... c'est le blog des chroniques rock impressionnistes hebdomadaires, ouvertes à tous les commentaires, ajouts et désaccords... Du factuel et du subjectif pour les novices ou les connaisseurs, par l'équipe de Crosstown Traffic et un seul objectif : prêcher une espèce d'Evangile rock n' rollesque sans verser dans les querelles de chapelles...

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"Pete Townshend really identified with what we were doing. Pete's a very melodic player and so am I. He told me that he appreciated my playing. I was flattered beyond belief because I didn't think I was that good. Pete and I really hit it off. We had the same frustrations about working with a three-piece group. The next thing I knew, he was saying in interviews that he had heard 'this great guitar player from the James Gang' and that he was America's answer to al the English flash guitarists. Then, right on the heels of all this, we put out our best album, Rides Again. The word got out and we started to get gigs from everywhere. That was the high point of my stay with the James Gang. [But] the songs I was writing needed more texture than a trio could offer. I was writing with harmony and nobody could sing them; I was writing for piano and we couldn't play one onstage. I was frustrated. I had just written and recorded "The Bomber" and "Tend My Garden" and couldn't really re-create them onstage. Townshend had finished Tommy and was going through the same changes. We got along so well that I gave him the fat orange Gretsch guitar that he used on Who's Next and Clapton's Rainbow Concert..." (Joe Walsh)

"Stormcock was born in 1969 as I began to stretch my wings. I'd been there a few times before, but this time I gave myself the space to go deep... and stay there. [...] Pete Jenner and I turned out a great record. Seems like a thousand years ago now. Though I very rarely listen to my own records I would definitely say that my personal highlight on the record is Jimmy Page's guitar solo on 'The Same Old Rock.' My opinion has not changed since the day he put it on there. Absolutely brilliant..." (Roy Harper)

"The highs of Thin Lizzy? Getting "The Boys Are Back In Town" in the American chart. It wasn’t destined to be a single, but it was picked up by the radio there. Then coming back to London and selling out the Hammersmith Odeon. Feeling of being accepted. Of course many of the festivals which were great, but they all blend in. I couldn’t tell you the dates of the ones we headlined..." (Scott Gorham)

"The drums are a terrible sounding instrument: I've got great snare drums and I've played three thousands drum kits, but if you do a mistake it sounds terrible. You somehow have to make this work, you have to make magic from this terrible collection of rubbish - and the only thing you can make is a feeling, there's nothing else there. You have to make feelings take on the people, and you can't do that by playing exercises..." (Jon Hiseman)

"I had the first line-up of good rock'n'roll musicians. Mick Jagger and Brian Jones were trying to form a band and they kept borrowing all my guys. They borrowed all of them except the guitarist. They had Carlo Little on drums, they borrowed Nicky Hopkins on piano and Ricky Fenton on bass...  [...] So literally they used four ex-Savages for the early line-up of the Stones. Carlo, who was known as the top drummer in London, did a lot of shows with Mick Jagger and Brian Jones. I used to see Mick Jagger carrying his drum kit and putting it in the back of his estate car and driving him around like a chauffeur - it was weird! I know how big Jagger is now, but back then he was just another snotty-nosed student trying to get on..." (Screaming Lord Sutch)