3 Posts Today…1.Beyond EDM Post Special (40 Tracks) ~ 2. Today’s Favorite Videos #19 ~ 3. How Vinyl Master Plates Are Made (2 x Videos) – A Little Bit For Everyone… [N.S.F.W. ~ 3 Mega Video Post Special]

Today Up On Christmachine Audio Reference Music Server :

3 Posts Today…1.Beyond EDM Post Special (40 Tracks) ~ 2. Today’s Favorite Videos #19 ~ 3. How Vinyl Master Plates Are Made (2 x Videos) – A Little Bit For Everyone[N.S.F.W. ~ 3 Mega Video Post Special]


Reviews for individual albums or sets will be posted HERE (The Main “DAY” Page) but 3755fdaily Videos & Playlists will be posted in the Playlist “Night” Feed Blog. Again you can access it from the “Playlist “Night” Feed” button in the header menu below the “HOME” button. Or you can get there using the links below.

Note: If you look under a specific name in the categories to the right….for example say “John Lennon” and see what is archived under that name, you should always check the band members’ full band name as well…i.e “The Beatles”. The reason is that at first when I made the two websites, I just used band names. In the last 2 months I began to add individual band members names. So If you look under “John Lennon” there may be a lot more Posts about him, obviously under “The Beatles”. This can be done for all individual band members and their bands at both the “Day” and “Night” “Pages”, as there may be different content at each. Search function also works well…but you must search at both the “Day” and “Night” Pages separately. I know it’s a little confusing but if you search around you’ll find everything we have here. 😉

Post #1. Beyond EDM Post Special (46 Tracks)

Christmachine [* EDM ELECTRONIC *] Audio Reference Music Server Playlist #138875a ~ 46 Of My Favorite Dance Tracks Played Last Night In 4 Hour Set…[ Beyond EDM Post Special ] Link Below A Direct Portal To “Night Page” Side of this Site… 





Post #2. Today’s Favorite Videos #19
Todays Favorite Videos #19 + 2014 Beatles Mono Vinyl Set Unboxing…[Video-Direct Links Via Embeds] ~NSFW~ Link Below A Direct Portal To “Night Page” Side of this Site…






Post #3. How Vinyl Master Plates Are Made (2 x Videos) [Video Post Special] Link Below A Direct Portal To “Night Page” Side of this Site…




3486gAlso: DMancuso~ DJ&AudiophileVideo Updated and second video added as well @ link below:




Thanks As Always For Your Support.

Enjoy, more interesting articles to come!

Cheers and Bless Bless!


CM ☕


Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.




Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine

Is It Not A Contradiction To Simultaneously Support Vinyl And Hi-Rez Digital Formats. Here Is Why It Is Essential That We Do!


Today Up On Christmachine Audio Reference Music Server :

Is It Not A Contradiction To Simultaneously Support Vinyl And Hi-Rez Digital Formats.

Here Is Why It Is Essential That We Do!


I have a lot of other things I have been itching to address, but when I saw someone post this question, “Is it a contradiction to support vinyl and digital formats?”, it Immediately BpUGB3qIEAA70Zo.jpg large.jpgCRPcaught my attention. The reason being that when I first read it, my mind was in a clusterfuck, as I already do support both simultaneously. The thing is, as I began to think about it more, I could understand why someone who may be new to Hi-Res Audio (HRA) may struggle with this reconciliation. It is a common theme that many think the move to Hi-Res Digital Audio, and it seems logical, is meant to free us from need to use vinyl as a source of High Quality Audio. That may be true, but thinking that we are there would be a big mistake.

As we know Hi-res Audio is becoming a widely recognized format, but aside all the controversy and looking at the facts. It is essential that we entertain both formats for several reasons…

1. It is because of Vinyl and High Quality Vinyl Rips (as well as advances in technology), that we now have the growing demand for Hi-Rez music that we have today.

2. In many cases, High Quality Vinyl rips Still, are the nearest representation to the Original Analog Studio Master Tapes, that is, obviously when the Vinyl is sourced from the Original Master Tape. When an All Analog Signal Chain was used in the Transfer to Cut the Original Vinyl Masters and thus is from what the Vinyl is “Properly” Pressed. In the case of Digital Hi-Res it is Optimal for a Direct Analog To Digital Conversion from the Original BnB20largeAnalog Studio Master Tapes to the digital domain. Even with Hi-Rez being offered for purchase at online stores, it is still hit or miss as to the lineage of the new digital recordings.

3. Because of point Number 2, we can use these superior pieces of vinyl, as well as the their High Quality Vinyl Rips, to Compare against Current and Further Digital Hi-Res Releases as well as Re-Issues of Vinyl. This comparison is relevant  whether the Vinyl Re-Issues or Hi-Res Digital is a Straight Flat Transfer from the Original Master Tapes, or they have been Remixed and or Remastered and then subsequently Transferred and then Pressed to Vinyl or Converted to Digital. Then a High Quality Vinyl Rip to Digital by a seasoned ripper may be up for consideration as a Hi-Res “Reference Recording” amongst the community. This means that it must have the Characteristic Sound Signature audio enthusiasts look for in excellent recordings. When a Vinyl Rip has these characteristics and there is a consensus, it can be considered to have the nearest representation of what the artist intended us to hear, as well as nearest available source to what the artists heard in the studio.

4. Just because an artist is an amazing or legendary musician, in most cases, does not automatically make them an excellent producer or mastering engineer. As a matter of fact they usually are not, even if they think they are. I am not going to name names so as not to unnecessarily offend anyone. The reason I can come to this conclusion is because of years of listening with a trained ear to the “Right” Reference Recordings. Obviously you come to your own conclusions about which I spout, but what I do know for sure is that this 900x900skill does not come from a few months or even years of listening, because it is dependent on “What Recordings” you are listening to and knowing “What Sound Signatures” and “Set Ups” hold weight. How can anyone come to a complete decision if they have not experienced it for themselves? These Vinyl Rips are available for anyone to search for and find, however their acquisition is unconventional and time consuming, but the rewards are immense.  Having the ability to “Cross Reference” from a number of Sources in your listening tests is Essential to coming to an “Educated Conclusion”.

5. The recording industry does not make this easy for us, as a matter of fact they would rather we remain confused so as to continue to buy sub par recordings. I am confident and hopeful with the coming Pono releases from the Pono Music Store, overseen by legendary producer Bruce Botnik, will streamline and perfect the process of lineage and quality of transfers to the Hi-Res (HRA) Digital Domain. Those of us who know the difference remain vigilant.

