Search results for crowd surf before
15, 
03:06, 
2008-04-21 20:03:39 Description: http://TheMusic.FM -- Brazilian band CSS (Cansei De Ser Sexy) rocked Brooklyn's club Studio B on Friday 8/3 just before heading down to Baltimore to open the Virgin Festival the next day. Singer (More) http://TheMusic.FM -- Brazilian band CSS (Cansei De Ser Sexy) rocked Brooklyn's club Studio B on Friday 8/3 just before heading down to Baltimore to open the Virgin Festival the next day. Singer Lovefoxxx crowd-surfs around the one-minute mark of this performance. Others crowd-surf before and after in the video and did so through much of the band's set. (Less)
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7, 03:11, 2008-03-16 15:43:34 Description: SXSW AP Tour stop.
Right before they started playing, jack had asked for a whole bunch of crowd surfers. Alex didn't want to loose teeth so instead he asked all those who did crowd surf, elbow (More) SXSW AP Tour stop.
Right before they started playing, jack had asked for a whole bunch of crowd surfers. Alex didn't want to loose teeth so instead he asked all those who did crowd surf, elbow drop the fuck out of his pedals. Thus, resulting in a shitty sounding guitar part.
=) (Less)
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5, 03:11, 2008-04-22 09:40:34 Description: SXSW AP Tour stop. Right before they started playing, jack had asked for a whole bunch of crowd surfers. Alex didn't want to loose teeth so instead he asked all those who did crowd surf, elbow (More) SXSW AP Tour stop. Right before they started playing, jack had asked for a whole bunch of crowd surfers. Alex didn't want to loose teeth so instead he asked all those who did crowd surf, elbow drop the fuck out of his pedals. Thus, resulting in a shitty sounding guitar part. =) (Less)
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15, 02:30, 2008-10-05 14:40:22 Description: PHILIPPINES surfer Edito Peso Alcala is the new king of Cloud 9 after defeating the worlds best tube riders to win the prestigious Billabong Cloud 9 Invitational at the remote island of Siargao in the (More) PHILIPPINES surfer Edito Peso Alcala is the new king of Cloud 9 after defeating the worlds best tube riders to win the prestigious Billabong Cloud 9 Invitational at the remote island of Siargao in the Philippines. Cloud 9, an ultra perfect right hand reef break, lived up to expectation, serving out epic 2-2.5 metre barrelling waves for the final day of competition surfing. Local ace Alcala, who learned to surf at the revered break, rode barrel after perfect barrel to beat defending title holder Wade Goodall (Caloundra, Qld, Aus) in a tight 35-minute man-on-man final. But 20-year-old Alcala didnt have it all his own way in the final, having to fight back from a slow start to take home a last-minute victory over Goodall in front of a vocal Philippines crowd. Sitting in second with two minutes to go and with priority, Alcala jagged a set wave before weaving through the belly of a Cloud 9 cavern to jag a heat-winning 9.43 ride. Alcala finishing on a final two wave combined total of ... (Less)
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0, 05:39, 2009-12-20 02:35:28 Description: For the first time in 5 yearsaves were big enough In Memory of Eddie Aikau Invitational Big Wave Surfing Competition was held at Waimea Bay December 8 2009. The 25th anniversary of what is widely (More) For the first time in 5 yearsaves were big enough In Memory of Eddie Aikau Invitational Big Wave Surfing Competition was held at Waimea Bay December 8 2009. The 25th anniversary of what is widely considered the world's most prestigious big wave contest was held in 30 - 50 ft. surf before a crowd estimated up to 30000. A live webcast got more than a million more viewers. (Less)
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3, 03:38, 2009-08-25 14:59:23 Description: "America the beautiful" comes from February 1991's "Going Legit" album from Greenhouse Effect. This album ofcourse today is an 8 song classic that has now become more like a (More) "America the beautiful" comes from February 1991's "Going Legit" album from Greenhouse Effect. This album ofcourse today is an 8 song classic that has now become more like a difficult to find still in print relic of a cassette as well as the limited 'Black and white" cd's that were printed up in March of 91'. "This is the album where we found drummer Martin Silva from San Pedro" says Clark Higgins. "I think it was either in the recycler or 'Music Connection' or maybe Bam Magazine,..'can't remember",..but we jammed with him in like march 91'...to june... The Going legit' album would contain some instantly recognizable melodic songs that have become G.e. trademark hallmarks among them 'Ben is dead', Star, Hey Negrita, Wilson Phillips, God's joke, and Dead End street. "Its an all star album" quips higgins "Don't fer'get,..it also has the classic "22nd Street' on it too as well !! From September of 1990 until March of 91', the band consisted of a two piece,..ofcourse doing a classic interview with The Redondo Beach Hometown news and Easy Reader among others as they tried to explain their bizarre politics and new 'grungey' guitar dominated band's sound which at the time, they struggled for a genre label for,...ofcourse also struggling to 'get' a record label of any kind to sign them and their great music as well. "Those were tough time" says Hagins "We had just had a nasty parting of ways with Phil Keegan who to me is a soul brother in this business,...but at the time and moment,..way back then,..it just was 'the way it was',..i agonized for years,..i always wanted to jam with flipper again,..but it just never happened or materialized..." me and ted played with drummer mike valencia from about oct of 90 til january 91'...maybe..we wrote songs 'in the garage' at 251 in Torrance in the meantime,.. In the South Bay area of Redondo Beach, Torrance , and Lomita Calif,. "Going Legit' was greeted at local record shops with eager sales in a musical time when "80's heavy metal" music dominated but and was beginning to sound boring and new underground bands were creeping up and building followings,...Greenhouse effect who had purchased ads in places like Flipside Magazine, Ben is dead and Maximumrocknroll and Bam,..were one of those weird "Indie" garage bands of the under-world,..they sent their tapes to labels like Sub Pop, alternative tenticles, and sst records along with trying to land a miracle deal at places like Geffen records and Capital in Hollywood. "It was frustrating times" says higgins "because we knew we were the greatest band in the world ,..and there was just two of us - bassist Rick Carmody "Ted" and myself ,..i was playing both the drums and guitar in the studio but to play live we knew we needed a professional hard hitting drummer like me - but even better !,..thats when we discovered Marty Silva,..with him, we became L.a's most powerful three piece,..we were like the Jamesgang meets the Police meets 'a noise agency' meets Rush,..we developed awesome dynamics and it all came from Silva's big hitting of the skins,..he was so powerful, ..we fed off him,..he made us sound like a professional band that could immediately go play arenas,...we wanted to play the Great Western Forum ,..we were 'that' confident,..and we were 'that' good,...WE WERE INCREDIBLE LIVE - NO OTHER BANDS WANTED US TO OPEN FOR THEM ,..NO WAY !! "Going Legit' was a very important album,..mainly because of the 'time' that it came out,..when we released it with Mark Theodore at Alternative groove and peanut records in Lomita,..it was just such an exciting time for punk and alternative emo music,'hey negrita' was so muddy and powerful - the guitar chords so brutal!,....we were battling against people like Axl Rose who we hated and thought were so lame,..we all wanted punk rock to take over,..but then when punk eventually 'did' take over the scene,..i wasn't happy because i was like 'how the hell can you not include g.e."?? ....the glorious times were 'early 1991' way long before Nirvana hit the big time later on in the year on Geffen,...when Nirvana blew up big,..man it got too fucking big,..i wanted a piece of that prize,..and i never got it !! anyway,...we parted ways with Silva in like june of 91' ...and then we found this drummer dude named Greg Tarpley,...he was a bit different from marty,..he was less powerful and heavy but he was tighter we thought,..he kept an even beat,....honestly, i..wish to God we could play with BOTH OF THESE GUYS ,..they both drum brilliantly and they both have alot to offer,....'we played HUGE GIGS with Tarpley that were all incredible - awesome !! i wish to God i had them all on film especially the gig where we played up at the Anti-club in L.a. ,...that show was amazing,..we played "Fest 4" at Wilson Park in June of 91' with Greg Tarpley and that show i'll never forget,..we were so good that we thought it was boring,..we didn't realise who we were; we were the first original 'jaded' rock stars idiots !! WE WERE THE 'REAL' NIRVANA !! i just remember that "Hey negrita' and 'Star' felt so good at Wilson park and our playing was so clean ,..the huge crowd audience was blown away by us because we were so powerful and we leaped about the stage with great performance,..every song was clean,..Greg Tarpley on drums gave us the similar edge that marty gave us,..he made us a power trio of power trio's !! the summer of 1991 was amasing,..people were uniting against glam metal,..people were coming together for alternative music,..G.e. was leading the charge,..we really thought it was gonna be us that gets that magical record deal with a major and then changes the world !! Now, today in 2008 and 2009, ..i realize that i actually 'like' metal now again....i've discovered that punk people are not 'your friends' or the so called 'open-minded' types that they say they are'....Today,..i root for bands like Airbourne and Dragonforce,...i hope they rise up ...and destroy kroq now,..i fucking hate the foo fighters and shit like that ..and Coldplay ,... ..if nobodys gonna give me my chance,..then FUCK THEM !! (Less)
Channel: vimeoTags: LOMITA CALIF redondo beach surf mefeedia st. louis cardinals cincinatti rock toronto emo hermosa saloon long beach punk torrance guitar blip tv vimeo truveo music mellon quartet fender amps seattle grunge kurt nirvana geddy rush hollywood glam geffen records
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33, 04:00, 2009-08-25 15:04:49 Description: More People watch and download the music of the Greenhouse Effect at Google on the internet than listen to the radio ! "Theme" The instrumental track is a haunting scary piece entirely (More) More People watch and download the music of the Greenhouse Effect at Google on the internet than listen to the radio ! "Theme" The instrumental track is a haunting scary piece entirely played by Clark Hagins in the studio as recorded and mixed by Sound Engineer Producer Bill Krodel. "Well,..people like Billy Krodel and Mark Nathanson were important people - key to the 'sound' of Greenhouse Effect. I had to come in there with alot of talent myself but they had to 'control' me and twiddle the knobs,..we made unbelievable music in there back in those days - it was incredible times ..the late 80's / early 1990's ,..before grunge came along and killed melody and everything,..some try to blame me and say that i am partly responsible,..but i feel my music has way more melody and passion it it,..you can just sense when you listen to Greenhouse effect music that i have been through alot,..i have had a fucked life - and i pour it all into the music,..."Theme' is the soundtrack to my brain !! (Laughs).... Haggins doesn't mince words when he stresses the importance it is for home grown bands in garages to take pictures and make their own 'videos' using things like Windows movie maker,..alot of people on the net play video games,..and they like cartoons and porn,..stuff like naruto shippuden ,..you gotta blend in with all that - whats really great is when unknowledgable young people try to put you down and say bad things about you,...believe me - you can 'use' that,...they're so young and dumb from today that they've never even heard of Pete Townshend and or Eric Clapton !! You can quickly get the morons spotted,..and once they make a fool of themself on things like youtube,....thats where you get and build the 'intelligent' objective music fan - those are the ones you want ,..believe me - you don't want the idiots !! besides !! THEY GOT NO MONEY ANYWAY !!! "I think the key to net success and being a top net whore is you gotta have big talent,..and you gotta have something really unique,..you gotta sound like nobody,..these days,..if you wanna 'blend in' with all that mtv crap,..well that is WORTHLESS SHIT,..BELIEVE ME ,..this is a tough business,..you don't wanna suck,..if yer a young person ,..i would recommend go buy a who or zeppelin cd ,..or try to get into the beatles and the 60's,..leave the crap like Nirvana and green day at the door,..that is cheap stuff that can be easily duplicated and aped,..you gotta come up with difficult complicated shit ,..that is way different !! If you wanna be special to a crowd out there !! Radio success has elluded Greenhouse effect as clark higgins explains he feels that corporate radio is 'greed' as well as 'left wing' controlled,...."our music is special,..its very good and the radio of kroq fm in los angeles would probobly hurt our sound,...we don't need them ,...WE 'ARE' THEM ,...they just don't know it,...WE GET MORE PLAYS THAN 'THEY' DO !! ----------------------------------------------------- TO SIGN to one of those major labels that pays you 20 cents for every cd you sell,..well that would be like enron or bernie madoff" says higgins with a laugh "I would say its way more important to be seen on the net than tv or radio" says higgins "more people are gonna see you because more people are watchin' the net,...for porn,..for naruto,...for video games n shit' ...its all connected to guitar hero ,..but like i said before,...you gotta have good shit with professional graphics and good bit !....if yer a songwriter,..you gotta be really good or people ain't gonna download it... (Less)
Channel: vimeoTags: naruto shippuden somanymp3s.com myspace artist brandy mefeedia vimeo greenhouse song pool service greg ginn sst records kxlu rocks deleted data kroq emo rock redondo beach torrance surf jim mellon quartet hermosa saloon pool supply sullenberg pilot robert downey
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13, 00:11, 2008-07-06 03:31:49 Description: Here's the old version!
It was the last day before Selena was heading back to LA and the boys started their tour with Miley Cyrus.
Tomorrow, Nick and Selena would be on opposite ends of the (More) Here's the old version!
It was the last day before Selena was heading back to LA and the boys started their tour with Miley Cyrus.
Tomorrow, Nick and Selena would be on opposite ends of the country.
Selena was sitting on the window seat in the guest bedroom.
Her knees were curled up near her face and her head rested against the wall as she stared out the window.
She was wearing Nick's striped cardigan, it smelled like him.
There were three slow knocks at the door.
Her head didn't move.
"Come in."
Nick opened the door and glanced at the bags of luggage piled neatly in front of the bed.
They had avoided talking about the day she'd be leaving, it was too hard to think about.
"Hey." She smiled.
Nick walked towards her and kissed her lightly on the forehead.
"How you doing?" He asked her.
She shrugged and said, "Alright."
He sat down across from her and reached for her hand.
For a while, they sat there together in silence.
"It's not gonna be that bad." Selena tried to convince herself.
"Yeah, just a couple months.." Nick added.
"And I know you'll be in good hands, with Miley."
Nick gave her a 'yeah right' face and they both laughed.
"Come on," He said, pulling her up.
"Where are we going?" Selena asked, following him.
He lead them across the hall and into his bedroom.
Nick bent down and pulled a shoe-box out from under the bed.
Selena tilted her head, confused and asked "What's that?"
Nick pulled the lid off the top of the box.
She kneeled down beside him and looked inside.
"You're gonna think it's really dorky.. but they're just things I've collected over the years.."
She smiled at him reassuringly.
He pulled out an old picture of the two of them when they were kids.
In the photo, Selena's long black hair was tucked behind her ear as she kissed Nick on the cheek.
"I remember this!" She laughed.
"Yeah, our moms thought we would end up getting married!" Nick joined in.
She rested her head on his shoulder. "I had the biggest crush on you."
"Tell me about it." Nick gushed.
The next item he pulled out was a chunk of bright orange plastic.
"Oh gosh!" Selena giggled.
"Remember? It was from the first Teen Choice Award you won. Part of the surf board chipped off when Joe tried surfing on it!"
Selena nodded, "He was such a dork.. still is."
Next was a tiny white t-shirt that said "I Love JB."
It was what Selena wore when the boys had their first big performance.
"I was your biggest fan!"
Nick laughed, "You were our ONLY fan!"
But these days, there were thousands of screaming teenage girls who would argue they were Nick's biggest fan.
After looking through the whole box, Selena couldn't believe that Nick saved all these little things that reminded him of her.
He was the sweetest boy on the planet, which made her the luckiest girl.
Selena's phone vibrated.
Hey Lee!
You're home tomorrow,
Can't wait to see you.
We've missed you!
Tell the boys I say hi.
Love Ash
"Who's it from?" Nick asked, looking over at Selena.
She showed him the text, "Just Ashley. I'm really excited to see her!"
Ashley had been one of Selena's best friends for a long time.
Joe poked his head in the bedroom door.
"Waaazzzzzzzzuuuupppppp!?" He squealed.
Selena laughed and ran up to hug Joe.
"I'm going to miss you, buddy. You and your crazy ways."
He lifted her up and spun her around, knocking down a neatly folded pile of clothes.
They both laughed as he flung her on the bed and sat next to her.
"So, is it completely impossible for us to squish you into one of our suitcases and bring you along?" Joe whined.
"I wish we could, but it'll be fine Joe. It's not that long anyways.." Selena tried to be positive.
Then Kevin came to the door and saw everyone sitting there in silence.
"Guys.. don't tell me you've started moping already."
He walked towards the three of them and put his arm around Taylor.
"We still have the whole day to spend together."
Selena nodded, holding back tears.
"Come on, I know what will cheer you up.."
She looked up at Kevin.
"Starbucks!" He cheered.
They all smiled and headed towards the door.
- - - - - - - - - - - - - - - - - -
Teenage girls gasped as Kevin, Nick, Joe and Selena walked through the front doors of Starbucks.
Nick pulled Selena close to him, protecting her from the crowd of fans and flashing cameras.
She looked up at Nick and felt safe in his arms.
"AWWWWWW!" The girls squealed.
'Nelena' had become teen Hollywood's 'it-couple' and people went crazy for one picture of them together.
