Missionaria Protectiva

        Music history has a special niche reserved for Ian McLagan, who has died aged 69 after suffering a stroke. His distinctive and evocative playing on the Hammond B3 organ and Wurlitzer piano – much influenced, as he admitted, by the R&B veteran Booker T Jones – became part of the fabric of rock’n’roll through his work with two classic British bands, the Small Faces and the Faces.       McLagan’s playing was integral to the success of such hits as the Small Faces’ All Or Nothing (1966) and the Faces’ Stay With Me (1971). In addition, he enjoyed steady employment with musicians from Bruce Springsteen and Bob Dylan to Billy Bragg and Bonnie Raitt. He also featured prominently on the early solo albums of  Rod Stewart  as the singer developed into an international superstar. Troublemaker Mercury,1979 https://www.sendspace.com/file/tvrgqd

         Steve Gadd "doesn't play a groove, he digs a trench." At the peak of his work in the New York session scene in the 1970s, he claims he playing three sessions a day, giving a decade of rock music a deep and gentle funkiness. His best known works are the brain-bending syncopation of Paul Simon's "50 Ways to Leave Your Lover" and the slurping hi-hats and monster fills on Steely Dan's "Aja," but Gadd has breathed giddy groove into hundreds of recordings including Van McCoy's Number One disco sensation "The Hustle." "Every drummer wants to play like Gadd because he plays perfect," said Chick Corea. "He has brought orchestral and compositional thinking to the drum kit while at the same time having a great imagination and a great ability to swing." STEELY DAN Aja ABC,1977 https://www.sendspace.com/file/7vcefv

        Swept away by the lengthy jams, slide guitar solos, and beautifully in-sync double drummers, Allman Brothers Band helped define Southern Rock and usher in a new era of blues. The man keeping it all together was  Berry Oakley , whose bass lines to songs like “Whipping Post” and “In Memory Of Elizabeth Reed” fueled the band, facilitated improvisation, and showed off his creative and boundary-pushing approach to musical motion. While the world lost him at too young an age, Oakley certainly made his mark on iconic records including  The Allman Brothers Band ,  At Fillmore East , and  Eat A Peach. ALLMAN BROTHERS BAND Eat A Peach Capricorn,1972 https://www.sendspace.com/file/d7jca4

        He played on more records than some people own, most notably adding inspiration to Steely Dan and the Doobie Brothers. LIVINGSTON TAYLOR Man's Best Friend Epic,1980 https://www.sendspace.com/file/adfkje

             English rock keyboardist, born 21 June 1948 in Sunderland. He has been recording with a lot of hard rock and heavy metal projects since 1974, including names like Ozzy Osbourne, Cozy Powell, Gary Moore, Rainbow and Thin Lizzy. Also worked in "commercial" projects and solo albums. Airey orchestrated and conducted the winning UK Eurovision entry 'Love Shine a Light' by Katrina & The Waves in 1997.  K2 - Tales Of Triumph And Tragedy MCA,1988 https://www.sendspace.com/file/6kl1lp

      Coming off an  inauspicious late-Eighties stint drumming in novelty band Green Jellÿ (under the pseudonym Danny Longlegs), Danny Carey joined future alt-metal juggernaut Tool in 1990. In the years since, the 6′ 5″ Kansas native has established himself as the natural heir to Seventies prog giants such as Neil Peart and Bill Bruford, and one of the most widely admired rock drummers of his generation. Carey’s style combines brainy ambition – and a knack for polyrhythms and odd meters – with uncompromising force and a fluid feel. His gift is making the experimental sound natural.  VOLTO! Incitare Concord,2013 https://www.sendspace.com/file/5b4d2p

        Born in Philadelphia, PA in 1951, Johnson began his musical journey by playing the upright bass in the elementary school orchestra. He adopted the electric bass as a teenager and in the early 1970’s played with various jazz outfits. After playing with the Chuck Mangione Quartet and opening for Weather Report, Wayne Shorter asked him to audition for the band. Johnson joined Weather Report and can be heard on  Mysterious Traveller ,  Tale Spinnin’ , and  Black Market . Also during this time, he recorded and toured with Billy Cobham and George Duke, among others, and released a few solo albums including  Yesterday’s Dreams ,  Moonshadows , and  Spellbound . Throughout the 1980’s, Johnson continued to enjoy success as a session and touring player, particularly as a member of Bob Weir’s project “Bobby and the Midnites” and as a member of Santana’s band. Other recording credits include Dee Dee Bridgewater, Stanley Clarke, The Crusaders, Eric Gale, Lee Ritenour, and Phil Collins.  WEA

        British musician Steve Howe joined the band Yes in 1970 and helped lead them to critical and commercial success with his experimental guitar playing and songwriting abilities. After leaving in 1981, he rejoined the group in the 1990s. In 2017 was inducted into the Rock and Roll hall of Fame as a member of the band.      Howe has also had success performing with other bands including GTR, and Asia and has released regular solo albums throughout his career.       Howe is known for playing his guitar at speeds exceeding  mach 3  (approx. 1440 notes per second) and also his ability to solo throughout an entire song due to his strict policy on chord playing and infamous hatred towards rhythm guitarists. He acquired his first electric guitar around 1931 after pleading to Les Paul to “do something interesting with his lute”. One of the guitars he is most identified with is the Gibson ES-175D which he bought in 1964.  GTR GTR Arista,1986 https://www.sendspace.com/file/522279

        Joined The Blues Project as keyboardist in 1965, and subsequently toured with Bob Dylan playing the Hammond organ      He formed Blood, Sweat, and Tears in 1967, but left over creative differences before they hit it big.  He has played on hundreds of records (on both keyboard and guitar) with well-known rock acts, co-written top 40 hits, produced many sessions for hit artists and written scores for television and movies.  At one time, Al taught courses in Songwriting and Record Production at The Berlee School of Music in Boston.  In 1977, Al wrote an autobigraphy about his 1960’s rock and roll lifestyle entitled “Backstage Passes and Backstabbing Bastards: Memoirs of a Rock and Roll Survivor”. New York City (You're A Woman) Columbia,1971 https://www.sendspace.com/file/xopfg9

        A valuable team  player as well as a bruising power hitter with an instantly identifiable style, Carmine Appice literally wrote the book on rock drumming: His 1972 text  The Realistic Rock Drum Method  has been a staple since its release. Appice made his name in the late Sixties with eccentric psych outfit Vanilla Fudge – influencing a young John Bonham with his romping, aggressively funky grooves – before moving on to a heavier blues-rock style with Cactus and Beck, Bogert & Appice. He demonstrated his range in the late-Seventies Rod Stewart band, contributing sassy backbeats and key songwriting assistance on hits such as "Da Ya Think I'm Sexy." (Stewart reportedly called Appice "The Dentist" for employing what he termed "too many fill-ins.") More recently, he's kept busy playing "Drum Wars" shows with younger brother and fellow elite hard-rock beatsmith Vinny (Dio, Black Sabbath). According to Appice, some of his key innovat

        Influenced by The Beatles and his father’s musical accomplishments as an arranger and wind player, he picked up the bass at the age of fourteen. He then met Russell Javors and Liberty DeVitto and formed the club band “Topper.” Billy Joel got wind of the band in his search for a “New York” sound and, in need of a bass player, asked Stegmeyer to join him for his Streetlife Serenade tour. A couple years of later, the other members of Topper joined Joel’s band, serving as both the touring and recording band from 1976 through 1988. Nicknamed “The Sergeant,” Stegmeyer served as musical director for Joel, guiding the band through song arrangements and having a great amount of influence on recording sessions. Throughout the 1970s and 1980s, he also worked as a session playing with other artists, including Phoebe Snow, Bob James, Graham Parker, Debbie Gibson, The Carpenters, and Hall & Oates. BILLY JOEL Turnstiles Columbia,1976 https://www.sendspace.com/file/cpfxvj

        William Scott Gorham was born on St Patrick's day, 17th March 1951 in Glendale, California. Scott's musical career started at aged 13 when he played bass guitar in a local surf band. He later took up the guitar and played with various bands throughout his teenage years.        Scott's brother-in-law, Bob Siebenberg, moved to London and eventually joined 'Supertramp'. With the possibility of also joining the group, Bob suggested Scott come to the UK to audition. This didn't work out and Scott, now based in London, formed a band called 'Fastbuck'.         This was Scott's apprenticeship where he learned about independence and responsibility, but realising the band were not destined for great things, he made an effort to go for an audition at The Iroquo Country Club in London with a moderately successful Thin Lizzy in 1974.          Scott went on to perfect the now famous twin-guitar harmony with Lizzy's other 'new recruit', Brian &#

        After earning a music scholarship in Shrewsbury Public School, he finished his studies in 1967 obtaining his L.T.C.L. and L.R.S.M diplomas in violin. Soon was invited to join the famous (In Latin America) SERGIO MENDEZ band (1970).       Is in this days the he works in his debut album "Chimera" that is released in 1974 with Duncan playing Vocals, piano, Hammond B3 organ, Denon electric piano, clavichord, ARP synthesizer.       In 1975 he joined Steve Harley and Cockney Rebel with whom they release the hit single Come Up And See Me, Make Me Smile that reaches the peak of the British charts, but in the meanwhile, faithful to the music he loves, works and releases his second album Score that saw the light in 1977, with famous musicians such as John Wetton and Mel Collins (King Crimson), it's only recently that this album has reached the status of Collector's Item.       Around he date of release of Score, Duncan worked with famous musicians and bands as KATE BUSH

        Though he's spent  most of the last 30 years touring on the jazz fusion circuit and heading up drum clinics, from 1978 to 1985 Steve Smith's superhuman chops held down arena rockers Journey during their peak years – arcade game and all. His part for the inspirational classic "Don't Stop Believin'" is an intricate open handed pattern in which he plays the hi-hat with his left hand while his right moves around the kit. It's as exceptional as Perry's skyscraping vocals.  VITAL INFORMATION Orion Columbia,1984 https://www.sendspace.com/file/1piv8z

        Randy Meisner   is best known for his work with The Eagles from 1971-1977. A mainstay on most of their hits, he has also worked with Poco, James Taylor, Linda Ronstadt and has released solo records.       Meisner is the kind of player that excels at functionality and musicality, perfectly at home supporting the song and holding out for the right moment to execute a low-end melody. Many of his bass lines are derivative of traditional blues and country bass playing, where the approach favors playing just the root, the arpeggio, or the root and fifth.  M ost of his lines are harmonically simple and make use of diatonic voice leading, he gracefully sits in the groove with the drummer, provides the necessary accompaniment, and allows the song to shine through. One More Song Epic,1980 https://www.sendspace.com/file/mrv04h

        Between Paul Rodgers’ wailing, Simon Kirke’s tremendous backbeat, and the steady bass lines of Andy Fraser, Free had more than enough talent. And they had another weapon: Paul Kossoff, a player who brought it all together and elevated their music into the stratosphere.       Kossoff didn’t have the dexterity of Clapton, the finesse of Beck, or the bombast of Page, but he had an innate knowledge of how to do more with less, an instinct to make each note matter musically and emotionally. Sadly, Kossoff died from a drug-related heart attack at 25 during a flight from L.A. to New York, robbing the world of a unique talent.   Back Street Crawler Island,1973 https://www.sendspace.com/file/qqntfx

        Kerry's first band was the Gimlets, which he formed with several close friends in high school. After school and on weekends, they soon found themselves booked throughout Kansas and neighboring Missouri. Kerry's involvement with the band continued through college, before joining the Mellotones, a mainstream rhythm and blues band. Driven by a desire for more creative expression, Kerry formed Saratoga, who played for audience members around the area, including a young drummer named Phil Ehart and a bass player, Dave Hope.       In 1970, they formed the group, Kansas , combining the best members from their respective bands. Known for their sometimes bizarre originality, the band went through several iterations before becoming the six-member group signed by Don Kirshner in 1973. Kerry remained with the band for 13 years as the band's primary song writer, lead guitarist and keyboard player. Penning such prog classics as Journey From Mariabronn and Song for America as well

        Toto drummer Jeff Porcaro was a perpetual pop presence in the Seventies, Eighties and Nineties. His fleet stick work gave Michael Jackson's "Beat It" much of its bite, helped Michael McDonald's "I Keep Forgettin'" simmer wistfully and laid down the   "Rosanna Shuffle " on his own band's megahit of the same name. "Jeff always had a huge part in making a song a record," Porcaro's brother and bandmate Steve   told  Rhythm  in 2013 . "You felt like you were capturing lightning in the studio. It was never boring. … He always came up with the best parts instantly, like he'd been playing the song for years."       Porcaro passed away in 1992, shortly after Toto's eighth album  Kingdom of Desire  was completed; he'd also played on Bruce Springsteen's  Human Touch , and allegedly turned down a million-dollar tour offer from the Boss in order to work with his flagship band.   TOTO Toto Columbia,1978 htt

        There are plenty of players who have left the musical world far too soon and are frequently overlooked or, more commonly, heard but not known. One example that comes to mind is the great and soulful  Carl Radle , the California transplant who made an indelible mark in the world of blues and soul during the 1970’s. A fortuitous connection with Leon Russell landed him the Joe Cocker “Mad Dogs & Englishmen” tour, while his ability to combine elements of blues, rock, and country made him an ideal member for Derek & The Dominos, as well as Eric Clapton’s touring band.  DEREK & The DOMINOS In Concert Polydor,1973 https://www.sendspace.com/file/nx142v

        The young Allman had greatness thrust upon him after Clapton heard his blistering outro solo on Wilson Pickett’s Hey Jude. Having supplied all the slide and Gibson tones on Derek And The Dominos’ album, Allman played on records by soul stars Aretha Franklin and Percy Sledge.        Fame beckoned with his own band, and he established himself as the world’s foremost slide guitarist. His style laid the groundwork for Southern rock, influencing every drawl-inflected band from Lynyrd Skynyrd to Black Stone Cherry. He was dead at just 24. ALLMAN BROTHERS BAND Idlewild South ATCO,1970 https://www.sendspace.com/file/zw8tuf