6. I implore CD and Digital Mastering Engineers to check their work against High Quality Vinyl Rips from Seasoned Vinyl Rippers, that have perfected the Art of Vinyl Transfers over years of tweaking set ups and searching every corner of the globe for the Finest Vinyl Pressings Available. In the private communities their rips have evolved exponentially before our eyes and ears, and over time have held up against and withstood intense criticism and discussion from the most trained and particular listeners in the world. In fact 6547Aalthough I consider myself to have a very good set of “trained ears”, they are eclipsed by the ears of even more seasoned veterans from nations again around the world. These vinyl rippers have all the experience and techniques to rival the best known and revered audio and mastering engineers.

7. To underscore the strength of High Quality Vinyl Rips…I am not going to name names but I do have knowledge that there have been recordings (especially re-issues) from famous artists that have been released to the public with the Understanding that they were Sourced From High Quality Vinyl Rips. Further murking the waters, there have been Artists (living or dead) who had No Knowledge that this was done by Their Mastering Engineers or Labels because the Particular Vinyl Rip was Better than the Source that had been given them by the Artist or Label in the studio.

There are also cases where the Mastering Engineer was given Vinyl Ripped Sourced Tape or Digital Recordings, and Low Level Audio Mastering Engineers as well as their Labels had no knowledge that they were using said Vinyl Ripped Sourced Masters for Re-Issues and either Willfully or Unknowingly Distorted Lineage on Packaging For Sale. There are many cases where the Packaging and Print on a vinyl pressing or piece of vinyl either confuses the purchaser into thinking that they were buying a pressing sourced from the “Original Analog Master Tapes” when they in fact had not.  The details on this 6745underhandedness is again murky and short on details but it is known to have occurred. Please do not ask because I cannot comment further on this…I can promise you that someday someone will write the book.

7. Again to underscore the strength of High Quality Vinyl Rips…There have been Specific Releases by Artists who have Requested to use a Particular Vinyl Rippers High-Quality vinyl transfers for their vinyl pressings and CD releases without the Vinyl Purchasing Public having knowledge. This however, in comparison to point number 6 is a good thing. It seems counter intuitive that certain releases would be sourced from a High Quality Vinyl Rips, but the Consumer are inadvertently getting Quality Sound Because of a Vinyl Ripper. Both points number 6 & 7 have had this result happen quietly for a number of reasons, usually because of Lost or Damaged Original Master Tapes to Unlabeled Masters Without Known Lineage, and a High Quality Vinyl Rip just Sounds Better than what they have available. This practice is not widespread but it is known to have occurred. Again someday someone will write the book. Remember the first rule of fightclub is…and the second rule of fightclub is….

Now with all those points made I hope to address point number 1 sufficiently. To properly describe the movement it seems necessary that I make a long story short in reverse. Again, it is because of Vinyl and High Quality Vinyl Rips that we now have the emergence of demand for “Quality Controlled” Hi-Res Audio (HRA). In some ways it was inadvertent by default, and in others a direct result of deliberate actions from the Vinyl Rippers in the Audio Enthusiast Community. This has been reported and discussed at length in previous articles and forums around the web. All the information is out there for your research…I 2709swas able to find it all through search engines, and it is therefore available for you with some dedication. We must make a distinction that there is Good Quality Hi-Res and Poor Quality Hi-Res.

Over the last decade as the music industry was in turmoil, and “The Loudness Wars” took over the stage front and center, savvy music enthusiasts found that they could extract the music from vinyl and render a superior sound signature than the music industry was releasing on CD, .mp3 digital, or on a significant portion of vinyl re-issues. As a matter of fact it was often highly superior, although this phenomenon was not universal, as a piece of vinyl and it’s resulting rip, logically is only as good as it’s original source. The idea that “You can’t polish a turd”, comes into play in this realm. In those cases where the vinyl is as close as possible to the original analog source studio tapes, after a decade of tweaking their setups, rigorous testing of rips that hold up in large listening communities, and finding the best quality vinyl pressings in the world has become in some respects an “Objective Pseudo-Science” in the last few years. Try and wrap your head around that, don’t think too hard as your head might explode. When you find yourself amongst that precipice, it is a truly astonishing event. I must reiterate that all these events are a result of a desire for quality that was not available, so it goes that Quality Hi-Res vinyl rips were born.

Fast forward to recent months…

So the industry was unable to control this underground viral movement, with the collapse 73423dof the music industry and as nature abhors a vacuum, there was not much choice left for them to come on board. That is not to say that the record industry came aboard easily. It has also been said that there are two factions in the music industry, one which fights to do quality control of released recordings Vs. the business or money side of the industry. In the end it’s sadly all about money over art, and as a result of the recent growing demand for Portable Hi-Res Audio Players (DAP’s) already on the market, as well as the opening of Hi-Res Audio online vendors such as HD Tracks and others, made it critical that the music industry take notice.

The final piece of the puzzle, was the insistence of the Legendary Musician Neil Young and his new Pono Player (To be released in October), the Coming Pono Music Store, as well as it’s streamlined Ecosystem…which finally shifted the tide in our favor. It took all these factors to finally bring the music industry to the table. It was only a matter of time as well, after convincing  the recording industry to see the advantage of a new revenue stream, before they folded.

There has been a lot of Hi-Res Audio that has been officially released over the last few years and what we music junkies have found is that there is still many cases where the best known sourced vinyl still beats out the official Hi-Res Audio releases. So as a result of the desire for the highest quality audio, which can only be sourced from vinyl, it still 8453ndremains an important tool in our arsenal.

So all of the aforementioned still, for the most part, holds true. It is because we can use High Quality Vinyl Rips as a source of “reference recordings”, that keeps the bar yet raised very high. There is still a lot of change that needs to come from the artists and music industry before we can say that we have an adequate amount of “Reference Recordings” in Hi-Res Digital Format. This is the goal which Pono Music and it’s “Quality Control Ecosystem” will attempt to meet and I believe they can do it. Some have said that a lot of the music that the Pono Music Store will have access to will in many cases consist of what the Artists and Music Industry has already made available for Hi-Res purchase. A lot will depend on the many famous artists stumping for Pono and the influence they have with their labels. Again I prefer to remain optimistic.

