Graham Keith Gouldman is an English singer and musician. He has been the only constant member of the art rock band 10cc. Gouldman was born in Broughton, Lancashire, England into a Jewish family, he played in a number of Manchester bands from 1963, including the High Spots, the Crevattes, the Planets and the Whirlwinds, which became a house band at his local Jewish Lads' Brigade. The Whirlwinds – comprising Gouldman, Maurice Sperling, Bernard Basso, Stephen Jacobson, Malcolm Wagner and Phil Cohen – secured a recording contract with HMV, releasing a recording of the Buddy Holly song "Look at Me", backed with "Baby Not Like You", written by Lol Creme, in June 1964. Gouldman dissolved the Whirlwinds in late 1964, the following February formed the Mockingbirds with Jacobson, a former member of fellow Manchester band the Sabres, Kevin Godley; the Mockingbirds signed with the Columbia label, which rejected Gouldman's first offering as a single – "For Your Love" – and issued two singles, "That's How" and "I Can Feel We're Parting".
The band switched to the Immediate label for "You Stole My Love" and Decca for "One By One" and "How to Find a Lover". The band began a regular warm-up spot for BBC Televisions Top of the Pops, transmitted from Manchester, he recalled: "There was one strange moment when the Yardbirds appeared on the show doing'For Your Love', a song that I'd written. Everyone clamoured around them – and there I was just part of an anonymous group. I felt strange that night, hearing them play my song."In 1966–67, Gouldman recorded singles with two other bands, High Society and the Manchester Mob, both of which featured singer Peter Cowap. In March 1968, he stepped in as a temporary replacement for bassist Bob Lang in the Mindbenders, writing two of the band's final singles, "Schoolgirl" and "Uncle Joe, the Ice Cream Man"; the band dissolved eight months later. Gouldman said his time with the band was depressing: "They were sliding down, they were pretty well finished by the time I joined them."Gouldman signed a management agreement with Harvey Lisberg in 1965, while working by day in a men's outfitters shop and playing by night with his semi-professional band, he wrote a string of hit songs, many of them million sellers.
Between 1965 and 1967 alone he wrote "For Your Love", "Heart Full of Soul" and "Evil Hearted You" for the Yardbirds, "Look Through Any Window" and "Bus Stop" for the Hollies, "Listen People", "No Milk Today" and "East West" for Herman's Hermits, "Pamela, Pamela" for Wayne Fontana, "Behind the Door" for St. Louis Union, "Tallyman" for Jeff Beck and "Going Home", a 1967 Australian hit for Normie Rowe, he wrote for publishing house Robbins Music and producer Mickie Most in 1967, shifted base to the Kennedy Street Enterprises show business management offices in Manchester. He remained there for four years. I used to go in there every morning at 10 o'clock and stay there, working on my songs, until I finished every evening at six o'clock, it was self-discipline and I need that."A year he released three singles as a solo artist, before recording his debut solo album, The Graham Gouldman Thing. Gouldman’s reputation as a hit songwriter attracted the attention of bubblegum pop producers Jerry Kasenetz and Jeffry Katz of Super K Productions, who invited him to New York City to write formula bubblegum songs.
In what he called a "creative lowpoint", Gouldman accepted. He recalled: "They wanted me to write and produce for them, so I figured, why not? Nothing else was happening for me at the time. All told I worked for them for three or four periods over the course of a year, just writing and recording, had no time for anything else. I was involved in the whole Kasenetz-Katz thing while I was with them."He said he was left exhausted and depressed by his dealings with Kasenetz and Katz. "In the mornings I would go into the office and start writing and after I had finished one song in a day, high output for me, they'd come up to me and say:'Give us another song!' And I'd say'OK' --. They'd keep up the pressure so. I was there in their offices working like that for six or eight weeks and when I flew home to Manchester I went straight round to see my doctor. I could not eat; the doctor told me:'You are over-worked.' I don't think I've felt so depressed as I did when I came back from New York."Gouldman said he was "grasping, sort of prostituting myself" in accepting the Kasenetz-Katz deal, which came with a cash advance.
