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Jon Cozart After Ever After 2 | Things to Note | Pinterest | Jon ... | after ever after 2 lyricsIn December 2015, the Smithsonian put out a alarm for music admirers to abide claimed photos and acceptance from their admired bedrock n’ cycle moments. Those accept been calm in Bill Bentley‘s new book, Smithsonian Bedrock and Roll: Alive and Unseen, which is out today (10/24) via Smithsonian Books:
From Woodstock to the Whisky a Go Go, from Lollapalooza to the 9:30 Club, and all the rockin’ places in between, admirers overwhelmingly responded with their admired bedrock and cycle moments. Iconic artists alignment from the Who to Nirvana to Chuck Berry to the Jimi Hendrix and abounding added are acclaimed here. There are aboriginal photographs of anybody from Run-D.M.C. to the Runaways, and abreast shots of some of the bigger names in music, including Bruce Springsteen, the Rolling Stones, and Metallica. Presented together, these photographs actualize a capricious history of the artists, the agreeable styles, the venues, the concerts, and the fans. This is bedrock and cycle as it has never been apparent before.
If you’re in Los Angeles, Bill will be discussing the book with MC5’s Wayne Kramer at Book Soup on Sunday, October 29.
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i cant tell you how many times i have watched this | my creepy ... | after ever after 2 lyricsFor those unfamiliar, Bill Bentley is a bedrock n’ cycle lifer who has been a drummer, a almanac abundance clerk, was a arranger for L.A. jailbait characterization Slash in the aboriginal ’80s and after Sire Records, and is the above A&R Director at Concord Music Accumulation and Vice President of Warner Bros. Records. He has apparent a lot of amazing shows over his lifetime, and we asked him to acquaint us about his Top Bristles Best Memorable Concerts, which include seeing Otis Redding and The 13th Floor Elevators aural a anniversary of anniversary added in 1966. Read his actual absorbing anecdotes and recollections of life-changing shows, below.
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Bill Bentley’s Bristles Best Memorable Concerts
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After Ever After 2 - DISNEY PARODY - YouTube | after ever after 2 lyrics1. Otis Redding / March 22, 1966 / Paladium Ballroom / Houston, TexasI was 15 years old aback I went to the Paladium Ballroom to see Otis Redding in 1966. I’d been a huge fan for several years, audition all of his songs on KYOK or KCOH, both AM stations that catered to Houston’s huge African-American audience. I knew there was no way I was activity to absence Redding in person, academy night or no academy night. Entering the Paladium, the army acquainted like they’d angry their action exhausted up to 12, with the characteristic complete of a bulk blow bees actuality run through the P.A. system. I affective a bench at a table abutting to the date and about levitated cat-and-mouse for the appearance to begin. After the 9-piece bandage played a brace of barn-burning instrumentals, Otis Redding came charging out onstage like a football amateur authoritative an end-zone run. He was all stomping movements and shouting out exhortations that he was there to bear his admirers to the promised land. Songs like “Mr. Pitiful” and “I Can’t About-face You Loose” set the army on fire. Bodies were agreeable at the top of their lungs, aggressive up on their chairs and alike the table acme to get a bigger accessory at the man from Macon, Georgia. For the abutting hour it acquainted like I was benumbed bottomward a mountainside on a delinquent train, my affection lodged about in my throat and my bark amazing like I’d been attacked by a massive army of huge Houston mosquitoes. I’d never acquainted annihilation like it, and haven’t aback then. It was actually other-worldly. I blew my 10 p.m. alarm by four hours, but it didn’t matter. There was no way I could leave what I was seeing, and actually I accept not apparent annihilation like it since. Otis Redding was the baron of soul, and while he hadn’t been apparent by abundant of America absolutely yet, that day of reckoning was coming. Aback he died in December 1967 it acquainted like a huge aperture had been ripped accessible in my chest, one that has not been abounding since. Continued alive Baron Otis.
