The Rolling Stones line up outside the Tin Pan Alley Club in London, 1963

Terry began his career working in a photographic unit for an airline at London’s Heathrow Airport. During this time, he photographed a sleeping figure in a waiting area who, by happenstance, was revealed to be Britain’s Home Secretary. O’Neill thereafter found further employment on Fleet Street with The Daily Sketch in 1959. His first professional job was photographing Laurence Olivier. His reputation grew during the 1960s. In addition to photographing the decade’s show-business elite such as Judy Garlandthe Beatles and the Rolling Stones, he also photographed members of the British Royal Family and prominent politicians, showing a more natural and human side to these subjects than had usually been portrayed before. He was awarded The Royal Photographic Society‘s Centenary medal ‘in recognition of a sustained, significant contribution to the art of photography’ in 2011. O’Neill’s work was featured in the 2016 Proud Chelsea exhibition ‘Breaking Stones 1963-1965: A Band on the Brink of Superstardom’.


The Rolling Stones at 7 Denmark Street, London WC2H 8LZ , by Terry O'Neill [1963]


Los homenajes a Johnny Cash se suceden

#johnnycash from #riverofcountry

River of country

forever words

Casi 15 años después de la muerte del Hombre de Negro, seguimos recibiendo perlas de Johnny Cash gracias al afán recopilatorio de su hijo, John Carter Cash, que esta vez ha contado con la colaboración del productor Steve Berkowitz.

Como continuación del libro de poemas inédito Forever Words: The Unknown Poems, que vio la luz en 2016 en Estados Unidos –y en España con el título Eternas Palabras: Los poemas inéditos (aquí podéis ver la correspondiente entrada)–, llega ahora un álbum que pone música a dichos poemas: Forever Words, de casi una hora de duración, y en el mercado desde el pasado 6 de abril.

Los responsables de poner música al proyecto han sido primeros espadas de la industria musical: Willie Nelson, Kris Kristofferson, Kacey Musgraves, Brad Paisley, Alison Krauss o Jamey Johnson, entre otros. A la iniciativa también se han sumado miembros de su familia…

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Blue Ridge Mountain Blues



“Blue Ridge Mountain Blues”, backed with “Have Thine Own Way, Lord”, was the first single John Fogerty released as The Blue Ridge Rangers. The song was recorded at Fantasy Studios in Berkeley and engineered by Skip Shimmin and Russ Gary. Fogerty plays all the instruments by himself. The 45 rpm single was released in October 1972 and didn’t chart.

In the course of history, the traditional bluegrass song has been recorded by multiple artists. Fogerty’s version was based on J.E. Mainer’s rendition released in 1950, the album having been owned by Fogerty.

In 1973 Fogerty described his reactions to Mainer’s version: “It triggered off all those things – the Blue Ridge harmony when the chorus comes in, the bass drum going “boom, boom, boom” it just set me right up, reminded me a bit of “Waterloo” the Stonewall Jackson thing, where the bass drum came in that way. And so, I think with that song, the whole focus of that area of music finally crystallised in my mind, instead of just being something I liked and something that “someday I’ll take care of it,” you know, that sort of thing, it suddenly came to the fore. I listened to the Mainer record over and over, arranging it in my head, probably without realising it, but just going, as every artist does, “well they ought to have a (click) and they should have done (click) there…” — and so “Blue Ridge Mountain Blues”, became kind of my own personal little national anthem or something. It’s one of my favourite songs of all kinds of music – it’s one that I rate in my own top 10.”

The song opens The Blue Ridge Rangers album because it’s a centre of many things. The original title “Blue Rangers”, referring to the pre-Creedence band Blue Velvets, was replaced by “The Blue Ridge Rangers” after “Blue Ridge Mountain Blues” was added to the song line-up. The concept of the album crystallized in Fogerty’s mind during the tour in Japan and Oceania in February 1972.


John Fogerty played a Fender Telecaster, a Gibson short scale bass, a Gibson J-200 acoustic guitar on a track (Lars Bundesen).

Collector’s notes

The single was released with different cover sleeves in Germany, Netherlands, and Portugal. The US release had no picture sleeve.

The Portuguese pressing had a photo of Doug Clifford on the back of the picture sleeve. (Peter Koers, Green River: An Illustrated Discography, 1999).

Live versions

The three man Creedence Clearwater Revival, i.e. post Tom Fogerty’s departure, played “Blue Ridge Mountain Blues” live in jam sessions in hotels on the last two tours in Japan and Oceania in winter 1972 and in the USA in April-May 1972. On those occasions, the band performed under the pseudonym, Shit Kicker 3.

John Fogerty delivered the song live in a local dance at Troy Inn in Troy, OR, in November 1987. The large audience heard the live version for the first time in venues of the John Fogerty summer tour in 2004. The debut took place in Saratoga, California, on June 25th.blueridgemountainblues

The bluegrass song made a return to the set list in Santa Barbara, California, on May 4th 2008, and was played regularly in the summer 2008 concerts the fiddle parts being handled by session man Jason Mowery.

“Blue Ridge Mountain Blues” appears on the 2009 live DVD Comin’ Down the Road which John Fogerty recorded at Royal Albert Hall, London, UK, in June 2008. He also performed the song at Austin City Limits in Zilker Park, Austin, Texas, in 2008. The show was later broadcast by PBS TV.

Critical reception

“”Blue Ridge Mountain Blues” is a sort of country standard that John says he took from the J.E. Mainer version, although he added the resounding bass drum work. It’s a perfect theme song for this kind of album, very specific in lyric, but very general in overtones.”