Label: RAK - SRAK 534 • Format: Vinyl LP, Album, White Label • Country: UK • Genre: Rock • Style: Alternative Rock, New Wave
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Tracklist: Video Life Radio Times Time Warp Midnight Boys Bored Bored Walking Breakout Frontal Lobotomy Hey Miss Betty More Lobotomy, Pts. Breakout Live Gunfight The fact that he never quite broke through to stardom, except in his native England, in parts of Europe, and in professional music circles, is more a result of bad timing and worse luck than any lack of talent or commitment on his part.
Spedding was born in Sheffield, England, in His family moved to Birmingham Video Life - Chris Spedding - Guitar Graffiti the mid-'50s, by which time he had already taken up music, playing the violin in his school orchestra. According to Chris Welch in a article, Spedding began to strum his violin like a guitar, and the Rubicon had been crossed.
Spedding organized his first band, the Hot Spurs, while still attending school. Not too long after that, while still in his mid-teens, he headed for London and joined a beat group called the Vulcans, and from there supported cabaret acts on a cruise ship and several touring country bands.
During the second half of the s, Spedding backed both Alan Price and Paul Jones at a time when both were among the top-ranked solo artists in England.
He also landed a high-paying gig with the Nat Temple Orchestra, doing weddings and bar mitzvahs, among other events. Brown was assembling a group and, at Khan's suggestion, he approached Spedding about playing with the band that became the Battered Ornaments.
But Spedding also had his spotlight moments on the album, on lead guitar, slide guitar, and even a Portuguese chittara on one track. The album was favorably reviewed and a favorite on London's burgeoning Video Life - Chris Spedding - Guitar Graffiti music scene, and the group was getting lots of high-profile bookings, including the July Hyde Park concert with the Rolling Stones.
Suddenly one day, Brown was gone, ousted in a coup by the majority of the group in favor of Spedding, who quickly became the leader and lead vocalist of what was now simply known as the Battered Ornaments. The group was forced to wipe Brown's vocals from the second album, Mantle-Piece, that they'd already finished. While Spedding's singing was smoother and more A Good Thang (A Cappella) - Alicia Myers - A Good Thang, the album ended up a lot flatter and less interesting.
Spedding kept with them for a time after the release, but Орк. Под Упр. Ф. Ф. Криша* / Оркестр* - Вальс / Танец (Shellac) Spedding cut ties with the group and the Battered Ornaments were soon history. Despite the turmoil surrounding the Battered Ornaments' brief existence, Spedding's time there helped establish his reputation in British music circles.
This led to more work with Bruce, as well as ex-Manfred Mann singer Mike d'Abo, and it was around this same time that he cut an instrumental album, Songs Without Wordsthat only got released in Europe and Japan. He began his formal solo career the following year with Backwoods Progression, which featured his vocals as well as his playing -- it was in a light progressive rock mode, and also included Royston Mitchell and Paul Abrahams on keyboards, plus Laurie Allan and Roy Babbington as the drummer and bassist.
The album wasn't a huge success, but did well enough that Spedding could follow it up in with the delightful The Only Lick I Know, where the focus was more on his playing. Those records went unnoticed by all but a cult Hips - U-God - Dopium of guitar enthusiasts and Spedding's fellow musicians; the reality was that most of his livelihood during the s derived from playing on others' recordings.
His solo efforts were interrupted in when former Free bassist Andy Fraser formed the Sharks, and offered Spedding the lead guitar spot. He played with bubblegum group the Wombles in full costume, and in he signed to Mickie Most's RAK label, for which he recorded the single "Motor Bikin'. Though it wasn't his first solo album, so great had been the impact of "Motor Bikin'," it might as well have been his debut as far as most listeners were concerned.
It was also a serious departure from his earlier albums; with a decidedly retro feel that careened between Buddy Holly and Gene Vincent, and a Video Life - Chris Spedding - Guitar Graffiti style that emulated the playing Sebefil - Fénix - Čára Není Zeď Holly and Tommy Alsup, as well as Vincent's lead guitarist Cliff Gallup, the record was a hugely influential work in its time. It gave him the credibility despite being a veteran of the British Invasion scene and the psychedelic era to join the Vibrators on their first single, "Pogo Dancing.
And when rockabilly revivalist Robert Gordon parted ways Video Life - Chris Spedding - Guitar Graffiti gritty guitar legend Link Wray, Spedding was recruited to take Wray's place on-stage and in the recording studio. Spedding attempted unsuccessfully to capitalize on this new credibility with 's Guitar Graffiti, an exultant album-length guitar workout that put him back in his early-'70s mode but with a lighter touch and a more freely flowing spirit behind it; somehow, it failed to connect with the public, beyond his cult audience.
He then moved to New York and joined the Necessaries as a guitarist and songwriter. The chemistry wasn't right, however, and he returned to England and recorded another album of his own, I'm Not Like Everybody Else, in The live Friday the 13th was released a year later, showing off some extended solos on his late-'70s material. Over the '80s and '90s, Spedding -- who was frequently compared to Mark Knopfler as a guitarist and recording artist -- continued his session work on such albums as Tom Waits' Rain Dogs, while periodically Video Life - Chris Spedding - Guitar Graffiti solo material 's Mean and Moody, 's roots-rocking Enemy Within, and 's Cafe Days.
He subsequently worked with the likes of Paul McCartney and Bono from U2, among many other world-class performers. Acquire, please legitimate discs, which no doubt will adorn your collection!
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