Biography
The band that knew no boundaries
Posten on: 2006-04-26 03:23:00
Sly & the Family Stone harnessed all of the disparate musical and social trends of the late '60s, creating a wild, brilliant fusion of soul, rock, R&B, psychedelia, and funk that broke boundaries down without a second thought. Led by Sly Stone, the Family Stone was comprised of men and women, and blacks and whites, making the band the first fully integrated group in rock's history. That integration shone through the music, as well as the group's message. Before Stone, very few soul and R&B groups delved into political and social commentary; after him, it became a tradition in soul, funk, and hip-hop. And, along with James Brown, Stone brought hard funk into the mainstream. The Family Stone's arrangements were ingenious, filled with unexpected group vocals, syncopated rhythms, punchy horns, and pop melodies. Their music was joyous, but as the '60s ended, so did the good times. Stone became disillusioned with the ideals he had been preaching in his music, becoming addicted to a variety of drugs in the process. His music gradually grew slower and darker, culminating in 1971's There's a Riot Going On, which set the pace for '70s funk with its elastic bass, slurred vocals, and militant Black Power stance. Stone was able to turn out one more modern funk classic, 1973's Fresh, before slowly succumbing to his addictions, which gradually sapped him of his once prodigious talents. Nevertheless, his music continued to provide the basic template for urban soul, funk, and even hip-hop well into the '90s.Sly Stone (born Sylvester Stewart, March 15, 1944) and his family moved from his home state of Texas to San Francisco in the '50s. He had already begun to express an interest in music, and when he was 16, he had a regional hit with "Long Time Away." Stone studied music composition, theory, and trumpet at Vallejo Junior College in the early '60s; simultaneously, he began playing in several groups on the Bay Area scene, often with his brother Fred. Soon, he had become a disc jockey at the R&B station KSOL, later switching to KDIA. The radio appearances led to a job producing records for Autumn Records. While at Autumn, he worked with a number of San Franciscan garage and psychedelic bands, including the Beau Brummels, the Great Society, Bobby Freeman, and the Mojo Men.During 1966, Stone formed the Stoners, which featured trumpeter Cynthia Robinson. Though the Stoners didn't last long, he brought Robinson along as one of the core members of his next group, Sly & the Family Stone. Formed in early 1967, the Family Stone also featured Fred Stewart (guitar, vocals), Larry Graham Jr. (bass, vocals), Greg Errico (drums), Jerry Martini (saxophone), and Rosie Stone (piano), who all were of different racial backgrounds. The group's eclectic music and multiracial composition made them distinctive from the numerous flower-power bands in San Francisco, and their first single, "I Ain't Got Nobody," became a regional hit for the local label Loadstone. The band signed with Epic Records shortly afterward, releasing their debut album, A Whole New Thing, by the end of the year. The record stiffed, but the follow-up, Dance to the Music, generated a Top Ten pop and R&B hit with its title track early in 1968. Life followed later in 1968, but the record failed to capitalize on its predecessor's success. "Everyday People," released late in 1968, turned their fortunes back around, rocketing to the top of the pop and R&B charts and setting the stage for the breakthrough success of 1969's Stand!Featuring "Everyday People," "Sing a Simple Song," "Stand," and "I Want to Take You Higher," Stand! became the Family Stone's first genuine hit album, climbing to number 13 and spending over 100 weeks on the charts. Stand! also marked the emergence of the political bent in Stone's songwriting ("Don't Call Me Nigger, Whitey"), as well as the development of hard-edged, improvisational funk like "Sex Machine." The Family Stone quickly became known as one of the best live bands of the late '60s, and their performance at Woodstock was widely hailed as one of the festival's best. The non-LP singles "Hot Fun in the Summertime" and "Thank You (Falettinme Be Mice Elf Agin)" b/w "Everybody Is a Star" became hits, reaching number two and number one respectively in late 1969/early 1970. Both singles were included on Greatest Hits, which became a number two record upon its fall 1970 release. While the group was at the height of its popularity, Sly was beginning to unravel behind the scenes. Developing a debilitating addiction to narcotics, Stone soon became notorious for arriving late for concerts, frequently missing the shows all together.Stone's growing personal problems, as well as his dismay with the slow death of the civil rights movement and other political causes, surfaced on There's a Riot Goin' On. Though the album shot to number one upon its fall 1971 release, the record -- including "Family Affair," Stone's last number one single -- was dark, hazy, and paranoid, and