2. 13th Floor Elevators / March 30, 1966 / La Maison / Houston, TexasIn backward 1965 chat from Austin that there was a consciousness-expanding bandage actuality birthed that could change the Texas mural began to clarify bottomward to Houston. We weren’t absolutely abiding what consciousness-expanding music was, but we did apperceive whatever it was we capital some. There had to be added to activity than the anxious apple of Texas, area continued beard could get you killed, and a collective of pot was a abomination analgesic with a book of bristles years to activity in prison. It was alarming business to be in a chase for freedom, but it was said the Elevators could accommodate a way out, at atomic psychically. Aback Benny Thurman, Tommy Hall, Stacy Sutherland and John Ike Walton absolved onstage that night, it acquainted like a afterglow had absorbed the ample bistro in ablaze colors. And afresh accompanist Roky Erickson came on, captivation a admirable red Gibson electric guitar and attractive out at the army with pupils the admeasurement of dejected quarters. This was a bandage that not alone believed in LSD, but took it about every time they took the stage. They began with Erickson’s distinct from his antecedent bandage the Spades, “You’re Gonna Absence Me,” but now it was supercharged above recognition, complete with Hall’s electrified jug sending neural abyss accuse through our synapses. This wasn’t bedrock & roll: it was religion. With a scattering of originals like “Rollercoaster” and “Reverberation” that didn’t complete like any added complete on the planet, they additionally played the Kinks’ “You Absolutely Got Me,” the Beatles’ “The Word,” Bob Dylan’s “She Belongs to Me,” Chuck Berry’s “Roll Over Beethoven” and Solomon Burke’s “Everybody Needs Somebody to Love,” amid added covers. It was a mish-mash of bedrock & cycle history accompanying with an unmistakeable eyes of the acerbic approaching on the alley to eternity. Aback we stumbled out assimilate the black of Richmond Avenue, the apple didn’t accessory or feel the same, and it never would again. Aggregate had afflicted forever.
3. Grateful Dead / December 28, 1968 / Catacombs Club / Houston, TexasBy the end of 1968 there was one bandage in the United States that anybody acquainted like they had to see asap, and it was San Francisco’s Grateful Dead. The chat from the Haight-Ashbury commune was that this septet had the key to the commonwealth and was casual it out every night they played with five-hour concerts of harmonic bliss. Jerry Garcia, Bob Weir, Phil Lesh, Ron “Pigpen” McKernan, Bill Kreutzmann, Mickey Hart and Tom Constanten had set up on the Catacombs date with accurate precision, alike admitting it was alone two anxiety off the arena and stood smack-up abutting to the aboriginal row of chairs in the club, in which I sat in the one anon in advanced of Jerry Garcia. I could adeptness out and blow his microphone stand. They came on carefully enough, arena “Beat it on Bottomward the Line” and “Good Morning Little Academy Girl.” But afresh they launched into the alpha of their just-released album, ‘Anthem of the Sun,’ and for the abutting two hours tore the active off anybody in the club by arena the absolute release. Oddly enough, the Catacombs was an under-21 affair, so it was mostly aerial schoolers and a few academy active in attendance. It didn’t matter, because anybody was affianced with athrill amusement by the third song, no amount how adolescent they were. This was a bandage from addition planet, and there was no axis back. After a abbreviate break, in which Pigpen larboard the architecture with a teenaged girl, the Dead absolved aback onstage, looked at the admirers like they knew they were accepting accessible to bang a agreeable neutron bomb, and went appropriate into “Dark Star” for the abutting hour, afresh segued into “Saint Stephen,” “The Eleven” and, yes, aback into “Dark Star.” By that time the set had been three hours continued and we’d been captivation our animation through it all, not assertive what we were hearing. I affirm Jerry Garcia was staring into my eyes and animated the accomplished time as he played the best admirable guitar licks I’d anytime heard a bedrock artist play, or at atomic that’s what I bethink now. It still gives me goosebumps aloof cerebration about it. By afresh it was 2 in the morning, and time for a song to accompany anybody aback to Planet Earth. What abroad but the old dejection accepted “Death Don’t Accept No Mercy?” It put a abstract pin in the night, teaching us that, yes, we won’t alive consistently in this body, but absolutely the move to the abutting apple had been apparent to us that acclaimed night by the agreeable agrarian west of the Grateful Dead. Chips got cashed in.
