Australian musicians Terry Dean and Rod De Clerk met in Tasmania in 1965. They then met Laurie Arthur, a member of The Strangers, and the three decided to form a band together after a jam session. They quickly signed to EMI that same year and released three singles. They went through several line-up changes over the following few years, then signed to CBS Records in 1969. A few further singles followed before transferring to Fable Records in 1970.
The Mixtures recorded a cover of Mungo Jerry’s “In the Summertime” and—as a result of the 1970 radio ban, during which many Australian radio stations refused to play Australian and British music released by major labels—received much more airplay than had initially been expected for a group on a small record label. The single went to #1 in Australia for six weeks. They followed up with “The Pushbike Song” (produced by David Mackay), which went to #1 in Australia for two weeks, hit #2 in the UK Singles Chart, and went to #44 on the Billboard Hot 100 in the U.S. after being released on Sire Records.
The next single, “Henry Ford”, peaked at #43 in Australia. Further line-up changes ensued before “Captain Zero” went to #6 in Australia in 1971, their last big hit. The group underwent some more line-up changes including Brenton Fosdike (Guitar, vocals), John Petcovich (Drums, Vocals) and the last member to join was Keyboard Player Rob Scott. In 1978 the band travelled to Perth to do some recording and put together a new show. During this time Bass Player Chris Spooner died in a fishing accident at Trigg Beach. The band only carried on for a further three months as a four piece before breaking up in early 1979. The remaining four members, Brenton, John, Rob and Peter Williams, then formed a new band with two other Australians, (Dennis Broad and Paul Reynolds) and the band was named BRIX.
Picture source…..i.ytimg.com
Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please
Ihaia Kaikoura’s original signature on the Treaty of Waitangi.
Rangitane have resided in the northern South Island since the migration from the Wairarapa in the sixteenth century under the Chiefs Te Huataki, Te Whakamana and Tukanae. The Iwi gradually occupied a territory stretching from the Waiau-toa (Clarence) River in the south to the Wairau (Marlborough), including the Nelson Lakes, and north to Kaituna and the Marlborough Sounds and west into the Whakatu (Nelson) area. Rangitane customary rights often overlapped and intersected with other Iwi, especially in the Waiau-toa, Nelson Lakes, Marlborough Sounds and Whakatu districts. Non-exclusive and shared occupation and use rights in these areas were governed by whakapapa connections and customary protocols between the Iwi. Between 1827 and the mid-1830’s an alliance of musket-armed North Island Iwi invaded the northern South Island. Rangitane (and the other northern South Island Iwi) were defeated in a series of battles. However Rangitane continued to live on the land, and maintained ancestral connections with the whenua.
The Treaty of Waitangi
The Rangatira Ihaia Kaikoura signed the Treaty of Waitangi on Horahora-Kakahu Island (Port Underwood), on June 17, 1840. He is frequently referred to as the leader of the Wairau community and he was invariably consulted by Crown officials on land and other important matters. In 1856 the Crown Purchase agent Donald McLean concluded two deeds or sales with Rangitane, one at the Wairau Bar and the other at Havelock. Rangitane were to have received an extensive reserve on the northern side of the Wairau River, but this was never delivered.
The Rangitane Claim (WAI 44)
Rangitane filed a claim with the Waitangi Tribunal in 1987 alleging that the Crown committed a number of breaches of the Treaty of Waitangi. That claim was finally heard in 2003, and the Tribunal Report was released in 2008. The recommendations of the report can be found on the Waitangi Tribunal website www.waitangitribunal.govt.nz
Bob Ross Painting Classes Provided At Interest Foyer
After getting decided on a number of colours, obtain color cards for them you could take dwelling. Put these up against the partitions, examine them to the furnishings, do whatever that you must determine which color goes to be best in each room and whether or not portray partitions in a single color all through the home might be higher, or portray walls with completely different colors for various rooms. You additionally must determine what color you wish to paint the ceiling, though white is customary and that is what I’ve utilized in all my interior paint jobs. Getting your supplies prepared for Portray Partitions and Ceilings.
