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K-ZAP is grateful for our support from our friends at autoaccident.com, a personal injury law firm based in Sacramento, California. If you`ve been in an accident or suffered an injury, don`t wait! Contact them at 916-921-6400 and let their team of legal experts help you navigate the chaotic aftermath.

Remember, when life throws you a curveball, autoaccident.com is there to catch it. They`ll fight for your rights, ensuring you get the justice and compensation you deserve. So, whether you`re dealing with a minor fender bender or a major catastrophe, autoaccident.com has your back.

Don`t be a hero and try to handle everything on your own. Let autoaccident.com be your personal legal superhero, swooping in to save the day. With their expertise and dedication, they`ll make sure you`re not left feeling like roadkill on the legal highway.

So, the next time you find yourself in a jam, remember: autoaccident.com is just a phone call away. Dial 916-921-6400 and let their team of legal eagles take flight on your behalf.

#autoaccidentcom #kzaporg …

K-ZAP gets support from our friends at Black Rock Auto in Sacramento.
Are you tired of dealing with those pesky car troubles that make you want to pull your hair out? Well, fear not, because Black Rock Auto is here to save the day! They`re like the superheroes of the automotive world, swooping in to rescue your ride from the clutches of despair.

With their stellar service and commitment to quality, Black Rock Auto is your go-to for all things automotive. They`ve been in the game since 2003, so you know they`ve got the experience to back up their claims. Whether you need a tune-up, a new set of wheels, or a complete overhaul, Black Rock Auto has got you covered.

And if you`re a fan of the Rush Hour Blues program on K-ZAP, you`ll be thrilled to know that Black Rock Auto is a proud sponsor of this rockin` show. So, not only can they fix your car, but they can also fix your blues with some killer tunes.

So, why settle for mediocre service when you can have stellar service with a side of rock `n` roll? Give Black Rock Auto a call at 916-447-3494 or visit blackrockauto.com to experience the difference. Trust me, your car (and your ears) will thank you!

Remember, when it comes to automotive service, it`s all about the quality and the music, baby!
#kzaporg #BlackRockAuto #sacramento …

The Tone of Soul Video Release Party for "Ronin`s Song 2", Saturday November 9, 2024.

📅 Date: November 9, 2024
⏰ Time: 7:00 PM
📍 Venue: The Traxx Taproom & Kitchen, 400 Vernon Street, Roseville

🎶 Get ready to groove, Sacramento!** K-ZAP is proud to announce our latest "Band Together, United In Music" members, The Tone of Soul Project, are throwing a video release party for their latest track, "Ronin`s Song 2".

Why You Should Be There:
– Soulful Rock Vibes: Dive into the soul-infused rock with tunes that add a dash of soul sauce to your rock `n` roll. It`s like finding that perfect seasoning for your musical palette.
– Live Performance: Catch The Tone of Soul Project live, clad in their K-ZAP shirts, proving that local music can be as stylish as it is soulful.
– Special Guests: Be mesmerized by the talents of Hans Eberbach & Christine Keeley, joining the band for what promises to be an unforgettable night.

The Tone of Soul Project isn`t just another band; they`re the melody to your daily grind, the soundtrack to those moments when life feels a bit too ordinary. With tracks like "Water that Stains my Eyes" under their belt, they`re set to wash away any musical drought you might be experiencing.

Be Part of the Scene:
At The Traxx Taproom & Kitchen, where the beers are cold, and the music is hot, join us in celebrating local talent. Let`s make this video release party a testament to why Sacramento`s heart beats to the rhythm of bands like The Tone of Soul Project.

Mark Your Calendars and let`s show our support for music that`s real, raw, and ready to rock your soul. See you there, music lovers!

🎟️ Entry: Your entry fee? Just bring your love for music.

#kzaporg #TheToneOfSoulProject #BandTogetherUnitedInMusic #sacramento #roseville …

How Billy Preston Became the Only Musician To Receive a Co-Credit on a @thebeatles Album

If one is unfamiliar with Billy Preston, it’s a shame. Preston’s height of his career came and went in the ’70s thanks to songs such as “Nothing From Nothing” and “I’m Really Gonna Miss You.” In addition to those songs, he also scored three No. 1 hits and won two Grammys. Needless to say, the man is a musical genius, particularly when tickling the ivories. His proficient and masterful skills on the keyboard are why he was able to help The Beatles on their infamous album, “Let It Be.”

For context, when The Beatles recorded “Let It Be,” tempers were high as the Fab Four had been feuding over various external factors. With that in mind, it seemingly took a toll on their creative process, especially when they were trying to write “Get Back” and “Don’t Let Me Down.” As a result of his creative input, Billy Preston has been the only other musician to ever receive a co-credit on a Beatles album.

Upon his arrival, Preston takes to the keyboard and effortlessly drops down the infamous keyboard melody in “Don’t Let Me Down.” To The Beatles, this was a breakthrough, as John Lennon stated, “You’re giving us a lift Bill.” George Harrison added, “We’ve been doing this for days.”

