Relix – Vol. 10, No. 1 (February 1983)

FrontCoverAnother item from my magazine archive:

Relix Magazine was launched in 1974 under the name Dead Relix. In its earliest incarnation, this hand-stapled, homegrown newsletter was an outlet for Grateful Dead tape traders ‹ avid concertgoers who taped and traded Grateful Dead concerts. The first issues were small (less than 20 pages), had hand-drawn black and white covers and focused on taping tips and Grateful Dead news. It also provided a forum for tape traders and music fanatics to communicate with each other.
Even as early as the second issue, non-Dead editorial found its way into Dead Relix’s pages and, with the addition of an editor, the young magazine expanded its scope to cover the music of the Bay Area psychedelic scene. By 1978, Dead Relix contained reviews, essays, short features and artwork, and had dropped the “Dead” from its title. In a world that was moving away from “hippy culture,” Relix managed to remain relevant, by expanding its scope of coverage beyond “Bay Area psychedelic rock” to cover genres as diverse as reggae and heavy metal, with varying degrees of success.

After some years of struggling with its direction, Relix regained its voice. It revived its FristIssue1974focus on the Grateful Dead, but also found room to cover genres as divergent as blues, reggae, bluegrass and jazz, and non-music issues such as mandatory minimum drug laws. It was during the late ’80s to mid-’90s that Relix established its reputation as a magazine that “broke” new acts. With the keen ear of British-born writer Mick Skidmore, many new and emerging bands made their debut in Relix columns such as Independents Daze and On The Edge.

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For a magazine with its roots in Grateful Dead coverage, the passing of Jerry Garcia on August 9, 1995, could have spelt its death knell. Instead, Relix served as a rallying point for the “community,” and, in the years since, has slowly moved its emphasis away from the Grateful Dead to coverage of “jambands” that have filled the void, as well as other, non-mainstream, types of music.

Today, Relix is the only music magazine of its kind. Having weathered 28 years of musical history, Relix has firmly established itself as a serious music magazine, “deadicated” to not only entertaining its readership, but providing a true community for lovers of “music for the mind.” (by relix.com)

And here´s another old Relix mag from 1983, and this issue included great articles about:

  • Gram Parsons
  • The Stray Cats
  • The Dinosaurs
  • Pigpen
  • Jorma Kaukonen
  • Mike Bloomfield
  • Josie Cotton
  • Jim Morrison

and much more … reviews and so on.

Enjoy this trup in the past !

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Kerrang – No. 99 (July 1985)

FrontCoverKerrang! is a UK-based magazine devoted to rock music, currently published by Hamburg based Bauer Media Group. It was first published on 6 June 1981 as a one-off supplement in the Sounds newspaper. Named after the onomatopoeic word that derives from the sound made when playing a power chord on a distorted electric guitar, Kerrang! was initially devoted to the new wave of British heavy metal and the rise of hard rock acts.[2] In the early 2000s it became the best-selling British music weekly.

Kerrang! was founded in 1981. The magazine commenced publication on 6 June 1981 and was edited by Geoff Barton, initially as a one-time supplement in the Sounds newspaper, which focused on the new wave of British heavy metal phenomenon and on the rise of other hard rock acts. Angus Young of AC/DC appeared on Kerrang!’s first cover. Launched as a monthly magazine, Kerrang! began to appear on a fortnightly basis later, and in 1987 it went weekly. The original owner was United Newspapers who then sold it to EMAP in 1991.

During the 1980s and early 1990s the magazine placed many thrash and glam metal acts on the cover (like Mötley Crüe, Slayer, Bon Jovi, Metallica, Poison, and Venom) but later discarded them when grunge acts such as Nirvana rose to fame. Readers often criticise the magazine for repeating this process every time a new musical trend becomes popular.

Kerrang!’s popularity rose again with the hiring of editor Paul Rees circa 2000 when the nu metal genre, featuring bands like Limp Bizkit and Slipknot were becoming more popular.[6] Rees went on to edit Q magazine and Ashley Bird took over as editor from 2003 to 2005. However the magazine’s sales went quickly into decline in 2003 and Paul Brannigan took over as editor in May 2005.

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The term “thrash metal” was first referred to in the music press by Kerrang journalist Malcolm Dome while making a reference to the Anthrax song “Metal Thrashing Mad” in issue number 62, page 8 published on 23 February 1984. Prior to this Metallica’s James Hetfield referred to their sound as power metal.

With the emergence of emo and metalcore, Kerrang! began to heavily feature this musical trend. However, the revamp was not welcomed by all readers and many complaints were received about Kerrang!’s sudden emphasis on emo and metalcore music. Brannigan took the magazine into its most commercially successful period with a record ever ABC for the title of 80,186 copies.

In 2008, EMAP sold its consumer magazine to current owner Bauer Media Group. Brannigan left Kerrang! in 2009 and Nichola Browne was appointed editor.[10] She later stepped down in April 2011. Former NME features editor and GamesMaster deputy editor James McMahon was appointed as editor on 6 June 2011.

In April 2017, Bauer sold Kerrang! magazine, its website, and the K! Awards to Mixmag Media, publisher of dance monthly Mixmag, along with assets related to defunct style magazine The Face, which Mixmag plans to relaunch as a digital-first title. It is suggested that the new owners will relaunch Kerrang! as a monthly title. Bauer will retain ownership of Kerrang! Radio and the Box Plus Network will continue to operate Kerrang! TV as before (by wikipedia)

Here´s a issue from July 1985:

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More Kerrang magazines will come ….

Punk – The Original – Nr. 14 (May June 1978)

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Punk Magazine was a fanzine started by cartoonist John Holmstrom (b. 1954) and Legs McNeil (b. 1956) in 1976 that showcased the New York punk rock scene. The term “punk” was previously used by Creem Magazine to describe the kind of music that was developing parallel to the excessive arena rock bands that developed following the late 1960’s. Punk Magazine came out just as The Velvet Underground, MC5, and Iggy & The Stooges had broken up but just in time for The Ramones, The Dictators, and Television.

Using photographs taken by staff photographers Roberta Bayley and Bob Gruen among others, the magazine’s layout was like a comic book, with panels overlaid with text bubbles. After fifteen issues, the publication came to an end in 1979. John Holmstrom would go on to publish several other underground comic magazines including Stop! and Comical Funnies and was a regular contributor to High Times.

The John Holmstrom & Punk Magazine Lot contains an entire run of the original Punk Magazine as well as the D.O.A. Film Book and the revived Punk issues of the 2000s. Also included is a complete run of Stop! and Comical Funnies, Holmstrom’s comic-focused publications and S.V.A. publications that he contributed too. This lot also contains an original ticket and poster to the Punk Magazine Awards in 1978 that were overshadowed by the death of Nancy Spungen, allegedly, at the hands of Sid Vicious just a few nights prior.

And here´s one of the last issues of this short-lived Punk magazine.

Punk was never a favorite sound for me … but Punk is without any doubts an important part of the history of music. So, this magazine can or must be a part of this crazy little blog …

Enjoy the very special design of this era …

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Believe it … or not: in this issue you´ll find an articale about The Bay City Rollers !

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The backcover of this issue

Relix – Vol. 6, No. 3 (June 1979)

FrontCoverAnother item from my magazine archive:

Relix Magazine was launched in 1974 under the name Dead Relix. In its earliest incarnation, this hand-stapled, homegrown newsletter was an outlet for Grateful Dead tape traders ‹ avid concertgoers who taped and traded Grateful Dead concerts. The first issues were small (less than 20 pages), had hand-drawn black and white covers and focused on taping tips and Grateful Dead news. It also provided a forum for tape traders and music fanatics to communicate with each other.
Even as early as the second issue, non-Dead editorial found its way into Dead Relix’s pages and, with the addition of an editor, the young magazine expanded its scope to cover the music of the Bay Area psychedelic scene. By 1978, Dead Relix contained reviews, essays, short features and artwork, and had dropped the “Dead” from its title. In a world that was moving away from “hippy culture,” Relix managed to remain relevant, by expanding its scope of coverage beyond “Bay Area psychedelic rock” to cover genres as diverse as reggae and heavy metal, with varying degrees of success.
After some years of struggling with its direction, Relix regained its voice. It revived its FristIssue1974focus on the Grateful Dead, but also found room to cover genres as divergent as blues, reggae, bluegrass and jazz, and non-music issues such as mandatory minimum drug laws. It was during the late ’80s to mid-’90s that Relix established its reputation as a magazine that “broke” new acts. With the keen ear of British-born writer Mick Skidmore, many new and emerging bands made their debut in Relix columns such as Independents Daze and On The Edge.
For a magazine with its roots in Grateful Dead coverage, the passing of Jerry Garcia on August 9, 1995, could have spelt its death knell. Instead, Relix served as a rallying point for the “community,” and, in the years since, has slowly moved its emphasis away from the Grateful Dead to coverage of “jambands” that have filled the void, as well as other, non-mainstream, types of music.
Today, Relix is the only music magazine of its kind. Having weathered 28 years of musical history, Relix has firmly established itself as a serious music magazine, “deadicated” to not only entertaining its readership, but providing a true community for lovers of “music for the mind.” (by relix.com)
Here´s an old Relix mag from 1979, and this issue included great articles about:

  • The Byrds
  • Chet Helms
  • Dire Straits
  • California´s Rock N Roll Women
  • Peter Tosh
  • Blondie
  • Norton Buffalo (a real great harmonica payer)
  • David LaFlamme (from “t´s A Beautiful Day” youknow !)
+ lots of reviews …

Enjoy this trip in the past !
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Those were the days, my friends …

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Steve Harnell (Editor) – Vintage Rock The Beatles – The Early Years

FrontCoverHere´s an illustrated 132-page bookazine pays tribute to the early years of The Beatles.

Liverpool’s finest were quite simply the most important pop-cultural phenomenon that the 20th century and beyond has ever seen – wildly ambitious, successful, influential and groundbreaking. And all this sprang from that most British of institutions – a parish church fête, where John Lennon met Paul McCartney, 60 years ago on 6 July 1957.

