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"One more man gone" - In Memoriam


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Jel ovo zvanican stav moderatora foruma? Dozvoljavate sebi svakim danom sve vise ovakvih izleta. Bolje da nisi nista napisao. Nije ni cudo sto vas posle clanstvo ne shvata ozbiljno. I on

Neverovatno glup komentar...

U tom slucaju bi trebalo da razmislis o ostavci na mesto moderatora, pa onda kao obican clan mozes da pises do mile volje, dok god je to pisanije u skladu s pravilima foruma. Nema potrebe za poteza

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Otišao je Šaban Bajramović... bio je legenda...

Na žalost, vesti koje su stizale zadnjih dana nagoveštavale su ovakav kraj.

Kao dete sam zapamtio ime. Lokalni ciganski gazda udavao kćer jedinicu. Razapeti šatori, hiljade ljudi je defilovalo tih sedam dana i noći i veselilo se uz Šabana Bajramovića.

Odavno mu je oprošteno što danima nisam imao mira od buke. Neka i meni bude oprošteno što sam sedam dana psovao. Bio sam mlad i pojma nisam imao.

Devojka koja se tada udavala, otrovala se par godina nakon svadbe.

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... Steta sto sam bio mlad u vreme kad je dolazio u nase krajeve pa nisam osetio magiju uzivo.

Å teta Å¡to sam dovoljno star, pa sam osetio tu magiju... PraÅ¡enje baÅ¡ kako treba. Ali, neoÄekivano, koncert pamtim po nekoliko balada i zvuku njegove (rekoÅ¡e - stereo) gitare u njima. NeÅ¡to sliÄno nikada - ni pre, ni posle, nisam Äuo. High end.

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Å teta Å¡to sam dovoljno star, pa sam osetio tu magiju... PraÅ¡enje baÅ¡ kako treba. Ali, neoÄekivano, koncert pamtim po nekoliko balada i zvuku njegove (rekoÅ¡e - stereo) gitare u njima. NeÅ¡to sliÄno nikada - ni pre, ni posle, nisam Äuo. High end.

Nazalost, vremena su takva da covek pozeli da bude stariji, ne mladji.

AKo se dobro secam, to bese '82. ili '83, bas kad je i izasla ova ploca. Svirao je BG i NS.

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Bio je vasar u Grockoj, pocetak avgusta 1984. godine.

Pod velikom satrom pevao je Saban Bajramovic. Vec je bio zvezda, pa se nije bas pretrgao,u smislu da peva neprekidno pesmu za pesmom. Ali svejedno, ljudi su hrlili da cuju velikog Roma.

Posle nekih pola sata cekanja, docekao sam da uzme mikrofon u ruke. Negde na pola pesme, moj prijatelj (takodje Rom), videci kako trnem od Sabanovog glasa (na +33 :thumbsup2 ), samo mi je dosapnuo "... a tek da reci razumes!...".

Velikan je otisao, a ja nemam ni jedan od njegovih novijih CD-ova; ovo cu ubrzo da ispravim. Slava mu!

Rajko

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Nathaniel Mayer Feb. 10, 1944. — Nov. 1, 2008.

arthur magazine: http://www.amazon.com/Why-Dont-You-Give ... gy_m_img_b

LogiÄno, to je bila prva ploÄa koja mi je pristigla poÄetkom ove godine.

I naravno da nisam mogao da odolim ponudi Munster Records od 2€ (sa poÅ¡tarinom doÄ‘e k'o malo veće pakovanje Äokoladnih napolitanki) za 180gr izdanje povratniÄkog albuma I Just Want To Be Held, originalno objavljenog za Fat Possum (razlikuju se samo omoti), te je i ovaj stigao poÄetkom leta i ta slatka soul razdraganost će obeležiti neke od najsrećnijih i neponovljivih dana u mom životu za dugo godina unazad.

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munster rec

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fat possum

Amazon - Editorial Reviews

Veteran Detroit soulman Mayer had a brief taste of success in the early '60s as a teenage hit-maker, but his subsequent career has been built on his outrageous live act. Mayer, however, has a lot more going on than just his well-seasoned showmanship, as his first album in decades enjoyably demonstrates. Mayer's aggressive soul stylings are reinforced by a rocking garage-funk band that is as raw and real as the extroverted singer is, and the combination is certifiably combustible. Seven of the 10 tunes are Mayer's and most, such as "Stick It or Lick It," approach the trials and tribulations of romance from a decidedly adult perspective. The hard-driving funk of "I Wanna Dance with You" has spiky guitar punctuation over churning organ and some honking sax from Suzi Hendrix while "I'm In Love" juxtaposes pop-flavored chiming guitar work with Mayer's rawboned vocal. The one well-known cover is a gem as Mayer unleashes a primal vocal on a rambunctiously rhythmic remake of John Lennon's "I Found Out." --Michael Point

Na Munster Rec. sajtu imaju i odliÄnu kompilaciju (2xlp) ranijih radova (koju je neko od Älanova foruma stavljao već ove godine na 'Å¡ta se sluÅ¡a', ili 'Å¡ta ste kupili') i izvanredan Božićni split 7" vinil Black Christmas, gde je joÅ¡ jedan famozni soul mag sa druge strane, naravno - Andre Williams.