To finish we must ask ourselves have we answered the original question, “Is It A Contradiction To Simultaneously Support Vinyl And Hi-Rez Digital Formats?”. In answering, amongst the current surge in vinyl collections and nostalgia for a physical item as well as it’s strength as a indispensable format for comparison, we must remember one thing, that while we for a time gave up on vinyl, just know that vinyl never gave up on us. Again my process my review.


Cheers and Bless Bless!


CM ☕


Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.




Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine


Building The Perfect Beast…The Brand And Why Music Has Taken A Back Seat…

Today Up On Christmachine Audio Reference Music Server :

Today I am not going to be telling you anything that surprising. It has been said that before that even though something is blatantly obvious, sometimes it needs to be read for it to 900x900px-LL-1d7ac823_5really to take hold in our minds. It reminds me of one of my favorite authors M. Scott Peck in his book, “The Road Less Traveled” where he states that once we REALLY grasp the idea that life is painful, it ceases to be so. Now when I first read that statement I thought he was nuts…but slowly over time in reflecting on that idea, I began to understand what he was getting at. It does not mean that all pain just instantly goes away when we recognize that it’s just a part of life, that life is painful, but it does lessen the pain when we get to a state of thinking WTF could things be any worse (and chuckle at the idea about how badly life is throwing shit our way…same shit different day). The same can be said for the music industry, in one sense it’s in the shitter, but on the other hand it’s the most lucrative time in history for artists. Right now you may be thinking what does that mean?

For years we heard that music is dead, in some ways it is, in comparison to the old days of moving units signifying success. Even though that is clear, the odds are still the same 900x900px-LL-7b10e37f_333379_Photo_451at making it big (in terms of just a few percentage points), but as we know the rules of those odds are quite different. I was watching a video today on “What The Music Industry Does Not Want You To Know” and how now instead of an artists sales being of utmost importance, now it is all about building “the brand”. The brand being the artist themselves and their image is the most important thing to focus on today, the music will always of course be important, but now it is not the main focus. I don’t know if I fully agree with the idea that the music industry tries to hide that ideology. We all know we are in a “Brand” building environment with the surge in popular culture for reality talent shows, with a “Boy” or “Girl” band mentality.

We all hear the adults complaining about the monotony of the music world today, but that aside artists have never had more control of their destinies in history. We have entered an era 900x900px-LL-3c475a3_500where the left over record companies are signing everyone with some pull to 360 degree deals, where a portion of everything they make in every area goes to the record company for their support. The alternative is cutting them (The record Companies) out completely and doing all the legwork all on your own. In the past this was not a choice, as the record industry had a firm grip on a monopoly, and I personally think the dangerous feeling of going it alone and building a fan base and becoming a social media maven is quite exciting. It’s all up to you…plain and simple, with a little luck thrown in and some writing talent, one is well on their way.

The down sides to this is that “everyone” is a musician, an actor, a producer, and a promoter. That in itself is not a bad thing…It reminds me of being in LA in the 80’s and 90’s, 900x900px-LL-4c50aa92_DSCN3389_800x600everyone considered themselves an actor. It was a running joke that a waiter would follow a producer into a restaurant bathroom and slip their script under the stall. You really would see this kind of thing happen. So now that it’s expanded in scope, there is a huge surge in music entering the public domain every day, and there’s bad, then bordering on tepid. I do hear a lot of good music as well, the problem is the time you have to spend listening to all this music (the sheer bulk of data) and only coming out with a small amount that is exemplary. Don’t get me wrong, in the same breath I can say I hear a lot of amazing undiscovered artists, and even the good ones will most likely be passed over because they are swept up in the tide.

Again however, after musing on the positives, we find ourselves back in the saddle over an artists music being less important than they’re brand (their looks and appeal). I have first hand experience in this first because I worked with bands that were trying to become successful but more importantly, I am trying to build my brand as “Christmachine – Audio Reference Music Server”…:Christmachine being the key word, easy to remember and this site as “The Machine”. I spend most of my time doing promotion for this site, which I would rather spend writing articles. I have to admit there is quite a thrill having complete control over my destiny. I’m not looking for fame…just to be reputable and interesting to my readers. So I know how all of you aspiring musicians feel…I’m right there with you. In my area 900x900px-LL-440a6ec97b91e41the brand should be most important but for musicians, not so much. Artists sure don’t look at it that way in full anyway, they believe in their art with great confidence, and in it’s ability to succeed. On the side everyone is social networking for promotion and I also get that, it’s quite fun at times.

In he video I referenced earlier it was stated that the music industry was killed by file sharing, and that is very true, but it is just as true that music became stagnant and processed. Bands were given shitty deals and putting out CD’s with one or two good songs and you had to but the whole CD. So file sharing thrived because people wanted just one song because that is all there was, and it was all in the cloud and just bits of data reproduced with no product changing hands. We reap what we sew. The record industry overreached and bit the hands that fed them….errrrrrrrrrr…..slight over correction, and a backlash, ya think.You know this story it’s all been told before.

It again all comes down to, regardless how it happened, the old genie in the bottle story, music not being the main focus. It’s not hard to see where data volume would surge and 900x900px-LL-3ac223880_largequality thinned out like water in a whiskey bottle. I think I know how this can change even though we are in an age of over saturation. It’s essential that we keep creating, we have to it is in our nature and wonderful. I encourage everyone to continue on (like it matters what I think), because although we believe in what we’re doing. The status quo believes that we’re creating shit, and they could care less, as long as they can sell and package it.

Let me just say that I hope everyone will take a moment once in a while and reflect on the fact that the tide is welcoming us to build only our brand, when we know in our hearts that our art is the most important thing. By continuing to bridge that divide, in our own as well as society’s minds, we will find balance and reconciliation. At some point the bubble will burst. When it does 900x900px-LL-5fc18f06_3ff0494f3064b28113f94ce7e7359650-d5l8vkowe will all want to be on the surfboard, because as we’ve learned from past experience, it’s best that we ride the wave in early or face the perils of stagnant redundancy in the creative process.

We can see the wave and it’s the one. We get that one chance, and we have to be on point. Once we know what we’re up against, with our consistent repetitive belly of fire, we are no longer just up against ourselves.  The first of the greatest truths that I like to say I’ve come to understand is that the only limits we have are those we place upon ourselves. The second, as the rules have changed so have the truths, we not only have to focus ourselves but force our detractors to change as well. A tall task, but take solace in the idea that we live in a time with great promise, even if everything looks like it’s being destroyed.

thanks for reading and your massive support.