his audience began to shrink slightly. During 1972, several key members of the Family Stone, including Graham and Errico, left the band; they were replaced by Rusty Allen and Andy Newmark, respectively. The relatively lighter Fresh appeared in the summer of 1973, and it went into the Top Ten on the strength of the Top Ten R&B hit "If You Want Me to Stay." Released the following year, Small Talk was a moderate hit, reaching number 15 on the charts and going gold, but it failed to generate a big hit single. High on You, released in late 1975 and credited only to Sly Stone, confirmed that his power and popularity had faded. "I Get High on You" reached the R&B Top Ten, but the album made no lasting impact.Disco had overtaken funk in terms of popularity, and even if Sly wanted to compete with disco, he wasn't in shape to make music. He had become addicted to cocaine, his health was frequently poor, and he was often in trouble with the law. His recordings had slowed to a trickle, and Epic decided to close out his contract in 1979 with Ten Years Too Soon, a compilation of previously released material that had the original funky rhythm tracks replaced with disco beats. Stone signed with Warner Brothers that same year, crafting the comeback effort Back on the Right Track with several original members of the Family Stone, but the record was critically panned and a commercial failure. In light of the album's lack of success, Stone retreated even further, eventually joining forces with George Clinton on Funkadelic's 1981 album The Electric Spanking of War Babies. Following the album's release, Stone toured with Clinton's P-Funk All-Stars, which led him to embark on his own tour, as well as a stint with Bobby Womack. The culmination of this burst of activity was 1983's Ain't but the One Way, an album that was ignored. Later that year, Stone was arrested for cocaine possession; the following year, he entered rehab.Stone appeared on Jesse Johnson's 1986 R&B hit "Crazay." The following year, he dueted with Martha Davis on "Love & Affection" for the Soul Man soundtrack; he also he recorded "Eek-a-Bo-Static," a single that didn't chart. Stone was arrested and imprisoned for cocaine possession by the end of 1987, and he was never able to recover from the final arrest. Stone continued to battle his addiction, with varying degrees of success. By his 1993 induction to the Rock & Roll Hall of Fame, he had disappeared from public view. Following his appearance at the induction ceremony, he was found living in a sheltered-housing complex. Avenue Records gave Stone a recTheording contract in 1995, but nothing would be recorded.
Posted in: Biography | Sly & The Family Stone | 0 Comments
Progressive rock's first supergroup
Posten on: 2006-04-14 07:20:16
Greeted by the rock press and the public as something akin to conquering heroes, they succeeded in broadening the audience for progressive rock from hundreds of thousands into tens of millions of listeners, creating a major radio phenomenon as well. Their flamboyance on record and in the studio echoed the best work of the heavy metal bands of the era, proving that classical rockers could compete for that arena-scale audience. Over and above their own commercial success, the trio also paved the way for the success of such bands as Yes, who would become their chief rivals for much of the 1970s. Keyboardist Keith Emerson planted the seeds of the group in late 1969 when his band the Nice shared a bill at the Fillmore West with King Crimson, an up-and-coming band that featured lead singer and bassist Greg Lake. Emerson and Lake first discussed the possibility of collaborating at that point, but only after the Crimson lineup began disintegrating during their first U.S. tour did he finally opt to leave the group (after agreeing to sing on the forthcoming Crimson album). Upon officially teaming in 1970, Emerson and Lake auditioned several drummers, including Mitch Mitchell, before they approached Carl Palmer, a former member of the Crazy World of Arthur Brown who later hooked up with bandmate Vincent Crane in an experimental band called Atomic Rooster. The trio's first rehearsals mostly picked up from the Nice's and King Crimson's repertoires, including such well-known numbers as "Rondo" and "21st Century Schizoid Man." In August of 1970, even as they were working on the songs that would ultimately comprise their first album, ELP played its first show at the Plymouth Guildhall, just ahead of the Isle of Wight Festival in August of 1970. The group's self-titled debut album was finished the following month and released in November; an instant success, it rose to the Top Five in England and the Top 20 in America. The single "Lucky Man" also was a hit, and their stage act rapidly became the stuff of legend. The recording of the second ELP album, 1971's Tarkus, tested their cohesiveness while stretching their sound in new directions. Emerson was interested in further exploiting the range of the Moog synthesizer, and had conceived of an extended suite built around an opening eruption of sound, while Palmer had come up with an unusual drum pattern that he was eager to use. When they tried to present their ideas to Lake, who had assumed the mantle of producer with the first album, however, he couldn't really grasp the piece. He balked, and arguments ensued, and for a time it looked as though there might be no second album. The group eventually agreed to disagree about the proposed track: "Tarkus" became the title of the new album, and ultimately defined the ELP sound as most people understood it -- the song was loud and bombastic, somewhat gloomy in its lyrical tone, and exultant in its instrumental power. A descendant of "The Three Fates" and "Tank" from the first album, "Tarkus" was a much denser piece of music, featuring not only multiple overdubs of instruments but textures that ultimately proved very difficult to re-create on-stage. After Tarkus hit the number one spot on the English charts and reached the Top Ten in America, their March 21, 1971, concert at Newcastle City Hall -- featuring the group's adaptation of Mussorgsky's "Pictures at an Exhibition" -- was recorded for release, and became another major hit. It was eight months before ELP's next record, Trilogy, was released in July of 1972. In the interim, they toured extensively, and made it their business to cultivate the college audience that took most naturally to their work. With Trilogy, the partnership was back fully in balance, with each member taking an equal share of musical responsibility. Moreover, Lake never sang better, nor did the group ever sound more comfortable and laid-back; among the eight very solid numbers in a classical-rock vein, there was tucked a track that became virtually the band's signature tune, a version of Aaron Copland's Hoedown. Such was the group's credibility that when it came time to record a version of the first movement of Alberto Ginastera's Piano Concerto No. 1 and the publisher denied them permission, they approached the composer himself, who fully approved and applauded the track that became "Tocatta" on Brain Salad Surgery, released in 1973 on their own record label, Manticore (named for one of the mythological creatures portrayed in "Tarkus"). Through Manticore, ELP also released material by Pete Sinfield and the Italian progressive rock band PFM; Sinfield's presence as a composer with Lake on Brain Salad Surgery helped strengthen one of the group's lingering weaknesses, its lyrics -- where Lake's use of language had always tended toward the pleasant but simplistic, Sinfield, a veteran of King Crimson, provided lyrical complexity nearly as daunting as the best of the group's music. In the wake of this string of successes, ELP released a triple live album, Welcome Back My Friends to the Show That Never Ends, in August of 1974, but their streak came to a halt with Works, an album that also marked the dissolution of the group sound. At the time, each member was feeling constrained by the presence of the others, and their inclination was to release a trio of solo albums; cooler heads prevailed, however, and they reasoned that none of their solo works would sell remotely as well as an ELP album. The result was Works, a double album released in March of 1977. The album consisted of three solo sides and a fourth side on which the group did two extended collaborative efforts, "Pirates" and "Fanfare for the Common Man." The record fared poorly, and the group was never the same: Works destroyed ELP's unity, and their main motivation for recording seemed only to be their contractual obligations. Worse still, they'd squandered valuable time with work on the double album, time during which the public's taste was changing -- the progressive bands were coming in for special criticism, and the notion of extended suites, conceptual rock albums, and classical-rock fusion now seemed hopelessly ponderous and pretentious as the rise of punk rock and disco seemed to undermine any notion of intellectualism in rock. Works, Vol. 2, released in November of 1977, was nothing more than a collection of obscure B-sides and odd tracks dating back four years, while their next album of new material, Love Beach, was later described by the bandmembers themselves as nothing more than a matter of going through the motions. ELP split up in 1979: Lake embarked on a moderately successful solo career, Emerson took to composing film scores and recorded the occasional solo project, and after a stint with the band P.M., Palmer joined the pop supergroup Asia. In the mid-'80s, Emerson and Lake got together with drummer Cozy Powell as the short-lived Emerson, Lake & Powell, complete with a self-titled 1985 album. In 1991, Emerson, Lake & Palmer reunited for an album called Black Moon, followed by a fairly successful tour. In 1993, they released Live at Royal Albert Hall. Their attempt at another new album, In the Hot Seat, was doomed to failure by Emerson's development of a repetitive stress disorder in one hand, which required surgery and restricted the group's ability to record or perform.
Posted in: Biography | Emerson Lake & Palmer | 0 Comments
Good auld irish hard rock
Posten on: 2006-04-12 14:21:33
Before the existence of THIN LIZZY there was an attempted band comprising of Lynott, Robertson and MOTÖRHEAD drummer Phil Taylor, but this never got beyond the discussion stage. More concrete was a union of Lynott, JOHN SYKES and Mark Stanway, but this was soon put paid to by an irresistible offer to the lead guitarist from WHITESNAKE.Having lost Sykes to DAVID COVERDALE's employ, PHIL LYNOTT formed a new band, later to be titled GRAND SLAM, with Stanway, Downey and erstwhile STAMPEDE, LAUTREC and WILD HORSES guitarist Laurence Archer. Downey soon departed, citing his discontent at being involved in a project that could not hope to match THIN LIZZY. Stanway left the fold shortly after as his previous act MAGNUM offered him a return position based on a new record deal. However, Stanway was to flirt between GRAND SLAM and MAGNUM for some time.To former THIN LIZZY fans, the fact that GRAND SLAM found it difficult to get signed - despite a clutch of excellent gigs and strong songs - was an enigma. What the public was unaware of was that Lynott was viewed by the record industry as a whole as too great a risk. Inevitably the group split, Stanway returning to MAGNUM and Archer later formed RHODE ISLAND RED then joined UFO for their 'High Stakes And Dangerous Men' album.Meanwhile, Scott Gorham's first post THIN LIZZY project was a union with BRONZ guitarist Shaun Kirkpatrick. Attempting to sustain the band this proposed union faltered upon the demise of Bronze Records. Gorham would have more success with his own venture entitled THE WESTERN FRONT which featured guitarist Marty Walsh, vocalist Moon Calhoun (previously with American AOR band THE STRAND), keyboardist Dick Bergman and drummer Del Vertusco. Gorham later signed to RCA Records with his 21 GUNS project and also produced a three track EP for ex-TIGERTAILZ vocalist Steevi Jaimz's outfit ST. JAIMZ.Lynott did actually get THIN LIZZY back together as a band, comprising Brian Downey and ex-MAGNUM and DAVID BYRON BAND guitarist ROBIN GEORGE, but the liaison was brief. One song from these sessions 'Crying Diamonds' would later turn up on one of George's solo works.Having been ill for some time Phil lapsed into a coma after a drugs overdose and died on January 4 1986. Before 1987 has run its course Gorham and 21 GUNS drummer Michael Sturgis were ensconced in a studio with JOHN WETTON and GEOFF DOWNES for a projected new line up of the AOR supergroup ASIA. This line up splintered though when no record deal outside of Japan could be found.A posthumous THIN LIZZY single, 'Dedication', emerged in 1991 and was the subject of some controversy when it transpired it was not in fact a THIN LIZZY song at all but had in fact been written by GRAND SLAM guitarist Laurence Archer for that band.Later the same year a band going under the title of 'An Evening Of Thin Lizzy Music' toured featuring Brian Downey, Brian Robertson, ex-GINGER BAKER band guitarist Doug Brockie, former GRAND SLAM guitarist Doish Nagle on bass and former HUMBLE PIE, JEFF BECK and VAN MORRISON vocalist Bobby Tench. The shows did little to rekindle the legend. Brian Robertson turned up during 1995 having formed touring outfit the BRIAN ROBERTSON BAND. This group duly evolved into THE CLAN, releasing a very limited CD EP entitled 'That's All'. In an echo of the past THE CLAN's projected tour was cancelled when Robertson damaged his hand.1996 witnessed the enduring myth of THIN LIZZY when Gorham was finally persuaded to involve himself in a tribute. Assembled by JOHN SYKES, who had the uncanny ability to mimic Lynott's distinctive vocal style, some of his on the debut BLUE MURDER album highlighting this fact, a band was created going under the title of THIN LIZZY. Other members included Brian Downey, Darren Wharton (having long since formed his own band DARE) on keyboards and bassist Marco Mendoza. This band put