Besides helping them on this track, Preston also crafted the iconic keyboard track on “Get Back.” When he and The Beatles rehearse “Don’t Let Me Down” Preston sits at the keyboard and plays the bridge between the chorus and the verse. Despite his work, Preston was not credited on track.

Before Billy Preston helped The Beatles on their final album, he also performed on “Abbey Road.” Playing the organ, he performed the songs “Something” and “I Want You(She’s So Heavy).” However, he was not gifted credit for those songs either.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

Why Donovan Said ‘Season of the Witch’ Captured a Dark Era

The best classic rock songs often have sad backstories. For example, Donovan’s “Season of the Witch” was inspired by the dark side of the 1960s.

The tune wasn’t actually a hit at the time, but it’s become one of the most ubiquitous songs of its era.

Donovan explained how “Season of the Witch” foretold the end of the 1960s. “I think someone asked Roger McGuinn [of The Byrds] about the ’60s, and he said: ‘Well it lasted until December ’66 and something dark happened,’” the “Mellow Yellow” singer said. “All the hard drugs came in and something started happening that was big business.”

“Season of the Witch” was one of many Donovan songs that straddled the lines between folk music and psychedelia. Donovan discussed why he formed his signature sound. “It’s psychedelic not because we were stoned before we wrote the songs, or stoned during composing them, but the experiences of searching for the transcendental world through altered states of consciousness were in the songs,” he said.

Shockingly, “Season of the Witch” was not a single, so it was not a hit on the Billboard Hot 100. It appeared on Donovan’s album “Sunshine Superman.”

The song “Sunshine Superman” was arguably far more popular. The title track of “Sunshine Superman” remains Donovan’s sole No. 1 single in the United States.

The real reason why “Season of the Witch” is so popular is because it’s appeared in so many movies and television shows.

“Season of the Witch” is a classic, even if it comes from a difficult time.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

On this date November 5, 1971 @eltonjohn released his fourth studio album “Madman Across the Water.”

The album is John’s first progressive rock album. “Madman Across the Water” contains nine tracks, each composed and performed by John and with lyrics written by songwriting partner Bernie Taupin. Yes keyboardist Rick Wakeman plays Hammond organ on two songs.

Two singles were released from “Madman Across the Water,” “Levon” and “Tiny Dancer.”

The album’s title song was initially set to be released on John’s previous album, “Tumbleweed Connection,” featuring guitarist Mick Ronson; however, that version was set aside and the song was re-recorded for this album, with Davy Johnstone on guitar.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

This week Love released their third studio album “Forever Changes.”

The album saw the group embrace a subtler folk- and baroque pop-oriented sound based around acoustic guitars and orchestral arrangements, while primary songwriter Arthur Leeexplored darker themes alluding to mortality and his growing disillusionment with the era’s counterculture.

“Forever Changes” was the final album recorded by the original band lineup; after its completion, guitarist Bryan MacLean left the group acrimoniously, and Lee subsequently dismissed the other members.

While only a moderate success “Forever Changes” has become recognized as an influential document of 1960s psychedelia and named among the greatest albums of all time by a variety of publications.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

@georgeharrisonofficial on @thebeatles Failed Attempt to Sound Like @fleetwoodmac

Did you know The Beatles once attempted to emulate Fleetwood Mac in 1968? Peter Green, Mick Fleetwood, Danny Kirwan, and John McVie had just put out “The Pious Bird of Good Omen” (AKA English Rose).

The song “Albatross” caught The Beatles’ attention while making “Abbey Road,” as George Harrison once explained.

“At the time, ‘Albatross’ [by Fleetwood Mac] was out, with all the reverb on guitar,” Harrison said in a 1987 interview. “So we said, ‘Let’s be Fleetwood Mac doing ‘Albatross,’ just to get going.’ It never really sounded like Fleetwood Mac… but that was the point of origin.”

That jam session while attempting to sound like Fleetwood Mac eventually became the track “Sun King” on “Abbey Road.” There are definitely similarities between the two, and it’s clear what The Beatles were up to for anyone familiar with “Albatross.” However, there are stark differences also—”Sun King” includes lyrics, however nonsensical they may be.

The Beatles may have failed to sound anything like Fleetwood Mac, but that’s the beauty of the two groups. They were so wonderfully different at the same time that they could overlap each other. Inspiration can come from anywhere, after all, and early Fleetwood Mac did some inspiring in their day.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

@pinkfloyd’s Amazing Disaster” of U.S. Debut Began This Week in 1967

Pink Floyd had just landed on the West Coast to make their official U.S. debut. The mini-tour in promotion of the band’s first release, “Pipers at the Gates of Dawn,” was a tumultuous week-long affair Roger Waters later called an “amazing disaster.”

