Iggy pop by Daniel Boud

GREAT photogragher!!Amazing stuffs!!!!


Aperture Value f/5 Flash No Flash
Focal Length 70 mm ISO 800
Shutter Speed Value 1/250 sec Date/Time Thu 26 Jan 2006 07:29:20 PM PST


Aperture Value f/2.8 Flash No Flash
Focal Length 110 mm ISO 800
Shutter Speed Value 1/60 sec Date/Time Thu 26 Jan 2006 07:30:18 PM PST

WZBC recommends The Stooges By John Sobolewski

Published in the Tuesday, October 28, 2003 Edition of
By John Sobolewski
Heights Staff

It's been a couple millennia since Jesus came around and said, "the kingdom of God is at hand." Well, I don't know about that, but here in 2003 AD, the kingdom of lo-fi garage rock certainly is at hand.

The White Stripes, The Strokes, and some posers like The Vines have carved themselves a nice mainstream niche. Garage-punk revivalist records flow through snobby college radio stations (ZBC, for example) like milk and honey. Even people who don't have anything to do with punk rock are pretending they do: Christina Aguilera dresses like she got her wardrobe out of a dumpster, Pink rocks mohawks, etc.

But that leads me to the point of today's column: It's a history lesson. Twenty-first century neo-garage is all well and good, but ... let's skip back 30 years to the real thing.

Who was the real thing? The Stooges, friend, they were the real thing. Just like Chevys, Spielberg movies, and political dissent, garage rock was better in the '70s.

The Stooges were pure rock and roll. Their guitars screeched, distorted, and groaned behind lead singer Iggy Pop's death-rattle wailing; their mixing was harsh and abrasive. They did more drugs than Rush Limbaugh with a headache. They scared the hell out of critics, listeners, and concerned citizens alike. And Iggy used to gash his chest and bleed all over the stage on a regular basis. I mean sure, Elliot Smith did the same thing just the other day, but he didn't have an audience, and it's not like he'll be doing it anytime soon.

The Stooges made three great albums, saving their best for last: 1973's Raw Power. The album welded the thudding masculinity of Muddy Waters, the kinetic psychedelia of Jimi Hendrix, and the Freudian primitiveness of the Velvet Underground into pure, fiery noise, then poured whiskey all over it and injected it with heroin for good measure.

Raw Power is blistering from the get-go. The first cut, "Search and Destroy," blends Keith Moon-esque drumming and a hellishly manic guitar riff with harum-scarum lyrics ("I'm a street-walkin' cheetah with a heart full of napalm"), forging one of the most searing rock songs of all time.

The awesomely-named "Your Pretty Face is Going to Hell," offers an ecstatically unromantic take on sex and beauty. The ambiguously-named "Penetration," with its carnal vocals, searing guitar, and a few disturbingly innocent-sounding piano notes, leaves listeners feeling like they need a shower.

The title track, "Raw Power" lays the framework for bands from The Ramones down to The Hives. A single, hammering guitar chord rolls through the song like a bulldozer, while Iggy vents his nihilist, power-of-one philosophy. This stuff makes you want to get a Mohawk and spray-paint anarchy symbols on O'Neill plaza.

Hell, all the tracks are great. (Buy it, buy it on vinyl if you can, play it at a trillion decibels, kill your ears dead.) The second coming of garage rock ain't bad ... but the messiahs are still available for 13 bucks at any semi-decent record store. Go on rock believers, and worship.

the Stooges is BACK!~

After a few decades,these old guys are decided to come together again and make a new album.Don't let me down,the Stooges.

