LITTLE DRUMMER BOY...Stephen Jo Bladd


     American musician, a drummer and vocalist, member of J. Geils band from 1967 until the group split in 1985. Boyishly good looking he made a strong reputation as a legendary drummer/singer.
     In the mid 1960’s he was one of the founding members of the band, along with Peter Blankfield-better known as Peter Wolf- called the Hallucinations. While working on their musical career it is stated that they worked at a framing shop. At the same time a few young men moved to the Boston area to continue with their education and found them selves forming a group called J. Geils. In 1967 Bladd and Wolf joined the group which was renamed The J. Geils Band.
     For years the band played a mix of Blues and R&B with growing popularity in the New England area. By 1971, the band had landed a recording contract with Atlantic and released a self-titled debut.
     The Band had played literally thousands of live performances by the time they recorded 'Bloodshot' in 1973 and the hard work paid off in the band’s first Top 10 Album.
     In November of 1981, the band changed its venue from R&B/Blues to pop and had a real break.
     In 1982 the live album “Showtime!” was the last the band recorded together.A falling out between band members due to song writing by Peter Wolf and outside talent caused a riff and Wolf left the band in 1983. The rest of the band including Bladd stayed together and recorded one more album, “You’re Gettin Even While I’m Gettin Odd”. It has been said that when Bladd sang the lead for “I Will Carry You Home” with a large gospel choir that he was ecstatic and uplifting and the band outdid itself. However, the “new” J. Geils Band’s record was a failure and the band broke up in 1985.
     On tours Bladd roomed with good friend and talent partner Danny Klein bassist. Together they have created powerful and underrated foundation for a rock solid rhythm section. Alone he has been known for his loose, unobtrusive gunshot drums that are the cornerstone of R&B.






J.GEILS BAND 'Live' Full House  (Atlantic,1972)

Коментари

Постави коментар

Популарни постови са овог блога

GUITAR WOLF...Joe Perry

Слика
        It’s hard to conceive a better musical foil for Steven Tyler than his longtime partner and occasional adversary. For more than 40 years, Joe Perry’s monstrous, blues-on-steroids riffs have been  Aerosmith ‘s bedrock. And his solos, jutting out from “Walk This Way” or slashing boldly through the high-gloss production of later hits like “Janie’s Got a Gun” and “Cryin’,” have a caffeinated energy that’s every bit Tyler’s match. AEROSMITH Get A Grip Geffen,1993 https://www.sendspace.com/file/rd9fbo
Прикажи све

LITTLE DRUMMER BOY...Matt Cameron

Слика
        More than any other drummer, Matt Cameron laid the rhythmic foundation for the Nineties rock revolution, reconciling proggy technicality with overwhelming force. He aptly characterized his rotary-blade rhythms on the 1991 Soundgarden track "Jesus Christ Pose" as "a pure assault of the senses," but that efficient brutality wasn't necessarily characteristic of Cameron's work with the band – his drumming on  Superunknown  is as thoughtful as it is heavy, from the fluid asymmetry of "Spoonman" to the unshakeable backbeat of "Fell on Black Days." Twenty years after its release, Dave Grohl was  still raving , "Nobody played drums like Matt." When Soundgarden suddenly disbanded in 1997, Cameron wasn't out of work for long: Pearl Jam invited him on tour the following year.  SOUNDGARDEN  Badmotorfinger A&M,1991 https://www.sendspace.com/file/uaniyr
Прикажи све

ONCE UPON A TIME...One Niter

Слика
  EELA CRAIG  One Niter  (Vertigo,1976) - Prog/Symphonic rock       The album "One Niter" is the peak of Bognemayr and K.'s artistic quest. Hubert's philharmonic ambitions found a way out in the use of a gigantic keyboard arsenal. Majestic Mellotron fanfares, chorales and a string of harpsichord arpeggios greet the listener at the threshold of the 14-minute "Circles" suite. Cosmic synth landscapes shimmer in a radiant flute scale. And then the bravura leitmotif is either played out in a full-fledged rock key with an incredibly rhythmic funk addition, or hidden behind a light fairy-tale pastoral, saturated with the leader’s touching vocals. Needless to say, the imagination of the band members literally flows here, sometimes taking on rather bizarre silhouettes. According to similar canons, an ecstatic hymn is melted into a powerful fusion structure (“Loner’s Rhyme”): hard rock marries with jazz; Encouraged by  Raoul Barnett's  congas,  "Hammond"
Прикажи све