Considering how unwilling Diebenkorn was to retreat to the security of a format or a components in the fifties and early nineteen sixties, it’s thrilling to realize what number of good and perhaps even great paintings there are. Santa Cruz I (1962), a view of ocean and ocean-aspect buildings, is as convincing a portrait of the California coastline as I know, a worthy successor to Matisse’s views of the Promenade des Anglais in Nice. Diebenkorn’s restlessness is one of the fascinations of midcentury artwork, as he moves from the just about crude figural style of Espresso (1959) to the Ingresque sensuality of Sleeping Lady (1961).
Laminated wooden is thick and is most frequently used for flooring. Since your door body already has wood or steel, you don’t need so as to add thickness. You simply want to add a wooden-end look. You can add a layer of laminate to your door body by making use of veneer sheets. Veneer is a thin sheet with a peel-off backing. The entrance of it has the looks of a shiny wooden finish. The sheets are self-adhesive and laborious to remove, so perceive the whole course of and plan your challenge with a view to get it right the first time.
Next you need to put together the partitions and ceilings. If there may be any paint peeling off the walls or ceilings, give them a light-weight sanding to take away any remaining paint that may come off. If any remaining paint appears like it is there to stay then just go away it. The main thing is to take away paint which will come off after you may have painted the wall or ceiling, taking with it the brand new paint and leaving a nice ugly hole in your paint job. Subsequent use Sugar Soap to clean any stains, dirt or grease off the walls. Typically we simply turn into used to the colour they have turn out to be.
There are two focal points juxtaposed close to one another, denoting the struggle and the target, the uprising would carry about. One is the flying tricolor flag and the opposite is just beneath that; the uncovered higher physique of the primary figure. Viewer’s eye is on the move from one to the other, inflicting an upward motion in the direction of the flag; the image of efficiently achieved goal and the revealing shoulders and breasts of the Liberty; denotation of the sacrifice and wrestle the nation has put forth. However on the similar time the sympathetic focus may lay on the central figure with everything dwell or dynamic behind her.
If you liked this information and you would such as to receive additional facts pertaining to Painters Surrey kindly go to benjaminmoorevancouver.com/.
The Rolling Stones began calling themselves the “World’s Greatest Rock & Roll Band” in the Sixties, and few argued with them — even then. More than 40 years later, the band’s music continues to sound vital. With literally scores of genre-setting hits under the group’s belt — and fronted by two of rock’s biggest archetypes — the Rolling Stones have done more to define the look, attitude and sound of rock & roll than any other band in the genre’s history.
In the 1964 British Invasion the Stones were promoted as bad boys, a gimmick that stuck as an indelible image (partly because it was true). Their music started as a gruffer, faster version of Chicago blues, but eventually the Stones pioneered British rock’s tone of ironic detachment and wrote about offhand brutality, sex as power, and other taboos. Jagger was the most self-consciously assured appropriator of black performers’ up-front sexuality; Keith Richards’ Chuck Berry–derived riffing defined rock rhythm guitar (not to mention rock guitar rhythm); and the stalwart rhythm section of Bill Wyman and Charlie Watts held everything together, making sure teenagers could dance to whatever Mick and Keith dreamt up. After the Seventies, the Stones lost their dangerous aura, but it didn’t hurt their popularity: They’ve become icons of an elegantly debauched, world-weary decadence, elder statesmen who filled arenas well into the 2000s.
Jagger and Richards first met at Dartford Maypole County Primary School. When they ran into each other 10 years later in 1960, they were both avid fans of blues and American R&B, and they found they had a mutual friend in guitarist Dick Taylor, a fellow student of Richards’ at Sidcup Art School. Jagger was attending the London School of Economics and playing in Little Boy Blue and the Blue Boys with Taylor. Richards joined the band as second guitarist; soon afterward, he was expelled from Dartford Technical College for truancy.