The Weirdness

Anthony Kiedis Scar Tissue

一直以为ak这本书是个噱头，认真读了几章被ak的执着和真诚感动，就像每一首呛红的歌曲一样。呛红从不掩盖什么，也从不修饰什么。就是那么自然的流露，甚至不管这种流露会不会和下流或者低速划等号。他们心里有童年的英雄，jimi Hendrix，Magik johnson，甚至是那些让他们手淫的艳星，他们从不掩盖这些“世俗”欲望，反而是把他们堂而皇之的摆上桌台，就是那么趾高气昂就是那么无所畏惧。包括我说了很多次喜欢他们走调，他们就是走调走音，怎么样，ak五音不全，摇头晃脑的唱着那些有关性，女人，毒品，友情的歌曲，是如此的光明正大，他就是这个星球最性感最有魅力的主唱，比那些受过良好教育永远不走调会认五线谱的歌者直接的多。

喜欢这样直接的发泄方式，喜欢呛红，喜欢ak，喜欢这本书


Publishers Weekly
人生の半分をアルコールかドラッグとともに過ごしたミュージシャン、レッド・ホット・チリ・ペッパーズのリードボーカリスト、キーディスが、自らの人生について驚くほど詳細に語った。1960年代から1970年代、ドラッグの売人だった父親に育てられた彼がドラッグを初めて体験したのは13歳にも満たない少年時代。父親からドラッグ入りバナナを与えられたのだ。高校時代は「不良」として過ごし、UCLAを中退した彼にはろくでもない人生しか待っていないように思われた。ところが、高校時代に親友のマイケル・“フリー”・バルザリー、ヒレル・スロヴァクとともに結成したバンドがヒットし、90年代を代表する人気グループのひとつになっていく。この本には、あまり知られていない事実（たとえば、クラーク・ゲーブル・キーディスと名付けられそうになるところだったことなど）も書かれているが、このパンク・ファンク・ロッカーは、ミュージシャンとしての道のりよりも、絶え間ない薬物使用歴と派手な女性遍歴（女優のアイオン・スカイ、歌手のシニード・オコナー、映画監督のソフィア・コッポラなどとの関係）の記述に力を注いでいる。

サクセスストーリーの核心には触れられていないが、彼の率直な態度には心を動かされる。特に終盤にかけては、自らの過ちの告白が、真剣な治療・更生の報告へと変わっていく（キーディスは、4年近くアルコールもドラッグをも断っている）。全体的にみると、マリリン・マンソンの同種の自伝ほど歯切れはよくないが、薬物を使用していた幼少期、名声を手にした思春期、苦労して手に入れた成人期を描いたキーディスの物語は、ドリュー・バリモアの『Little Girl Lost』のファンには訴えるものがあるだろう。
Copyright  Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Publishers Weekly
For a musician who has spent the better half of his life either intoxicated or on a drug high, Kiedis, the lead singer of the Red Hot Chili Peppers, has produced a surprisingly detailed account of his life. Raised in the 1960s and '70s by a drug dealer father who first introduced his preteen son to drugs by mashing them into bananas, the high school delinquent and UCLA dropout seemed destined for a life of rabble-rousing until his high school band—cofounded by close friends Michael "Flea" Balzary and Hillel Slovak—took off and became one of the most popular groups of the 1990s. Though he peppers his book with little known facts (for instance, the author narrowly missed being named Clark Gable Kiedis), the punk-funk rocker dedicates too few pages to his introspective music-writing process and too many to his incessant drug use and revolving door of girlfriends (which included actress Ione Skye, singer Sinéad O'Connor and director Sofia Coppola). But while Kiedis fails to scratch beneath the surface of his fast-lane life, his frankness is moving, especially toward the end of the book, when his mea culpa turns into a full-blown account of recovery and redemption. (Kiedis has been sober for almost four years.) Though not generally as articulate as Marilyn Manson's similar autobiography, Kiedis's story of childhood drug use, adolescent fame and hard-won maturity will strike a chord with fans of Drew Barrymore's Little Girl Lost.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Anthony Kiedis tattoos.

Chili Pepper Anthony Kiedis has many tribal-inspired tattoos.

brand new album Icky Thump, the White Stripes（原创）

新专辑里面的Icky Thump的mv



the white stripes的最新专辑发行了，官方的消息是明天上架，但是应该早就可以下载到了。amg的新乐评文章也与今天下午出来了。应该说White Blood Cells是我听过有限的ws的专辑里面听得最多也最喜欢的专辑；Elephant评价非常高，但是说实在没有怎么听懂。
amg给ws的评价是非常高的 虽然没有五星的，但是比起当时一起出名的the strokes还是好很多。应该说专家和批评家在ws身上寄托了很多新的希望。这张专辑和我想象的一样 丢了半颗星，仅仅获得了4颗星，虽然我还没有听过，但是应该可以想象——ws应该到了该妥协的年龄了吧。
像这种两人配置，作得又是最简单最直接音乐的乐队，难免会让人厌倦；ws难得的是掀起了一场风暴，而且让这场风暴尽可能的在主流的视线里呆了挺长一段时间，不管未来如何，这种态度这种声音这对男女，一定会写进历史的

Red Hot Chili Peppers - Under The Bridge MTV

应该说对这首歌非常有感情了 不然不会上传三个版本 不仅是呛红的代表作 口水作 也是入门作

Red hot chili peppers - Under the bridge Live acoustic

哇，走掉天王AK又展示了惊人的走调技巧，john的B弦也显然低了，不过还是经典，我是听着这个走调版喜欢上呛红的，freak。。。

an improvisation

自己比较喜欢的一个现场，在这个之后不久john就离开了队伍。这个现场充分显示了john的即兴才华，AK显然又不在状态

Red Hot Chili Peppers - Under The Bridge (Studios Canal+)

john完全高了，弹错唱错好几处地方，看最后AK的脸就知道了。不过这场除了flea比较稳定其他的队员显然都疯了

Red hot chili peppers-Castle made of sand live 1989

应该是john加入不久之后，他们翻弹了jimi的castle made of sand

HILLEL SLOVAK RARE INTERVIEW

Hillel Slovak生前的一些珍贵视频记录，是由他的哥哥录下的

OLD SCHOOL RED HOT CHILI PEPPERS HENDRIX TRIBUTE

Hillel Slovak时代的呛红，义气勃发的呛红。这首是翻弹jimi hendrix的third stone from the sun

Red hot chili peppers doing Jimi's Foxy Lady!!

年轻的呛红，我都不知道他们怎么把flea吊在天花板上的。也不知道这是什么时候的现场，john还没有加入

Creating "Give it Away' by Raw420

RHCP's Biography By AMG

Biography

by Greg Prato

Few rock groups of the '80s broke down as many musical barriers and were as original as the Red Hot Chili Peppers. Creating an intoxicating new musical style by combining funk and punk rock together (with an explosive stage show, to boot), the Chili Peppers spawned a slew of imitators in their wake, but still managed to be the leaders of the pack by the dawn of the 21st century. The roots of the band lay in a friendship forged by three school chums, Anthony Kiedis, Michael Balzary, and Hillel Slovak, while they attended Fairfax High School in California back in the late '70s/early '80s. While Balzary and Slovak showed great musical promise (on trumpet and guitar, respectively), Kiedis focused on poetry and acting during his high school career. During this time, Slovak taught Balzary how to play bass, while the duo encouraged Kiedis to start putting his poetry to music, which he soon did. Influenced heavily by the burgeoning L.A. punk scene (the Germs, Black Flag, Fear, Minutemen, X, etc.) as well as funk (Parliament-Funkadelic, Sly & the Family Stone, etc.), the trio began to rehearse with another friend, drummer Jack Irons, leading to the formation of Tony Flow & the Miraculously Majestic Masters of Mayhem, a group that played strip bars along the sunset strip during the early '80s. It was during this time that the quartet honed their sound and live act (as they stumbled across a stage gimmick that would soon become their trademark -- performing on-stage completely naked, except for a tube sock covering a certain part of their anatomy). By 1983, Balzary had begun to go by the name "Flea," and the group changed their name to the Red Hot Chili Peppers. Word spread quickly about the up-and-coming band, resulting in a recording contract with EMI. But before the Chili Peppers could begin work on their debut, Flea and Kiedis were dealt a disappointing blow when both Slovak and Irons announced that they were leaving to focus more on another band they were in, What Is This. With replacement members Jack Sherman (guitar) and Cliff Martinez (drums) filling in, the Peppers released their self-titled debut in 1984. But the absence of the two original members showed, as the album failed to capture the excitement of their live show. While the album didn't set the world on fire sales-wise, the group began to build a dedicated underground following with college radio buffs. By 1985, What Is This was kaput (after issuing a single self-titled album), as Slovak and Irons returned back to the Peppers, resulting in the George Clinton-produced Freaky Styley. While the album was an improvement over its predecessor, it still lacked the fire of the band's in-concert experience, a problem that would finally be solved with their next album, 1987's The Uplift Mofo Party Plan. The album was the group's first to make an impression on the charts, and they followed it up a year later with stopgap five-track release, The Abbey Road EP, in 1988. But just as the world was warming up to the Peppers, tragedy struck when Slovak died from a heroin overdose on June 25, 1988. In the wake of Slovak's death, Irons left the group for the second and final time, while Kiedis (who was also battling drug addiction at the time) and Flea decided to soldier on. After a new lineup consisting of former Parliament guitarist Blackbyrd McKnight and former Dead Kennedys drummer D.H. Peligro didn't work out, the duo found worthy replacements in newcomers John Frusciante and Chad Smith. The new-look Chili Peppers hit pay dirt straight away, as their first album together, 1989's Mother's Milk, became a surprise hit due to MTV's exposure of their videos for a cover of Stevie Wonder's "Higher Ground" and a song about their fallen friend Slovak, "Knock Me Down," as the album was certified gold by early 1990. The group knew that their next release would be the most important one of their career, so they moved into a mansion-turned-recording studio with producer Rick Rubin to work on what would become their most successful release yet, the stripped-down Blood Sugar Sex Magik (their first for the Warner Bros. label). The album became a monster hit upon its September 1991 release (going on to eventually sell a staggering seven million copies in the U.S. alone), as it spawned such hits as "Give It Away" and the group's first Top Ten single, "Under the Bridge." But not all was well in the Chili Peppers camp. Like his predecessor, Frusciante had become addicted to hard drugs, and abruptly left the band mid-tour in early 1992. Undeterred, the band enlisted new member Arik Marshall, and headlined Lollapalooza II in the summer. When the band returned to the studio to work on their sixth release overall, it quickly became apparent that Marshall didn't fit in, and was replaced by Jesse Tobias. But before Tobias could record a note with the group, he was handed his walking papers as well, and former Jane's Addiction guitarist Dave Navarro signed on. After a layoff of four years, the Peppers' much-delayed follow-up to BSSM was released in 1995, One Hot Minute. While the album was a sizeable hit, it failed to match the success and musical focus of its predecessor, as it became apparent during the album's ensuing tour that Navarro wasn't fitting in as well as originally hoped, and left the band in early 1998. After Frusciante had left the group, he released a pair of obscure solo releases, 1995's Niandra Lades and Usually Just a T-Shirt and 1997's Smile from the Streets You Hold, yet rumors circulated that the guitarist was homeless, penniless, and sickly with a death-defying drug habit. After checking himself into rehab and putting his demons behind him, Frusciante emerged once again refocused and re-energized, and promptly accepted an invitation to rejoin the Peppers once more. The group's reunion album, 1999's Californication, proved to be another monster success, reconfirming the Chili Peppers as one of alternative rock's top bands. The band put in a quick guest appearance on Fishbone's Psychotic Friends Nuttwerx before hitting the road to support the album. The following months found the band getting involved in bizarre situations and controversies. First, their refusal to play songs from One Hot Minute during the tour was an unpopular decision with some fans and a sore spot for Dave Navarro. Next, they reignited a personal feud between Kiedis and Mr. Bungle singer Mike Patton by refusing to play a series of European concerts with Bungle. Patton responded with a "tribute" show for the Peppers, where Bungle mocked their stage moves, faked shooting up heroin, and imitated Kiedis' comments about Patton. They also played the ill-fated Woodstock '99 festival, where their headlining performance was met with piles of burning rubble and a full-scale riot. Tours with the Foo Fighters and Pearl Jam brought them into the next year without problems, but they stepped off the road after a planned stop in Israel was halted due to security worries. They returned to the studio in November of 2001 and by the summer of 2002 they had a new album ready to drop, By the Way. Warner Brothers released a Greatest Hits compilation in 2003, followed by a chart-topping two-CD album of all-new material, Stadium Arcadium, in 2006.