Pink Floyd made their American debut with their original lineup: Roger Waters on bass, Nick Mason on drums, Richard Wright on keys, and Syd Barrett on guitar.

Pink Floyd enjoyed a tour of some of the States’ finer musical club offerings of the time. They started their mini-tour at the Fillmore Auditorium and Winterland Ballroom in San Francisco, California.

According to Barry Miles’ Pink Floyd: The Early Years, Syd Barrett had a fresh perm when the band arrived in the States. Minutes before their performance at the West Coast Cheetah Club, Barrett—apparently unhappy with his look—emptied an entire jar of hair gel and a container of quaaludes onto his head, mixing the two to create an unsettlingly slimy and bumpy hairdo. Under the hot glow of the stage lights, the gel began to melt down Barrett’s face, taking the pills with it.

Girls in the front row screamed with horror as Syd’s lips and nostrils bubbled and ran with the gel as rivulets oozed down his cheeks,” Miles wrote, “the mixed-in sleeping pills looking like tiny gobbets of flesh as if he was discomposing before their eyes in the moving lights. He detuned the strings of his guitar and stared out into space, his right hand hanging limply at his side, too out of it to sing any of the lyrics.”

Barrett’s performances on television weren’t much better. The guitarist either refused to perform, forcing a bandmate to step in and take over as the “lead” lip-syncer, or he would only half-heartedly commit to the song in a sort of catatonic state.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

@thewarrenhaynes talks recording with Derek Trucks for the first time in over 20 years on Gregg Allman’s lost gem

The two former Allman Brothers guitarists reunite to bring Gregg’s unheard song to life for Haynes’ new album.

On his solo releases, Haynes tends to focus more on songwriting than heavy jams, and that’s largely true again on his new solo album “Million Voices Whisper.”

But the album’s guitar headline is that Haynes’ longtime Allman Brothers’ partner Derek Trucks appears with him on three tracks.

“I always wanted to do one more Allman Brothers studio record but that just wasn’t meant to be, though we were close to having enough material to do it,” says Haynes. “We had a handful of original songs that could have been included and there were a couple of covers that we were doing that would have been great to record. For instance, a cool version of [Bob Dylan’s] ‘Blind Willie McTell’ would have been nice.”

This collaboration began when Allman Brothers Band manager Bert Holman sent Haynes lyrics for “Real Real Love,” a song Gregg had written but never recorded.

Because Haynes and Allman had co-written many songs together, Holman trusted the guitarist to handle with proper love and care. Haynes finished writing the song and immediately knew he wanted Trucks on the track. “It just made sense,” says Haynes.

Trucks immediately agreed and the decision to work together on “Real Real Love” led the two guitarists to gather for a writing session at Trucks’ Georgia farm, where they wrote a new collection of songs, two of which appear on “Million Voices Whispers.” The nine-minute “Hall of Future Saints” includes an extended outro of Trucks and Haynes playing off and inspiring one another. “We left that in because it captures what we figured people want to hear from us,” says Haynes. “It felt so good to be playing together.”

And there could be more studio tracks soon. Haynes says that the pair wrote a few more songs they really like and intend to return to before long.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

The one musician @jimmypage called their own “genre”

Jimmy Page, Robert Plant, and the rest of the band found themselves in hot water on numerous occasions, such as when they used Howlin’ Wolf’s ‘Killing Floor’ as the basis of 1969’s ‘The Lemon Song.’

Eventually, the parties settled out of court, and the great blues pioneer Wolf received a $45,123 check from the company not long after it was announced. All subsequent releases included a co-songwriter credit for him. It was the least they could do for one of their most important inspirations. 

1973’s “Houses of the Holy,” included what might be the most unexpected musical nod to another star.

Known for their heavy grooves and extended jams, @ledzeppelin took a different route with the deeply funk-infused track, ‘The Crunge.’ This song was crafted as a tribute to the genre’s pioneer, James Brown, famously known as ‘Mr. Dynamite.’

Band leader and guitarist Page was in no doubt about Brown’s significance.

He said of his singular nature: “He [James Brown] was almost a musical genre in his own right and he changed and moved forward the whole time so people were able to learn from him.”

‘The Crunge’ emerged from a jam in the studio between Bonham, who started the beat, bassist John Paul Jones, who laid down the incredibly James Brown-esque line, and guitarist Jimmy Page, who added the appropriately choppy riff. To achieve that typically funky sound, Page swapped out the meaty humbucking sound of his Les Paul for the chiming single-coil clangour of the Fender Stratocaster. 

While ‘The Crunge’ has always been an oddity in Led Zeppelin’s back catalogue, they did a remarkable job of replicating James Brown’s unique sound. The track is mostly in 9/8, giving it its staggering groove, and also lacks a bridge, a trick Brown weaponised many times. This leads to Plant comically asking in the final moments, “Have you seen the bridge?” He then answers himself with, “I ain’t seen the bridge!” and “Where’s that confounded bridge?” 

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …