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newyorkthegoldenage · 11 months

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Great balls of fire! Atop a piano, Jerry Lee Lewis gives a rip roarin' performance at the Café de Paris in New York, June 10, 1958.

Photo: Bettmann Archives/Getty Images/Fine Art America

#vintage New York #1950s #Jerry Lee Lewis #rock 'n roll #June 10 #10 June #piano #performance #stage

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breezingby · 6 months

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Stevie Ray Vaughan ~ Shake 'n Bake.... (Austin City Limits 1983)

#youtube #Rock 'N Roll #Stevie Ray Vaughan #Shake 'N Bake !!! !!! !!!

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periodically80s · 1 year

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#People Magazine #1983 #RCA #cassette #LP #Agree #rock 'n roll

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savage-kult-of-gorthaur · 1 month

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KEEP US ON THE ROAD IN '82 -- FROM THE MOTÖRMUSIC LIVE ARCHIVES.

PIC(S) INFO: Mega spotlight on assorted concert shots of English rock and roll band MOTÖRHEAD, performing live during the band's "Iron Fist" UK tour at Afan Lido, Port Talbot, Wales, UK, on April 1, 1982. 📸: Andrew King.

All hail the Motörmasters -- "EVERYTHING LOUDER THAN EVERYTHING ELSE!!"

Sources: www.flickr.com/photos/watt_dabney/5212912700 & Wikimedia (2x).

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dustedmagazine · 1 year

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Little Richard: I Am Everything (Magnolia)

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How does one tell the story of an artist as influential as Little Richard? The same way you tell the story of the Universe, by keeping it simple: A long time ago there was the Big Bang.

Little Richard: I Am Everything, a new documentary directed by Lisa Cortes, presents Little Richard’s existence as an analogous cosmic event. Rock ‘n’ roll as we know it exists because on December 5, 1932, Richard Penniman was born in Macon, Georgia.

Cortes isn’t the first to frame Little Richard in terms of cosmic energy. As Nick Tosches once put it, “[v]ia his pure white-energy raunch and total over-simplification, [Little Richard had] the power to make people say 'fuck it' and turn their backs on their own control conditioning and just go out and debauch and catch a glimpse of the violent, drunken, loving, dancing Universe.” I Am Everything is similarly reverential, but the power of the film stems from its focus on Little Richard’s strange, conflicted human experience.

Growing up, Little Richard, as he would later be nicknamed, was scolded in church for singing too loud — an impressive feat for a Pentecostal. He exuded a preacher’s charisma and even as a young boy parishioners asked him to pray for them. When he started playing piano, he banged on the keys the way that Sister Rosetta Tharpe, an early influence, banged on her guitar. The idea, Little Richard said, was to drum away at your instrument until you reached “the peak.”

The nature of that “peak,” would remain a lifelong tension. That erratic blurring of sexual and spiritual extasy, one of rock music’s central paradoxes, is what made his music both threatening and irresistible.

Fans of Little Richard specifically and rock history in general are likely familiar with the raw information that I Am Everything offers. But in addition to the more expected talking heads — Mick Jagger, John Waters, Billy Porter — some fresher contextualization comes from Black, queer academics and music historians. “The south is the home of all things queer” says writer and sociologist Zandria Robinson, and she means “queer” in every sense of the word. Homosexuality was illegal, as was drag (the maddeningly circular nature of culture emerges as one of I Am Everything’s subtler themes) but the edges of that reality were “soft.” Little Richard performed with minstrel shows and on the vaudeville circuit, sometimes appearing as Princess LaVonne.

Like many raised in the church, Little Richard always suspected that rock ‘n’ roll was the Devil’s music. That persistent belief, Jagger notes, “can’t be much fun for those involved,” an observation that further emphasizes how heavy Little Richard’s baggage was in comparison to some of his imitators.

In 1957, the story goes, Little Richard saw Sputnik in the night sky and interpreted it as a sign from God to repent. He enrolled in Bible school, hosted a buy-back/burning of his records, started making Gospel music, and married a woman. Over the course of his life, he would waffle between publicly denouncing homosexuality and embracing it. As one commentator puts it, “He was good at liberating other people by example, he was not good at liberating himself.”

Little Richard didn’t come from nowhere: Artists like Billy Wright and Esquerita heavily informed his flamboyance. But it seems most everyone else came from him. Jimi Hendrix, of course, got his start in Little Richard’s band. The Beatles opened shows for him when, as he said, “only their mothers knew their names.” Paul McCartney developed his wild yelp by imitating Little Richard, and Jagger copped his stage moves.

When Little Richard is given his due, he’s credited with inventing not only rock ‘n’ roll but helping to invent the teenager. Greil Marcus called it “Little Richard’s First Law of Youth Culture: attracting kids by driving their parents up a wall.” As Waters puts it, “the first songs that you love that your parents hate are the beginning of the soundtrack to your life.” In a recent New Yorker profile Paul Schrader, another artist pulled between the spiritual and carnal, recalls his mother smashing the radio after catching him listening to rip-off artist Pat Boone. One imagines that if it had been Little Richard, she might have burned the house down.

Eternally offered a kind of ambient credit by musicians and critics, the lion’s share of the specific attention (and money) is paid to the (often white) artists Little Richard inspired, or who arguable just straight up stole his shit. (In terms of respectful homage, there’s a chasm between McCartney’s “Long Tall Sally” and Boone’s “Tutti Frutti.”) It’s as if the man is at once too bright to look at directly, and too Black and queer and alien to fully acknowledge.

He often made his rightful frustration known. In one clip, Little Richard and David Johansen, fully in his Buster Poindexter era, present the 1988 Grammy for Best New Artist. Little Richard, usually unpredictable on live TV, says of Johansen’s pompadour, “I used to wear my hair like that. They take everything I get. They take it from me.” He opens the envelope and declares himself the winner. It’s a joke but it isn’t. “I have never received nothing,” he continues. “Y’all ain’t never gave me no Grammy and I been singing for years. I am the architect of rock ‘n’ roll and they never gave me nothing. And I am the originator!” He gets a standing ovation, which is something, but it isn’t enough.

Almost every review of the film mentions this moving, uncomfortable scene, because it teases out one of Little Richard’s most powerful realities. He didn’t always seem to know what he was supposed to be doing, or even who he should be, but he always knew what he was worth.

Margaret Welsh

#little richard #i am everything #magnolia #margaret welsh #filmreview #dusted magazine #documentary #black #queer #roots #rock 'n roll

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showerbythesun · 1 year

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woeismywaffle · 9 months

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Y'know since the new Skybound comics are apparently gonna crossover with G.I. Joe I wonder if we're gonna see Skywarp with Rock 'n Roll again

#tf #transformers #tfeu #tf eu #g.i. joe #skywarp #rock 'n roll

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spheresofdesire · 11 months

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THE HOLLIES - LONG COOL WOMAN

#youtube #the Hollies #Long Cool Woman #song of the day #rock #rock 'n roll #music

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angeloftheodd · 1 year

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Elvis Ginjirotchi and his blue suede shoes 💙

Tamagotchi Video Adventures (1997) 🥚🪐

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albumarchives · 2 years

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Carcass | Swansong (1996)

#death metal #death 'n roll #rock 'n roll #carcass #1996 #gee vaucher #cover art

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newyorkthegoldenage · 1 year

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Elvis Presley performs live on the Ed Sullivan Show, January 6, 1957.

Photo: Steve Oroz via the Michael Ochs Archives/Getty Images

#New York #NYC #vintage New York #1950s #Steve Oroz #Elvis Presley #Ed Sullivan #Ed Sullivan Show #television #TV #January 6 #Jan. 6 #rock 'n roll

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thedaveandkimmershow · 2 years

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By the time they take the stage, a wonderfully golden orange summer sunset is well under way. And The Little Lies are once again conjuring equal measures of nostalgia, fun, and one great rock show.

Headlining Saturday's Taste of Edmonds at Frances Anderson Playfield, the band treated a capacity crowd to Fleetwood Mac's catalogue of classics, a set list in which each song, each impeccable performance, was eclipsed by the one after it and the one after that... and so on. The band immersing the City of Edmonds in its own brand of high-octane Mac.

Standing in for Lindsey Buckingham, Andrew Vait brings not only his own smokin' guitar work and lead vocals to the stage, he also graces the audience with an infectious charm and offbeat wit that thoroughly engages. Standing in for Christine McVie on vocals, keys, and acoustic guitar, Linzy Collins graces the audience with both a genuine willingness to abandon herself to the music and a vocal range that effortlessly moves from smoky to heavenly.

The band's monster beating heart, its not-so-secret weapon, is its rhythm section. On bass, Harry Wirth III, whose presence is impossible to ignore whether he's simply towering over the stage or actively stalking about like a rock 'n roll T-Rex. On the drumkit (occasionally electric guitar as well), Cyra Wirth absolutely embodies the rhythm and soul of a badass rock drummer whose "Tusk” solo always stokes the adrenalin.

Together, the Wirth clan locks crowds of thousands to the beat they lay down.

The Taste of Edmonds performance also featured a substitute for Stevie Nicks regular Miranda Zickler. This time it was Alicia Amiri taking on Stevie Nicks vocal duties, bringing to the performance a deeper tone and a wicked intensity that perfectly captures the bitterness in some of Nicks's lyrics.

In the end, The Little Lies were again a revelation of fun, energy, and high-octane rock 'n roll. They are, of course, a faithful tribute band that delivers. But they're also experts of the highest level at re-energizing that music with a passion that left Saturday night's audience definitely...

Wanting more.

#the little lies pnw #fleetwood mac #tribute band #taste of edmonds #Andrew Vait #Linzy Collins #Harry Wirth III #Cyra Wirth #Alicia Amiri #edmonds #frances anderson playfield #nostalgia #fun #rock 'n roll

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breezingby · 1 year

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Dire Straits ~ Sultans Of Swing (Alchemy Live)

(A fantastic video of Dire Straits!!!)

You get a shiver in the dark It's raining in the park but meantime South of the river you stop and you hold everything A band is blowing Dixie double four time You feel alright when you hear that music ring

Well, now you step inside but you don't see too many faces Coming in out of the rain to hear the jazz go down Competition in other places Oh, but the horns, they're blowing that sound Way on down south, way on down south London town

You check out guitar, George He knows all the chords Mind it's strictly rhythm He doesn't wanna make it cry or sing Left-handed old guitar is all he can afford When he gets up under the lights to play his thing

And Harry doesn't mind if he doesn't make the scene He's got a daytime job, he's doing alright He can play the honky tonk like anything Saving it up for Friday night With the Sultans, with the Sultans of Swing

And a crowd of young boys, they're fooling around in the corner Drunk and dressed in their best brown baggies and their platform soles They don't give a damn about any trumpet-playing band It ain't what they call "Rock 'n' Roll" And the Sultans, yeah, the Sultans, they play Creole, Creole

~ ♫♪♫♪ ~

And then the man, he steps right up to the microphone And says at last just as the time bell rings "Goodnight, now it's time to go home." Then he makes it fast with one more thing, "We are the Sultans, we are the Sultans of Swing."

~ ♫♪♫♪ ~ ~ ~

(Oh do I Miss those Concert Dayzzz ! )

#youtube #Music #Rock 'N Roll #Dire Straits #Sultans Of Swing #lyrics

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bearfoottruck · 9 days

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