The following text is a reply shared with AUDIOKARMA.ORG at Pacific Stereo the early years

WOW.. this is a BELATED reply.. now living in San Diego, I was an early employee to Pacific Stereo, was trained in the engineering department with several of my musician buddies.  You see, we musicians needed income to supplement making money doing music, so we all got jobs with Pacific Stereo working in the engineering warehouses of Emeryville (between Oakland and Berkeley, near the bay).  The warehouse had three divisions: 1)engineering and store interior design upstairs; 2)sound room development and equip testing lower floor 1/3; and 3)Wood Construction and Wire Channels development lower floor 2/3.  Half my team developed the portable store frames that were inserted into each warehouse.  Each warehouse would be totally painted flat black, all walls, ceiling, and floors covered with indoor/outdoor carpet.  The wood team would construct from 16-foot sections, an inner frame work of wood with slotted 4×4″ supports, the inner walls, and a couple of sound rooms.  Spotted lighting was used to highlight contrasting colored section panels that served as back-board to hang a couple of shelves where stereo hi-fi systems were displayed as “pre-made” combinations.. very attractive to the eye.  The 2nd half of my team was the sound room wiring team.  We created the first master control panel where any combination of amplifiers, pre-amps, input source (i.e. tape, plastic record, radio receiver) and speaker models, could be mixed without causing damage to any components because of variations in equipment sensitivity (low wattage to high wattage quick changes, safely).  After a good long season working for production and installation of stores (I installed most of the early west coast stores including San Diego, and two stores in towns like Akron, OH., I then moved to the new store in Berkeley after installing it, onto the sales team and helped develop and prove the sales training program, i.e. every sales person had the same script but learned how to make it their own.  The sales script was well published and documented with simple-person pictures to teach us how to educate the customer, like a sound technician consulting sales with simple examples of explanation that made working with components instead of buying everything in one-console, a safe and understood choice by the customer.  They would feel good about spending $500-$2000 in a “custom” component sound system they put together from hearing the combination of components that pleased their ear!  After working the floor at the Berkeley Pacific Stereo, I got hooked with a leader called Phil, who was a brilliant sound man who could sell anyone; he looked like a ZZ-Top musician with his beard and long hair; and came up with the concept: Pacific Recycle Stereo, which he and I opened across the street from the new Berkeley store, and that is when Pacific Stereo started taking in components from customers who had developed their ear to sound, and now wanted to trade in their components to purchase changes and upgrades, therefore, recycle stereo !!  (LOL)  Yes, it was a GREAT journey.  And, I took a long sabbatical after several years good service in Pacific Stereo, won a sales contest for weekend vacation at DisneyLand Anaheim, ended up in San Diego and forgot to leave.  CBS bought Pacific Stereo after I left, and that history is well known and understood.  OH… but the early days were GREAT adventure!  And here I am, in San Diego, still playing music gigs and loving my sound !  Peace be with all you readers… ~ Clifford Maverick Taylor  

https://www.theepochtimes.com/trump-speaks-at-rally-in-casper-wyoming_4484626.html?utm_source=ref_share&utm_campaign=copy&rs=SHRPSVXL&

Is Government the New God ?

Bloomfield was born into a wealthy Chicago Jewish-American family. Bloomfield’s father, Harold Bloomfield, was born in Chicago in 1914. Harold’s father, Samuel Bloomfield, started Bloomfield Industries in the early 1930s. After Samuel passed away, Harold and his brother, Daniel, took over the company. Bloomfield’s mother, Dorothy Klein, was born in Chicago in 1918 and married Harold in 1940. She came from an artistic, musical family, working as an actress and a model before marrying Harold.^[4]

Bloomfield’s family lived in various locations around Chicago before settling at 424 West Melrose Street on the North Side. When he was twelve his family moved to suburban Glencoe, Illinois, where he attended New Trier High School for two years. During this time, he began playing in local bands, and Bloomfield put together a group called the Hurricanes, named after Ohio rock band Johnny and the Hurricanes. New Trier High School expelled Bloomfield after his band performed a raucous rock and roll song at a 1959 school gathering. He attended Cornwall Academy in Massachusetts for one year and then returned to Chicago, where he spent his last year of education at a local YMCA school, Central YMCA High School.^[5]

Bloomfield had attended a 1957 Chicago performance by blues singer Josh White, and began spending time in Chicago’s South Side blues clubs and playing guitar with such black bluesmen as Sleepy John Estes, Yank Rachell, and Little Brother Montgomery. He first sat in with a black blues band in 1959, when he performed with Luther “Guitar Junior” Johnson at a Chicago club called the Place. He performed with Howlin’ Wolf, Muddy Waters, and many other Chicago blues performers during the early 1960s. In 1962 he married Susan Smith.^[4]

Writing in 2001, keyboardist, songwriter and record producer Al Kooper said Bloomfield’s talent “was instantly obvious to his mentors. They knew this was not just another white boy; this was someone who truly understood what the blues were all about.”^[6] Among his early supporters were B.B. King, Muddy Waters, Bob Dylan and Buddy Guy. “Michael used to say, ‘It’s a natural. Black people suffer externally in this country. Jewish people suffer internally. The suffering’s the mutual fulcrum for the blues.'”^[6]

In the early 1960s he met harmonica player and singer Paul Butterfield and guitarist Elvin Bishop, with whom he would later play in The Paul Butterfield Blues Band.^[1] He also began friendships and professional associations with fellow Chicagoan Nick Gravenites and Bronx-born record producer Norman Dayron, who was attending the University of Chicago. He developed a friendship with blues singer Big Joe Williams. In 1963 Bloomfield and his two friends George Mitchell and Pete Welding ran a weekly blues showcase at the Fickle Pickle.^[4] He subsequently built up his reputation in two Chicago clubs, Big John’s and Magoo’s. With help from his friend Joel Harlib, a Chicago photographer who became Bloomfield’s de facto manager, he became a Columbia Records recording artist. In early 1964 Harlib took an audition tape by Bloomfield to Columbia producer and talent scout John Hammond, who signed him to Columbia’s Epic Records label.

Bloomfield recorded a few sessions for Columbia in 1964 that remained unreleased until after his death. In early 1965 he joined the Paul Butterfield Blues Band, which included Elvin Bishop and keyboardist Mark Naftalin, along with drummer Sam Lay and bassist Jerome Arnold, who had previously worked in Howlin’ Wolf’s band. Elektra Records producer Paul Rothchild recorded the band in spring 1965, but the majority of the tracks were not released until the 1990s. However, one of the tracks Rothchild recorded during his first pass at producing the group, a Nick Gravenites song titled “Born in Chicago,” was included on the Elektra album Folksong ’65, which sold two hundred thousand copies when it was released in September 1965. “Born in Chicago” became an underground hit for the Butterfield Band. Their debut album, The Paul Butterfield Blues Band, was recorded in September and released the following month.

In June 1965, Bloomfield had recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman, who would play a major part in Bloomfield’s career. Bloomfield’s Telecaster guitar licks were featured on Dylan’s “Like a Rolling Stone“, a single produced by Columbia Record’s Tom Wilson. Bloomfield would play on most of the tracks on Dylan’s 1965 Highway 61 Revisited album, and he appeared onstage with Dylan in July at the Newport Folk Festival, where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg.^[1] The show marked Dylan’s first use of an electric band in a live performance, and Bloomfield’s playing on the songwriter’s “Maggie’s Farm” is considered a landmark electric-guitar performance. After the Newport Folk Festival ended, Bloomfield helped Dylan complete the sessions for Highway 61 Revisited, and Dylan asked Bloomfield to join his touring band. Bloomfield demurred, preferring to continue playing with the Butterfield Band.

After Sam Lay fell ill after a series of dates in November 1965, the Butterfield Band brought Chicago-born drummer Billy Davenport into the group. During the first part of 1966, the band played in California, and they recorded their second album, East-West, that summer. The record’s title track found the band exploring modal music, and it was based upon a song Gravenites and Bloomfield had been playing since 1965, “It’s About Time.”

Bloomfield played on recording sessions between 1965 and 1967. His guitar playing had a huge impact on San Francisco Bay Area musicians after playing with the Butterfield band at Bill Graham’s Fillmore in March 1966, San Francisco’s Avalon Ballroom and also in the Los Angeles area due to the storied two-week run at the Golden Bear in Long Beach. He became a mentor and inspiration for many guitarists, especially in the SF Bay Area. He did a 1965 date with Peter, Paul and Mary that resulted in a song called “The King of Names,” and he recorded in 1966 with pop group Chicago Loop, whose “When She Wants Good Lovin’ (My Baby Comes to Me)” made Billboard Magazine‘s chart that year. He also played guitar on recordings by Chuck Berry, Mitch Ryder and James Cotton.

Bloomfield tired of the Butterfield Band’s rigorous touring schedule and, relocating to San Francisco, sought to create his own group. He formed the short-lived Electric Flag in 1967,^[1] with two longtime Chicago collaborators, Barry Goldberg and vocalist Nick Gravenites. The band featured a horn section. The band’s rhythm section was composed of bassist Harvey Brooks and drummer Buddy Miles. Miles had previously played in Wilson Pickett‘s touring band, while Brooks had performed with Al Kooper in bands in New York City, and had played with both Kooper and Bloomfield on Bob Dylan‘s Highway 61 Revisited. The group’s first effort was the soundtrack for director-producer Roger Corman‘s 1967 movie, The Trip, which was recorded in the spring of that year.

The Electric Flag debuted at the 1967 Monterey Pop Festival and issued an album, A Long Time Comin’, in April 1968 on Columbia Records. Critics complimented the group’s distinctive, intriguing sound but found the record itself somewhat uneven. By that time, however, the band was already disintegrating; rivalries between members, shortsighted management, and heroin abuse all took their toll. Shortly after the release of that album, Bloomfield left his own band, with Gravenites, Goldberg, and bassist Harvey Brooks following.

Bloomfield also made an impact through his work with Al Kooper, who had played with Bloomfield on Dylan’s “Like a Rolling Stone“. Kooper had become an A&R man for Columbia Records, and Bloomfield and Kooper had played piano on Moby Grape‘s 1968 Grape Jam, an instrumental album that had been packaged with the group’s Wow collection.

“Why not do an entire jam album together?” Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology Don’t Say That I Ain’t Your Man: Essential Blues, 1964–1969. “At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield’s recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?”

The result was Super Session, a jam album that spotlighted Bloomfield’s guitar skills on one side.^[1] Bloomfield, who suffered from insomnia, left the sessions after the first day. Guitarist Stephen Stills completed the album with Kooper. It received excellent reviews and became the best-selling album of Bloomfield’s career.^[1] Its success led to a live sequel, The Live Adventures of Mike Bloomfield and Al Kooper, recorded over three nights at Fillmore West in September 1968.