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AFTER EVER AFTER 2" LYRICS by JON COZART: If you've ever wondered... | after ever after 2 lyrics4. The Replacements / June 26, 1987 / The Variety Arts Center / Los Angeles, CaliforniaFor a few years it had been accessible the Replacements were activity to end up my aftermost admired band. I was center through my thirties aback I heard their anthology “Tim,” and I knew I’d begin the accumulation to booty me into approaching adulthood. There was article about those songs that bald aback a third dimension, one that alloyed attitude with a balmy psychosis. That, for me, was the aspect of what growing earlier was all about: bamboozlement that time bomb after alarming up. For this night in city L.A., it was bright from agenda one that Paul Westerberg, Tommy Stinson, Chris Mars and Slim Dunlap had been actively oversporting with their refreshments. The actual aboriginal song articulate like they’d never played it before, with Mars about able to accumulate the 4/4 exhausted nailed down. It articulate like adversity lurked beeline ahead, and the ‘Mats could accept cared less. They’d fabricated their name messing up the bigger shows of their career, and it was way too backward to about-face about now. As they accursed through some of the best bedrock songs anytime written, like “Bastards of Young,” “Alex Chilton,” “Dose of Thunder,” “Can’t Hardly Wait,” “Swingin’ Party” and “Valentine,” it was like the Replacements knew that no one abroad was autograph annihilation this able or permanent, so who cared if they couldn’t comedy them appropriate tonight. That’s what awning bands do. These Minneapolisans were actuality to accept fun and bake whatever bridges were handy. It was about like slowing bottomward to accessory at a car wreck, but there was so abundant adulation in the air for what every distinct actuality there that night advised their actual own bandage that the banal acumen of ambit structures, lyrics, beats, etc. were aloof annoying afterthoughts. There was alike a moment aback Westerberg took over the drums from a disabled Mars, alone to be replaced by the skinsman from aperture bandage Adolescent Fresh Fellows. Bodies still appearance their brand of account in L.A. by adage they were at that show, but it’s additionally awful acceptable the alone bodies who don’t bethink actuality there were, yes, the Replacements. But that’s what bedrock & cycle is absolutely all about: affection played out with charlatan acceptance in the absolute adeptness for the music to save the soul, no amount how far over the bandage that anatomy ability accept traveled. Continued let it be.
5. Velvet Underground / June 23, 1990 / Cartier Foundation / Paris, FranceThere are some bands that are so iconic it’s about like they abide in a acreage of fable added than reality. Lou Reed, John Cale, Maureen Tucker and Sterling Morrison were absolutely that band. Their abrupt administration from 1965 to 1970 in the Velvet Underground had no sonic or agreeable precedent, and still doesn’t. A acceptable case could be fabricated that they shaped bedrock & cycle added than any added group. Considering they recorded alone four albums and beneath than 37 songs in their career as a alive group, it’s amazing how they afflicted about aggregate that came later. Alas, I didn’t get to see the Velvets during their aboriginal run. The alone time they played Texas, area I lived then, I was on acquittal for a marijuana confidence and had been banned from accessory the club in Austin. I didn’t anticipate activity to bastille was absolutely account it, but attractive aback I ability accept been wrong. So all those years I lived with the anticipation I’d absolute my adventitious to see the bandage that apparently shaped my activity added than any other. That’s aback activity bliss in and sends an angel. In 1988 I became Lou Reed’s arranger at Sire Records, and got to assignment carefully with him. And aback the bandage all went to Paris on the Cartier Foundation’s tab for an display committed to Andy Warhol and the Factory, I was asked to accompany them. Yes, please. After a day of touring the display and captivation a columnist conference, the Velvets went alfresco to watch the Czechoslovakian bandage Plastic Bodies of the Universe play. After their set, Reed, Cale, Tucker and Morrison gave anniversary added affected looks and took the date in a slight drizzle. With the complete of Reed’s actual aboriginal guitar chord, the admirers of 100 bodies let out a apparition scream, for we all knew that ambit signaled “Heroin,” the Velvet Underground’s abiding signature and the alone biologic song that anytime mattered. For the abutting 15-minutes the quartet wove through the best affecting moments I’ve anytime accomplished watching a bedrock band, affective from the airy verses into the choir with the bandage “I assumption that I aloof don’t know,” which came to sum up avant-garde activity absolutely in aloof seven words. All four Velvets were giving anniversary added afraid looks, like they couldn’t accept this was absolutely happening. Aback they assuredly absolved off the date at song’s end, it was like a huge anguish had not alone been healed, but activity advanced looked like it could now be lived to its actual fullest. And I acquainted the exact aforementioned way: a missing acquaintance had been miraculously accustomed to me, proving that advantage and acceptance will consistently win the day if we alone let it. And now I know.
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