By the end of the 1960s, the vampire was no longer content to wait in the crypt, and had begun to wander into nightclubs and sun bleached strips to wear velvet and eyeliner. He began to desire openly, opting to seduce rather than simply attack. The old Count had loosened his cape, with a younger and more stranger creature taking his place. The creature that had once embodied Victorian nightmares became a vessel for the desires of the new age. In Vampyros Lesbos, Soledad Miran

The tumultuous duo, Neil Young and Stephen Stills, and their musical marriage, is highly praised. Their ups and downs are showcased in articles and documentaries, even after the cruellest actions joined them to one another once again. Though Neil Young is the most commercially successful, Young couldn't reach the sound the way he wanted to encapsulate on tape without the addition of the ‘blues banshee,’ Stephen Stills.

Long before the word “groupie” became a label to define a specific archetype of woman associated with rock gods and promiscuous sex, there was the “vamp,” an alternative archetype of film long past. The vamp was seductive, and she was theatrical. Everything from her movements to her makeup was excessive, and irresistibly dangerous. The vamp did not fit comfortably into the traditional image femininity. She knew she was beautiful, and something to be desired, and this knowledg

Was it outlaw inspiration or self-reflection? When the thought of Gram Parsons comes to mind, many think of the not-so-ceremonial cremation of Gram's stolen body in Joshua Tree. Gram and Joshua both stood tall with arms long and reaching, and they met one another through a desert friend, Death Valley, or so the story goes.

Before outlaw country came the migration of butterflies, pollinating country music with feminist activism. Sharing raw womanhood in society before retreating to the wings.

There is something mythological about the day Jim Morrison and Ray Manzarek crossed paths. The two men from very different worlds met in Venice Beach in 1965, and within a few short years would create one the most enigmatic bands of the twentieth century. Their partnership produced music both sensual and cerebral, violent and beautiful, restrained, but also completely out of control.

the album Desire would be released. The second and last attempt to salvage his marriage to Sara Lownds.

The historical ‘Country Rock Summit meeting’ as the photo has been coined in Sid Griffin’s 1985 book Gram Parsons: A Music Biography has long been the subject of a debate on whether the photo is authentic.

Mad Dogs & Englishmen erupts in a manic blaze of colour and sound, with the screen barely able to contain the colours and sounds bursting from every shot. Musicians spill from every corner, and voices intertwine into a harmonious tapestry of song, reminiscent of the Rolling Stones’ Rock ‘N’ Roll Circus.

Easy Rider would shatter Hollywood with one decision, the film wouldn’t use independent orchestral scores but the music of close friends. The first various-artist soundtrack featuring The Byrds, The Band, Jimi Hendrix, Steppenwolf, and others

No Other arrived in 1974 with an extravagant sound and mysterious image during a time when music was moving away from the traditional folk-country sound of the late sixties, favouring hard and blues rock. The album seemed deliberately out of step with its time, with Gene Clark sewing together an impossibly elaborate tapestry of gospel choirs, steel pedals and orchestral arrangements backed by soul rhythms and spiritual searching.

Jimmy Carter and the Dallas County Green’s double-released album “Summer Brings the Sunshine” was originally released in 1977 by BOC and again 39 years later by the Numero Group. The archival record label is known for repressing and recirculating lost media from the 20th century. It features Jimmy Carter’s Missouri drawl backlit by the haunting femininity of folk sirens Mary Beth Lemons and Eliane Fender. Steve Lemons would take on lead and rhythm guitar, along with piano, w