by Bill Edwards: Origins E ven before these days of MIDI generated music , Player Pianos had a certain nostalgic air about them, one that evoked memories of happy times for adults, and created an air of wonder and mystery for children. If there is any type of music that player pianos are most associated with, it is Ragtime, since their popularity grew during the ragtime era and peaked shortly thereafter. Even though rolls are still being produced to this day, including many of contemporary radio hits and those from the Movies and Broadway, a large number of people that see a player piano may still associate them with tunes such as Black and White Rag or The Jelly Roll Blues . In truth, the idea for an instrument that could play without the benefit of a musician goes back much farther than the early 20th century. The first successful attempts A German hand-cranked barrel organ. at a device that could produce music without benefit of a musician were in the early eighteenth century. These devices used cylinders or disks with pins on them to open valves that sounded organ pipes, similar to the mechanical method utilized in a music box where the pins pluck on tuned tines. The early instruments of this type evolved into the hand cranked barrel organ, which is still the instrument of choice for street corner organ grinders. But the cylinders or disks were also used for large organs at that time, with the eventual goal of applying them to other keyboard instruments. Both devices were at a disadvantage because it was a fairly tedious process to create either a cylinder or a music disk, and mass production would have been difficult if not impractical. In addition, the size of both media was static, which limited the amount of music that could be reproduced without changing to another cylinder or disk.
MICHAEL BLOOMFIELD michael BLOOMFIELD, NICK GRAVENITES, MARK NAFTALIN ET AL. Shake, Rattle AndRoll (Pilz 4493192), live w/ Mike Bloomfield and Mark Naftalin, bootleg http://www.bluespower.com/a-mb.htm
Extractions: Michael Bernard Bloomfield was born July 28, 1943, in Chicago, Illinois. An indifferent student and self-described social outcast, Bloomfield immersed himself in the multi- cultural music world that existed in Chicago in the 1950s. He got his first guitar at age 13. Initially attracted to the roots-rock sound of Elvis Presley and Scotty Moore, Bloomfield soon discovered the electrified big-city blues music indigenous to Chicago. At the age of 14 the exuberant guitar wunderkind began to visit the blues clubs on Chicagos South Side with friend Roy Ruby in search of his new heroes: players such as Muddy Waters, Otis Spann, Howling Wolf, and Magic Sam. Not content with viewing the scene from the audience, Bloomfield was known to leap onto the stage, asking if he could sit in as he simultaneously plugged in his guitar and began playing riffs. Bloomfield was quickly accepted on the South Side, as much for his ability as for the audiences' appreciation of the novelty of seeing a young white player in a part of town where few whites were seen. Bloomfield soon discovered a group of like-minded outcasts. Young white players such as Paul Butterfield, Nick Gravenites, Charlie Musselwhite, and Elvin Bishop were also establishing themselves as fans who could hold their own with established bluesmen, many of whom were old enough to be their fathers.
Rock And Roll Butch Berman biography and rock and roll career highlights. Berman was apianist for the Megatones, the band from which Rock Therapy sprang in late 1975 http://www.bermanmusicfoundation.org/rock.htm
Extractions: The Exploits (1963) (Butch Berman, age 14, upper right) Some of the records that Butch has played on... The Exploits (1964 acetate) "Rock and Roll Behavior," Charlie Burton and Rock Therapy (Wild Records 1976) "Guitar Case" w/ "Dolled Up Cutie," Charlie Burton and Rock Therapy (Wild Records 1977) "Mobile, Alabama" w/ "Dead Giveaway," Charlie Burton and Rock Therapy (Wild Records 1978) "Givin' It Up to Daddy" w/ "(Do the) 64 Dances," Pinky Black and the Excessives (Real Gone Records 1982) "Crazy Baby" w/ "Intimate Information," Pinky Black and the Excessives (Real Gone Records 1983) "Oogum Boogum," Pinky Black and the Excessives (Real Gone Records 1984) "Let's Pretend We're in Love" w/ "You Confuse Me," Richard Sullivan (Real Gone Records 1984) "Bobby Lowell and Company," Bobby Lowell (Unlimited Productions 1984) "Ice Cold Heart" w/ "Be-Bop-a-Lula," Bobby Lowell and Jay Fremont (Roto Records 1985)
Petty Gives 'good Old American Rock 'n' Roll Show' Petty gives good old American rock n roll show . July 17, 2005 Anchored bypianist Benmont Tench s fiery, jazzpiano lines with occasional bleats http://www.suntimes.com/output/rock/cst-nws-petty17.html
Extractions: It was fitting that early on, Petty, sporting a blue velvet blazer, jeans and brown cowboy boots, announced to the crowd that he was going to give them a "good old American rock 'n' roll show," before launching into his 1976 hit "Breakdown," with its slow building, bluesy melody and his trademark rasp of a voice. After all, Petty and his band have built a career around Americana-tinged story-songs like "Free Fallin'," which unfurls its tale of heartbreak over a California landscape, and, of course, "American Girl," which closed the show. Petty's a magnetic front man With a stocked catalog of fan favorites to unveil, Petty did a fine job pacing the set, arranging his hits in clusters so he could fold in more obscure material, or even a new tune. The excellent "Melinda," a haunted-folk ditty only recorded on a live DVD, proved the strongest of Petty's most recent tunes. Anchored by pianist Benmont Tench's fiery, jazz-piano lines with occasional bleats of organ and guitarist Mike Campbell's frittered mandolin playing, Petty and the Heartbreakers expertly played with the tempo, stretching out the taut structure with eerie, melodic passages. Unfortunately, the other new song, "Turn This Car Around," seemed rather stale a Petty retread, of sorts half-formed and depleted of heart.