Bless Bless!


CM ☕


Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.




Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine

How I Fell In Love With My Guilty Pleasure, America Via The U.K…


Today Up On Christmachine Audio Reference Music Server :

In the 90’s I spent most of my time living between California, Boston, Iceland, and England. It was an amazing time as I would take short trips around the world between tours as well 900x900px-LL-a067d71FLPas hit up as many festivals and shows, representing all types of music. During this time I was touring with rock bands and on the side was living the life on the Electronic Music Train. I was really into Techno, early Trance, Happy Hardcore, Drum and Bass, and Jungle…which I had already experienced in the US underground but was taking things to a whole new level in the UK and Europe, as it was already huge there in popular culture. It would not hit big in the US for another 2 decades, and it was magical period as I have already said.

During the decade I was fortunate to attend festivals such as the Notting Hill Carnival, Reading, Glastonbury, Love Parade, I Love Techno, Gatecrasher, and Sonar / Clubs and Illegal raves featuring Carl Cox, John Digweed and Sasha, such as Shelly’s and Renaissance and finishing out the Decade with Oakenfold’s residencies at Cream and Home. It was quite a blur but one thing that was interesting beyond laying some of the groundwork for all that dance music is today, It was the drug gangs. I had encountered it in the US quite often but in the UK clubs were always getting shut down due to rival drug gangs shootouts during party’s, fighting over territory.

The music was absolutely insane, The Prodigy was a huge act at the time as where the Chemical Brothers (At that time known as the Dust Brothers). The scene was very intense and new, the danger even adding to the excitement. Something else notable from the time was, I remember people telling me that dance nights were not to be referred to as “Raves”. All the cool people referred to them as “Parties”, if you said raves you were considered not in the know. Funny an silly that! You had to be in the know at the time because there was little internet, it was not usually till the day…even short as a few hours before, where the location of the party would be released and spread like wildfire from person to person throughout the country (outside of the clubs and festivals that is).

Besides all the powerful chemicals that were making the rounds, my three favorite things that I Loved about England was I could walk into any pharmacy and buy amazing purple flavoured codeine cough syrup that did not contain any other health damaging drugs like paracetamol/ tylenol (APAP) or Ibuprofin (NSAIDS). Straight up codeine with one added benefit it was in a liquid suspension with Chloroform as a stabilizer solvent, so every time you took a drink (known as Sizzurp/ today with Promethazine in the US today) you could inhale the gas every time you opened the bottle and gave you a Nitrous type high. Every time you twist the cap it would sound like it does opening a beer and that was glorious gas. My other two things that I loved every day was something called “Squash” it is a 900x900px-LL-47e2d2b3_photo3-3concentrated form of juice and my favorite was a “berry current drink” called “Ribena”. Ribena was perfect with the codeine. The last thing was a high dose orange flavoured vitamin fizzy tablet (Dropped in water) called “Berrocca” (Hangover helper). My goodness us Americans do not know what we’re missing as we did not have the availability of these amazing products. I would stuff my suitcase full of these three things to bring back to the US…wunderbar!

Anyhow the reason I started with all that was to set the scene as to my mind frame and environment at that time, but in this foreign bliss I would come to find my guilty pleasure by accident and it was an American export that I would come to love in the Lakes District of North England. An unlikely place to find and fall in love with an American product.

So at the time I would frequent any independent music stores off the beaten path in places like Carlisle, Windermere, Whitehaven, and Maryport, to find any used electronic CD’s and I was able to get quite a collection. One time however I walked into such a store in Co*ckermouth and as I was browsing I noticed the owner was on old geezer playing vinyl on his turntable. Nothing strange there as vinyl was still popular in the UK. At some point a most heavenly music touched my soul and pricked my ears to stop what I was doing and listen. It was the voice…the voice was so heavenly, gripping, and vulnerable. The melody was something as well as it reached deep into my soul. After listening for a few minutes I called over the used record bins to the owner and asked him, “Who is this you’re playing, 900x900px-LL-bd404d07_1800-1366x768this record.” He looked at me funny, I’ll never forget that look, “It’s The Carpenters.” At that moment I thought my head was going to explode…I hated The Carpenters. WTF! I kept listening and at some point he changed the record…I did not ever remember hearing a Carpenters song and liking it. I even thought I knew the sound of Karen’s voice, how could I not know who that was…I know The Carpenters.

Anyway I was still stunned, and I bought a great BBC Radio 1 Essential Mix Release CD with mixes from Carl Cox, Pete Tong, and Judge Jules, then left the store. I emphasize that I was so stunned because I usually would ask the name of the song and the name of the record so I could get a hold of it later. I remember the moment so well for some reason, I thought to myself I’ll figure it out when I get home, what that song was. How hard would it be to find that song again, my parents had some Carpenters CD’s. So a few times over the years I would listen to The Carpenters to try and find that song. I went through all the vinyl rips and CD’s of theirs and over time I really fell in love with their music though at times it was very camp…I still fell in love with it.

No matter where I looked, through their whole catalog, I could not find that song. Karen Carpenters voice was so haunting and enveloped me and I became a fanatic. I liked them even more when I saw video and read their story of how Karen was playing the drums on the albums…she was also a bad ass musician. WTF! The reason why she often did not play drums live, like she wanted to, was because the record companies forbade it because they thought women should not be seen playing the drums. WTF! Karen was a 900x900px-LL-be611874_G5309-11a-headphone-type-lbb-3012-1970-500x442kick ass drum player while she sang like a tortured angel. Sorry for focussing on Karen, Richard, but it’s time someone said something to end the thought of The carpenters being uncool. I am ending that right now here on my website. Next time you hear The carpenters think for yourself that the person singing is playing jazz fills on the drums. Yes your head will explode at the thought as well.

So not only is this a social commentary on the dangers of pigeonholing any type of music, but also the mantra for this website. That is in essence why I’ll post about Slayer next to Diplo next to the Carpenters because good music is good music. If you do not like one thing talked about here, wait a minute and the next article, video, or playlist will have something you like. I’ve had people 900x900px-LL-c4e14c72_sunset2leave this site never to return because I write about a metal band and all their into at the moment is EDM. I’m asking everyone to keep an open mind and listen to new things. All of the music we listen to has roots in all that came before it.