Bloomfield continued with solo, session and back-up work from 1968 to 1980. He played guitar on Mother Earth‘s cover of Memphis Slim’s “Mother Earth,” a track from their 1968 Living with the Animals album, and on two albums by Texas-born soul singer Wayne Talbert. With Mark Naftalin, he produced the 1968 sessions for James Cotton’s 1968 album Cotton in Your Ears. He released his first solo album, It’s Not Killing Me, in 1969. Bloomfield also helped Janis Joplin assemble her Kozmic Blues Band (for the album I Got Dem Ol’ Kozmic Blues, Again Mama!) in 1969, co-wrote “Work Me, Lord” for the album, and played the guitar solo on Joplin’s blues composition “One Good Man.” Columbia released another 1969 album, a live concert jam, Live at Bill Graham’s Fillmore West, including Mark Naftalin, former Electric Flag bandmates Marcus Doubleday and Snooky Flowers, and a guest appearance by Taj Mahal. In the same year he reunited with Paul Butterfield and Sam Lay for the Chess Records album Fathers and Sons, featuring Muddy Waters and pianist Otis Spann. Bloomfield composed and recorded the soundtrack for the film Medium Cool, directed by his second cousin, Haskell Wexler. The film includes footage shot in Chicago during the 1968 Democratic National Convention. With Nick Gravenites, he produced blues guitarist Otis Rush‘s 1969 album Mourning in the Morning, recorded at FAME Studios in Muscle Shoals, Alabama with a band that included keyboardists Mark Naftalin and Barry Beckett, along with guitarist Duane Allman.

During 1970 Bloomfield gave up playing because of his heroin addiction:

…and I put the guitar down – didn’t touch it. Shooting junk made everything else unimportant, null and void, nolo contendere. My playing fell apart. I just didn’t want to play.^[7]

He recorded his second solo album, Try It Before You Buy It, in 1973. Columbia rejected it; the complete version of the record would not appear until 1990. Also in 1973, he cut Triumvirate with Dr. John and guitarist and singer John Hammond Jr.^[1] In 1974, he rejoined the Electric Flag for an album titled The Band Kept Playing. In 1975 he recorded an album with the group KGB. The group’s name is an acronym of the initials of singer and songwriter Ray Kennedy, Barry Goldberg and Bloomfield. The band also included Ric Grech and drummer Carmine Appice.^[1] Grech and Bloomfield quit shortly after its release. As the record hit stores in 1976, Bloomfield told journalists that the group had been an ill-conceived moneymaking project. The album was not well received by critics,^[1] but it did contain the standout track “Sail On, Sailor”. Its authorship was credited to “Wilson-Kennedy”, and had a bluesy, darker feel, along with Ray Kennedy’s original cocaine-related lyrics.^{[citation needed]} In the same year, he performed with John Cale on Cale’s soundtrack for the film Caged Heat. In 1976 he recorded an instructional album for guitarists, If You Love These Blues, Play ‘Em as You Please, which was financed through Guitar Player magazine.^[1]

In the 1970s Bloomfield played in local San Francisco Bay area clubs, including the Keystone Korner, and sat in with other bands. In 1977, Bloomfield was selected by Andy Warhol to do the soundtrack for the pop artist’s last film, Andy Warhol’s Bad^[8] (also known as BAD). An unreleased single, “Andy’s Bad”,^[9] was also produced for the project. During 1979–1981 he performed often with the King Perkoff Band, sometimes introducing them as the “Michael Bloomfield and Friends” outfit. Bloomfield recorded “Hustlin’ Queen”, written by John Isabeau and Perkoff in 1979. He toured Italy and Sweden with guitarist Woody Harris and cellist Maggie Edmondson in the summer of 1980. He sat in with Bob Dylan at San Francisco’s Warfield Theatre on November 15, 1980. Bloomfield played on Dylan’s “Like a Rolling Stone” and “The Groom’s Still Waiting at the Altar”.^[10] He continued to play live dates, and his performance at San Francisco State College on February 7, 1981, would be his final appearance.

Although Bloomfield came from a wealthy family, he never inherited a large lump sum. He received annual income from a trust that had been set up by his paternal grandfather, which gave him $50,000 each year.

Bloomfield died in San Francisco on February 15, 1981.^[11] He was found seated behind the wheel of his car, with all four doors locked.^[12] According to police, an empty Valium bottle was found on the car seat, but no suicide note was found.^[13] The medical examiner who performed the autopsy ruled the death accidental, though he was unable to determine a cause of death, because no drugs were found in Bloomfield’s system, and there were no signs of foul play.^[14] Bloomfield’s last album, Cruisin’ for a Bruisin’, was released the day his death was announced.^[1] His remains are interred in a crypt at Hillside Memorial Park Cemetery, in Culver City, near Los Angeles.

Bloomfield’s musical influences include Scotty Moore, Chuck Berry, Little Richard, B.B. King, Big Joe Williams, Otis Rush, Albert King, Freddie King and Ray Charles.^[15]

Bloomfield originally used a Fender Telecaster, though he had also used a Fender Duo-Sonic while recording for Columbia following his 1964 signing to the label. During his tenure with the Butterfield Blues Band he used that Tele on the first Butterfield Album and on their earliest tours in fall of 1965. By November he had swapped that guitar with International Submarine Band guitarist John Nuese for Nuese’s 1954 Gibson Les Paul Goldtop model, which he used for some of the East-West sessions and which he acquired in Boston.