Meanwhile, Brian Jones had begun skipping school in Cheltenham to practice bebop alto sax and clarinet. By the time he was 16, he had fathered two illegitimate children and run off briefly to Scandinavia, where he began playing guitar. Back in Cheltenham he joined the Ramrods, then drifted to London with his girlfriend and one of his children. He began playing with Alexis Korner’s Blues, Inc., then decided to start his own band; a want ad attracted pianist Ian Stewart (b. 1938; d. December 12, 1985).
As Elmo Lewis, Jones began working at the Ealing Blues Club, where he ran into a later, loosely knit version of Blues, Inc., which at the time included drummer Charlie Watts. Jagger and Richards began jamming with Blues, Inc., and while Jagger, Richards, and Jones began to practice on their own, Jagger became the featured singer with Blues, Inc.
Jones, Jagger, and Richards shared a tiny, cheap London apartment, and with drummer Tony Chapman they cut a demo tape, which was rejected by EMI. Taylor left to attend the Royal College of Art; he eventually formed the Pretty Things. Ian Stewart’s job with a chemical company kept the rest of the group from starving. By the time Taylor left, they began to call themselves the Rolling Stones, after a Muddy Waters song.
On July 12, 1962, the Rolling Stones — Jagger, Richards, Jones, a returned Dick Taylor on bass, and Mick Avory, later of the Kinks, on drums — played their first show at the Marquee. Avory and Taylor were replaced by Tony Chapman and Bill Wyman, from the Cliftons. Chapman didn’t work out, and the band spent months recruiting a cautious Charlie Watts, who worked for an advertising agency and had left Blues, Inc. when its schedule got too busy. In January 1963 Watts completed the band.
Local entrepreneur Giorgio Gomelsky booked the Stones at his Crawdaddy Club for an eight-month, highly successful residency. He was also their unofficial manager until Andrew Loog Oldham, with financing from Eric Easton, signed them as clients. By then the Beatles were a British sensation, and Oldham decided to promote the Stones as their nasty opposites. He eased out the mild-mannered Stewart, who subsequently became a Stones roadie and frequent session and tour pianist.
In June 1963 the Stones released their first single, Chuck Berry’s “Come On.” After the band played on the British TV rock show Thank Your Lucky Stars, its producer reportedly told Oldham to get rid of “that vile-looking singer with the tire-tread lips.” The single reached Number 21 on the British chart. The Stones also appeared at the first annual National Jazz and Blues Festival in London’s borough of Richmond and in September were part of a package tour with the Everly Brothers, Bo Diddley, and Little Richard. In December 1963 the Stones’ second single, “I Wanna Be Your Man” (written by John Lennon and Paul McCartney), made the British Top 15. In January 1964 the Stones did their first headlining British tour, with the Ronettes, and released a version of Buddy Holly’s “Not Fade Away,” which made Number Three.
“Not Fade Away” also made the U.S. singles chart (Number 48). By this time the band had become a sensation in Britain, with the press gleefully reporting that band members had been seen urinating in public. In April 1964 their first album was released in the U.K., and two months later they made their first American tour. Their cover of the Bobby Womack/Valentinos song “It’s All Over Now” was a British Number One, their first. Their June American tour was a smashing success; in Chicago, where they’d stopped off to record the Five by Five EP at the Chess Records studio, riots broke out when the band tried to give a press conference. The Stones’ version of the blues standard “Little Red Rooster,” which had become another U.K. Number One, was banned in the U.S. because of its “objectionable” lyrics.
Jagger and Richards had now begun composing their own tunes (at first using the “Nanker Phelge” pseudonym for group compositions). Their “Tell Me (You’re Coming Back to Me)” was the group’s first U.S. Top 40 hit, in August. The followup, a nonoriginal, “Time Is on My Side,” made Number Six in November. From that point on, all but a handful of Stones hits were Jagger-Richards compositions. Read more…..www.rollingstone.com
Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
Nicknames are fine but nothing rude, please.