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Ron Asheton (ex Stooges), 1948 - 2009.

The Life and Music of Ron Asheton

Whenever folks talk about the Stooges, the first name mentioned is Iggy Pop, and not without reason — the man was and is arguably the greatest front man in rock and roll, and a spectacle that refuses to be ignored even today. But the real sonic foundation of the first two Stooges albums, The Stooges and Fun House, belongs to guitarist Ron Asheton, who created a sound that fully equaled Iggy’s vision. His primal guitar runs, howling like a glorious scream from the collective id that suggested two decades of teenage angst and delinquent cool given voice through a Fender Stratocaster and a Marshall amp, added bone and muscle mass to the moody blast of Iggy’s vocals. Asheton created a sound that easily matched rock’s most unshackled singer for sheer explosive impact and mutant soul. Iggy has made records with plenty of worthwhile musicians over the years, but listen to Fun House and it’s clear that Asheton is the only guitarist who was truly Iggy’s equal and not just an accompanist.

The Stooges were a band ahead of its time, and for many musicians that can be a thankless chore. It took rock and roll a few decades to catch up with what Ron Asheton was doing with the Stooges, but if fate was cruel in claiming his life at the age of 60 — he was found dead in his home in Ann Arbor, Michigan on Tuesday, January 6, 2009 — in his last years he finally began receiving the recognition and reward that he clearly deserved, touring the world with the reunited Stooges and receiving rapturous approval from fans at every stop.

Born in Washington D.C. on July 17, 1948, Ron Asheton spent most of his childhood in Ann Arbor and became a major rock and roll fan in his teens. Asheton and his friend Dave Alexander were big on the Beatles, the Rolling Stones, and the Pretty Things, and in 1965 they dropped out of high school so they could travel to England and check out the scene first hand. When Asheton returned to Michigan, he decided to form a band of his own, and did time with a handful of Ann Arbor area groups, including the Dirty Shames, the Chosen Few, and the Prime Movers. Asheton was playing bass for the Movers when he made friends with their drummer, an energetic kid named Jim Osterberg, and in 1967, after Osterberg returned from a sojourn in Chicago (where he claims he took lessons from legendary blues drummer Sam Lay, though Lay contends otherwise), they decided to form a band. Asheton would play guitar, Dave Alexander would play bass, Osterberg would sing, and Ron’s brother Scott Asheton would play drums. Osterberg adopted Iggy Pop as a stage name (partly acknowledging his stint in another local band, the Iguanas), and the quartet coined the moniker the Psychedelic Stooges. The rest, of course, is history.

However, while the Stooges would prove to be massively influential in the years to come, the band was regarded as little more than a freak show during their 1967 to 1973 life span. At a time when the vogue among “rock artists†was to buff off their rough edges and adopt a more sophisticated approach, the Stooges were reveling in the power of rock’s primitive instincts. The Stooges did not want to compose a rock opera, perform with a symphony orchestra or “get back to the land†– they wanted to be the loudest and wildest band on Earth, and their willingness to confront the audience (both in terms of music and Iggy’s performing style) polarized the few who heard them during their heyday. A small handful of fans embraced them as something brilliant and ground breaking, as Asheton’s guitar ripped through the melodies and Iggy’s antics burned their eyes, but most others fled in terror, and the band’s descent into drug-addled sloppiness after they were introduced to heroin during the recording of Fun House hardly helped. (Ron Asheton was the only Stooge to avoid heroin addiction, but that didn’t slow the band’s downward slide much, especially after he moved from guitar to bass shortly before the recording of Raw Power.)

After the Stooges finally fell apart in 1974, Asheton put together a group called the New Order (no relation to the post-Joy Division act from the UK) which also included late-period Stooges associates Scott Thurston and Jimmy Recca as well as MC5 drummer Dennis Thompson, but the band generated little interest, and after touring Australia in 1981 with the intentionally short-lived New Race — which featured Asheton and Thompson paired with Deniz Tek and Rob Younger of Radio Birdman, the Southern Hemisphere’s most devoted Stooges fans — Asheton’s work was primarily devoted to Michigan-based acts such as Destroy All Monsters, Dark Carnival, and Empty Set. Asheton also did a bit of acting in low-budget horror movies (most notably “Mosquito,†which occasionally pops up on the Sci-Fi Channel and also features members of the God Bullies and the Demolition Doll Rods in the cast) and helped local bands in the studio, but for the most part the man whose guitar work made The Stooges and Fun House into underground touchstones was pretty much ignored, except by a tiny cult which appreciated the precise chaos of his playing.

Thankfully, a few members of that cult started becoming famous. A new breed of noisy guitar wranglers who clearly worshiped at the altar of Fun House joined the hipster pantheon in the 1980’s and 90’s — Thurston Moore of Sonic Youth, J. Mascis of Dinosaur Jr., Mark Arm and Steve Turner of Mudhoney, and Kurt Cobain of Nirvana were just a few of the players who had clearly learned a trick or two from the thick, heavy throb of Asheton’s leads, and they weren’t shy about citing him as an influence (or covering old Stooges songs on stage). Just as Iggy Pop finally found a context in which his onstage persona made sense with the rise of punk, the onslaught of noise rock, grunge and “heavy alternative†gave birth to a new musical universe where Asheton’s complex simplicity seemed to fit right in. In 1998, when Thurston Moore and Mark Arm were hired to record some Stooges-like music for Todd Haynes’ film “Velvet Goldmine,†they logically concluded that Ron Asheton would be the ideal lead guitar player for their ad hoc band the Wylde Rattz, and Asheton expertly recreated his manic fretwork on “T.V. Eye†for the soundtrack album. (A full Wylde Rattz album was recorded, but legal woes have prevented its release.) In 2001, Asheton teamed up with Powertrane, a powerful Ann Arbor rock band fronted by former Rational and Sonic’s Rendezvous Band singer/guitarist Scott Morgan, for a show that also featured Deniz Tek; the gig led to two other concerts and a short tour which were manna from heaven for fans of Michigan-style rock, and each night Asheton closed out the show with vivid recreations of classic Stooges tunes. (One of those shows was recorded for an excellent live disc, Ann Arbor Revival Meeting.) And in 2002, J. Mascis brought Asheton along for a European tour; eventually Scott Asheton signed on too, and the band of semi-Stooges received rapturous reviews in the British press.

Iggy Pop took notice of this sudden revival of interest in the Stooges, and when he was lining up guest stars for his 2003 album Skull Ring, he proposed the idea of reuniting the Stooges for a few cuts. Pop’s record company was enthusiastic, and Ron and Scott Asheton recorded four new songs with Iggy for the album, with Ron handling both guitar and bass. The organizers of the annual Coachella Festival made the Stooges an tempting offer to play the event that year, and on April 27, 2003, Iggy, Ron Asheton and Scott Asheton took the stage (with bassist Mike Watt standing in for the late Dave Alexander) and played a set that amazed the crowd in attendance. The Coachella set was intended to be a one-off reunion, but it wasn’t long before the Stooges once again became a going concern; within a few months, they were headlining shows in the United States and playing major festivals around the world, and in 2007 they released an album of new material, The Weirdness. If the world wasn’t ready for the Stooges in 1967, they seemed up to speed with them in 2007, and though the group played with an ferocious energy that would tax men half their age and Asheton’s guitar work was every bit as strong as it had been in his youth, there was something moving and almost sweet about witnessing the revived band in concert, especially in Michigan – after decades of being rejected and ignored, the Stooges were finally welcomed as the pioneering heroes they truly were, and they were obviously grateful and delighted to be on stage, especially Ron. The band stayed busy through much of 2008, playing 28 shows between May and September, and two festival dates had already been announced for the group in 2009 before Asheton’s passing was discovered.

The scuttlebutt among fans had been that the Stooges were planning another studio album and a few more rounds of touring in support over the next few years, and it’s impossible to say what if any future the group has now — the concept of the Stooges without Ron Asheton seems inconceivable. But while this great band may have come to an sudden and unexpected end, the Stooges’ second act reconfirmed what was important about the band and their music, and Ron Asheton’s return to the spotlight not only affirmed his vital importance in the pantheon of rock and roll, but gave him the chance to enjoy the acclaim (and a few decent paychecks) that long should have been his due as one of the best and most powerful guitarists of his generation. Just this once, the nice guy didn’t finish last.

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  • 4 weeks later...

Shit, smorio sam se. :lol:

Ne vezujem se za muziÄare na tom, kako bih rekao fanovskom nivou, pa ipak gotovo da sam se osećao deprimiranim.

Moguće je da ima veze i sa onim ludim vremenom od juÄe i sa sasvim liÄnim iskustvom da me sa prvim danima proleća obavezno saÄeka neka vest o smrti.

Onda se desi da se ta svetlost, koja inaÄe raÄ‘a život, oboji crno, navuÄe mi se nekakva koprena ispred oÄiju i slike bezbrojnih ljudi u pokretu dobiju turobnu dimenziju.

Ako si posmatrao nekada slike ÄorÄ‘a DeKirika, takva bi bila ta svetlost. Kao da joj je oduzeta ta moć da sve oživi.

Uprkos tome, ili baš zbog toga, popodne sam krenuo na journey to the center of the girl. A i mislim da bi to, pre nego predavanje letargiji bilo po ukusu Luxa Interiora.

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Ne vezujem se za muziÄare na tom, kako bih rekao fanovskom nivou, pa ipak gotovo da sam se osećao deprimiranim.

Mislim da ovde nije presudan "fanovski nivo", mislim da je Lux jednostavno (bio) jedan od onih "forever young" tipova za koje misliÅ¡ da nikada ne mogu nestati. Poput smrti Joey Ramonea, kao da umire sama ideja života i mladosti a ne sam Äovek. No, dobro si rekao, letargija nije u njegovom fazonu, zato...

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