In 1967, Bloomfield swapped the Goldtop with his friend repairman/musician Dan Erlewine for Dan’s 1959 Les Paul Standard and $100. The Les Paul Standard had proven unpopular in the late 1950s because it was deemed too heavy and too expensive by rock and roll guitarists. Gibson discontinued manufacturing the model in 1960. Bloomfield used the Les Paul Standard in the Electric Flag and on the Super Session album and concerts. He later switched between the Les Paul and the Telecaster, but his use of the Les Paul inspired other guitarists to use the model and spurred Gibson to reintroduce the Les Paul Standard in 1968.

Bloomfield eventually lost the guitar in Canada; Wolkin and Keenom’s biography revealed that a club owner kept the guitar as partial compensation after Bloomfield cut short a round of appearances. This turned out to be accurate and the gig in question was at the Cave in Vancouver, booked from Tue. Nov. 12th 1974, for five days, until Sat. the 16th. The band played the first night but the next day, Bloomfield boarded a plane and flew home to San Francisco with virtually no notice to the club, hotel, or band members; his friend Mark Naftalin found a note on a torn piece of paper in the hotel room that read, “bye bye, sorry”. Bloomfield’s two guitars had been left at the club and were retained by club owner Stan Grozina, who wanted compensation for lost revenues.

Unlike contemporaries such as Jimi Hendrix and Jeff Beck, Bloomfield rarely experimented with feedback and distortion, preferring a loud yet clean, almost chiming sound with a healthy amount of reverb and vibrato; this approach would strongly influence Jerry Garcia, who segued from a career in acoustic-based music to electric rock at the height of the Butterfield Band’s influence in 1965. One of his amplifiers of choice was a 1965 Fender Twin Reverb. His solos, like those of most blues guitarists, were based in the minor pentatonic scale and the blues scale. However, his liberal use of chromatic notes within the pentatonic framework and his periodic lines based on Indian and Eastern modes allowed a considerable degree of fluidity in his solos.

Gibson has since released a Michael Bloomfield Les Paul—replicating his 1959 Standard—in recognition of his impact on the blues genre, his role in the revived production of the guitar, and his influence on many other guitarists.^[16] Because the actual guitar had been unaccounted for so many years, Gibson relied on hundreds of photographs provided by Bloomfield’s family to reproduce the guitar. The model comes in two configurations—a clean Vintage Original Specifications (VOS) version, with only Bloomfield’s mismatched volume and tone control knobs, missing toggle switch cover, and kidney-shaped tuners replacing the Gibson originals indicating its inspiration and a faithful, process-aged reproduction of the guitar as it was when Bloomfield played it last, complete with the finish smudge below the bridge and various nicks and smudges elsewhere around the body.

His influence among contemporary guitarists continues to be widely felt, primarily in the techniques of vibrato, natural sustain, and economy of notes. Guitarists such as Joe Bonamassa, Arlen Roth, Carlos Santana, Slash, Jimmy Vivino, Chuck Hammer, Eric Johnson, Elliot Easton, Robben Ford, John Scofield, Jimmy Herring, Phil Keaggy, and G.E. Smith remain essentially influenced by Bloomfield’s early recorded work.

History of American Character Ethic with Benjamin Franklin (1776)

1. The Character Ethic, as it was written by Benjamin Franklin (1776), taught that there are basic principles of Effective Living, and that people can only experience true success and enduring happiness as they learn and integrate these principles into their basic character.

2. Character Ethic as the Cornerstone of success begins with things like integrity, humility, fidelity, temperance, courage, justice, patience, industry, simplicity, modesty, and the Golden Rule.

Clifford “Maverick” Taylor Fleischbein is now working for fun in his return to the stage, performing his energetic guitar playing and singing with the young and vibrant Tamara Rodriguez:

The collaboration of these two artists will bring the musical sounds like “I Talked To ItalianO” with the fine blending of Techo-Pop sounds with Maverick’s unique and discernible guitar chops:

Check out this very good shovel guitar and player:

Larry Carlton is back to playing his classic Gibson 335 guitar, but now he is playing through a custom BludoTone amplifier:

http://bludotone.com/index.php/about

Here is a run-down of Larry’s equipment and guitars:

http://www.premierguitar.com/articles/21081-rig-rundown-larry-carlton

Larry Carlton is back to playing his classic Gibson 335 guitar, but now he is playing through a custom BludoTone amplifier:

http://bludotone.com/index.php/about

Here is a run-down of Larry’s equipment and guitars:

http://www.premierguitar.com/articles/21081-rig-rundown-larry-carlton

Here is the tabs:

Fly Away

American Woman

Stillness of Heart

While His Guitar Gently Weeps:
How Prince took over at the Rock and Roll Hall of Fame

It’s hard to know when we’re living in the good times.  It’s hard to know what you’re going to look back on and wish you could have been more present for.  Maybe it’s a family reunion that turns out to be the last, or a low-rent rendezvous with a sweetheart in another life.  Maybe it’ll be tonight when you get high and watch Prince’s Purple Rain.  You might look back and think, “My gosh, that was so good.”

So, I invite you to watch two minutes and 50 seconds of Prince’s life where more than 24 million people have watched him perform the Beatles’ “While My Guitar Gently Weeps” in honor of George Harrison.  His appearance alongside Tom Petty, Jeff Lynne, Steve Winwood and George’s son, Dhani, produces the kind of music alchemy that musicians like myself dream of when assembling a one-off band of music gypsies.

In my mind, there is no question that Prince was fully there the night of his induction into the Rock and Roll Hall of Fame (2004).  He clearly enjoyed his performance, and he knows his guitar solo is transcendent. It is truly electric!

“While My Guitar Gently Weeps” is a classic Beatle song, and watching Tom Petty and Jeff Lynne sing it with George’s son is nice.  But, to watch the full video brings into sharp contrast that with Prince, a true guitar-player-legend-performer is entering your life at the 3:24 mark, and does not exit until the end of the video.