1 cup diced cooked ham (buy a ham steak in the deli section)
3 1/4 cups chicken broth
1/2 teaspoon salt, or to taste
1 teaspoon ground white or black pepper, or to taste
5 tablespoons butter
5 tablespoons all-purpose flour
2 cups milk
Instructions
Combine the potatoes, celery, onion, carrot, ham and chicken broth in a stockpot. Bring to a boil, then cook over medium heat until potatoes are tender, about 10 to 15 minutes. Stir in the salt and pepper.
In a separate saucepan, melt butter over medium-low heat. Whisk in flour with a fork, and cook, stirring constantly until thick, about 1 minute. Slowly stir in milk so that lumps don’t form and until all of the milk has been added. Continue stirring over medium-low heat until thick, 4 to 5 minutes.
Stir the milk mixture into the stockpot, and cook soup until heated through.
Top with cheddar cheese, chives, and bacon if desired. Serve immediately.
Have a regular grass-cleaning routine. Nevertheless, don’t just quickly choose one over the other. If you want to install or access energy lines, you can easily remove these pavers without breaking them and once you are done, you have to get back them to their original place.
Meadow Grass has adjustable growth habits. Being so, you need to certainly look for ways to protect or improve your hard-earned abode. They’re able to have a neighbor or even a few of their young grandchildren to put in the pitch on their lawn.
Many stores provide useful savings for updates during those times. Many of them will accommodate you if you buy right then and there. Ceramic tube core is a new generation of valve core material, especially the transfer ceramic chip, great closing, secure actual efficiency, and long service life, standard is beyond 10 years.
According study, this is the most effective and durable of all of the other materials. And that means you should have a look at offers pages before making a purchase, many sites offer discounts; therefore. Else, you will find it hard to be entirely happy and pleased as a customer even only after five short years. garden renovations.
Tap main body is made of bronze casting. You want to decorate them to be sure they don’t look dull and boring. Hydroseed will cost 50%-80% less than turf and give you an equally beautiful lawn.
They have the information about the different materials and they could refer you to their associates for the supplies which is needed for the project. It eliminates constantly required to fertilize, plant new seed, water, cut, cut and side in the expectations of an excellent lawn. But that figure does not only suggest a potential.
Also, you must be sure the installers are skilled and experienced to have the garden you always wanted. undesired grass and tree roots should be taken off employing a shovel and a cutter; then, Since the artificial grass is to be installed without congestion, proceed by grading the sub-base of the ground. Decide to try being individual instead of over-paying for fast delivery whenever possible.
As a poet, prophet and purveyor of Jamaican culture, he shattered musical boundaries around the world.
Bob Marley was born in a small village called Nine Miles in Jamaica. The son of British Naval Officer and Jamaican woman called Cedella, Marley rarely saw his father due to his mother’s family and their disapproval of his parents relationship.
By the time he had turned 16, Marley had recorded his first single ‘Judge Not’, and in 1963, he formed The Wailers with Peter Tosh, Bunny Livingstone, Junior Braithwaite, and Beverly Kelso. The band then scored their first number one in Jamaica with ‘Simmer Down’ on the Coxsone label.
When Braithwaite and Kelso left the group around 1965, the Wailers continued as a trio, Marley, Tosh, and Livingstone trading leads. In spite of the popularity of singles like ‘Rude Boy’, the artists received few or no royalties, and in 1966 they disbanded.
After marrying his girlfriend Rita Anderson, Marley spent most of the following year working in a factory in Newark in the United States, where his mother had moved in 1963. Upon his return to Jamaica, the Wailers reunited and recorded for Coxsone with little success. During this period, the Wailers devoted themselves to the religious sect of Rastafari.
In 1969, they began a three-year association with Lee “Scratch” Perry, who directed them to play their own instruments and expanded their line-up to include Aston and Carlton Barrett, formerly the rhythm section of Perry’s studio band, the Upsetters. Some of the records they made with Perry – like ‘Trenchtown Rock’ – were locally very popular, but so precarious was the Jamaican record industry that the group seemed no closer than before to establishing steady careers. It formed an independent record company, Tuff Gong, in 1971, but the venture foundered when Livingstone was jailed and Marley got caught in a contract commitment to American pop singer Johnny Nash, who took him to Sweden to write a film score.
Their breakthrough came in 1972 when Chris Blackwell – who had released ‘Judge Not’ in England in 1963 – signed the Wailers to Island Records and advanced them the money to record themselves in Jamaica. The first result of this new contract was 1973’s ‘Catch A Fire’, the breakthrough album that saw the band reach an international audience for the first time. It was followed a year later by Burnin’, which included the songs “Get Up, Stand Up” and “I Shot The Sheriff”.
The band toured heavily during this period, and Marley expanded the instrumental section of the group and bringing in a female vocal trio, the I-Threes, which included his wife, Rita. Now called Bob Marley and the Wailers, they toured Europe, Africa, and the Americas, building especially strong followings in the U.K., Scandinavia, and Africa. They had U.K. Top 40 hits with ‘No Woman No Cry’ (1975), ‘Exodus’ (1977), ‘Waiting in Vain’ (1977), and ‘Satisfy My Soul’ (1978).
In 1976, Marley was shot by gunmen during the Jamaican election campaign, but survived and continued to soar in popularity until his 1981 death due to brain, lung and stomach cancer. In 1987, both Peter Tosh and longtime Marley drummer Carlton Barrett were murdered in Jamaica during separate incidents. Rita Marley continues to tour, record, and run the Tuff Gong studios and record company.
Sometimes the most extraordinary talent comes, seemingly, from nowhere. John Newman is only just 23 years old, but his voice and his songs cut through with a depth and a richness that’s way beyond a couple of decades and some change. A true force of nature, John writes, produces plays, performs and remixes his own music, as well as writing his own video scripts and designing his own clothes. This is a seriously larger than life character.
In 2012, a year before his first solo material had even seen the light of day, John Newman scored a number 1 single, appeared on both Later with Jools, and the Christmas Top Of The Pops, and had written and sung on two of the biggest dance hits to storm the UK charts in years: Rudimental’s massive number one “Feel The Love” and the powerfully anthemic follow up “Not Giving In”. Those who enjoy life’s savage juxtapositions will appreciate he was in hospital recovering from surgery to remove a (non-cancerous) brain tumour when he heard the song on national radio for the first time. “I woke up and heard my song on the radio,” he smiles. “That was quite surreal. The nurse was quite fit too, so it was good to turn around and say, ‘That’s my tune!’” Shortly after leaving hospital “Feel The Love” went to number 1 in the charts.
“That really was quite surreal,” he smiles.
After 12 months spent writing, recording and touring with the ‘Mental and Plan B, John is now preparing to release his debut solo single, “Love Me Again”, a huge great melodic and emotional banger that weaves in and out of John’s most beloved influences, the pieces he’s been drawn to since childhood.
Born in Settle, North Yorkshire, to a mother obsessed with Motown and Northern Soul, John never really even knew you could be a singer, that you could express yourself through writing and performing your own songs. No one from where he grew up ever spoke about such a thing; indeed, to bring the subject up among your school friends would only provoke scorn. But as a teenager, having watched his elder brother leave home and form a band, John began to realise there was a whole world beyond everything he knew.
As a young woman John’s mum had danced to Northern Soul at Wigan Pier. A quarter of a century later John was in the same legendary venue dancing to Hard House, “and Donk” he laughs. But, Donk was just the gateway drug.
“Everything I heard there just got me into house music,” John says. “And through that I started listening to my mum’s records…”
In short, John began to stretch out. The house music he loved turned into hip hop, then Motown, then his mum’s eclectic 70s and 80s vinyl, there were albums by Diana Ross and James Brown, there was Northern Soul and punk too and John loved playing them so much he began DJing at local birthday parties. At the same time he was listening to Damien Rice, Ray Lamontagne and Ben Harper as he taught himself guitar. Aged 15 John commandeered the cupboard under the stairs and, being a confirmed DIY nut (he’d already been building go-karts in the garage) turned it into his first, tiny, studio. In there, with an acoustic guitar, a battered laptop and some “crappy” hi-fi speakers he’d produce hip hop and house instrumentals, taking little bits from everything he heard and making them groove together. Before long John decided he should sing over these beats and soon began doing solo gigs in local pubs, advertised with his own photo shoots, posters and artwork. When MySpace appeared he took it all online – and suddenly he was too busy for some of his previous pursuits.
“It was time to stop getting arrested and start taking music seriously,” he laughs, clearly not missing a career illegally riding mopeds across farmer’s fields. “Saturday morning’s better when you don’t wake up in a cell…”
When John left school what he really wanted to be was a mechanic, but halfway through his first term he realised he was spending more time asleep in the back recovering from gigs than he was learning about carburettors.
“I was sat in class writing songs,” he says. “I’d gone totally over music and once I know what I want to do, I do it.”
With that decision made, John moved to Leeds, where he studied at the College of Music, “A bit of culture was coming into my life,” he says. Student life opened up his mind, provoking a rash of new songs. John describes his three years in Leeds as, “both brilliant and horrible”. Two of his closest friends died in the same tragic car crash, while weeks would pass in a hazy, cloudy blur. Later John got a job as a glass collector, then as a cocktail barman, and his gigs just got better and better. For the first time, he felt accepted. “Leeds was all about your personality, about who you were,” he says. “By the end of my time there I knew what I was doing was fucking cool.”
Next stop, naturally, was London. John moved into a “grotty old warehouse” and started again. It was while working at the Old Dairy in Stroud Green that he first met and formed his first band with Piers Agget, sometime before the latter would form Rudimental. Soon the two gathered a band around them and began playing gigs across town. John’s new job at the Silver Bullet in Finsbury Park introduced him to a whole new community of thirsty musicians who would gig there, jam there, “and smoke there”, John laughs.
And those songs coming down the pipe? There’s Cheating, the story of a vulnerable boyfriend who forgave his unfaithful partner, written with his old guitarist, Jack, who he found living in a tent in an abandoned corner of a warehouse. Gold Dust is about finally opening up to someone and saying, “Listen, I’ve got to tell you something…” Losing Sleep is about someone left alone, “like a child scared of the night”, racked with fear and paranoia, while standout “Out Of My Head”, which takes the pace down a notch or two, tackles being fantastically lonely and dealing with it all by getting pissed every night of the week. Sometimes a busy bar is the best place to be because at least there you’ll find people to talk to.
When John talks about his love of Otis Redding, Led Zeppelin, Marvin Gaye and Adele, or piano classics like Liquid’s “Sweet Harmony” or Black Box’s “Ride On Time”, that small town boy who fell in love with music without ever knowing it could provide him with an escape, appears right there in front of you.
“I don’t like silence,” he says, gathering up his things as he heads back to the studio. “When it’s silent I think too much. I realise now that I like the sound of sitting on hills, listening to the wind and the birds. We should all listen to that more because when you really listen, you don’t feel alone anymore…”
After the last note played on the last song of a marathon set a few years ago, Dan Reynolds, frontman for Las Vegas based rockers Imagine Dragons, realized it was all starting to come together. “We were playing a gig at this place called O’Sheas, which has the cheapest beer on the strip,” Reynolds remembers. “I was basically standing on top of the drums, the stage was so small. We were on our final song of a six-hour set. I got to the end of the song and just fully passed out in the middle of singing. I came to, got up, finished the song, and we got a standing ovation from all these people at this tiny little casino at three am on a weekday in Vegas. Something about that moment bonded us and made us realize that we were building a connection with people from all over the country.”
Since then that connection has only grown. Reynolds and his bandmates – guitarist Wayne Sermon, bassist Ben McKee, and drummer Daniel Platzman – independently released three EPs, toured extensively, earning a grass roots following. Then, earlier this year, the band made their major label debut with the release of their Continued Silence EP, which included the breakthrough single “It’s Time,” an anthemic foot-stomping track that perfectly encapsulates the band’s unvarnished emotional sound. The song, which reached #3 at Modern Rock radio and #2 at AAA, earned the group a 2012 MTV VMA nomination for “Best Rock Video.” With the groundswell of energy “It’s Time” generated, Imagine Dragons are now preparing for the release of their full-length debut, Night Visions, available on Grammy award winning producer Alex Da Kid’s (Eminem, Rihanna) label, KIDinaKORNER. “This record has been three years in the making,” Reynolds explains of his excitement in finally getting to share the album with the world. “We feel that we have finally created something we are all truly proud of and that can hopefully inspire others and help them feel a little less alone. That’s what music is about. It’s the greatest communicator I know.”
Emotional struggle is central to Imagine Dragons ethos. From the beginning it’s been the group’s goal to take the pain they’ve each experienced in life and spin it into something redemptive and uplifting. That transformation – of emotional pain into art – is what drives them as people and it’s also what inspired their first hit. “I wrote It”s Time during a very transitional period in my life,” Reynolds recalls. “It seemed like everything was going wrong. I was trying to decide what I wanted to do with my life, trying to figure out how seriously to take music. I was making decisions about who I was. I’m a pretty young guy and I’m still trying to figure out the answer to those questions.”
That balance between riding steady and risking it all is the core tension at the heart of Imagine Dragons’ sound and their identity and it’s a reflection of the city they call home. “Our band wouldn’t exist without Las Vegas,” Reynolds says simply. “It’s a great place for an artist to start out.” Sin City isn’t known as a creative hotbed but, weirdly, that works to the advantage of the musicians who live there. “It’s not oversaturated,” he explains. “As a new band you play the casinos – half covers, half your own stuff – and you make ends meet. We were able to rent a band house and support ourselves. Eating ramen, but still.” Eking out a living as a Vegas rocker might be relatively easy but competition is cutthroat because the city is like boot camp for performers. Unlike in New York or LA where your biggest concern is being the hottest rock act around, in Las Vegas you’ve got to compete with showgirls and roulette and Cher at the Caesars Palace. “You learn to stand out because you’re competing for the attention of people sitting at slot machines,” Reynolds explains. “You have to bring everything you have and learn what grabs people’s attention enough that they look up from the card table and say, hey, let’s check this out!”
Chimichurri is an Argentinean green sauce that can also be used as a marinade, making it a perfect accompaniment to this grilled steak. Serve with steamed vegetables and rice for a well-rounded, healthier meal.
Chimichurri
1/3 cup packed flat-leaf parsley leaves
1 tablespoon freshly squeezed lemon juice
¼ teaspoon chilli flakes
Pinch sugar
Good pinch ground cumin
1 clove garlic
2 teaspoons extra virgin olive oil*
1 tablespoon hot water
2 cups cooked brown rice (3/4 cup before cooking)
To make this meal even healthier use Tick approved ingredients.
* Products available with the Heart Foundation Tick.
1. To make chimichurri, combine parsley, lemon juice, chilli flakes, sugar, cumin and garlic in a processor and pulse until finely minced. With machine running, pour oil and water down the feed tube and whiz until the mixture is well combined. Set aside.
2. Preheat barbecue to moderately high.
3. Rub steaks with garlic. Spray barbecue rack with cooking spray. Cook steaks 4-6 minutes, turning once. Transfer to a plate, cover loosely with foil and stand 5 minutes. Cut into diagonal slices and serve with chimichurri and rice.
