par l'auteur du Rock pour les Nuls

des 100 Meilleurs Albums de rock
de Take One, les producteurs du rock
et de Paul Personne, des vies en blues

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28-02-2009

MC5: Back In The USA (1970)

"I was the chief cook and bottle-washer. I was the leader of the band, I started the band, I got everyone together. We rehearsed in my mother's basement. (laughs) At the risk of breaking my arm to pat myself on the back, I really pushed the MC5. I really believed in the MC5. It was my vision, my idea, my future. And what happens a lot of times in bands, the center never holds. After awhile, everybody resented my leadership around the period of Back In The USA. So we had a rebellion and my loyal troops revolted. They all said 'it's always what Wayne wants' and 'Wayne wants to do it this way.' So I abdicated my position and moved into a kind of co-leadership with Fred. And Rob started to pull himself out of the picture a bit. Fred and I had a great kind of sibling rivalry happening. At a certain point, they all just got frustrated that things weren't turning out the way that we all hoped and dreamed they would. So, somebody's gotta pay and be the scapegoat. So, it was my fault of course! (laughs)..." (Wayne Kramer) ###

11-02-2009

Moby Grape: Moby Grape (1967)

"[Spence] was a little bit too crazy, even then. When we first met him, he looked a little bit crazed. He was one of the first guys I'd seen with ratted hair. And he'd laugh hysterically when he'd get the feeling. But he played excellent rhythm guitar. He did these things where he would muffle the strings. And he did that better than anybody, ever. And when the five of us played together, there was something happening that was undeniable" (Jerry Miller) ###

22-01-2009

Uriah Heep: Very 'eavy very 'umble (1970)

"I can remember touring America and one guy called us the Beach Boys of Heavy Metal. It made me laugh. We've always had that harmony thing. That stood us out apart from all the other bands that were around at the time when we came out you see. Deep Purple, Led Zeppelin, Black Sabbath all had one vocalist and then Uriah Heep had five. So that stood us apart. Because in the sixties, harmony was used very very sweetly, and melodically. And we started using it almost as an instrument. And that kinda turned people onto emulating us really..." (Mick Box) ###

10-01-2009

Stevie Ray Vaughan And Double Trouble: Couldn't Stand The Weather (1984)

"I like playing in trio form and I like working with keyboards and I like working with huge horn sections. I just, I like all different phases of it. Chris [Layton, drummer) and I used to play gigs, just he and I every once in a while. I'd just plug the microphone in one side of my amp and plug my guitar in the other. The great part about it is you don't have to pay attention to when you change à you can do it whenever you want to...." (Stevie Ray Vaughan) ###

26-12-2008

Magazine: Real Life (1978)

"I've always liked to produce records that have a great number of moods and the musical palette is very wide. I was saying the same sorts of things when Real Life came out. To me it was a very panoramic album. Some bands seem to like to produce albums where instrumentation is very similar and the pacing can be very similar -- Oasis, the Strokes. I've never wanted to do that..." (Howard Devoto) ###

09-12-2008

Lonnie Mack: The Wham Of That Memphis Man (1963)

"Originally it started out as family. We were so poor. Like Bill Cosby said, we weren't just poor, we were broke. (laughs) My influence came from by Uncles, brother, my mom. All that bunch, all the different parts of the family. And when we started listening to radio it was country mostly, there wasn't no rock and roll. I liked the singers. I always liked Hank Williams. I listened to some old Jimmy Rodgers, which leans more toward the blues side. Then I found a bunch of black stations and started listening to people on up the line like T-Bone Walker and Jimmy Reed. I liked a lot of church music, and I loved organs. That's why I ended up with the sound I got..." (Lonnie Mack) ###

30-11-2008

Scorpions: Lovedrive (1979)

"When Uli was in the band, we had two different styles, the Uli/Jimi Hendrix direction and the Klaus/Rudolph direction... Ulrich was more of a solo artist and after he left the band it was up to me to compose all the songs, so everything became the same style... Matthias entered the band as a team player and formed his playing as the songs and direction dictated [...] We have always tried to include some of Ulrich's songs in the live set-list but seem to come back to the newer stuff, but maybe in the future..." (Rudolf Schenker) ###

26-11-2008

Coroner: Mental Vortex (1991)

"We do a very special thing, it's like we do something different. We're not death metal or commercial metal -- we're something in between -- so it's hard for us to be commercially accepted right away. [And] it's so great being a trio that I don't see any reason to expand. It's hard enough for the three of us to agree on our music, I can't imagine there being another person we'd have to keep happy. There are thousands of bands with two guitarists and a singer and whatever, and this makes us a bit special and unique, so it's cool..." (Marky Marquis) ###

13-11-2008

James Gang: Rides Again (1970)

"Pete Townshend really identified with what we were doing. Pete's a very melodic player and so am I. He told me that he appreciated my playing. I was flattered beyond belief because I didn't think I was that good. Pete and I really hit it off. We had the same frustrations about working with a three-piece group. The next thing I knew, he was saying in interviews that he had heard 'this great guitar player from the James Gang' and that he was America's answer to al the English flash guitarists. Then, right on the heels of all this, we put out our best album, Rides Again. The word got out and we started to get gigs from everywhere. That was the high point of my stay with the James Gang. [But] the songs I was writing needed more texture than a trio could offer. I was writing with harmony and nobody could sing them; I was writing for piano and we couldn't play one onstage. I was frustrated. I had just written and recorded "The Bomber" and "Tend My Garden" and couldn't really re-create them onstage. Townshend had finished Tommy and was going through the same changes. We got along so well that I gave him the fat orange Gretsch guitar that he used on Who's Next and Clapton's Rainbow Concert..." (Joe Walsh) ###

31-10-2008

Roy Harper: Stormcock (1971)

"Stormcock was born in 1969 as I began to stretch my wings. I'd been there a few times before, but this time I gave myself the space to go deep... and stay there. [...] Pete Jenner and I turned out a great record. Seems like a thousand years ago now. Though I very rarely listen to my own records I would definitely say that my personal highlight on the record is Jimmy Page's guitar solo on 'The Same Old Rock.' My opinion has not changed since the day he put it on there. Absolutely brilliant..." (Roy Harper) ###