"That was a time. I hadn't had any hits for some time. I felt awful. I just didn't seem to be keeping up with, it was depressing."One of his first tasks for Super K was writing and singing lead vocals on "Sausalito", released in July 1969 under the name of the Ohio Express. In December 1969, Gouldman convinced Kasenetz and Katz that the series of throwaway two-minute songs he was writing could all be performed and produced by him and three friends, Godley and former Mindbender Eric Stewart, at a fraction of the price of hiring outside session musicians, he proposed the quartet work at Strawberry Studios, a Stockport recording studio in which he and Stewart were financial partners. Kasenetz and Katz booked the studio for three months. Kevin Godley recalled:We did a lot of tracks in a short time
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
For Your Love
"For Your Love" is a rock song written by Graham Gouldman and recorded by English group the Yardbirds. Released in March 1965, it was their first top ten hit in both the UK and the US; the song was a departure from the group's blues roots in favour of a commercial pop rock sound. Guitarist Eric Clapton disapproved of the change and it influenced him to leave the group. Gouldman wrote the song at the age of 19 while working by day in a gentlemen's outfitters near Salford Docks and playing by night with the semi-professional Manchester band the Mockingbirds, he explained: "I was sleeping most of the time because I'd been gigging with the Mockingbirds the night before, during the day when I'd got any spare time I'd write in the shop. I used to shut up the shop at lunch time and sit in the back writing."Gouldman cited the Beatles as his influence, "We went down to Denmark Street and went round all the publishers trying to find a song... we didn't get any songs that we liked or we weren't given any songs period and the Beatles had started and I thought'well, I’m gonna have a crack at song-writing.'
I had dabbled a bit, but they were my inspiration and gave me and I think a lot of other people the courage to do it. We all wanted to be like the Beatles. I wrote two songs and the record company we were with turned down one of the songs; the song they turned down was'For Your Love', which found its way to the Yardbirds."Gouldman's manager, Harvey Lisberg, was so impressed by the song he told Gouldman they should offer it to the Beatles. "I said,'I think they're doing alright in the songwriting department, actually", Gouldman recalled. Undeterred, Lisberg gave a demo of the song to publisher Ronnie Beck of Feldman's, who took it to the Hammersmith Odeon, where the Beatles were performing. By coincidence the Yardbirds were performing on a Christmas show at the venue and Beck played the song to their manager, Giorgio Gomelsky, the band. In 1965, the Mockingbirds began a regular warm-up spot for BBC TV's Top of the Pops, transmitted from Manchester. Gouldman recalled: "There was one strange moment when the Yardbirds appeared on the show doing'For Your Love'.
Everyone clamoured around them – and there I was just part of an anonymous group. I felt strange that night, hearing them play my song." The Yardbirds recorded "For Your Love" at the IBC Studios in London on 1 February 1965. The majority of the song was recorded with singer Keith Relf and drummer Jim McCarty backed by session musician Ron Prentice on bowed bass, Denny Piercy on bongos, organist Brian Auger on harpsichord. Guitarists Eric Clapton and Chris Dreja only perform during the song's double-time middle break section. Bassist Paul Samwell-Smith assumed the production duties and is listed as musical director on the 45. At the conclusion of the session, Auger wondered, "Who, in their right mind, is going to buy a pop single with harpsichord on it?"Shortly after its release by Columbia on 5 March 1965, it became a hit in the UK. When it was released a month by Epic Records in the US, it became the group's first charting single. By Clapton had left the group for various reasons, including their more commercial aspirations.