3:24. Let’s consider that mark.  Prince has been onstage all along, but the video director has not featured him… yet.  Then Dhani Harrison smiles as he looks left, and Prince steps forward.  For the next 30 seconds, you’re in the Rock and Roll Hall of Fame normalcy zone.  Keep going.  Prince starts cooking on his guitar at 3:56.

4:01. Prince does this pinch-harmonic solo that lets you know the music is flat-out ON! While these kinds of solos  are almost always bad – if anyone else were playing over a Beatles’ song, it would be straight trash.  But this is Prince, so it’s incredible.  Then he heads into these bended notes that echo the original version’s solo.  It’s haunting and sweet and distinct.  With that behind him, Prince turns to Petty and Harrison and gives them a look.  It’s almost like he’s saying, “You have no idea what you’re in for.”  He’s right.

4:33.  He does this move with his guitar that looks like he’s reloading a shotgun.   You can find other guitar players who do it.  Bruce Springsteen did it during “Badlands” in concert.  Slash has done it in videos.  It’s a cool move if you are cool.  Prince is the coolest, so no one will ever look cooler doing it than this.

4:39.  Every time I watch the next 10 seconds, I become full of inspiration.  This is how I see it:

• Prince, mid-solo, turns to face Petty and Harrison and makes eye contact
• Petty, for a moment, looks miffed.  Maybe not miffed, but not thrilled.  Then he breaks into a smile as he sees what’s about to happen.
• A grinning Harrison suddenly becomes all of us.  He is watching Prince play the solo while falling backward toward the crowd and into the arms of a security guard.

The moment is everything you want from music – admiration, joy, fun, spontaneity.  Harrison, the kid, is alive while memorializing his father.

4:56.  During a lull, Prince gives Petty a look that tells us he knows exactly what he just did.

5:05.  Deep down in a finger-tappy, Van Halen—y section, Prince delivers some of history’s best guitar face.  He is feeling it because everyone is feeling it – and he is everyone.

5:15.  Prince took us up the mountains; now he’s going to walk us back down.  After nearly two minutes of blistering riffs that would make Steve Vai curl up and die, he enters cooldown mode with a few screaming single-note string bends, followed by weird Jonny Greenwood—style ascending harmonic chords that shouldn’t feel right but fit perfectly in the pocket.  They are pulling when everything else pushes.

5:45.  Petty, Lynne and Harrison come back in with the chorus.  Prince accents the proceedings with wailing notes, just to let you know he’s still in charge.

6:00.  Prince fires of a final flurry, and the band finishes in unison.

6:10.  Prince does the coolest thing I have ever seen anyone do – an outstanding stage exit.

In closing, he takes off his guitar, throws it into the sky, and struts offstage like the “skinny dude with the high voice” that he was and always will be.

Jack DeJohnette: drums
Herbie Hancock: piano
Dave Holland: bass
Pat Metheny: guitar

Select Live Under The Sky

Little Wing preformed by Steve Vai and Friends. Steve uses one of Jimi’s guitars that Frank Zappa gave to his son Dweezil who rebuilt the guitar years after Jimi set fire to the Fender Stratocaster at the 1968 Miami Rock Festival. Again I’m sorry for the poor quality video I’m not a professional. Its amazing to see the turnout to honor Cliff!! We will be praying for Cliff over the next few months!

Blowin Free (1973)

Iron Butterfly 2012 (THE FINAL PERFORMANCE) with Original founding members (In a Gadda da Vida)

Lee Dorman, bassist for Iron Butterfly, died on Friday December 21, 2012 at the age of 70, the Associated Press reports. According to a spokesman for the Orange County Sheriff’s Department, Dorman was found dead in a vehicle on Friday morning and may have been on his way to a doctor’s appointment.

Dorman was born in St. Louis, Missouri, in 1942. He joined the Southern California-based Iron Butterfly for its second and best-known album, In-a-Gadda-Da-Vida, which was released in 1968. The 17-minute title track helped the album sell more than 30 million copies, and a three-minute version of the song became a Top 40 hit.

2012 In Memoriam: Musicians We Lost
During Iron Butterfly’s temporary break-up in the 1970s, Dorman and guitarist Larry Reinhardt formed the metal-jazz fusion band Captain Beyond, with Rod Evans from Deep Purple. The group released three albums and had a radio hit with the 1973 song “Sufficiently Breathless.”

Iron Butterfly 2012 (In A Gada Da Vida) Preformance at The Mt. Tabor Theatre Portland Oregon with Founding Members Lee Doorman (Bass Guitar) and Ron Bushy (Drums)

Metal-Jazz Fusion band: Captain Beyond

Norman Greenbaum

When I die and they lay me to rest
Gonna go to the place that’s the best
When I lay me down to die
Goin’ up to the spirit in the sky
Goin’ up to the spirit in the sky
That’s where I’m gonna go when I die
When I die and they lay me to rest
Gonna go to the place that’s the best

Prepare yourself you know it’s a must
Gotta have a friend in Jesus
So you know that when you die
He’s gonna recommend you
To the spirit in the sky
Gonna recommend you
To the spirit in the sky
That’s where you’re gonna go when you die
When you die and they lay you to rest
You’re gonna go to the place that’s the best

I’ve been a sinner Yes I’ve  sinned
But I got a friend in Jesus
So you know that when I die
He’s gonna set me up with
The spirit in the sky
Oh set me up with the spirit in the sky
That’s where I’m gonna go when I die
When I die and they lay me to rest
I’m gonna go to the place that’s the best
Go to the place that’s the best

Money is coming to me
Money is coming to me
Money keeps coming to me
Money is coming to me

Money is coming to me
Money keeps coming to me
Money is coming to me
Money keeps coming to me

Money is coming to me
I just feel it, and i belive
It’s coming to me now,
And i’m not worried about how, ooo yee,
Money, is coming to me,

The Universe is working for me,
I just feel it, and i belive
Is working for me now,
And i’m not worried about how, ooo yee…
Money, is coming to me,

More then enough to live,
More then enough to give,
More then enough to share,
Feel like it’s already here,

More then enough to shop,
More then enough to drop,
More then enough to save,
There’s plenty left over to give away.