"I'll have a grande strawberries and creme frappucinno, please!" Joe told the lady at the counter. (Less)
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54, 08:07, 2008-04-21 17:11:08 Description: Featuring the 2nd KASR Video interview with J from the band WHITE ZOMBIE backstage at Desert Sky Pavillion! Kasrvnotebook: Sean Yseult, after the breakup of White Zombie, joined the surf rock band (More) Featuring the 2nd KASR Video interview with J from the band WHITE ZOMBIE backstage at Desert Sky Pavillion! Kasrvnotebook: Sean Yseult, after the breakup of White Zombie, joined the surf rock band The Famous Monsters, and (as of early 2001) left the horror-themed New Orleans-based band Rock City Morgue. She is currently preparing for an upcoming tour with The Cramps John Tempesta continued his musical relationship with Rob Zombie after the White Zombie breakup, drumming for Zombie on his first two solo albums, Hellbilly Deluxe and The Sinister Urge. He is no longer with Zombie and currently plays for the Rob Zombie-esque band Scum of the Earth with his brother, Powerman 5000 guitarist Mike Tempesta, and ex-Rob Zombie guitarist Mike Riggs, and has recently toured with Testament (as shown on Testament's DVD, Live In London). On February 14, 2006, he was hired as the new drummer for The Cult, before which, he played with Helmet. J. produced records for stoner rock band Fu Manchu and New York City rockers Puny Human, as well as lending his guitar skills to a few other bands after the breakup of White Zombie. While Rob Zombie has mostly kept the image of his former band, fans of both White Zombie's and Rob Zombie's music have noted significant musical differences between them, notably the absence of the heavy bass and lead guitar that characterised White Zombie's musical style. Multiple layers and numerous samples are not used as often due to legal issues as the band gained mainstream recognition. In July 2006, original members Tom Five and Ivan de Prume reunited to perform with Ivan's band Healer for several concerts in Southern California for The Vans Warped Tour. Ivan continues to write and record music with Healer, a middle eastern infused metal band and recording, producing, and engineering for special projects. Sony's Ghost Rider score featured Ivan's drums and percussion. "J" aka Jay Noel Yuenger: Through his mother, a classical soprano and voice teacher, he was exposed to music early, played piano and sang in children's choirs. Growing up in the diverse Hyde Park neighborhood on Chicago's south side (one of the only truly integrated neighborhoods in the city, rich in culture and history and home to the University Of Chicago), he heard soul, jazz, folk, and of course, the electric blues. He attended Kenwood Academy. His father, a reporter for the Chicago Tribune, was posted as bureau chief in several cities and J. lived in Washington DC, Moscow, and London before he was 12 years old. As a teenager, his interests quickly progressed from pop to hard rock to hardcore punk. He started playing guitar and played a small part in the early 80s Chicago hardcore scene by forming the teen punk band Rights Of The Accused in 1982. They released a 7" EP ( " Innocence" ) in 1983 and opened for several noteworthy groups including Minor Threat, MDC, the Big Boys, Flipper, and Discharge. He left the band ( who would go on to release several albums ) in 1985, tried college, and by 1987 had moved to New York City. After several abortive tries at forming groups in New York and New Jersey, he met the members of White Zombie in early 1989 and auditioned successfully to join the group as guitar player. The band released the previously recorded "Make Them Die Slowly" on Caroline Records, toured the US and Europe and recorded the " God Of Thunder " 12" EP ( also issued on Caroline ). In 1990 the group signed to Geffen records and recorded their major label debut '"La Sexorcisto: Devil Music, Vol. 1", which eventually went on to sell over 2 million copies. During the next 5 years the band was almost constantly on tour, pausing only to record the triple platinum-selling " Astro-Creep: 2000 " . They also contributed songs to various movie sountracks and compilation albums and ended up selling over 6 million records worldwide. Since the official disbandment of White Zombie in 1997, J. has lived in Los Angeles, Chicago, and New York and has worked as a recording engineer and record producer. He currently lives in New Orleans and is building a recording studio that will open in 2007. Bobby Diablo hosts the "Monster in my Pants" edition with Greg Mickey and CM Vaughn! KASR VIDEO was a weekly 2 hour offshoot of the Arizona State University's original alternative radio station that aired on public access in Phoenix. The music video show featured rarely scene and new music not in the "main stream." Along with non-conventional interviews it became a guilty pleasure with the midnight party crowd. IT's been edited as a sort of best of; minus the music videos. For more info on ASU Student radio goto: http://www.theblaze1260.com (Less)
Channel: youtubeTags: arizona ASU blaze desert heavy interview kasc KASR metal monster music phoenix rock sky state university white zombie
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137, 06:51, 2008-04-22 16:35:02 Description: The Smokers Band ~ Tampa FL Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals, Genre: Blues-rock, Blues, Jamm Instrumentalm Rock (More) The Smokers Band ~ Tampa FL Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals, Genre: Blues-rock, Blues, Jamm Instrumentalm Rock Years active 1991 - present The Smokers was formed in Tampa, Florida on March 26, 1991 and remain a popular cover band today. Tampa~St. Pete were home before expanding statewide Florida in 2005. Their unique arrangements and fresh rock and roll licks drew a loyal following spanning the state. Formerly: The Affordables Booking agent: Joe: 813.681.1330 Sampling Six includes (1) Rock Me Baby - Written by B B King (2) Born on the Bayou - Written By Creedence Clearwater Revival (3) Hard To Handle - By Otis Redding (-) Introductions to the band - The Smokers (4) Darlin You Know I Love You - By B.B. King (5) Long Train Running Lyrics - By The Doobie Brothers (6) Will It Go Round In Circles - By Billy Preston (bonus cut) Funky Broadway - By Wilson Pickett - ~~~ Lyrics Rock Me Baby B.B. King Rock me baby, rock me all night long Rock me baby, honey, rock me all night long I want you to rock me baby, like my back ain't got no bone Roll me baby, like you roll a wagon wheel I want you to roll me baby, like you roll a wagon wheel Want you to roll me baby, you don't know how it makes me feel Rock me baby, honey, rock me slow Yeah, rock me pretty baby, baby rock me slow Want you to rock me baby, till I want no more ~~~ Born on the Bayou Creedence Clearwater Revival Now, when I was just a little boy, Standin' to my Daddy's knee, My poppa said, "Son, don't let the man get you Do what he done to me." 'Cause he'll get you, 'Cause he'll get you now, now. And I can remember the fourth of July, Runnin' through the backwood, bare. And I can still hear my old hound dog barkin', Chasin' down a hoodoo there. Chasin' down a hoodoo there. CHORUS: Born On The Bayou; Born On The Bayou; Born On The Bayou. Wish I was back on the Bayou. Rollin' with some Cajun Queen. Wishin' I were a fast freight train, Just a chooglin' on down to New Orleans. CHORUS Do it, do it, do it, do it. Oh, Lord. Oh get back boy. I can remember the fourth of July, Runnin' through the backwood bare. And I can still hear my old hound dog barkin', Chasin' down a hoodoo there. Chasin' down a hoodoo there. CHORUS All right! Do, do, do, do. Mmmmmmm, oh. ~~~ Hard To Handle - By Otis Redding Hey Here I am I'm the man on the scene I can give you what you want But you got to come home with me I forgot some good old lovin' And I got some more in store When I get to throw it on you You got to come back for more Toys and things that come by the dozen That ain't nothin' but drug store lovin' Hey little thing, let me light your candle' Cause mama I'm sure hard to handle, now, gets around Action speaks louder than words And I'm a man of great experience I know you got another man But I can love you better than him Take my hand, don't be afraid I'm gonna prove every word I say I'm advertisin' love for free So, you can place your ad with me Once it come along a dime by the dozen That ain't nothin' but ten cent lovin' Hey little thing, let me light your candle' Cause mama I'm sure hard to handle, now, gets around Yeah, hard to handle, now Oh, baby Baby, here I am The man on your scene I can give you what you want But you got to come home with me I forgot some good old lovin' And I got some in store When I get to throw it on you You got to come runnin' back for more Once it come along a dime by the dozen That ain't nothin' but drug store lovin' Hey little thing, let me light your candle' Cause mama I'm sure hard to handle, now, Get around Hard, hard to handle, now Oh yeah, yeah, yeah Yeah Once it come along a dime by the dozen That ain't nothin' but ten cent lovin' Hey little baby, let me light your candle' Cause mama I'm sure hard to handle, now, gets around Yeah, so hard to handle, now Oh yeah Baby, good lovin' Baby, baby, owww, good lovin' I need good lovin' I got to have, oh yeah, yeah, yeah Yeah So hard to handle, now, yeah Um-um-um ~~~ Darlin You Know I Love You By B.B. King Darlin', darlin' you know I love you, I love you, for myself But you're gone, gone and left me for someone else I think of you, think of you every morning I dream of you, every night, and with love, love to be with you always When night began to fall, I cry, cry alone And I wish, maybe I can hold you in my arms tonight Oh, darlin', darlin' you know I love you, I love you, for myself But you're gone, gone and left me for someone else ~~~ Long Train Running Lyrics By The Doobie Brothers Down around the corner half a mile from here see them both feet run and you watch them dissapear without love where would you be now without love though i saw miss lucy down along the track she lost her home and her family and she won t be coming back without love where would you be now without love with the feeling always central and the southern central freight you got to keep on pushing mamma you know there running late without love where would you be now without love when the pistons keep on turning and go round and round and the steel reels are cold and hard and the moutain ain t no down without love where would you be now without love ~~~ Will It Go Round In Circles - By Billy Preston Will it go round in circles Will it fly high like a bird up in the sky Will it go round in circles Will it fly high like a bird up in the sky ... ~~~ Funky Broadway - By Wilson Pickett - Every town I go in There's a street, uh, huh Name of the street, uh, huh Funky funky Broadway Down on Broadway, huh There's a nightclub, now, now Name of the nightclub, now baby Funky Funky Broadway Down on Broadway There's a crowd, now, huh Name of the crowd, baby Broadway crowd Down on Broadway, yeah There's a dancestep, huh Name of the dance, Funky Funky Broadway, hey! huh Wiggle your legs now, baby Shake your head, ooh, huh Do the shing-a-ling now baby, now Shake, shake, shake now You don't know, huh, baby, now You don't know, now woman, owww! Doin' the funky Broadway, hey! Lord have mercy Oh, you got me feelin' alright Dirty filthy Broadway Don't I like the Broadway, huh That Broadway, lookit here Down on Broadway There's a woman Name of the woman, huh Broadway woman, hey! Down on Broadway, yeah There's a man, huh Name of the man (fade) ~~~ Origins of rock and roll Rock and roll began to emerge as a musical style in United States of America during the late 1940s as a combination of the rhythms of the blues, R&B, African American culture, and from America's country and western music, as well as gospel. Though elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s, rock and roll did not acquire its name until the 1950s. An early form of rock and roll was rockabilly, which combined the above elements with jazz, influences from traditional Appalachian folk music, and Gospel music. Going back even further, rock and roll can trace one lineage to the old Five Points, Manhattan district of mid-19th century New York City, the scene of the first fusion of heavily rhythmic African shuffles and sand dances with melody-driven European genres, particularly the Irish jig. Rocking was a term first used by black gospel singers in the American South to mean something akin to spiritual rapture. By the 1940s, however, the term was used as a double entendre, ostensibly referring to dancing, but with the subtextual meaning of sex, as in Roy Brown's "Good Rocking Tonight." This type of song was usually relegated to "race music" outlets (music industry code for rhythm and blues stations) and was rarely heard by mainstream white audiences. During the 1920s and 1930s, many white Americans enjoyed African-American jazz and blues performed by white musicians. They often objected to the music as performed by the original black artists, but found it acceptable when performed by whites. A few black rhythm and blues musicians, notably Louis Jordan, the Mills Brothers, and The Ink Spots, achieved crossover success. While rock and roll musicians increasingly wrote their own material, many of the earliest white rock and roll hits were covers of earlier rhythm and blues or blues songs. Blues would continue to inspire rock performers for decades. Delta blues artists such as Robert Johnson and Skip James also proved to be important inspirations for British blues-rockers such as The Yardbirds, Cream, and Led Zeppelin. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this type of music for a multi-racial audience. Freed is credited with coining the phrase "rock and roll" to describe the rollicking R&B music. While working as a disc jockey at radio station WJW in Cleveland, he also organized the first rock and roll concert, called "The Moondog Coronation Ball" on March 21, 1952. The event, attended mainly by African Americans, proved a huge drawing card — the first event had to be ended early due to overcrowding. Thereafter, Freed organized many rock and roll shows attended by both whites and blacks, further helping to introduce African-American musical styles to a wider audience. There is much debate as to what should be considered the first rock & roll record. Sister Rosetta Tharpe was recording shouting, stomping music in the 1930s and 1940s that in some ways contained major elements of mid-1950s rock and roll. She scored hits on the pop charts as far back as 1938 with her gospel songs, such as "This Train" and "Rock Me", and in the 1940s with "Strange Things Happenin Every Day", "Up Above My Head", and "Down By The Riverside." Another artist who was singing hard-rocking blues/gospel to a boogie piano was Big Joe Turner, whose 1939 recording, "Roll 'em Pete," is almost indistinguishable from '50s rock and roll. Other significant records of the 1940s and early 1950s included Roy Brown ("Good Rocking Tonight", 1947), more Big Joe Turner ("Honey, Hush", 1953, and "Shake, Rattle and Roll", 1954), Paul Bascomb ("Rock and Roll", 1947), Fats Domino ("The Fat Man," 1949) and Les Paul and Mary Ford ("How High the Moon", 1951). Rolling Stone magazine argued in 2004 that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record[2]. Bo Diddley's 1955 hit "Bo Diddley" backed with "I'm A Man" introduced a new, pounding beat, and unique guitar playing that inspired many artists. Bill Haley's "Rock Around the Clock" (1954) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and the door was opened for this new wave of popular culture. Other artists with early rock 'n' roll hits were Chuck Berry and Little Richard, as well as many vocal doo-wop groups. Within the decade crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed. Both rock and roll and boogie woogie have four beats (usually broken down into eight eighth-notes/quavers) to a bar, and are twelve-bar blues. Rock and roll however has a greater emphasis on the backbeat than boogie woogie. Little Richard combined boogie-woogie piano with a heavy backbeat and over-the-top, shouted, gospel-influenced vocals that the Rock and Roll Hall of Fame says "blew the lid off the '50s." However, others before Little Richard were combining these elements, including Esquerita, Cecil Gant, Amos Milburn, Piano Red, and Harry Gibson. Little Richard's wild style, with shouts and "wooo wooos," had itself been used by female gospel singers, including the 1940s' Marion Williams. Roy Brown did a Little Richard style "yaaaaaaww" long before Richard in "Ain't No Rockin no More." Early North American Rock and Roll (1953-1963) Rock and roll appeared at a time when racial tensions in the United States were coming to the surface. African Americans were protesting segregation of schools and public facilities. The "separate but equal" doctrine was nominally overturned by the Supreme Court in 1954, and the difficult task of enforcing this new doctrine lay ahead. This new musical form combining elements of white and black music inevitably provoked strong reactions. From the early 60s, Ike & Tina Turner were big Rock & Roll stars. On March 21, 1952 in Cleveland, Alan Freed (also known as Moondog) organized an early rock and roll concert, titled "The Moondog Coronation Ball". The audience and the performers were mixed in race. The evening ended after one song in a near-riot as thousands of fans tried to get into the sold-out venue. The record industry soon understood that there was a white market for black music that was beyond the stylistic boundaries of rhythm and blues. Even the considerable prejudice and racial barriers could do nothing against market forces. Rock and roll was an overnight success in the U.S., making ripples across the Atlantic, and perhaps culminating in 1964 with the British Invasion. From this early-1950s inception through the early 1960s, rock and roll music also spawned a new dance craze. Teenagers found the irregular rhythm of the backbeat especially suited to reviving the jitterbug dancing of the big-band era. "Sock-hops," gym dances, and home basement dance parties became the rage, and American teens watched Dick Clark's American Bandstand to keep up on the latest dance and fashion styles. From the mid-1960s on, as "rock and roll" yielded gradually to "rock," later dance genres followed, starting with the Twist, and leading up to Funk, disco, house and techno. Rockabilly In 1954, Elvis Presley recorded the regional hit "That's All Right (Mama)" at Sam Phillips' Sun studios in Memphis. Elvis played a rock and country & western fusion called rockabilly, which was characterized by hiccupping vocals, slapping bass and a spastic guitar style. He became the first superstar rock musician. Elvis Presley in 1957's Jailhouse RockThe following year's "Rock Around the Clock" by Bill Haley & His Comets really set the rock and roll boom in motion. The song was one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. The song's inclusion in the film Blackboard Jungle marked the beginning of a mutually beneficial marriage of the genre to film. It had been recorded in 1954 with limited sales, but exploded in 1955 after the release of the movie, which used it in the opening sequence. If everything that came before laid the groundwork, "Clock" certainly set the mold for everything else that came after. With its combined rockabilly and R & B influences, "Clock" topped the U.S. charts for several weeks, and became wildly popular with teenagers in places like Britain, Australia and Germany. The single, released by independent label Festival Records in Australia, was the biggest-selling recording in the country at the time. In 1957, Jerry Lee Lewis and Buddy Holly became the first rock musicians to tour Australia, marking the expansion of the genre into a worldwide phenomenon. That same year, Haley toured Europe, bringing rock 'n' roll to that continent for the first time. Covers Through the late 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the tempos and increasing the backbeat to great popularity on the juke joint circuit. Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets. However, savvy artists and producers quickly recognized the potential of rock, and raced to cash in with white versions of this black music. White musicians also fell in love with the music and played it everywhere they could. Many of Presley's early hits were covers, like "That's All Right", "Baby, Let's Play House", "Lawdy Miss Clawdy" and "Hound Dog". Covering was customary in the music industry at the time; it was made particularly easy by the compulsory license provision of United States copyright law (still in effect [4]). One of the first successful rock and roll covers was Wynonie Harris's transformation of Roy Brown's "Good Rocking Tonight" from a jump blues to a showy rocker. The most notable trend, however, was white pop covers of black R&B numbers. Exceptions to this rule included Wynonie Harris covering the Louis Prima rocker "Oh Babe" in 1950, and Amos Milburn covering what may have been the first white rock and roll record, Hardrock Gunter's "Birmingham Bounce," in 1949. Black performers saw their songs recorded by white performers, an important step in the dissemination of the music, but often at the cost of feeling and authenticity (not to mention revenue). Most famously, Pat Boone recorded sanitized versions of Little Richard songs, though Boone found "Long Tall Sally" so intense that he couldn't cover it. Later, as those songs became popular, the original artists' recordings received radio play as well. Little Richard once called Pat Boone from the audience and introduced him as "the man who made me a millionaire." The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number, while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie." Teen Idols In 1959, Buddy Holly, Ritchie Valens, and the Big Bopper (J.P. Richardson) were killed when a plane Buddy Holly had chartered from Mason City, Iowa, to Fargo, North Dakota crashed in a corn field, after a performance at the Winter Dance Party. Buddy Holly, fed up with the conditions on the buses, decided to charter a small plane for himself and the Crickets to get to the next show on time, get some rest, and get their laundry done. After the February 2, 1959 performance at the Surf Ballroom in Clear Lake, Iowa, Holly, Richardson (who pleaded with Waylon Jennings for his seat because he was stricken with flu), and Valens (who had won Tommy Allsup's seat after a coin toss), were taken to Clear Lake airport by the manager of the Surf Ballroom. The plane, a four-passenger Beechcraft Bonanza, departed into a blinding snowstorm and crashed into farmer Albert Juhl's cornfield shortly after takeoff. The crash ended the lives of all three passengers, as well as the 21 year-old pilot, Roger Peterson. This event inspired singer Don McLean's popular 1971 ballad "American Pie", and immortalized February 3 as "The Day the Music Died". The event also inspired the Tommy Dee song "Three Stars", which specifically mentions Buddy Holly, the Big Bopper, and Valens. Besides Elvis Presley, Holly, Valens, and Richardson were known as three of the first rock and roll teen idols. They were followed by other artists with massive appeal to a teenaged audience, such as Paul Anka, Ricky Nelson, Frankie Avalon, the Beatles, and later, the Monkees. Teen idols were not only known for their catchy pop music, but good looks also played a large part in their successes. It was because of this that certain fan magazines, exclusively geared to the fans of teen idols (16 Magazine, Tiger Beat, etc.), were created. These monthly magazines typically featured a popular teen idol on the cover, as well as pin-up photographs, a Q&A, and a list of each idol's "faves" (i.e. favorite color, favorite vegetable, favorite hair color, etc.). Teen idols also influenced toys, Saturday morning cartoons and other products. At the height of each teen idol's popularity, it was not uncommon to see Beatle wigs, Davy Jones' "love beads", or perhaps even Herman's Hermits lunchboxes for sale. British Rock and Roll The trad jazz movement brought blues artists to Britain, and in 1955 Lonnie Donegan's version of "Rock Island Line" began skiffle music which inspired many young people to have a go, including John Lennon and Paul McCartney, whose "The Quarrymen", formed in March 1957, would gradually change and develop into The Beatles. These developments primed the United Kingdom to respond creatively to American rock and roll, which had an impact across the globe. In Britain, skiffle groups, record collecting and trend-watching were in full bloom among the youth culture prior to the rock era, and colour barriers were less of an issue with the idea of separate "race records" seeming almost unimaginable. Countless British youths listened to R&B and rock pioneers and began forming their own bands. Britain quickly became a new center of rock and roll. In 1958 three British teenagers became Cliff Richard and the Drifters (later renamed Cliff Richard and the Shadows). The group recorded a hit, "Move It", marking not only what is held to be the very first true British rock 'n' roll single, but also the beginning of a different sound — British rock. Richard and his band introduced many important changes, such as using a "lead guitarist" (virtuoso Hank Marvin) and an electric bass. The British scene developed, with others including Tommy Steele, Adam Faith and Billy Fury vying to emulate the stars from the U.S. Some touring acts attracted particular popularity in Britain, an example being Gene Vincent. This inspired many British teens to begin buying records and follow the music scene, thus laying the groundwork for Beatlemania. At the start of the 1960s, instrumental dance music was very popular. Hits such as "Apache" by The Shadows and "Telstar" by The Tornados form a British branch of instrumental music. Social Impact The massive popularity and worldwide scope of rock and roll resulted in an unprecedented level of social impact. Far beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes, and language. In addition, rock and roll may have helped the cause of the civil rights movement because both African American teens and white American teens enjoyed the style of music. It also birthed many other rock influenced styles. Progressive, alternative, punk, and heavy metal/rock are just a few of the genres that sprang forth in the wake of Rock and Roll. Contributed by Bill Stoll StollCo Video - 2007 Tampa FL (Less)
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22, 08:07, 2007-11-06 11:54:50 Description: Featuring the 2nd KASR Video interview with J from the band WHITE ZOMBIE backstage at Desert Sky Pavillion!
Kasrvnotebook: Sean Yseult, after the breakup of White Zombie, joined the surf rock band (More) Featuring the 2nd KASR Video interview with J from the band WHITE ZOMBIE backstage at Desert Sky Pavillion!
Kasrvnotebook: Sean Yseult, after the breakup of White Zombie, joined the surf rock band The Famous Monsters, and (as of early 2001) left the horror-themed New Orleans-based band Rock City Morgue. She is currently preparing for an upcoming tour with The Cramps
John Tempesta continued his musical relationship with Rob Zombie after the White Zombie breakup, drumming for Zombie on his first two solo albums, Hellbilly Deluxe and The Sinister Urge. He is no longer with Zombie and currently plays for the Rob Zombie-esque band Scum of the Earth with his brother, Powerman 5000 guitarist Mike Tempesta, and ex-Rob Zombie guitarist Mike Riggs, and has recently toured with Testament (as shown on Testament's DVD, Live In London). On February 14, 2006, he was hired as the new drummer for The Cult, before which, he played with Helmet.
J. produced records for stoner rock band Fu Manchu and New York City rockers Puny Human, as well as lending his guitar skills to a few other bands after the breakup of White Zombie.
While Rob Zombie has mostly kept the image of his former band, fans of both White Zombie's and Rob Zombie's music have noted significant musical differences between them, notably the absence of the heavy bass and lead guitar that characterised White Zombie's musical style. Multiple layers and numerous samples are not used as often due to legal issues as the band gained mainstream recognition.
In July 2006, original members Tom Five and Ivan de Prume reunited to perform with Ivan's band Healer for several concerts in Southern California for The Vans Warped Tour. Ivan continues to write and record music with Healer, a middle eastern infused metal band and recording, producing, and engineering for special projects. Sony's Ghost Rider score featured Ivan's drums and percussion.
"J" aka Jay Noel Yuenger: Through his mother, a classical soprano and voice teacher, he was exposed to music early, played piano and sang in children's choirs. Growing up in the diverse Hyde Park neighborhood on Chicago's south side (one of the only truly integrated neighborhoods in the city, rich in culture and history and home to the University Of Chicago), he heard soul, jazz, folk, and of course, the electric blues. He attended Kenwood Academy. His father, a reporter for the Chicago Tribune, was posted as bureau chief in several cities and J. lived in Washington DC, Moscow, and London before he was 12 years old. As a teenager, his interests quickly progressed from pop to hard rock to hardcore punk. He started playing guitar and played a small part in the early 80s Chicago hardcore scene by forming the teen punk band Rights Of The Accused in 1982. They released a 7" EP ( " Innocence" ) in 1983 and opened for several noteworthy groups including Minor Threat, MDC, the Big Boys, Flipper, and Discharge. He left the band ( who would go on to release several albums ) in 1985, tried college, and by 1987 had moved to New York City. After several abortive tries at forming groups in New York and New Jersey, he met the members of White Zombie in early 1989 and auditioned successfully to join the group as guitar player. The band released the previously recorded "Make Them Die Slowly" on Caroline Records, toured the US and Europe and recorded the " God Of Thunder " 12" EP ( also issued on Caroline ). In 1990 the group signed to Geffen records and recorded their major label debut '"La Sexorcisto: Devil Music, Vol. 1", which eventually went on to sell over 2 million copies. During the next 5 years the band was almost constantly on tour, pausing only to record the triple platinum-selling " Astro-Creep: 2000 " . They also contributed songs to various movie sountracks and compilation albums and ended up selling over 6 million records worldwide. Since the official disbandment of White Zombie in 1997, J. has lived in Los Angeles, Chicago, and New York and has worked as a recording engineer and record producer. He currently lives in New Orleans and is building a recording studio that will open in 2007.
Bobby Diablo hosts the "Monster in my Pants" edition with Greg Mickey and CM Vaughn!
KASR VIDEO was a weekly 2 hour offshoot of the Arizona State University's original alternative radio station that aired on public access in Phoenix. The music video show featured rarely scene and new music not in the "main stream." Along with non-conventional interviews it became a guilty pleasure with the midnight party crowd. IT's been edited as a sort of best of; minus the music videos. For more info on ASU Student radio goto: http://www.theblaze1260.com (Less)
Channel: youtubeTags: arizona ASU blaze desert heavy interview kasc KASR metal monster music phoenix rock sky state university white zombie
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7, 00:15, 2008-04-21 22:25:56 Description: We got in early because we had the VIP tickets. So this is before the crowd got in. Great view huh? 3rd annual Surf and Roots Fesitval featuring Ziggy Marley at the Kualoa Ranch, Hawaii on December (More) We got in early because we had the VIP tickets. So this is before the crowd got in. Great view huh? 3rd annual Surf and Roots Fesitval featuring Ziggy Marley at the Kualoa Ranch, Hawaii on December 8th. Check out my other videos of the festival! (Less)
Channel: youtubeTags: band bob concert Hawaii honolulu irie kualoa live Marley oahu rasta Reggae rock Roots stage Surf Ziggy
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0, 02:07, 2009-12-14 07:40:46 Description: Flashmob rave in the student union the day before finals week
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9, 04:50, 2007-10-23 13:04:12 Description: This was a free show in Oceanside, Ca. Tom Celebrated his birthday on stage. Mike was giving him crap before they played this song.It wasn't promoted or anything so it was really small, but that (More) This was a free show in Oceanside, Ca. Tom Celebrated his birthday on stage. Mike was giving him crap before they played this song.It wasn't promoted or anything so it was really small, but that was cool because they were able to take requests and interact with the crowd. (Less)
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0, 03:53, 2009-12-16 03:33:59 Description: The Quiksilver in Memory of Eddie Aikau Invitational Big Wave Surfing Competition was held at Waimea Bay December 8 2009. The 25th anniversary of what is widely considered the world's most (More) The Quiksilver in Memory of Eddie Aikau Invitational Big Wave Surfing Competition was held at Waimea Bay December 8 2009. The 25th anniversary of what is widely considered the world's most prestigious big wave contest was held in 30 - 50 ft. surf before a crowd estimated up to 30000. A live webcast got more than a million more viewers. Here are a few shots I strung together of some of the biggest sets of that memorable day - with music from the Makaha Sons' Hoku Award winning album "Kuikawa ... (Less)
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