#guy stevens

[sitting-on-me-bum]

The giant oceanic manta ray (Manta birostris), left, can be found across global oceans, whereas the smaller reef manta ray (Mobula alfredi) lives in the Indo-Pacific region.

Image credits: Guy Stevens/Project Manta; shutterstock

[theclasharchives]

joe strummer and guy stevens

[rocksbackpages]

Free for a week in the RBP spotlight

STEVENS CALLING — Clash producer Guy Stevens, who died 40 years ago this week, speaks to Jimmy Reed (Record Mirror, 1964), sees Smokey Robinson & Solomon Burke live at Chicago's Regal (RM, 1964) and explains how country met rock'n'roll at Sam Phillips' Sun Records (International Times, 1969).

[j0estrummer]

[julio-viernes]

___

Otro favorito de la página es el gran productor y DJ Guy Stevens, el 28 de agosto ha sido el aniversario de su deceso. Guy animó las noches mod originales con un repertorio de vinilos de ritmo y blues que nadie tenía en Inglaterra por entonces. Luego se hizo A&R y asesor musical del naciente sello Island y dirigió las ediciones UK de un buen número de pequeños sellos americanos encuadrados en Sue Records, ayudó a formar y dio nombre a Procol Harum, y se convirtió en el loco, genial e imprevisible productor de Hapshash and the Coloured Coat, Free, Mighty Baby, Heavy Jelly, Mott The Hoople y The Clash.   

[guessimdumb]

Visit Original Link

Mott the Hoople - Walkin’ With A Mountain (1970)

A rocker from their second album

She sits, winks, takes it all in

[vinylspinning]

Mott the Hoople: Mott the Hoople (1969)

Despite sporting a nifty, colorized version of M.C. Escher's famous “Reptiles” lithograph as its cover, Mott the Hoople’s ‘69 debut doesn’t inspire much confidence by starting with an instrumental kicking of The Kinks’ “You Really Got Me.”

But as history (and the wonderful Ballad of Mott documentary) tells us, this and most other decisions here were made by the fledgling outfit’s mentor and producer, Guy Stevens, who was bent on molding Mott into a perfect hybrid of Bob Dylan and The Rolling Stones!

The Dylan part, as it were, fell to the “elderly” Ian Hunter (already 30 by the album’s release), who brings his suitably nasal vocalizing to Doug Sahm’s “At the Crossroads,” Sonny & Cher’s “Laugh at Me,” and a self-credited rip of “The Times They Are a-Changin’” called “Backsliding Fearlessly.”

So side two is much more to my liking, as Hunter and his brand new, younger bandmates -- guitarist Mick Ralphs, keyboardist Verden Allen, bassist Pete ‘Overend’ Watts, and drummer Dale ‘Buffin’ Griffin -- indulge their Stones fantasies to the hilt on the born-a-classic “Rock and Roll Queen.” (*)

Rounding things out is a brief, instrumental groove called “Rabbit Foot and Toby Time,” followed by the ten-minute, nearly-classical drama of “Half Moon Bay,” and a closing jam snippet aptly named “Wrath and Wroll,” credited to Stevens.

And it’s fitting that we finish this blog talking about Guy, because, by the band’s own admission, there would have been no Mott the Hoople if not for Stevenson’s having the ego to think he could create a group from scratch -- in his own words:

“There are only two Phil Spectors in the world ... and I’m one of them.”

* In fact, Hunter later accused Mick and Keef of filching this song’s foundation for the timeless “Bitch” and, you know, he has a point.

More Mott the Hoople: Mad Shadows, Brain Capers, All the Young Dudes, Mott, The Hoople, Live.

[theclasharchives]

mick jones and guy stevens in 1979