In this latest Collectors Edition of Vintage Rock, we trace the band’s roots as fledgling skifflers The Quarrymen playing local gigs in Liverpool through to their hothouse development as they became The Beatles at the Cavern and in Hamburg, before moving on to inventing the mega-gig at Shea Stadium.

Inbetween, we serve up some fascinating insights into the life of their manager Brian Epstein, the astonishing rise of Beatlemania in the UK, Europe and the United States, put the band’s first five studio albums under the microscope and also go behind the scenes on their two big-screen outings, A Hard Day’s Night and Help!

It all adds up to a must-read magazine for fans of the Fab Four. The greatest that ever was and the greatest that ever will be…
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Trouser Press – September 1977 (Nr. 21)

frontcoverTrouser Press was a rock and roll magazine started in New York in 1974 as a mimeographed fanzine by editor/publisher Ira Robbins, fellow Who fan Dave Schulps and Karen Rose under the name “Trans-Oceanic Trouser Press” (a reference to a song by the Bonzo Dog Doo-Dah Band and an acronymic play on the British TV show Top of the Pops). Its original scope was British bands and artists (early issues featured the slogan “America’s Only British Rock Magazine”). Initial issues contained occasional interviews with major artists like Brian Eno and Robert Fripp and extensive record reviews. After 14 issues, the title was shortened to simply Trouser Press, and it gradually transformed into a professional magazine with color covers and advertising.

As the 1970s music scene transformed, so did the magazine’s editorial focus. From 1976 on, Trouser Press frequently centered on the growing punk movements in both London and New York. The magazine provided in-depth articles on bands such as the Sex Pistols, The Boomtown Rats, The Clash, The Damned, the Ramones, Television, and many other similar groups, long before other U.S. music publications did. In 1980, the magazine introduced “America Underground”, a recurring column devoted to local music scenes from different areas of the country. By the early 1980s, the magazine’s focus was almost exclusively on new wave, alternative rock, and underground rock from both sides of the Atlantic. Starting in 1982, flexi-discs were included with every issue, totaling 27 releases. Although the magazine seemed to be thriving, with an ever-growing circulation, editor Robbins ceased publication after the April 1984 issue (#96), citing a lack of interest in the continuing but stagnating new wave scene that left his writers with very little to say.
Trouser Press badge (button), circa 1982.

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Issue No 1 (1975)

As a concept, Trouser Press continued to evolve after the publication of the magazine ceased. In 1983, The Trouser Press Guide to New Wave Records, edited by Robbins, was published by Charles Scribner’s Sons. The book was sufficiently popular for four more substantially updated editions, with varying titles and publishers, to be issued over the years, culminating in 1997’s The Trouser Press Guide to ’90s Rock. This final edition featured all-new entries on over 2,000 bands and reviews of approximately 8,500 records and CDs, and is generally considered to be the definitive critical overview of the 1990s alternative music scene. The contents of all five volumes are currently available on the Trouser Press website, which is updated with entries on new bands, as well as revisions/expansions of old articles, by Robbins and other writers. TrouserPress.com went online in August 2002, and has now expanded to more than 3,000 entries.[

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This is a good Almost Famous type story. Promised an extensive historical interview with Jimmy Page that never actually took place during Led Zeppelin’s New York concert engagement that summer, Trouser Press co-founder Dave Schulps had to follow the band across the country, where he spent days waiting by the pool of a posh Los Angeles hotel for his nibs to find the time and energy to sit and talk. It was a deadline nightmare, since we were counting on the story for the cover of our first monthly issue, but proved worth the wait, as the Q&A, which ran in three sizable parts, still stands as the definitive Page interview. And led to our new cover price, $1.25. (by trouserpress.com)

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Keyboard Magazine – June 2016

FrontCoverThis issue features a tribute to the late, great Keith Emerson and is packed with interesting anecdotes by those who worked with him throughout his career.

One interesting anecdote comes from the guitarist in the supergroup The Best.

What, you’ve never heard of The Best? Imagine a group that included Emerson on keys, legendary guitarists Joe Walsh (James Gang, the Eagles)
and Jeff “Skunk” Baxter (Steely Dan, The Doobie Bros.), bassist John Entwistle (The Who), drummer Simon Phillips (Jeff Beck Group, Toto), and vocalist Rick Livingstone.

In the article, Baxter describes the events that lead up to the formation of The Best.

“I first met Keith at the China Club in L.A. back in the ‘90s. I was in the house band, and Keith would come in and play all the time. The band would include John Entwistle on bass, and various guitar players, like Joe Walsh, lots of studio guys. We had great fun seriously playing, not just jamming. One night John and I were talking and thinking, ‘this is too good, we should do something more serious.’ A well-known publicist Michael Jensen offered to arrange a couple of shows in Japan so we solidified the band: Keith, John, Joe, Simon Phillips, and a singer buddy of mine Rick Livingstone. We didn¹t know what to call ourselves, and being such shy wallflowers, we decided on The Best. [Laughs.]”

Much more about Keith Emerson in this issue + many other articles (about Carly Bley), reviews and much more.

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This entry is dedicated to Keith Emerson