The song has been covered by Fleetwood Mac, on their 1973 album Mystery to Me, by Joe Jackson, on his 2000 live album Summer in the City, in medley with his own hit, "Fools in Love"
The Yardbirds are an English rock band, formed in London in 1963. The band's core lineup featured vocalist and harmonica player Keith Relf, drummer Jim McCarty, rhythm guitarist/bassist Chris Dreja and bassist/producer Paul Samwell-Smith; the band is known for starting the careers of three of rock's most famous guitarists, Eric Clapton, Jimmy Page and Jeff Beck, all of whom ranked in the top five of Rolling Stone magazine's list of 100 greatest guitarists. The band had a string of hits throughout the mid-1960s, including "For Your Love", "Heart Full of Soul", "Shapes of Things" and "Over Under Sideways Down". A blues-based band noted for their signature "rave-up" instrumental breaks, the Yardbirds broadened their range into pop, pioneering psychedelic rock and early hard rock; the band's influence on both the music of the times and genres to come was great, they inspired a host of imitators such as the Count Five and The Shadows of Knight. Some rock critics and historians credit the Yardbirds with contributing to, if not inventing, "the birth of psychedelic music" and sowing the seeds of punk rock, progressive rock and heavy metal, among other genres.
Following the band's split in 1968, Relf and McCarty formed Renaissance and guitarist Jimmy Page formed what became Led Zeppelin. The band was inducted into the Rock and Roll Hall of Fame in 1992, they were included as No. 89 in Rolling Stone's list of the "100 Greatest Artists of All Time", ranked No. 37 on VH1's 100 Greatest Artists of Hard Rock. The Yardbirds reformed in the 1990s, featuring drummer Jim McCarty and rhythm guitarist/bassist Chris Dreja as the only original members of the band. Dreja left the band in 2012, leaving McCarty as the sole original member of the band present in the lineup; the band formed in the south-west London suburbs in 1963. Relf and Samwell-Smith were in a band named the Metropolitan Blues Quartet. After being joined by Dreja, McCarty and Top Topham, they performed at Kingston Art School in late May 1963 as a backup band for Cyril Davies. Following a couple of gigs in September 1963 as the Blue-Sounds, they changed their name to The Yardbirds, either an expression for hobos hanging around rail yards or prisoners hanging around a prison yard or a reference to seminal jazz saxophonist Charlie "Yardbird" Parker.
The quintet achieved notice on the burgeoning British rhythm and blues scene when they took over as the house band at the Crawdaddy Club in Richmond, succeeding the Rolling Stones. Their repertoire drew from the Chicago blues of Howlin' Wolf, Muddy Waters, Bo Diddley, Sonny Boy Williamson II and Elmore James, including "Smokestack Lightning", "Good Morning Little School Girl", "Boom Boom", "I Wish You Would", "Rollin' and Tumblin'", "Got Love if You Want It" and "I'm a Man". Original lead guitarist Topham left and was replaced by Eric Clapton in October 1963. Crawdaddy Club impresario Giorgio Gomelsky became the Yardbirds manager and first record producer. Under Gomelsky's guidance the Yardbirds toured Britain as the back-up band for blues legend Sonny Boy Williamson II in December 1963 and early 1964, recording live tracks on 8 December and other dates; the recordings would be released two years during the height of the Yardbirds popularity on the album Sonny Boy Williamson and The Yardbirds.
After the tours with Williamson, the Yardbirds signed to EMI's Columbia label in February 1964, recorded more live tracks 20 March at the legendary Marquee Club in London. The resulting album of rhythm and blues covers, Five Live Yardbirds, would not be released by Columbia for another nine months, it failed to enter the UK albums charts. Over time Five Live gained stature as one of the few quality live recordings of the era, as a historical document of both the British "rock and roll boom" in the 1960s and Clapton's time in the band; the Clapton line-up recorded two singles, the blues "I Wish You Would" and "Good Morning, School Girl", before the band scored its first major hit with the overtly pop "For Your Love", a Beatles-influenced Graham Gouldman composition built around a four-chord progression played on a harpsichord by Brian Auger. "For Your Love" hit the top of the charts in the UK and Canada and reached No. 6 in the United States, but it displeased Clapton, a blues purist whose vision extended beyond three-minute singles.