The Carpenters story is pretty sad and amazing at the same time. It is our history as well. The Carpenters also have the distinction of having the only song ever that I have not been able to pin down after listening to it. What I would give to have Shazam at the time. I can live with never finding it because music as you know should be the continual search for the best, that which knocks you off your feet. That which is an eternal greatness that you think you continually reach, always left wanting. Always, never satisfied and always wanting more, yet never reaching that which is perfection. As we all know, nothing in our world ever reaches absolute perfection and that is what makes this journey all it’s worth.


Thanks for reading.

Cheers and Bless Bless!


CM ☕


Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.




Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine


Wulf Wolodia Grajonca…Why I And Anyone Who Enjoys Music In Any Form, Has Unkowingly Been Influenced By Him…Bill Graham Presents! [Essential Reading Post #3, well #4 As Well]

Today Up On Christmachine Audio Reference Music Server :

Photo: Courtesy of Doc Keyaza...Thanks Brother!

Photo: Courtesy of Doc Keyaza…Thanks Brother!

As all of you know, having visited this website, that we cater to all music in any form. That whether or not you like a specific “genre” (I hate that word) is irrelevant. What we stress here is the beauty of the art as a whole, and don’t be surprised if at some point a particular type of music that did not catch you before, one day you may just have a “Oh yeah…I get it now moment”.

I have been telling you about my influences, from the “kid” who lent me records when  I was young, to David Mancuso who helped me to understand the complexities of sound in a way that when others tried to explain I would get lost, and now I come to the person who shaped my life more than any other person (besides my family – that’s different) even though I never even met him.

When I got to an age where I was just learning what I wanted to do in my life, I was loving things, giving almost anything a chance to see what the world had to offer in terms of skill. I had been in bands at a young age and played the guitar and bass but I was a vocalist. So I wanted to do something in music but I did not know what. I was practical in the sense that I knew that it was such a slim chance of becoming a professional touring musician in a successful band. Because of this insight, I thought well if that is not going to work out what could I do that that would allow me to live and be part of the art and the music lifestyle.

Still being under age I did not have many options because I still could not enter clubs unless they were all ages shows. So I just let things play out a bit and knew something would work out because I surrounded myself with people who wanted to be in all areas of the music industry. It was at this time that I had heard about an amazing book about a famous promoter who pretty much invented the idea of putting together live shows and planning tours for acts that caught his ear. This man unbeknownst to many has his blood, sweat, and tears in every show that we have ever seen and will ever see in our lifetimes.

At this point you cannot get hung up on genres or bands that he associated himself with because if it was not for him the art of putting on a live show would never have developed the same way. He was not the star but he made everyone else into stars, and not just the bands but the audience…they were the real stars. Sound familiar, his idea bastardized … “Selfie” anyone! Not only was he the originator but when he tragically passed the music industry in terms of the fairness, value for your hard earned dollar, and quality of live music pretty much went in the shitter. As we all know there were a lot of other factors that began to destroy the music industry and even at the end he began to lose the way because big corporations stepped in and they were too powerful, it was the way of the world as we know it today as bands could not sell music so musicians had to shift their revenue streams from product to touring.

So to get back to the book, I began to read and on a bender, finished all 555 pages in two days. It was then I was clear on what I wanted to do with my life. I went and filled out applications for jobs working at any club I could. I was large enough in stature I thought I could work as a bouncer, that’s what I applied for. I was given the runaround from different clubs for different reasons, mostly because it was a brother and sisterhood that you needed to have connections to get in. I had connections that I could have tried but I wanted to make it on my own. So eventually I got a call to start at the bottom bussing and cleaning tables at a small club which was part of a whole network of clubs in a major city. It was my in…I was still under age and I was willing to do anything to make it happen.

It was a dirty and thankless job for very low pay and I had bills to pay like for an apartment in the city. I supplemented in other ways hustling on the streets which taught me to be streetwise….I had guns held to my head several times, stabbed, jumped, robbed, beaten, all of it but it did not intimidate me from reaching my goal of working in the music industry. I had to carry a gun unenthusiastically ( I would never own a gun now) but at the time the stand off at the OK Corral  was normal. I thrived on chaos, it was in my nature as an undiagnosed ADHD patient. I also found that I was a very good diplomat and was always finding myself successful diffusing heated confrontations between others.

So I cleaned the clubs and just got used to the rubber interiors of the venues that had the smell of piss and bearing grease. It became second nature and soon found myself moving up the ladder to security, lights, sound production, booking, promotions etc… for both gay and straight nights. I was straight but began to appreciate the tolerance for all lifestyles ( I have my parents to thank for that really). Gay people really knew how to have a good time and I liked to have a good time, good fit. Working the door I got to become friends with all the bikers and street gangs…it got to the point where I would be comfortable telling people after a pat down that they had to  leave their guns outside and I would prompt them to hide them in the alley or in their vehicles. They would smile and gratefully oblige, I had their respect because I respected them.

Things really got going  when I started to run full nights of talent at many of the clubs in my area…my job was doing everything in the club to keep things going for the night whether that meant security or cleaning up puke…I did it all. Nothing was below me. Then came the passes to get in anywhere I wanted, I was following the blueprint laid out in that amazing book that I had read….it worked to the T. Then came the big-time working for all the bands that you know now who were not all famous at the time, from personal artist security to stage crew. I pretty much worked for every band that came to the city for “one off’s” as we call them or two or three shows if necessary.

The final major stage was going on tour internationally with bands for a number of gigs as I was part of a rotating road crew that would jump from tour to tour…my only failure was to lock in with the right band at the right time when they hit the big time and stay on as permanent crew. That was the ultimate goal but it was not in the cards. I cannot complain because even though I was not getting rich, I was living the dream. Every night was a gig either working or attending and I could walk in any door I wanted for free. It was an amazing time, as I said before I have lived many lifetimes in the half that I have already lived. It even led to a more calm stint of working on the pro tennis tour at the grand slam major tennis tournaments in Europe.

So all this happened because of a book about a life lived. I admired how my mentor, my hero was so in control of every aspect of the venue down to the invention of simply handing out apples as people entered the Fillmore West in San Francisco. He would walk around and ask the attendees if everything was good and if their was anything he could do for them. Not just the bands, the people in the crowd as he was one of us. Of course he was so intent on getting his way that he drove all the bands crazy…but they loved him for it. It was the 1960’s and everything was new, everything was on the table, there were no rules. He made the rules…bribing the bands, police, and local neighbors upset from the noise late at night. He was Bill. He was Bill Graham, originally Wulf Wolodia Grajonca a German Jew, who had to change his name because no one could pronounce his real name. He barely escaped the Holocaust and he lost family members as a result of the war.

