Missionaria Protectiva

        The legend of the Band centers on their down-home appeal, but revisit their classic records and it’s impossible to miss just how funky they were. Rick Danko’s bass work — spare, stylish, and always situated deep in the pocket — was crucial to the inimitable lope of tracks like “Up on Cripple Creek” and “King Harvest (Has Surely Come).” Danko grew up in rural Ontario listening to the Grand Ole Opry on a battery-powered radio and watching his dad play at barn dances. He joined future Band-mates Robbie Robertson and Levon Helm in Ronnie Hawkins’ Hawks in 1961, picking up crucial rhythm-section tips from the group’s then-pianist Stan Szelest. Within a few years, the group was backing Bob Dylan on his first plugged-in tour. Once the Band got underway, Danko established himself as the group’s trusty secret weapon, a position he’d hold during both their initial run and their prolific reunion era. Throughout his tenure, he complemented his signature warbling vocals with crafty four-str

        It’s easy to miss a guitarist like Buckingham. His name can be easily drowned by a few other names I can think of. After joining Fleetwood Mac in 1974, Buckingham’s stirring pop sensibilities would ignite the group’s tetralogy of multiplatinum, number one selling albums. His technical prowess would translate easily into the band’s intoxicating hooks and monumental breakdowns. But Buckingham’s guitar mastery truly materializes during his live performances. In  an interview  discussing his unusual, pick-less playing techniques, Buckingham cites Merle Travis as one of his most prominent sources of stylistic influence. He mentions his experimentation with acoustic resonance on  Tango in the Night ’s “Big Love”; a song that would serve as not only an example of Buckingham’s musical genius, but also as a cornerstone of Fleetwood Mac’s sound.       Law & Order       Warner Bros.1981 https://www.sendspace.com/file/5dmm97

        This former child prodigy was working in a jazz ensemble at the age of 14, and studied theory and composition at the Prague Academy of Muse Arts. In 1968, as Czechoslovakia fell under Soviet rule, Hammer won a scholarship to Berklee College Of Music in Boston, Massachusetts, USA. Two years later he was playing with artists such as Elvin Jones and Sarah Vaughan, before joining the Mahavishnu Orchestra and playing on the seminal fusion albums The Inner Mounting Flame and Birds Of Fire. Hammer also played synthesizers on albums by Santana, Billy Cobham and others. After leader John McLaughlin temporarily disbanded the Mahavishnu Orchestra, Hammer and violinist Jerry Goodman made a 1974 duo album for Nemperor. This was followed by Hammer’s debut solo set, The First Seven Days, a concept album based on the creation of the Earth.       During the late 70s, the Jan Hammer Group (Hammer, violinist Steve Kindler, bass player Fernando Saunders, and drummer Tony Smith) was one of a loose

        "If it never got beyond the hard-hitting things, I wouldn't have been very suitable,"   said Kinks drummerMick Avory . It might be one reason the Kinks' used a session drummer on their proto-metal missile "You Really Got Me" (though Avory contributed tambourine). But as Kinks' frontman Ray Davies matured as a songwriter, Avory would emerge as one of the Sixties more quietly innovative drummers. With his jazz-tutored versatility and witty drum cadences, Avory, who'd been courted by the Rolling Stones in 1962, was indeed the ideal rhythmic foil for Ray Davies' sardonic, mature style. While Avory's playing was refined and low-key, his onstage fights with guitarist Dave Davies were the stuff of legend; when Dave trashed Avory's drum kit to close off a 1965 Cardiff gig, he got a drum pedal launched at his head in return. Yet, somehow Avory managed not to get kicked out of the band until 1984. KINKS Give The People What They Want Arista