Frustrated by the commercial approach, he abruptly left the band on 25 March 1965, the day the single was released. Soon Clapton joined John Mayall & the Bluesbreakers, but not before he recommended Jimmy Page, a prominent young session guitarist, to replace him. Content with his lucrative sessions work, worried about both his health and the politics of Clapton's departure, Page in turn recommended his friend Jeff Beck. Beck played his first gig with the Yardbirds only two days after Clapton's departure. Beck's explorations of fuzz tone, feedback, sustain and hammer-on soloing fitted well into the raw style of British beat music; the Yardbirds began to experiment with eclectic arrangements reminiscent of Gregorian chants and various European and Asian styles while Beck infused a pervasive Middle Eastern influence into the mix. Beck was voted No. 1 lead guitarist of 1966 in the British music magazine Beat Instrumental. The Beck-era Yardbirds produced a number of groundbreaking recordings; these included the hit singles "Heart Full of Soul", "Evil Hearted You"/"Still I'm Sad", a cover of Bo Diddley's "I'm a Man", "Shapes of Things" and "Over Under Sideways Down", the Yardbirds album.
Beck's fuzz-tone guitar riff on "Heart Full of Soul" introduced Indian raga-style guitar to the pop charts in the summer of 1965. The fol
Alan Glen is a British blues harmonica player, best known for his work with The Yardbirds, Nine Below Zero, Little Axe, his own bands, The Barcodes and The Incredible Blues Puppies. Glen started playing harmonica after seeing Muddy Waters, the'American Folk-Blues Festivals' which visited London in the late 1960s and early 1970s, his early influences being Little Walter, Sonny Boy Williamson, Junior Wells. Early bands he was involved with were Crowjane Bluesband, The Radical Sheiks and Brothers Grimm, before going on to join Nine Below Zero, The Yardbirds. Glen has played on over 50 albums and recorded/performed with: Alannah Myles, Jeff Beck, Steve Vai, John Mayall, Steve Lukather, Skunk Baxter, he recorded six albums with Little Axe. In addition he appeared alongside Alan Barnes, Jim Mullen and Roger Cotton on the With Friends Like These album for the Barcodes, which included Zoot Money, he played with Peter Green, Paul Jones, Junior Delgado and Hubert Sumlin at the Long Beach Blues Festival.
He recorded the album On The Road Again with Dr. Feelgood. Other collaborators include Art Themen, Pee Wee Ellis, Dub Syndicate, Paul Cox, Alan Barnes, Little Axe and Gypie Mayo. Glen has played at Montreux, Brecon Jazz Festival and Nice Jazz Festivals, Hollywood House of Blues, the Hilton, Las Vegas, The Royal Albert Hall, as well as various television and radio performances. Glen is cited as "one of the finest blues harp players and slide guitarists of his generation" - Soundcheck magazine. "Alan Glen is one of Britain's top harmonica players and playing of this standard will help to cement that position" - Net Rhythms. "A powerful addition to the band is harmonica player Alan Glen, who replaces Relf on the mouth harp and is himself no stranger to the blues scene" - CNN. Glen is a successful songwriter, his songs have been recorded by many musicians and used on TV and film soundtracks, most notably the B. B. King film Life of Riley; the Yardbirds - Birdland - 2003 Nine Below Zero – Off the Hook - 1992 Hot Music for a Cold Night - 1994 Best of Nine Below Zero - 1994 "Ice Station Zebro" - 1995 "'Live' in Europe 1992" - 2011 Dr. Feelgood – On the Road Again - 1994 Little Axe – Slow Fuse - - 1996 Hard Grind - - 2002 Champagne and Grits - - 2004 "Stone Cold Ohio" - 2006 Bought for a Dollar, Sold for a Dime" - - 2010 "If You Want Loyalty, Buy a Dog" - 2011 "Wanted Live" - 2012 Junior Delgado – Reasons - 1999 Dub Syndicate – Acres of Space - 2001 Rasta