So now I’ve told you how he shaped my life…and I implore you if you are a fan of music to read his book: Bill Graham Presents – My Life Inside Rock And Out. It does not matter 155899314_bill-graham-presents-my-life-inside-rock-and-out-by-whether you only listen to Death Metal or EDM…this book lays out how live shows came to popularity as well as perfected by this one man. It was a horrible day when I found out that he had died in a Helicopter crash on October 25, 1991. I was devastated but it was right in the middle of realizing my life’s passion. In memory of him I had to keep going, and going stronger as a result.

To give you a piece of his life story in short I think it best to post a short synopsis of his life published by the Bill Graham foundation as they can cover it all in short better than me.

Taken from The Bill Graham Memorial Foundation Website: http://www.billgrahamfoundation.org/bio.html

“Who was Bill Graham”

“Bill Graham howled. He talked. He shouted. He harangued. He laughed. He threatened. He barked. He sang (a little!)…Bill was one of the great mavericks who redefined what freedom really meant in the U.S.A.” – Pete Townshend”

“Creative and combative, charming and charismatic, Bill Graham was a child of history whose entire life was shaped by his family background. The son of Russian Jews who had emigrated to Germany in search of a better life, he was born Wolfgang Grajonca in Berlin on January 8th, 1931. Two days later, his father, who worked as a civil engineer, died of a blood infection after having been injured in an industrial accident. To support her five daughters and newborn son, Bill’s mother began selling artificial flowers, costume jewelry, and women’s skirts in various markets in the city.

After Krystillnacht, “The Night of Breaking Glass” on November 8th, 1938 when Nazi storm troopers and German citizens destroyed seventy five hundred Jewish shops as well as more than two hundred synagogues, Bill’s mother placed him and his sister Tolla in a kinderheim or children’s home to protect them. Eight years old, Bill stood with a crowd of people who shouted “Sieg Heil!” as Adolph Hitler passed by in a car.

Along with his sister, Bill was then sent to a chateau in France where they both lived until Paris fell to the Nazis in 1941. Fleeing the oncoming German troops, a worker from the International Red Cross led sixty-four children from the chateau. Moving constantly with very little to eat, Bill and his sister rode on buses and trains, walked for hours, and slept at night by the side of the road in the rain. Weakened by malnutrition, thirteen year old Tolla soon developed pneumonia.

In Lyon, the International Red Cross Worker told Bill, who was then ten years old, that his sister had to stay behind in the hospital but would join them again once she recovered. Bill never saw Tolla again and she most likely died in the hospital. From Lyon, Bill and the other children walked to Marseilles. They all spent two months in a convent in Madrid before moving to Lisbon where they were put on an ocean liner that docked in Casablanca and Dakar before taking nineteen days to cross the Atlantic as it dodged German U-boats. Sleeping on deck, Bill survived on cookies and oranges.

Suffering from malnutrition and rickets, Bill arrived in New York on September 24th, 1941. Nearly eleven years old, he weighed fifty-five pounds. His only possessions were his yarmulke, a prayer book, and some photographs of his parents and sisters. Of the sixty-four children who had set off from the chateau in France three months earlier, eleven made it to America.

Although Bill would not learn of her fate until after World War II had ended, his mother had already been gassed to death on a train while being transported to Auschwitz, the Nazi concentration camp to which his sister Ester was then also sent. Fluent in German and French but unable to speak or understand a word of English, Bill was placed in an army barracks in upstate New York. Each weekend, couples who had been offered forty-eight dollars a month by the Jewish Foster Home Bureau to take in refugee children came to select who they wanted to take home with them.

In what he would later describe as the most painful experience of his life, Bill carefully cleaned himself up each weekend and then stood beside his tightly made bed as people he did not know judged him in a language he could not understand. The last of the eleven children with whom he had come to America to be selected, Bill spent nine weeks waiting before finally being chosen by a couple from The Bronx whose own son happened to be studying French at The Bronx High School of Science.

Although he soon mastered English with the help of his foster brother, Bill initially spoke with a thick German accent and so found himself fighting each day with schoolmates who thought he was Nazi. Becoming the ultimate New York City street kid, he sold baseball cards, played craps in the schoolyard, and worked as a delivery boy to pay his own keep. In classic immigrant fashion, he learned about America by going to the movies where the actor John Garfield became his great hero.

After graduating from DeWitt Clinton High School, Bill attended Brooklyn College. He spent his nights dancing the mambo at the Palladium on Fifty-Third Street and Broadway in Manhattan where, as a mirror ball revolved above the dance the floor, Latin band leaders like Machito, Tito Puente, and Tito Rodriguez played songs that went on for fifteen or twenty minutes as everyone danced in what Bill would later call “the eye of this wonderful storm.” When he won the Wednesday Night Dance contest at the Palladium some years later, Bill considered it one of his greatest accomplishments.

Eighteen years old but not yet an American citizen, Bill was drafted to fight in the Korean War. Because no one could pronounce “Grajonca” correctly, he had changed it to “Graham” by selecting his new last name from the phone book. Constitutionally unable to deal with authority of any kind, Bill hated the Army. As a forward observer in the 7th Infantry Division whose job it was to go out at night to pinpoint the enemy’s location, he was awarded the Bronze Star for valor and a Purple Heart and promoted to corporal only to be busted back down to private for refusing an order he believed would result in his certain death. After his foster mother died, he was granted a hardship discharge.

Having first worked as kitchen boy in the Catskill Mountains during the summer when he was fifteen years old, Bill became a bus boy and then a waiter at Grossinger’s and the Concord Hotel, the top of the line resorts in what was then known as “The Jewish Alps.” While running a lucrative nightly craps and poker game for gambling-obsessed guests at The Concord, Bill put his own job on the line by unionizing the dining room staff at the hotel.

Returning to the city, he worked as a waiter and a cab driver while living in Greenwich Village. With no real idea what he wanted to do with his life, Bill repeatedly hitchhiked and drove to California and back again before deciding to become an actor. After studying with Uta Hagen and Lee Strassberg, he was cast in a variety of small roles but soon drifted back out to California where he became the business manager for the San Francisco Mime Troupe, the cutting edge radical theatre company run by R.G. “Ronny” Davis in which Peter Coyote began his acting career.

After the Mime Troupe was busted for giving what authorities termed an “obscene” performance in Lafayette Park, Bill put on an appeal party on November 6th, 1965 to raise funds for their legal defense at which Lawrence Ferlinghetti, Sandy Bull, The Fugs, John Handy, Allen Ginsberg, and The Jefferson Airplane appeared. During what he would later call “by far the most significant evening of my life in the theater,” Bill watched in amazement as people who did not know one another walked into the party and began dancing with one another.

Having finally found something he was good at from which he could also earn a living, Bill put on a second benefit for the Mime Troupe at the Fillmore Auditorium but then parted ways with the theater group. After attending the Trips Festival at Longshoreman’s Hall where he had a memorable confrontation with Ken Kesey and began a lifelong friendship with Jerry Garcia by trying to put his shattered guitar back together so he could perform with The Grateful Dead, Bill began producing and promoting shows with Chet Helms of the Family Dog collective at the Fillmore. Their partnership did not last long and Bill began an epic series of battles to be allowed to continue presenting music for white kids in a black neighborhood.

At the Fillmore, Bill fought with the cop on the beat. He fought with the rabbi in the synagogue next door. With the backing of Charles Sullivan, the black entrepreneur whose dance permit he had been using to put on shows, Bill fought with the city council. All the while, he was putting on shows that featured Lenny Bruce opening for The Mothers of Invention, plays by LeRoi Jones (with The Byrds as headliners) and Michael McClure, and a reading by Russian poet Andrei Voznesensky and Lawrence Ferlinghetti at a Jefferson Airplane show. With a mirror ball revolving over the dance floor and the music playing at the Fillmore, Bill recreated the magic he had first experienced as teenager while dancing the mambo in the Palladium in Manhattan.

Asking the young white musicians who were creating the psychedelic sound who they wanted to see at the Fillmore, Bill began booking black artists who had never before played for white audiences. When Otis Redding performed for the first time at the Fillmore, Janis Joplin arrived at three in the afternoon to make certain she would be down front to see him. With The Grateful Dead, Quicksilver Messenger Service, Moby Grape, Big Brother and the Holding Company, the Butterfield Blues Band, and The Jefferson Airplane headlining, Bill brought great black artists like Freddie King, Albert King, B.B. King, Junior Wells, Lightning Hopkins, The Staple Singers, Chuck Berry, Howlin’ Wolf, and Muddy Waters to a brand new audience.

Bill brought The Doors and Jimi Hendrix to San Francisco for the first time. He also began booking English bands who had never before performed on the west coast. After The Who played for the first time in San Francisco for two nights at the Fillmore, they did their groundbreaking set at the Monterey Pop Festival. When Bill put on Cream for an unheard-of six nights, the group was forced to begin extending their songs because they did not have enough material to fill two sets and their extraordinary performances broke the band in America.

Right from the start, Bill saw the rock concert as theater and provided his musicians with the best sound and lights available. To advertise his shows, he had psychedelic artists like Wes Wilson, Rick Griffin, and Mouse and Kelley create landmark posters that have since become collectible art. Riding all over the city at night on his scooter, Bill put up the posters. He also created the first independent ticket distribution system by inveigling local head shops to sell tickets for him.

Completely hands-on, Bill booked the shows, took tickets at the front door, cleaned the bathrooms between sets, and put a barrel of apples by the entrance to the ballroom with a sign that read “Take One, or Two.” Working alongside his wife Bonnie Maclean, who did some of the earliest show posters, Bill made the Fillmore a safe haven where kids could experience the music they loved without getting busted. The Fillmore was Bill’s house. So long as you paid for a ticket, Bill treated you like an honored guest. And even when they drove him crazy, he treated his musicians like artists.

Bringing it all back home, Bill then expanded his operations by taking over a rundown former movie theatre on Second Avenue in New York City. The Fillmore East opened on March 18th, 1968 with Big Brother and the Holding Company supported by Albert King and Tim Buckley and soon became the premier venue for rock in the world. If a new band played a great set at Fillmore East on Friday night, the entire music business knew it by the next morning. In San Francisco, Bill began putting on shows in Winterland, a five thousand seat ice skating arena that was then the largest venue in which rock concerts had ever been regularly presented.

Moving into management, Bill guided the career of The Jefferson Airplane. With producer David Rubinson, Bill created two record labels, San Francisco Records and Wolfgang Records. He also founded FM Productions, which soon became the leading technical tour support company in rock. After discovering Carlos Santana, Bill engineered his meteoric rise to success by insisting the Santana Blues Band perform at the Woodstock Festival, an event put on in large part by those who had learned their craft from Bill at Fillmore East.

Now a media celebrity, Bill commuted between New York and San Francisco on a weekly basis. Completely consumed by his work, he saw his newborn son David for the first time when his photograph was shown on stage at Fillmore East. In New York City, Bill also collaborated with his idol, impresario Sol Hurok, to present rock for the first time at the Metropolitan Opera House. Burnt out by the stress of his never ending work schedule and the increasingly outrageous demands of superstar acts, Bill decided to close the Fillmores in 1971.

His retirement did not last long. Doing more shows than ever  before at a variety of venues, Bill presented the Rolling Stones for two shows at Winterland as well as in Los Angeles, Long Beach, San Diego, and Tucson on their 1972 tour of America, thereby beginning his association with “the world’s greatest rock ‘n’ roll band.” A year later, Bill put on the first in what became a hugely popular series of one-day outdoor festivals known as “Day On The Green” at which Led Zeppelin, The Eagles, Fleetwood Mac, and The Grateful Dead and The Who (on a single bill) played before more than fifty thousand people at Oakland Stadium.

In 1974, Bill produced landmark arena rock tours by Crosby, Stills, Nash, and Young, George Harrison, and Bob Dylan.  A year later, Bill helped create the incredibly lucrative rock merchandising industry by funding Winterland Productions, the first purveyor of t-shirts for which musicians received royalties. When Bill learned a budget cut was about to put an end to all extracurricular activities in San Francisco public schools, he persuaded the city to let him put on a benefit he called SNACK – an acronym for “San Francisco Needs Athletics, Culture, and Kicks.”