in highly successful shows in Japan, Ireland and London with Sykes, naturally, on lead vocals. German gigs in December of 1999 saw strong support from MICHAEL SCHENKER GROUP and GLENN HUGHES.Ironically Lynott's least favourite THIN LIZZY track received the honour of a prestigious Grammy award when METALLICA's cover version of 'Whiskey In The Jar' won the 'Best Metal Performance' category. Also keeping the name in the spotlight, Gorham, Robertson and Wharton reunited for a set of THIN LIZZY songs to celebrate the Jordan Formula One team's tenth anniversary concert in 2000. Mendoza meantime hooked up with TED NUGENT for his summer American dates. Rather more low key was Robertson's guest appearance with Swedish act LOTUS on a song contributed to a CAPTAIN BEYOND tribute album. May of 2001 found Robertson embarking on a short Norwegian tour in a band performing THIN LIZZY tracks assembled with erstwhile EUROPE guitarist JOHN NORUM. American Rockers WARRANT would step next in line to honour THIN LIZZY's memory cutting the less than predictable 'Hollywood (Down On Your Luck)' for their 2001 album 'Under The Influence'. THIN LIZZY fans would be rewarded in November the same year with the release of the mammoth 4 CD box set 'Vagabonds, Kings, Warriors, Angels'. The collection included the notoriously scarce debut Irish single 'The Farmer' along with an unreleased track 'Try A Little Harder', the rare German B side 'Cruising In The Lizzymobile' and the GRAND SLAM demo 'Sisters Of Mercy'. Early 2002 would deliver a treat for PHIL LYNOTT fans with the release by Zoom Club Records of 'Live In Sweden 1983'. A limited edition digipack box set, restricted to just 1'000 copies, would include the previously unreleased track 'Look At These Eyes'. The tapes were compiled from two consecutive concerts featuring JOHN SYKES on guitar. The same year also saw long established plans for a movie centred upon Lynott's life coming to fruition with American actor Gary Dourdan selected to perform the lead role. The Sykes led THIN LIZZY undertook a lengthy series of North American dates throughout October and November of 2002. Further shows into 2003 were mooted in league with DEF LEPPARD. With both Mendoza and Aldridge having joined the resurrected WHITESNAKE press reports suggested that both DIXIE DREGS and WINGER man Rod Morgenstein or Brian Tichy of FOREIGNER and OZZY OSBOURNE repute were to man the drums. Bass was briefly delegated to Gary Liederman, a veteran of RHODE ISLAND RED and ASIA, then Randy Gregg. However, by February it was revealed that PINK FLOYD and GARY MOORE band member Guy Pratt was to take command of bass and former LITTLE ANGELS, THE CULT and ROBERT PLANT man Michael Lee enrolled as drummer. THIN LIZZY set out on a run of headline dates in February of 2004 before uniting with DEEP PURPLE. However, it was announced by the band's management that Michael Lee was forced to pull out due to illness but within days of this report a further statement indicated he had recovered. The tour got underway but saw the last three dates, in New Jersey and New York, pulled due to a relapse in Lee's health condition. THIN LIZZY, hooking back up with DEEP PURPLE, returned to touring the USA once again in August. By early 2005 the band was once again touring across the UK, with support from WINTERVILLE, Europe, seeing German act JADED HEART as openers, and Scandinavia. August 20th saw The Roisin Dubh Trust unveiling a life size bronze statue of Lynott in Grafton Street, Dublin. To coincide, an all-star concert billed as 'The Boy Is Back In Town' would be held at The Point in Dublin. Performers included GARY MOORE, Scott Gorham, Brian Robertson, the ERIC BELL BAND, Brian Downey, Brush Shiels, DARE, WHEATUS and THERAPY? Brian Robertson and Eric Bell announced they were to put in joint Irish club dates in January 2006. Meantime, THIN LIZZY, comprising JOHN SYKES, Scott Gorham, Marco Mendoza and Michael Lee, announced UK tour dates for March and April.
Posted in: Biography | Thin Lizzy | 0 Comments
Passionate, incisive but also often unfashionable
Posten on: 2006-04-03 17:44:35
Frontman for The Kinks, Ray Davies, was the grumpy old man of rock, often retiring to his garden shed to potter with a tune, ignoring the dictates of fashion and musical styles. Just as the rest of rock's hierarchy were sticking flowers in their hair and heading to San Franscisco, The Kinks were recording wistful, nostalgic tunes about bygone, village green preservation societies. But with hits such as the scuzz-rock of You Really Got Me and the wry Sunny Afternoon and Waterloo Sunset, the Kinks became the arch British pop band, incorporating elements of music hall, country, folk and blues and acknowledged by the likes of Blur and Jarvis Cocker as the godfathers of Britpop. The Kinks were formed by brothers Ray and Dave Davies in their hometown of Muswell Hill, North London. The brothers began playing skiffle and rock and roll, recruiting Peter Quaife to play bass with them. By the summer of 1963, as The Ravens, they'd recruited drummer Mickey Willet. Eventually their demo tape reached American record producer Shel Talmy who helped the band land a contract with Pye Records in 1964. Before signing, the group replaced drummer Willet with Mick Avory and, courtesy of Quaife, renamed themselves The Kinks. After two failed singles on Pye (including a cover of Little Richard's Long Tall Sally), the group's third single, You Really Got Me, stormed to the top of the UK charts. Written by Ray and Dave in their parents' front room, the song has since been cited as the inspiration for garage rock, punk, heavy metal and The Who. Phew! An album, The Kinks, a hastily assembled mix of Ray Davies tunes and R&B standards, was rush released and was swiftly followed by a second Top 10 single, All Day and All Of the Night. Between 1965-1967, The Kinks enjoyed their commercial peak, scoring nine British and seven US hits. 1965's Tired Of Waiting For You displayed Ray's world weary vocal style while Dave came up with a then innovatory Indian style drone guitar on See My Friends. As Ray's songwriting developed, he emerged as a witty, compassionate social commentator, chronicling the little absurdities and aspirations of English life. He took stabs at fashion victims with Dedicated Follower Of Fashion and his fellow nouveau rich pop star peers on Sunny Afternoon and even created a hymn to the Thames on Waterloo Sunset.Despite the Kinks' commercial success at home, an unresolved dispute with the American Federation of Musicians during a 1965 tour, led to a ban on US appearances which lasted until 1969. These problems, coupled with the pressures of recording and touring, caused Ray to collapse from nervous exhaustion in 1966. So with most UK bands looking to America's burgeoning flower power revolution for inspiration, Ray looked no further than his back garden for his own concept album, 1968's Village Green Preservation Society. On the album Ray developed the major themes of his work, a lament for the traditions of a lost England lost among modernity. With tracks like Wicked Anabella flirting with psychedelia, the album was was deemed less than groovy by the British record buying public and one of the Kinks' most artistically successful albums slipped away. Follow up Arthur - The Decline and Fall of the British Empire addressed similar themes, portraying an English family looking back over their experiences before emigrating to Australia. The mood lightened a little with 1970 hit single Lola - a tongue in cheek tribute to a cross dresser. It was the standout track from the unattractively titled album, Lola Versus Powerman and the Moneygoround Part One, describing the struggle of a rock band against big business. 1971's Muswell Hillbillies album echoed Village Green's collection of storybook vignettes although the band were beginning to lose their focus and the hits were about to dry up. Supersonic Rocketship went Top 20 in 1972 but the follow-up Celluloid Heroes, failed to chart. Both singles were taken from the poorly received Everybody's In Showbiz album. But the rest of the '70s found our Brit heroes bogged down in ill advised concept albums, self parody and the continued bickering of brothers Ray and Dave and their love-hate relationship. But while the band were ignored in the UK, they still had a sizeable following in America and hit the US Top 30 with the Sleepwalker album in 1977. Two years later the band released the hard rock Low Budget album and became belated rock stars in America, gaining a sizeable chunk of the stadium rock circuit. The Americans also lapped up early 80's albums Give The People What they Want and State Of Confusion. The band found themselves back in the UK charts with 1983's nostalgia tinged hit, Come Dancing. The Kinks had been receiving several nods from the rock fraternity which increased their cachet. The Jam had covered David Watts while The Pretenders covered Stop Your Sobbin' (Chrissie Hynde would become Ray's partner for four years). In 1986 Ray worked with film director Julien Temple on the film musical Absolute Beginners. Ray also created his own TV play with music, Return To Waterloo. As the Kinks approached their thirtieth anniversary they signed a new recording contract with Columbia but released the unremarkable Phobia album in 1993. Davies released his fictionalised autobiography, X-Ray in 1994 and was feted by Blur during the rise of Britpop. Albarn acknowledged The Kinks influence on their award winning Parklife album in 1995. In January 2004, shortly after receiving a CBE from the Queen, the usually grumpy old man of rock, turned superhero in New Orleans when he chased after two men who had stolen his girlfriend's purse. Ray received a gunshot in the leg for his troubles...
Posted in: Biography | The Kinks | 0 Comments
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