Far I - 2006 The Barcodes - Keep your Distance - 2000 Independently Blue - 2004 With Friends Like These - 2006 Live - In Session for the BBC - 2007 "Be Cool - The Best of The Barcodes" - 2011 Incredible Blues Puppies - Puppy Fat - 2005 In The Doghouse - 2008 Roger Cotton and Alan Glen - Born in Black & White - 2003 Gordon Smith - "The Essential Gordon Smith" - 2009 "Gordon Smith - Live" - 2011 The Geoff Everett Band The Quick And The Dead - 2012 Tim Hain & Alan Glen' GlenHain Gold Reserve - 2012 Steve Morrison & Alan Glen Blues from South of the River - 2012 List of harmonicists Barcodes website Note Records website
Jeffrey Allen "Skunk" Baxter is an American guitarist, known for his stints in the rock bands Steely Dan and The Doobie Brothers during the 1970s and Spirit in the 1980s. More he has worked as a defense consultant and chairs a Congressional Advisory Board on missile defense. Jeffrey Baxter was born in Washington, D. C. Baxter graduated from the Taft School in 1967 in Watertown and was a self-described preppie. At Taft, he played drums in King Thunder and the Lightning Bolts, he enrolled at the School of Public Communication at Boston University in September 1967, where he studied journalism while continuing to perform with local bands. Baxter joined his first band at age 11. While still a high school student, he worked at Manny's Music Shop in Manhattan in 1966. At Manny's, Baxter met guitarist Jimi Hendrix, just beginning his career as a frontman. For a short period during that year, Baxter was the bassist in a Hendrix-led band called Jimmy James and the Blue Flames, along with fellow Manny's employee Randy California.
Moving to Boston to attend college, Baxter worked as a guitar technician and amplifier repairman at Jack's Drum Shop on Boylston Street. Baxter first reached a wide rock audience in 1968 as a member of the psychedelic rock band Ultimate Spinach. Baxter joined the band for their third and final album. After leaving the band, he played with the Holy Modal Rounders and backed singer Buzzy Linhart. By this time, he was using the moniker "Skunk," although the nickname's origins have been kept secret by Baxter. After the breakup of Ultimate Spinach, Baxter relocated to Los Angeles, finding work as a session guitarist. In 1972 he became a founding member of the band Steely Dan, along with guitarist Denny Dias, guitarist-bassist Walter Becker, keyboardist-vocalist Donald Fagen, drummer Jim Hodder and vocalist David Palmer. Baxter appeared with Steely Dan on their first three albums, Can't Buy a Thrill in 1972, Countdown to Ecstasy in 1973, Pretzel Logic in 1974. While finishing work on Pretzel Logic, Baxter became aware of Becker and Fagen's intentions to retire Steely Dan from touring and work exclusively with session players.
With that in mind, Baxter left the band in 1974 to join The Doobie Brothers, who at the time were touring in support of their fourth album What Were Once Vices Are Now Habits. As a session man, he had contributed pedal steel guitar on Vices as well as "South City Midnight Lady" on its predecessor, The Captain and Me. Baxter's first album as a full member of the group was 1975's Stampede, he contributed an acoustic interlude, significant turns on slide and pedal steel guitar, the guitar solo for the hit single "Take Me in Your Arms". While preparing to tour in support of Stampede, Doobie Brothers founder Tom Johnston was hospitalized with a stomach ailment. To fill in for Johnston on vocals, Baxter suggested bringing in singer-keyboardist Michael McDonald, with whom Baxter had worked in Steely Dan. With Johnston still convalescing, McDonald soon was invited to join the band full-time. McDonald's vocal and songwriting contributions, as well as Baxter's jazzier guitar style, marked a new direction for the band.
They went on to continued success with the 1976 album Takin' It to the Streets, 1977's Livin' on the Fault Line, 1978's Minute by Minute, which spent five weeks as the #1 album in the U. S. and spawned several hit singles. In early 1979, Baxter and co-founding drummer John Hartman left the band. Baxter has continued working as a session guitarist for a diverse group of artists, including Willy DeVille, Bryan Adams, Hoyt Axton, Eric Clapton, Gene Clark, Sheryl Crow, Freddie Hubbard, Tim Weisberg, Joni Mitchell, Ricky Nelson, Dolly Parton, Carly Simon, Ringo Starr, Gene Simmons, Rod Stewart, Burton Cummings, Barbra Streisand, Donna Summer, he has worked as a touring musician for Elton John, Linda Ronstadt, Billy Vera and the Beaters. In 1982, he featured on Spirit's album Spirit of'84, released as The Thirteenth Dream outside of the USA. In 1984, Baxter played keyboards with Bobby and the Midnites' Bob Weir, Billy Cobham, Bobby Cochran, Kenny Gradney, Dave Garland at the Capitol Theatre in Passaic, New Jersey.
That same year, he produced and played guitar and synthesizer on the band's album Where the Beat Meets the Street on Columbia Records. In 1986, Baxter joined James Maceo Parker on guitar for several North American tour dates. In 1990, Baxter joined John Entwistle, Joe Walsh, Keith Emerson, Simon Phillips and unknown vocalist Rick Livingstone in a supergroup called The Best; the group released a live performance video in Japan before disbanding. He produced two albums for the hard rock band Nazareth, produced albums for Carl Wilson, Livingston Taylor, The Ventures, Nils Lofgren, he was producer on the 1982 Bob Welch album Eye Contact. In 1991 Baxter produced a documentary video, "Guitar", in which he travels the world and interviews guitarists he admires. In 1994 he performed on the video game Tuneland. Baxter continues to do studio work, most on tribute albums to Pink Floyd and Aerosmith. In 2012, he appeared on keyboardist Brian Auger's Language of the Heart, The Beach Boys' That's Why God Made the Radio.
He occasionally plays in The Coalition of the Willing, a band comprising Andras Simonyi, Hungarian Ambassador to the United States. Poneman of the United States National Security Council and the Obama Administration's Deputy Secretary of Energy.
James Stanley McCarty is an English musician, best known as the drummer for the Yardbirds and Renaissance. Following Chris Dreja's departure from the Yardbirds in 2013 McCarty became the only member of the band to appear in all of its incarnations, he was born at Walton Hospital in Liverpool, but his family moved to London when he was two years old. He attended Hampton School in Hampton; when playing with the early Yardbirds, he worked as a stockbroker in the London Stock Exchange. McCarty has performed and recorded with the Yardbirds, Renaissance, Illusion, the Yardbirds reunion band Box of Frogs, the British Invasion All-Stars, Pilgrim, as well as under his own name and as the Jim McCarty Band. Since 1992 he has been playing with the reformed Yardbirds. Together was the name of a duo formed by Keith Relf and Jim McCarty which released one UK single in November 1968 as Columbia Records DB 8491 - "Henry's Coming Home" b/w "Love Mum and Dad"produced by fellow former Yardbird Paul Samwell-Smith and arranged and conducted by former Shadow Tony Meehan.
One further track from the Together sessions in June 1968 has appeared on Yardbirds compilations - "Together Now" Shoot were - Jim McCarty - lead vocals, percussion Dave Greene - vocals, banjo Bill Russell - bass Craig Collinge - drums, percussionThey released one album on EMI records in 1973, On The Frontier. The track listing was as follows - "The Neon Life" "Ships and Sails" "Living Blind" "On the Frontier" "The Boogie" "Midnight Train" "Head Under Water" "Sepia Sister" "Old Time Religion" "Mean Customer" Produced by Ian McLintock Additional Personnel - Lyn Dobson and Bob Birtles B. J. Cole Graham Preskitt John Tout Pilgrim were James McCarty - vocals Tania Matchett - vocals John Richardson - vocals Carmen Willcox - lyricistThey released two albums - Search For The Dreamchild All music by James McCarty, all lyrics by Carmen Willcox Track listing - "Overture" 2.10 / "From Angels to Lovers" 4.35 "Agnus Dei" 3.20 "Barefoot Angel 5.00 "Bound to Desire" 3.18 "Devotion" 3.25 "Stay" 3.40 "Eternal Dance" 4.25 "Conquest" 4.25 "Seduction" 3.32 "Longing" 4.28Keyboards - Matthew Hammond, Clifford White, Paul Miller Guitar - Dugald Brown Bass - Loui Cennamo Drums & percussion - James McCarty Cello - Julie Palmer Accordion - Andy Thomas Gothic Dream All music by James McCarty, lyrics as shown.
Track listing - "She Walks in Beauty" 4.40 "Knight of the Silver Sword" 3.41 "A Face to Die For" 5.23 "Tower of Enchantments" 3.41 "Dreams of Thee" 0.22 "Stolen Maiden" 3.45 "Gothic Dream" 3.21 "Crusader's Lament" 4.59 "My Lady Dances" 5.00 "La Belle Dame Sans Merci" 3.31 "Immortal Moments" 3.47 "Dream Within a Dream" 5.00 "Swinburne" 0.44 Most of McCarty's recordings have been issued under the names of the group he was in at the time, but he has released two solo CDs - Out of the Dark by James McCartyProduced by James McCarty with Dugard Brown and Andy Le Vien All songs composed by James McCarty. Track Listing - "Out of the Dark" 4.30 "We're Still Dreamers" 4.57 "Signs from an Age Gone By" 5.22 "Just a Breath Away" 4.30 "Just Breaking Through" 5.01 "What if Summer Never Came" 3.44 "Still You Don't Believe" 3.27 "Longing" 0.32 "Home is Where the Heart Is" 4.08 "Back to the Earth" 3.43Vocals/Drums/Keyboards - James McCarty Guitar - Dugard Brown, Eddie Phillips, Don Crane Keyboards - Matthew Fisher, Matthew Hammond, Clifford White Bass - Rod Dimick Background Vocals - Dugard Brown, Jackie Rave, Mandy Bell, Jane Relf, Don Crane Sitting on the Top of Time by Jim McCartyProduced by Jim McCarty with Ron Korb All songs composed by Jim McCarty.
Track Listing - "The Outsider" 4.59 "Blowing Through The Countryside" 3.49 "Living From The Inside Out" 5.05 "Hidden Nature" 5.15 "For Eloise" 6.05 "Temporary Life" 5.20 "Near End of May" 5.25 "Hummingbird" 4.25 "Calling Out To You" 4.14 "Sitting on the Top of Time" 4.49 "Shangri-La" 7.22Vocals, Acoustic Guitar, Percussion - Jim McCarty Lead Guitar - Jean-Michel Kajdan, Steve Hackett Flute, Bass Flute, Bamboo Flute, Chinese Flute - Ron Korb Piano - Donald Quan, Lou Pomanti Viola, Orchestral Parts - Donald Quan Bass, Acoustic bass, Dilruba - George Koller Acoustic Guitar - Ray Hickey Jr. Cello - Anne Bourne Backing Vocals - Anne Bourne, Ron Korb McCarty is respected for the innovative drumming styles which he introduced into rock music psychedelic music during the 1960s. In Yardbirds tracks such as "Train Kept A-Rollin'" McCarty produces a train style beat, tracks like "Mister You’re a Better Man Than I" and "Shapes of Things" he changes tempo mid song as well as produces a martial beat, such as the fast military gallop which drives the Shapes of Things solo.
"I'm A Man" has what became known as a speed metal beat, "I'm Not Talking" has the strong back beat. Although not as flamboyant as his contemporaries Keith Moon and Mitch Mitchell, McCarty’s drumming influenced others to play styles other than early rock'n' roll, he is recognized for his early career innovations, many of which received extensive American and European airplay, such as "Happenings Ten Years Time Ago". Yardbirds Sidgwick & Jackson, 1983. ISBN 0-283-98982-3. Yardbirds: The Ultimate Rave-Up Cro