On March 23rd, 1975, fifty thousand people filled Kezar Stadium to watch The Grateful Dead, Graham Central Station, Bob Dylan and the Band, Jefferson Starship, Tower of Power, the Doobie Brothers, Santana, Mimi Farina, and Neil Young perform. Featured speakers at the event included Marlon Brando, Joan Baez, and Willie Mays. The concert raised enough money to fund after-school programs in San Francisco schools for another year.

Although Bill had been doing benefits ever since he had first opened the Fillmore, SNACK was the first big rock benefit concert in history. By using the drawing power of artists who were willing to contribute their services for a worthy cause, Bill had discovered a way to use rock “to solve a social problem.” His willingness to invest his time and energy in projects from which neither he nor his company earned any money would in time make him the go-to guy in rock for anyone with a worthy cause.

In 1976, Bill put on The Last Waltz, the farewell concert by The Band and a
superstar supporting cast that was filmed by Martin Scorcese. With his marriage having long since ended in divorce, Bill began a long-term relationship with Marcia Sult who in 1977 gave birth to their son Alex in Hawaii. In 1981, Bill planned and managed the Rolling Stones massive stadium tour of America. The tour was a huge success and Bill then shepherded the Stones on their European tour the following year.

While managing artists like Carlos Santana, Van Morrison, Eddie Money, the Neville Brothers, Joe Satriani, and Blues Traveler, Bill returned to his first love and appeared as an actor in his good friend Francis Coppola’s Apocalypse Now, The Cotton Club, and Gardens of Stone. He also played the well-known Mafia boss, Charles “Lucky” Luciano in Bugsy, Barry Levinson’s film starring Warren Beatty

In 1985 after Bill had sponsored a rally in Union Square in San Francisco to protest President Ronald Reagan’s plan to visit a cemetery in Bitburg, Germany where members of the Waffen SS had been buried, the offices of Bill Graham Presents were firebombed and burned to the ground. A Holocaust survivor who had proudly lined the walls of his office with priceless rock memorabilia, Bill lost many of his most prized personal possessions in the blaze. Although those who set the fire were never caught, Bill and his company were soon back in business again.

After Bob Geldof came up with the idea of putting on a “Global Jukebox” with artists in both the U.S. and England performing on television all over the world to raise money to fight the devastating famine in Ethiopia, Bill produced the American Live Aid concert at the one hundred thousand seat John F. Kennedy Stadium in Philadelphia. The event, which raised more than forty-five million dollars to fight hunger in Africa, also proved that, as Bill would later say, rock had become “the international means of communication,” the single language everyone all over the world now understood. For his work on Live Aid, Bill was given MTV’s Lifetime Achievement Award.

Devoting his time and energy to charity projects no one else could have undertaken, Bill put together a six city “Conspiracy of Hope” tour in the summer of 1986 to celebrate the twenty-fifth anniversary of Amnesty International, the human rights organization dedicated to stopping violence against women, fighting to free prisoners of conscience, opposing torture, and defending refugees and migrants throughout the world. Featuring U2, The Police, Peter Gabriel, Lou Reed, Bryan Adams, the Neville Brothers, and Joan Baez, the tour raised $2.5 million for Amnesty USA and brought the organization a hundred and fifty thousand new members. The tour ended with a day-long concert at Giants Stadium in New York attended by sixty thousand people that was broadcast live by MTV.

After presenting the first live stadium rock concert featuring American artists in Russia, Bill put together the “Human Rights Now!” tour in 1988 to celebrate the fortieth anniversary of the Universal Declaration of Human Rights. Featuring Yossou N’Dour, Tracy Chapman, Peter Gabriel, Sting, and Bruce Springsteen, the tour began in England and continued with concerts in Europe, Costa Rica, Canada, the United States, Japan, India, Zimbabwe, the Ivory Coast, Brazil, and Argentina. The sheer logistics of moving so many musicians around the world in “the greatest ever rock-music extravaganza” were staggering but the tour brought Amnesty’s message of hope to people in third world where the organization had long been struggling to achieve its goals.

Despite his obsession to use rock as a force to raise consciousness throughout the world, Bill was still running a company with more than a hundred employees and he suffered a crippling personal breakdown when the Rolling Stones chose someone else to run their 1989 Steel Wheels Tour.  As only he could, Bill managed to resurrect himself again and organized a twelve hour rock telethon that raised two million dollars for the victims of the massive earthquake that had struck the Bay Area in October, 1989. A year later, he brought sixty thousand people together in the Oakland Coliseum to welcome South Africa’s president, Nelson Mandela.

On Friday, October 25th, 1991, Bill was flying home from a Huey Lewis and the News show in the East Bay with his companion Melissa Gold when the helicopter piloted by his long time associate Steve “Killer” Kahn was caught in a sudden storm. Striking a power line, it exploded, killing all those on board. Sixty years old, Bill died as he had lived, doing what he loved best.

What may have been as many as half a million people filled the Polo Field in Golden Gate Park on November 3rd, 1991 at a free concert in Bill’s memory entitled “Laughter, Love, and Music.” Aaron Neville, Jackson Browne, Joe Satriani, Carlos Santana, Los Lobos, Robin Williams, Crosby, Stills, Nash, and Young, John Fogerty, and The Grateful Dead performed. Joan Baez and Kris Kristofferson closed the show by singing “Amazing Grace.” Three months later, Bill was inducted posthumously into the Rock and Roll Hall of Fame.

A one-of-a-kind human being who always seemed larger than life, Bill Graham was in the business of making people happy and never stopped trying to create what for him was the magical moment when the performer and the crowd came together and the music became a vehicle that took everyone to a higher plane. As much as anyone who ever lived, Bill Graham loved the music. He loved the money and the madness, much of which he helped bring to a business that since his passing has become increasingly corporate and impersonal.

For more than a quarter of a century, Bill Graham was the heart, the guts, the soul, and the conscience of rock. To the very end of his life, he continued to identify himself with those who had no real power in the world. Difficult as he could sometimes be, Bill always wanted to help. That the Bill Graham Foundation continues to do good works in his name is not just entirely fitting. As Bill might have said, it is also right.”

So there you have it…The Life, The Legend, My mentor who I never met. Just Bill.

Thanks for reading and again for all your support!


— L.D.: Christ Machine @Christ_Machine

More Reading & Viewing:








Bless Bless!

Braindamage Inc.


CM ☕


Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.



Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine