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New L.S.G Fan Page  




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* All Sample Packages are free to download, but the files are so big we have to charge $1.00 for our net admin costs. If you don't have any money, download them for a buck with our blessings. If you have money and would like to make a contribution, it would be appreciated, just change the amount in the shopping cart. What ever you think its worth to yah!


Download the Press Release pdf here

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All Sharehead holders should have received their copies of the album they made possible, along with an exclusive link to download a recording of Tackhead's latest live show, at the Soundedit Festival in Lodz, Poland.
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Eric Gales-TM Stevens-Keith Leblanc (L.S.G) VOODOO CHILE WINTER TOUR 2010

(From the Keith LeBlanc Road Blog on moderndrummerfavicon_16 Modern Drummer 12.10.10),


Hi Keith LeBlanc here.

I think this is probebly the closest I will get to playing with Jimi Hendrix . The shows are  to be 90 minutes. But we always end up playing average two and a half hours.

I have been playing drums professionally for over thirty years. And after all this time walking to the stage to play always holds the same feeling of anticipation for me. Live Music  always has a life of its own. I am playing with two monster players. T.m. Sevens  is a wonderful bass player. And Eric gales is just a monster of guitar. Both these guys have great time so playing with them is very comfortable and supportive.

Its been fun for me to revisit my childhood thought music. The Jimmy Hendrix Experience was a great influence on me as a kid. Mitch Mitchells' playing was my x box at age 7.  But as a child I was just trying to keep up with Mitch and learn as many of his licks as possible. Before I did this gig I spent some time listing to the old recordings again . And you Know what? They sound just as good as I remember.  I wanted to break down just what Mitch was doing in that famous trio.  I found that  Noel Redding held things down with the bass like a rock And Mitch supported that. But he also kicked what Jimi was doing on guitar at the same time. 

I think Joco Pastorious said it best (you can play anything as long as you keep the groove going at the same time.) And that was the great thing about Mitch playing his drum fills were always a big part of the groove. To me playing Hendrix tunes with Eric and T.M is some of the most fun a drummer can have without getting arrested!!!!






Henkelmann Iserlohn 11.28 :

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From Stage
And here is the yesterday's broadcast: the amazing Voodoo Chile - Eric Gales, TM Stevens, Keith LeBlanc:
http://www.justin.tv/fromstage/b/275250761 (part I),
http://www.justin.tv/fromstage/b/275251126 (part II).

I have to confess the sound is surprisingly good. Kudos for Joerg - the magician behind audio console – for ...making it possible!

Watch live video from From Stage on Justin.tv
Watch live video from From Stage on Justin.tv

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Live broadcast. This Sunday at 4pm eastern time/3pm Central. EricGales.net on the coverage. Tune in!


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By A Complete Introduction To Sugar Hill Records is released on July 26th.By Matt Phillips - JAZZfm

When late, great bass hero Jaco Pastorius was often asked about his philosophy of music, he had a stock response – ‘Women and rhythm section first!’ In the world of black music, whether jazz, funk, R’n’B or soul, the hookup between the drummer and bass player has always been pivotal. As the cliché goes, a band is only as good as its ‘engine room’. In jazz, you can’t do much better than Tony Williams with Ron Carter or Philly Joe Jones with Paul Chambers. In funk, you can’t go wrong with Benny Benjamin with James Jamerson or Clyde Stubblefield with Bootsy. In fusion, you know it’s going to work with Steve Gadd and Eddie Gomez or Steve Jordan and Anthony Jackson. But interestingly, possibly the most heralded rhythm section in recent black music hasn’t come out of jazz, funk or soul music (though these undoubtedly went into the mix), but rather hip-hop. And now their work on the esteemed Sugar Hill record label is being celebrated on a four-CD box set released by Universal Music on July 26th.

Drummer Keith Leblanc hooked up with bassist Doug Wimbish and guitarist Skip McDonald when they were summoned to work on the label set up by industry veterans Sylvia and Mickey Robinson to showcase the new hip-hop artists emerging from the Bronx and Brooklyn in the mid-70s. Just prior to that, Keith had briefly worked with Doug and Skip in the funk band Wood, Brass and Steel but when The Sugar Hill Gang’s controversial ‘Rapper’s Delight’ became a monster hit in ’79, the Robinsons were on the lookout for a house band to lay down the foundations for the follow-up. It seems the call was inevitable, although, according to Keith, speaking crisply and candidly down the line from Connecticut, ‘Sylvia was looking for Skip and Doug but they initially said no because they’d had a bad experience with her before. But I was new to the band and when I heard the words “recording studio” and “money”, I bugged them until they said yes! And the day we all went up there, we started recording. I didn’t want to know about the business, I just wanted to record.’

...continue reading at JAZZfm.com

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Angus Finlayson talks to drummer Keith Leblanc about hip hop culture in Chicago, playing with Sugar Hill and pouring water on drum machines

It seems unlikely that anyone born in the last few decades, raised in a western conurbation and with access to the internet, a television and/or the timeless observances of the school disco would be unaware of 'Rapper's Delight'. As the first ever hip hop record to attain chart success, featuring a looped break (officially re-performed by a backing band, though many have alleged otherwise) from Chic's 'Good Times' and the vocal contributions of a trio of rappers called The Sugarhill Gang, it was a global phenomenon when it was released in 1979, surprising the wider music industry and prefiguring hip hop's soon-to-be ubiquitous cultural status.

The label behind the release was Sugar Hill Records (their co-founder and creative mastermind, Sylvia Robinson, also chose the name for the rap group); a small operation which went on to have a near-monopoly on the artists coming out of New York's vibrant scene until the mid '80s. In its heyday, the label worked with many of the most important rap groups of the time - perhaps most notably Grandmaster Flash and [latterly Grandmaster] Melle Mel - sculpting their performances into a string of polished, dancefloor friendly (and, significantly, commercially viable) 12”s.

Behind the drum kit for much of Sugar Hill's output (each track would be meticulously re-arranged for full band from the original disco break) was a young Connecticut musician named Keith Leblanc. Along with guitarist Skip Macdonald and bassist Doug Wimbish, the trio constituted the label's house band, performing on the vast majority of Sugar Hill recordings and touring the world with rap's burgeoning superstars.

read the article at thequietus.com

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The Real Sugar Hill Records Story: In-House Drummer Keith Le Blanc on the Myths Surrounding Rap's First Label

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Press information

Maverick Drummer, Producer & Solo Artist Keith LeBlanc Creates Groundbreaking Beats With Propellerhead Reason

reasonStockholm, Sweden (October 15, 2009) – More than just a session drummer, Keith LeBlanc is also an accomplished solo artist and maverick producer in his own right. He got his start in the early ’80s as part of the Sugar Hill House Band (with bassist Doug Wimbish and guitarist Skip “Little Axe” McDonald), backing up groundbreaking rap artists on the Sugar Hill Records label including The Sugar Hill Gang (“Rapper's Delight”) and Grandmaster Flash and Melle Mel on “The Message and Freedom”. From his own Tommy Boy Records release, “No Sell Out” (a Hip-Hop deconstruction of a Malcolm X speech and the first-ever record featuring sampling), to his involvement in creating the sound of funk noise giants Tackhead with Wimbish, McDonald and British dub producer Adrian Sherwood, he has gained recognition as one of the top and most innovative drummers/programmers around. Reason has been part of the artist’s go-to applications for writing and remixing since its release nearly a decade ago.

“I think I switched from hardware to software before a lot of producers,” he recounts. “Other producers would ask me how I did the tracks and when I told them it was Reason they always looked shocked! What I like about Reason is that it is fast. Also, I can work any way I want, anywhere I want, with just my laptop and a good idea.”

LeBlanc prefers to create his own sounds as he’s done for so many years, but having the Reason sound bank at his fingertips has been invaluable. “I always go to the Reason sounds for something. With the NN-XT, I can do anything—from vocals to drums.”

Those Reason sounds can be heard all over his 2008 release, “Chess Moves”. On it, LeBlanc raided the prodigious vaults at the legendary Chess Records, retrofitting standard blues classics with post-funk grooves for this enthralling compilation.

What’s in LeBlanc’s Reason rack? “It all depends on the project. That’s what I love about it… I can make it into anything I need.”

Check it out here: http://www.propellerheads.se/press/index.cfm?fuseaction=get_press_release&prID=95

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