Marry Me

The album is out on 10th July but you can listen to the title track today.

For once the song is totally in tune with life at the moment.

Stvincent-marryme

 http://www.myspace.com/stvincent

Pigiron

This months "Classic Rock" magazine includes a free CD titled "Bone Rattlin' Blues" it includes tracks by John Mayall, Paul Rodgers, Gary Moore and Otis Taylor amongst a number of newer artists.

The CD is perhaps more rock than blues but I was taken by the Pig Iron track which whilst based on some pretty standard rock riffing is enhanced by some lively harmonica blowing.

Pigiron2

The album "The Paths Of Glory......Lead But To The Grave" an apt title given my earlier post regarding John Entwistle, will be released shortly, in the meantime you can sample it below by listening to the track "Ruler Of Tomorrow"

01 Ruler Of Tomorrow

Pig Ir�n

John Headshot

It is hard to believe that today is the 5th Anniversary of the death of rock's greatest bass player.

Bass Guitar JAE Cover

John Entwistle

From Wikipedia, the free encyclopedia

John Entwistle
John Entwistle in 1982
Born	9 October 1944 Chiswick, London, England
Died	27 June 2002 (aged 57) Las Vegas, Nevada, USA
Genre(s)	Rock
Affiliation(s)	The Who
Label(s)	Polydor MCA Records
Notable guitars	Fender Jazz Bass Gibson Thunderbird Warwick Buzzard
Years active	1962-2002

John Alec Entwistle (October 9, 1944 – June 27, 2002) was an English bass guitarist, songwriter, singer, and horn player, who was best known as the bass guitarist for rock band The Who. He is regarded as one of the greatest and most influential rock bassists of all time,^[1] creating an aggressive lead sound that helped influence contemporary and later bassists such as Les Claypool, Steve Harris, Lemmy, Geddy Lee, Phil Lesh, Noel Redding, Billy Sheehan, Chris Squire and Mike Watt.

Entwistle helped uncover the potential of the bass guitar as a lead instrument, using aggressive pentatonic lead lines, and a trebly sound virtually unheard of in the early 1960s. He pioneered the use of roundwound steel bass strings, made to his personal specifications by RotoSound. His search for a sound to cut through The Who's sonic onslaught led him to experiment with more and different basses, leading him to amass a collection of over 200 instruments by the time of his death. His search for the perfect sound led him to experiment most notably with Alembic's basses in the 1970s, Warwick in the 1980s, and Status all-graphite basses in the 1990s.

Birth and early career

John Alec Entwistle was born in Chiswick, a London suburb in 1944 and attended Acton County Grammar School. He joined the Middlesex Youth Orchestra and his initial music training was on trumpet, french horn, and piano, all three of which would figure into his later rock playing. In the early 1960s, he played in several traditional jazz and dixieland outfits with schoolmate Pete Townshend in a duet The Confederates, and later joined Roger Daltrey's band the Detours. This band later became The Who.

He was nicknamed "The Ox" not for his size or his tendency to stand still during shows, but because of his strong constitution -- his seeming ability to "eat, drink or do more than the rest of them." Bill Wyman, bassist for the Rolling Stones, described him as "the quietest man in private but the loudest man on stage." For much the same reason, he was often known by the nickname "Thunderfingers" by his bandmates and Who fans.

Entwistle's Who songs, along with his solo material, reveal a dark sense of humor which was often incompatible with Pete Townshend's more introspective work. Though he continued to contribute material to all of The Who's albums with the exception of Quadrophenia, his frustration with having his material recorded by the band (largely with having to relinquish singing duties to Roger Daltrey) led him to release Smash Your Head Against the Wall in 1971. He was the first member of The Who to release a solo record.

Entwistle also contributed many backing vocals and horn performances to the group, most notably on Quadrophenia, where he layered several horns to create the impressive brass as heard on songs such as 5:15, among others.

Rarely captured well in the studio, his style and sound was fully developed by the time of The Who's performance of "A Quick One While He's Away" (singing the role of Ivor the Engine Driver) for the Rolling Stones' 1968 Rock and Roll Circus, as well as the seminal 1970 Live at Leeds concert recording. In concert, Entwistle and guitarist Pete Townshend frequently exchanged roles, with Entwistle providing rapid melodic lines and Townshend anchoring the song with rhythmic chord work. Indeed, Pete Townshend was often quoted that it was Entwistle who was the lead guitarist in the band, while he, being the rhythmic timekeeping element, was in effect the drummer. Moon, on the other hand, with all his flourishes round the kit, was considered by Townshend to be the equivalent of a keyboard player. Entwistle himself stated in many interviews (including one with Guitar Player's Chris Jisi in 1989) that, according to modern standards, "The Who haven't a proper bass player."

In the mid '60s, Entwistle was one of the first to make use of Marshall stacks. Pete Townshend later remarked that John started using Marshalls in order to hear himself over Moon's drums, and Townshend himself also had to use them just to be heard over John. They both continued expanding and experimenting with their rigs, until (at a time when most bands used 50-100w amps with single cabinets) they were both using twin Stacks with new experimental prototype 200w amps. This, in turn, also had a strong influence on the band's contemporaries at the time, with Cream and the Jimi Hendrix Experience both following suit. Ironically, although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built/tweaked to their personal specifications), they would only use Marshalls for a couple of years. Entwistle eventually switched to using a Sound City rig in search of his perfect sound, with Townshend also switching later on.

Entwistle also experimented throughout his career with "bi-amping," where the high and low ends of the bass sound are sent through separate signal paths, allowing for more control over the output. At one point his rig became so loaded with speaker cabinets and processing gear that it was dubbed "Little Manhattan."

His "full treble, full volume" approach to bass sound was originally supposed to be captured in the bass solo to "My Generation". According to Entwistle, his original intention was to feature the distinctive Danelectro bass, which had a very twangy sound, in the solo. During the third recording session(the first two excluded the solo), Entwistle had snapped all of the strings. To his dismay, not one store carried Danelectro strings, forcing him to cough up enough money for a second Danelectro. The fourth ended up the same. According to Entwistle, "As it was decided to press on and record 'My Generation' for a fifth time, I had no alternative but to go out and buy a third Danelectro bass." Eventually, during the fifth session, he recorded a simpler solo using a pick with a Fender Jazz Bass strung with LaBella tapewound strings. This solo bass break is important as it is one of the earliest (if not the first) bass solo captured on a rock record. A live recording of The Who from this period (c1965) exists with Entwistle playing a Danelectro on "My Generation," giving an idea of what that solo would have sounded like.

Technique

Entwistle's technique ranged from using fingers, plectrums and tapping to utilizing harmonics in his passages. He would change the style of play between songs and even during songs to change the sound he produced. His fingering technique would involve pressing down on the string hard and releasing in an attempt to reproduce a trebly, twangy sound. Note however, that he would change his thumb position from pickup, to the E string and occasionally even allowing his thumb to float near the pickup. His plectrum technique would involve holding the plectrum between his thumb and forefinger, with the rest of his fingers outstretched for balance.

Entwistle also developed what he called a "typewriter" approach to playing the bass. It involved positioning the right hand over the strings so all four fingers could be used to tap percussively on the strings, causing them to strike the fretboard with a distinctive twangy sound. This gives the player the ability to play three or four strings at once, or to use several fingers on a single string. It allowed him to create passages that were very percussive and melodic. He used this approach to mimic the fills used by his drummers in band situations, sometimes sending the fills back at the drummers faster than the drummers themselves could play them. This method is unique and should not be confused with the hammer-on tapping techniques of Eddie Van Halen and Stu Hamm or the slapping technique of Larry Graham, and in fact pre-dates these other techniques. A demonstration of this approach to bass playing can be seen on a video called John Entwistle - Master Class, part of Arlen Roth's Hot Licks instructional series, as well as Mike Gordon's film, Rising Low.

Demonstrated in Mike Gordon's film, Rising Low is John's tendency to use all three fingers when playing. This would allow him to create "clusters of notes" in his bass lines, as well as play triplets with relative simplicity.

Notable in his left handed technique is his use of slides, positioning the left hand for octaves and his use of the pentatonic scale.

Entwistle identified his influences as a combination of his school training on French horn, trumpet, and piano (giving his fingers impressive strength and dexterity). Musicians who influenced him included rock & roll guitarists Duane Eddy and Gene Vincent, and American soul and R&B bassists such as James Jamerson. Like Jamerson, Entwistle is credited as a pioneer on the bass guitar.

In turn, Entwistle has been a massive influence on the playing styles and sounds used by generations of bass players that have followed him and continues to top 'best ever bass player' polls in musicians magazines. In 2000, Guitar magazine named him "Bassist of the Millennium" in a readers' poll.

Late career

Toward the end of his career, he formed "The John Entwistle Band" with longtime friend, drummer Steve Luongo. Godfrey Townsend (no 'h', no relation to Pete Townshend) played guitar and sang lead vocals. In 1996, the band went on the "Left for Dead" tour with Alan St. Jon on keyboards. After Entwistle toured with The Who for Quadrophenia in 1996-97, the Entwistle band set off on the "Left for Dead - the Sequel" tour in late 1998 now with Gordon Cotten on keyboards. After this second venture, the band released an album of highlights from the tour, called Left for Live.

Towards the end of his career Entwistle used a Status Graphite Buzzard Bass, which he designed.

In 1999, 2000, and early 2002, John played as part of The Who.

In 2001 he played in Alan Parsons' Beatles tribute show "A Walk Down Abbey Road". The show also featured Ann Wilson of Heart, Todd Rundgren, David Pack of Ambrosia, Godfrey Townsend on guitar, Steve Luongo on drums, and John Beck on keyboards. That year he also played with The Who at The Concert for New York City.

In January-February 2002 John played his last concerts with The Who in a handful of dates in England, the last being February 8 in London's Royal Albert Hall.

In late 2002, an expanded 2-CD Left for Live Deluxe was released, further highlighting The John Entwistle Band performances.

Judas Priest guitarist Glenn Tipton has also released material recorded before John's death on the 2005 solo collection 'Edge of the World'

Death

John Entwistle died in a hotel room at the Hard Rock Hotel and Casino in Las Vegas on June 27, 2002 one day before the scheduled first show of The Who's 2002 US tour. The number of the actual room in which he died has remained a closely guarded secret, likely to prevent the room becoming a shrine/place of pilgrimage.

The Las Vegas medical examiner determined that death was due to a heart attack induced by an undetermined amount of cocaine. Though the amount in his bloodstream was not great, the drug caused his coronary arteries, already damaged due to a pre-existing heart condition, to contract. Entwistle battled cocaine addiction through much of his adult life.

John's funeral was held at Saint Edward's Church in Stow-on-the-Wold, Gloucestershire, England, on July 10, 2002. He was cremated and his ashes buried privately. A memorial service was held the following October 24, 2002 at St. Martin-in-the-Fields, Trafalgar Square, London.

Entwistle's collection of guitars and basses was auctioned at Sotheby's in London by his son, Christopher Entwistle, to meet anticipated duties on his father's estate. Joy Division/New Order bassist Peter Hook is amongst those who acquired some of Entwistle's basses at the auction.

Entwistle's mansion in Stow-on-the-Wold in the Cotswolds and a number of his personal effects were later sold off to meet the demands of the Inland Revenue. Ironically, Entwistle was a former employee of that department, only quitting his job when The Who became successful.

While The Who, including Entwistle and Moon, recorded with a multitude of instruments, they always performed as a four-piece band. Following his death, Moon was replaced not only by Small Faces/Faces drummer Kenny Jones and Zak Starkey (son of Ringo Starr), but The Who also added keyboardist John "Rabbit" Bundrick to the live band. Similarly, when Entwistle died, his place in the live band was filled by Pino Palladino, with second guitarist (Pete Townshend's brother) Simon Townshend having been added at rehearsals just weeks before Entwistle's death.

Welsh-born bassist Pino Palladino, who played on several of Pete Townshend's solo records, took over for Entwistle on stage when The Who resumed their postponed U.S. tour following John's funeral. Pete Townshend and Roger Daltrey spoke at length about their reaction to John's death. Some of their comments can be found on the The Who Live in Boston DVD.

Who Songs

John Entwistle was also a songwriter and artist. He wrote music for The Who, singing lead vocals on some, including:

Solo discography

• Smash Your Head Against the Wall (1971), US #126
• Whistle Rymes (1972), US #138
• Rigor Mortis Sets In (1973), US #174
• Mad Dog (1975), US #192
• Too Late the Hero (1981), US #71
• The Rock (1996)
• King Biscuit Flower Hour Presents in Concert (1996)
• Left for Live (1999)
• Music From Van Pires (2000)

Collaborations

• Smiling Men With Bad Reputations (With Mike Heron) (1971)
• Flash Fearless Vs The Zorg Women Parts 5 and 6 (With Alice Cooper et al) (1975)
• Any Road Up (With Steve Gibbons Band) (1976)
• One Of The Boys (With Roger Daltrey) (1977)
• Fabulous Poodles (With The Fabulous Poodles) (1977)
• Rough Mix (With Pete Townshend and Ronnie Lane) (1994)
• Mirror Stars (With Fabulous Poodles) (1978)
• Framed (With Dave Lambert) (1979)
• McVicar (With Roger Daltrey) (1980)
• Un Autre Monde (With Téléphone) (1984)
• Eddie Hardin and Zak Starkey's musical version of Wind In The Willows (With Eddie Harden, Zak Starkey et al) (1985)
• You'll Never Walk Alone (With Bradford City Disaster Fund) (1985)
• The Iron Man: A Musical (With Pete Townshend) (1989)
• When You're A Boy (With Susanna Hoffs) (1991)
• Celebration: The Music Of The Who (With Roger Daltrey) (1994)
• Halfway Back From Anywhere (With Ian Brusby) (1994)
• Looks Like Ringo, Sound's Like John (With Wiseguys INTL.) (1995)
• Ringo Starr and His third All-Starr Band-Volume 1 (With Ringo Starr et al) (1995)
• Baptizm of Fire (with Glenn Tipton and Cozy Powell) (1997)
• The Deep End, Volume 1 (with Gov't Mule (2001)
• The Pioneers With Special Guest Pioneer John Entwistle (With The Pioneers) (2002)
• Edge of the World (As Tipton, Entwistle & Powell) (2006) (Posthumous)

Compilations

• The Best Of Music And Rhythm (1983)
• Songs From The Material World (2003)
• So Who's The Bass Player? The Ox Anthology (2005)

External links

• JohnEntwistle.com
• The John Entwistle Foundation
• The Who's Marshall history
• The Who Location Guide
• The Who Forum: Who news and discussion community.

Bassist Of The Millenium

JAE 1979

The track below "The Ox" is an Entwistle driven instrumental from The Who's debut album and it also features Nicky Hopkins on piano.

The Ox

As well as his music John Entwistle had a love of fishing and art, his drawings were almost as famous as his music. Many of his pictures featured members of The Who but like Ronnie Wood he also drew many caricatures of other musicians.

His most famous piece is perhaps the cover of "The Who By Numbers" album and the artwork has been reproduced on many a piece of memorabilia.

Who By Numbers

Tank Art

2000 Tour Poster

I am so pleased to own one of the above limited edition signed prints as well as a similar one with different drawings from the Europe Tour of 1997.

John's solo career was never a big commercial success, but what it did do was provide an outlet for his song writing ambitions as with a writer like Pete Townshend around opportunnities on Who albums were limited.

Having his own bands also allowed him to continue to enjoy his main passion...playing live and it was these bands which kept him on the road in between Who tours.

Below you can watch him and his band tackle Mose Allison's "Young Man Blues" which was of course the storming opener on The Who's classic "Live At Leeds".

His last album was called "The Rock" and below you can listen to the strangely prophetic "Last Song".

Last Song

John Entwistle

John Alec Entwistle lived the life and regretably died the death of a rock star, and whilst The Who continue with Pino Palladino, doing his own thing, the band will never be the same, ironically it has given Pete Townshend a new life as a guitarist as without the lead bass runs of Entwistle which were filled out by Townshend's rythme playing, Pete himself has had to step forward a fill the void left by John's death, the stack and rig will however remain for ever silent.

JAE's Rig

Last words are from the video "An Ox's Tale" and via some of John's home movies and of course perhaps his most famous song "Boris The Spider" performed with The Who.

John Alec Entwistle (9th October 1944 - 27th June 2002) gone but not forgotten.

JAE 1982

After miising out 2006 Glastonbury was back with a vengence and hats off to the BBC who provided blanket coverage over all the mediums in their control be it television, radio or the web.

The interactive coverage on the telly was particularily impressive allowing the viewer to hop from stage to stage depending on each individual's preferences.

On Sunday night I stayed up to watch the magnificent WHO close the festival with a storming set which even received a reluctant seal of approval from the "no-one over twenty who knows more than three chords is worthy" twosome of Radcliff and Whiley!

Rog3

The Who close Glastonbury 2007

Rock veterans play the hits in the rain

The Who brought this year's Glastonbury Festival to a climatic close tonight (June 24) with a greatest hits set on the Pyramid Stage.

As the festival began with pouring rain, so it ended with the heavens opening throughout the rock veterans' hour and a half performance.

Launching into 'Relay', guitarist Pete Townshend made reference to his internet vision back in 1971, the year he wrote the track.

Joking with the crowd he said: "You look at these old fuckers here onstage talking about the internet in 1971 and that was the year I wrote this song."

The rock veterans went on to thrill the crowd with a stunning performance of classic hits including 'My Generation', 'Won't Get Fooled Again', 'You Better You Bet' and 'Pinball Wizard', which saw the band roll through a huge medley.

Of their performance Townshend told the crowd: "We waited a long time to come here. We are so pleased to be here. Thanks for sticking with us."

As The Who drew the three day bash to a close, Townshend strapped on an acoustic guitar and Daltry was seen swigging from a mug for the final track 'Tea And Theatre'.

The singer added: "It maybe muddy, it maybe wet but you have been fantastic. Thank you Glastonbury."

The Who played:

'I Can't Explain'
'The Seeker'
'Anyway Anyhow Anywhere'
'Fragments'
'Who Are You
'Behind Blue Eyes'
'Baba O'Riley'
'Relay'
'You Better You Bet'
'My Generation'
'Won't Get Fooled Again
'The Kids Are Alright'
'Pinball Wizard'
'Amazing Journey/Sparks'
'See Me Feel Me'
'Listening To You'
'Tea And Theatre'
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Pr1

Glastonbury Festival was brought to a rain drenched finale tonight (Sunday), as The Who closed the Pyramid Stage while The Chemical Brothers played on the Other Stage.

The rock legends played a greatest hits set, with early highlights including 'The Seeker', 'Won't Be Fooled Again' and 'Who Are You'.

Drawing one of the weekend's biggest crowds to the Pyramid, with many forced onto paths leading off the stage to get a listen, the veteran rockers looked visibly moved by the reaction.

Guitarist Pete Townshend said: "We waited a long time to come here. We are so pleased to be here. Thanks for sticking with us."

As the rain got worse the hits got bigger, and during the second half of the set the audience were treated to a medley of songs, including 'My Generation', 'Won't Get Fooled Again, 'The Kids Are Alrig