Money is coming to me
I just feel it, and i belive
It’s coming to me now,
And i’m not worried about how, ooo yee,
Money, is coming to me,

The Universe is working for me,
I just feel it, and i belive
Is working for me now,
And i’m not worried about how, ooo yee…
Money is coming to me, well

More then enough to live,
More then enough to give,
More then enough to share,
Feel like it’s already here,

More then enough to shop,
More then enough to drop,
More then enough to save,
There’s plenty left over to give away.

Money is coming to me
I just feel it, and i belive
Is coming to me now,
And i’m not worried about how, ooo yee,
Money, is coming to me,

Come on,…come on,come on,come on,

I believe it
I just feel it, and i believe,
Is coming to me now,
And i’m not worried about how, ooo yee…
Money is coming to me

Come on,…come on,come on,come on,

I believe it, and i recive it,
And life is already here….

The Gangster Is Back

Look out, the gangster’s back
I done traded in my old horse for a brand new Cadillac
I’m gonna play some blues
Cause I know you like that
Gonna get real loose
And do the jumpback jack

When I walk into a bar
Girls from near and far
Say I’m the gangster

Listen while a play for you
A crazy little thing called guitar blue
Red, black, yellow, or white
It don’t matter mamas
You’re all outta sight
Don’t get too heavy
Now don’t get uptight
Cause the gangster’s here to turn on your light
You’re my horse and you never win a race
And I dig you mama and your real crazy legs

When I walk into a bar
Girls from near and far
Say I’m the gangster

Do do do do do do
Do do do do do do
Do do do do do do
Do do do do do do
Go gangster (do do do do do)
Go gangster (do do do do)
Go gangster (do do do do do)
Go gangster (do do do do)
I’m a gangster

Started long time ago
Down in Texas where the guitars grow
Folks down there got all shook up
When I cut myself loose and did my stuff
Now it’s ready, set
Ready, set go
Time for the gangster to start the show

Well, I’m lookin’ for women
I’m on the road again
You know the gangster don’t lose
He always win

When I walk into a bar
Girls from near and far
Say I’m the gangster

You better look out the gangster’s back

Blues Without Blame

I ask my baby for a nickel
She gave me a twenty dollar bill
I ask her for a drink of whiskey
And she gave me a liquor still

Whoa, yeah yeah yeah
What can a poor boy do
Ain’t it hard, ain’t it hard
When you have to live the blues

I call my baby on the telephone
She said come on over Stevie I’m all alone
I said I can’t get my car started mama

Whoa, yeah
What can a poor boy do
When he has to live the blues

And while my baby’s makin’ it with my best friend
I know I’m being used, yeah yeah yeah

Lord have mercy
Lord have mercy on me
Lord have mercy
Lord have mercy on me, yeah

I’m tryin’ to find my babe
Won’t somebody please, yeah yeah
Won’t somebody please bring her home to me

Love Shock

Meet me at the station about a quarter past five
That’s about the time that I come alive, yeah
Don’t make sense if it ain’t the real thing y’all
Nothing but the real thing makes my bell ring

Love me baby, won’t you love me please
You got me down here on my knees, yeah
I’m so glad that I’m still alive
Come on baby, won’t you make me feel good now

Come on baby now don’t be too slow
Now I’m in a hurry, you know I got to go
Don’t make sense if you don’t know how to move
I’m a natural born lover, I was born in a groove, yeah
Oooh

[Spoken:]
It’s Jumpin’ Jack Flash on the drums

Let Me Serve You

Oh baby, don’t you want a man like me
Oh baby, don’t you want a man like me
Think about your future
Forget about your used to be

Just a little bit of rock
Just a taste or two of roll
I’ll give you sweet inspiration
Till it satisfies your soul

Oh baby, don’t you want a man like me
Let me serve you pretty baby
Serve you until you’re free

Let me serve you in the morning
Let me serve you in the afternoon
I want to love you pretty mama
Underneath the silvery moon

Oh baby, don’t you want a man like me
Let me serve you pretty baby
Think about what could be
Yeah, yeah, yeah, yeah, yeah…..

Rock Love

Do do do do doot
Do do do do doot
Do do do do doot
You got to have rock love
To weather the storm
It’s got to be rock love
To help you carry on

When the winds of temptation move your soul
Stay with me now, don’t you let it go
I told you so

Rock love will weather the storm
You got to have rock love to hear your song
It’s got to be rock love, yeah
To make you strong

When everybody puts you down
The rock of love will be around
It’s solid ground

Rock love will weather the storm
Rock love, yeah, will help you carry on
Sweet Jesus will see you through
Your trials, tribulations too

No matter how far you go
Still I will love you so
I told you so

Rock love will weather the storm
Yeah

Harbor Nights

I can see the harbor lights
Looks like the fourth of July
Maybe Christmas night
Reflected in water

In my cell, behind this wall
I share my time
With many a soul who is lost
Why must I always be a loser
Why can’t I ever be a winner

So as time
Goes rolling by
I lose my chance
It’s only one life
If I had the wings of an angel
O’er these prison walls I would fly
Straight from the darkness into the light
Why must I always be a loser
Why can’t I ever be a winner

[Spoken:] My dearest darling, as I’m writing you this letter
They’re coming to take me away
They’re beginning to shave my head now, sweetheart
But as their doing it
I just want you to know
That I wouldn’t have it any other way
I’m glad that I killed your mother
She was a low-down dirty old hag
But in the end darling
You will get your revenge
Because you see
Their gonna send you my belongings
In a plastic bag

La, la, la
A plastic bag

Deliverance

Johnny ‘Guitar’ Watson: Gangster of Love

I Wanna Ta Ya You, Baby (Johnny ‘Guitar’ Watson)

The Whole 1977 Johnny ‘Guitar’ Watson show

Give My Regards to Broad Street:
No More Lonely Nights

The critics hated this film and the public stayed away from it…too bad, I find it fascinating and Paul’s fans like me still love it….and the music was great as always.

Give My Regards to Broad Street (Part 1)

Give My Regards to Broad Street (Part 2)

Give My Regards to Broad Street (Part 3)

Give My Regards to Broad Street (Part 4)

Give My Regards to Broad Street (Part 5)

Give My Regards to Broad Street (Part 6)

Give My Regards to Broad Street (Part 7)

Give My Regards to Broad Street (Part 8)

Live @ the Hammersmith Apollo London,
March 28 – 2013

Joe Bonamassa – Guitar and Vocals,
Arlan Schierbaum – Keyboards,
Carmine Rojas – Bass,
Tal Bergman – Drums,
Lenny Castro – Percussion.

Joe Bonamassa “Just Got Paid” and “Dazed and Confused” Live at The Royal Albert Hall 2009

Joe Bonamassa “Introducing Eric Clapton” to “Further On Up The Road” from RAH Concert 2009

Steve Miller, Joe Bonamassa, Neal Schon, Joe Satriani, Warren Haynes, Steve Vai, Johnny A. & G.E. Smith all on guitar along with Shawn Pelton on drums at the Les Paul 100th Birthday Celebration at the Hard Rock Café in New York City

Maneater
Sara Smile
Private Eyes
Rich Girl
Do It For Love
Everytime You Go Away
Out Of Touch
Say It Isn’t So
You Make My Dreams
Me And Mrs. Jones
She’s Gone
Forever For You
It’s A Laugh
I Can’t Go For That

1969

1975

1989

If you like this video, please support these film preservation charities:

The British Film Institute, http://www.bfi.org.uk/about-bfi/support-us-join/make-donation-bfi
The George Eastman Museum, http://eastman.org/donate

In 1978 Coleman founded Killing Joke with drummer Paul Ferguson in Notting Hill, United Kingdom. The pair then recruited guitarist Geordie Walker and bassist Martin Glover (aka Youth). The group released their first single in October 1979 and their first eponymous album was released in 1980. Coleman contributed lead vocals and keyboards to the band’s songs, which are categorized as post-punk, and the music later inspired the industrial rock and metal genres.

Coleman once quit Killing Joke temporarily following a gig in 1982—the day after, he travelled to Iceland and announced his intention to become a classical composer. Ten years of studying and ongoing Killing Joke involvement later, he commenced conducting and worked with some of the world’s leading orchestras. Conductor Klaus Tennstedt described him as a “new Mahler”.

In 1995 Coleman released his first of three albums of symphonic rock music: Us and Them: Symphonic Pink Floyd, which peaked at number one in the Billboard Magazine Top Classical Crossover Albums chart, and Kashmir: Symphonic Led Zeppelin were both written and produced by Coleman with Peter Scholes conducting the London Philharmonic Orchestra. On 8 June 2007, Coleman collaborated with over 150 youth musicians in the Contemporary Youth Orchestra, based in Cleveland, Ohio, USA to perform the entirety of Kashmir: Symphonic Led Zeppelin along with additional orchestrations of Led Zeppelin’s music.

In 1999 he produced and arranged an album of Doors material for orchestra, performed by classical musicians including Nigel Kennedy and the Prague Symphony Orchestra, called Riders on the Storm: The Doors Concerto (CD released in 2000). He has worked with the New Zealand Symphony Orchestra, who have issued a CD of his Symphony No. 1 “Idavoll” with the Auckland Philharmonia Orchestra, and as composer in residence to the Prague Symphony Orchestra.

Clifford’s dream of seeing his daughter, Heidi, play this violin piece with the Concordia University Orchestra backing Heidi on her 4th year Senior recital:

Side A
1. Suite: Judy Blue Eyes 00:00
2. Marrakesh Express 07:25
3. Guinnevere 10:05
4. You don´t have to cry 14:46
5. Pre-road downs 17:31

Side B
1. Wooden ships 20:33
2. Lady of the island 26:02
3. Helplessly hoping 28:42
4. Long time gone 31:24
5. 49 bye-byes 35:41

Being a Rock-n-Roll-Band guitar player since 1966, I got turned on to THE SONS at a concert they played outdoors at Diablo Valley College (Pleasant Hill / Concord, CA) the summer of 1971. I bought and still have most of the Sons LPs. I will forever by grateful and influenced in my music by these musicians. What an awesome blend of instrument sounds and incredible grooves! The story line in the songs mean a lot to me. Thank you Sons of Champlin. God bless you, Bill !

Sons of Champlin
Recorded Live: 10/4/1975 – Winterland (San Francisco, CA)

More The Sons of Champlin at Music Vault: http://www.musicvault.com
Subscribe to Music Vault: http://goo.gl/DUzpUF

Setlist:
0:00:00 – Slippery When It’s Wet
0:04:33 – Saved By The Grace Of Your Love
0:08:54 – For A While
0:13:46 – There Goes Your All Night
0:16:57 – Like To Get To Know You
0:23:49 – We Can Make It
0:28:45 – Lookout
0:33:08 – Turn On Your Lovelight / Drum Solo / Gold Mine
0:44:11 – Freedom / Get High

Personnel:
Bill Champlin – guitar, keyboards, lead vocals
Terry Haggerty – guitar, vocals
Geoff Palmer – keyboards, vocals
Dave Schallock – bass, vocals
James Preston – drums, percussion
Phil Wood – trumpet
Michael Andreas- sax
Steve Frediani – sax

Steve Vai performs “Die To Live” from the DVD “Alien Love Secrets” featuring full-length performance videos of every song from the “Alien Love Secrets” EP.
 

Also: LIBERTY

 
Steve Vai, Brian May and Joe Satriani

 
Joe Satriani “Flying in a Blue Dream”, a Lydian Mode smorgasbord

2CELLOS Luka Sulic and Stjepan Hauser performing Highway To Hell by AC/DC with Steve Vai, from their new album IN2ITION produced by Bob Ezrin.

Finnish band called Steve’n’Seagulls plays AC/DC’s awesome song called Thunderstruck. Recorded by Jaakko Manninen Photography.
Visit us on Facebook https://www.facebook.com/Stevenseagulls

 
Also,THUNDERSTRUCK for our String Project type musicians. 2CELLOS Luka Sulic and Stjepan Hauser playing their arrangement of Thunderstruck by AC/DC:

This is a response to the videos posted with interviews of the individual Beatles who still liked to play music with one another but not so much as Beatles any longer.

In January 1975 (actually December 1974 in Disney World), the band officially dissolved, all four members signed. This is also to acknowledge 45 years since The Beatles – White Album was released. This is a theoretical in that each songwriter used the others to be a backup band with a rare backup vocal. Gone were the three and four way harmonies like in With a Little Help From My Friends or What Goes On.

The White Album was just a really good album they all helped each other do. Not much co-writing at all. In this version we put Elton John as guest musician in place of Eric Clapton with John’s Whatever Gets You Through The Night. We see Bluebird instead of Blackbird. Blackbird is the better of the two admittedly. It was recently learned that Eric Clapton helped on on My Sweet Lord playing acoustic with George under Phil Spector production. Tremendous sound, I hope they one day really mix down a record like this officially. Maybe Paul and Ringo could oversee it as a last cool thing before we pull the curtain. Miss the old Beatles, sorry it was so crazy, love the four lads from Liverpool.

This collection is the most “Beatle-like” or best material to present from the four guys, Paul only on one Ringo song, nobody on Paul’s. Obviously they were pretty ticked at the time. But music was made by Paul that shows he has bass lines that are most Beatle-like. Imagine that. And this is set up to be a four CD set though it is continuous for over 2 hours. Enjoy, don’t watch just listen to what magic they still had. John said so anyway, do a collection of their post-Beatle songs and you’d get a 2nd White Album basically. This has the sad version of All Things Must Pass because you can tell no one was really giving it its due except George who wrote it. It’s a reminder, but ends on a happy note with a co-mingled John Lennon-Ringo Starr version of Only You last song. Original Ringo version that was on the radio is on Side 1.

This is not intended to infringe any copyright and all rights reserved by respective parties, EMI and UMG.

The Beatles II — The Black Album (Dec. 1974)
Side 1
1. My Sweet Lord (Harrison-Starr with guest Eric Clapton)
2. Uncle Albert (McCartney)
3. I’m The Greatest (Starr-Lennon)
4. Give Me Love (Harrison)
5. Instant Karma (Lennon-Harrison)
6. Another Day (McCartney)
7. Only You (Starr-Lennon cover tune)
8. Maybe I’m Amazed (McCartney)

Side 2
9. Imagine (Lennon)
10. Band On The Run (McCartney)
11. Whatever Gets You Through the Night (Lennon with guest Elton John)
12. Sunshine Life (Starr-Harrison)
13. Bluebird (McCartney)
14. Number 9 Dream (Lennon)
15. What Is Life (Harrison-Starr)
16. Junior’s Farm (McCartney)

Side 3
17. It Don’t Come Easy (Starr-Harrison)
18. Come and Get It (McCartney Version)
19. Love Is Real (Lennon)
20. Six O’Clock (Starr-McCartney)
21. Oh My Love (Lennon-Harrison)
22. Jealous Guy (Lennon)
23. Photograph (Starr-Harrison)
24. Let Me Roll It (McCartney)
25. Back Off Boogalow (Starr)

Side 4
26. Live and Let Die (McCartney)
27. Mind Games (Lennon)
28. My Love (McCartney)
29. Crackerbox Palace (Harrison)
30. Too Many People (McCartney)
31. All Things Must Pass (Harrison-Lennon-Starr-McCartney)
32. You’re Sixteen (Starr cover)
33. Wah Wah (Harrison-Starr)
34. Only You (blended version of Lennon and Starr)

The Reverend Blind Willie Johnson (1897-1945) is the author of this wonderful song, not Son House, not Depeche Mode(please….), not Robt. Johnson, not Blind Willie McTell, not Warren Haynes.

Also, Beautifully Broken: