segunda-feira, 30 de março de 2015
Após o fim do grupo Secos & Molhados, os três membros seguiram em carreira solo. Ney Matogrosso lançou no ano seguinte, em 1975, seu primeiro disco solo com o nome de "Água do Céu-Pássaro" (recheado de experimentalismos musicais) e com o sucesso "América do Sul". João Ricardo lançou também em 1975 seu disco homônimo, mais conhecido por Disco Rosa/Pink Record. Gerson Conrad juntou-se a Zezé Motta e lançou um disco também em 1975. João Ricardo adquiriu os direitos autorais sob o nome Secos & Molhados, após algumas brigas na justiça, e saiu à busca de novos músicos para que a banda tivesse novas formações.
Atualmente considerado um dos intérpretes brasileiros mais produtivos, o nome artístico Ney Matogrosso foi adotado somente em 1971, quando se mudou para São Paulo. Saiu dos Secos & Molhados em 1974 e no ano seguinte, lançou o primeiro disco solo, Água do Céu - Pássaro (também conhecido como O homem de Neanderthal em referência à faixa homônima de abertura, de autoria de Luís Carlos Sá, e por ter sido o título do antológico primeiro espetáculo da carreira solo), que vinha numa capa de papelão cru, com Ney Matogrosso pintado, vestido com pêlos de macaco, chifres e pulseiras de dentes de boi, apresentando sonoridade vanguardista, com músicas interligadas por sons da floresta, macacos, ventanias, água corrente e pássaros. Foi considerado extravagante demais e obteve vendagem inexpressiva, destacando no repertório as músicas América do Sul de Paulo Machado e o mambo Kubanacan, além da regravação de um fado de Amália Rodrigues (Barco negro) e canções de Milton Nascimento/Rui Guerra e João Bosco/Aldir Blanc (Bodas e Corsário, respectivamente), além das músicas Açúcar candy (de Sueli Costa e Tite de Lemos) e Idade de ouro (de Jorge Omar e Paulo Mendonça); o trabalho foi distribuído juntamente com um compacto, que apresentou duas músicas que ele gravou na Itália com o músico e compositor argentino Astor Piazzola: As Ilhas e 1964. Em 1976 veio o reconhecimento com o disco Bandido. A canção Bandido Corazón, no repertório deste foi composta por Rita Lee, tornou-se um grande sucesso na voz de Ney. Além desta, o disco trazia, dentre outras, as músicas Pra não morrer de tristeza de João Silva e Caboclinho, Trepa no coqueiro de Ari Kerner, Gaivota (de Gilberto Gil), Usina de prata de Rosinha de Valença e Mulheres de Atenas (Chico Buarque, em parceria com Augusto Boal), contando com a produção musical da violonista Rosinha de Valença com direção musical do empresário Guilherme Araújo. Nessa época, Ney escandalizava o Brasil. Bandido é considerado o espetáculo mais ousado da carreira do cantor e perfomático Matogrosso.
Gérson Conrad ficou conhecido ao ingressar no ano de 1973 no grupo Secos & Molhados, que contava com João Ricardo e Ney Matogrosso. Foi o responsável por uma das canções mais clássicas do grupo, e da época: "Rosa de Hiroshima", um poema de Vinicius de Moraes musicado por Gerson. No segundo disco do grupo, de 1974, foi compositor de mais uma canção, "Delírio". Com o término do grupo no ano de 1974, Gerson se juntou ao letrista Paulo Mendonça e a atriz e cantora Zezé Motta, e lançou em 1975 o disco Gérson Conrad e Zezé Motta, no qual se destacaram as canções "Trem noturno" e "A dança do besouro". Em 1981, fez um outro trabalho solo, Rosto Marcado, lançado pela gravadora Som Livre, seu último disco lançado até então.. Hoje Gérson Conrad tem sua banda, "Trupi", que mantém em seu repertório algumas canções dos Secos & Molhados, e canções de blues e rock. Atualmente estão com o espetáculo que leva o nome de "Bons Tempos", uma das canções escritas por Gerson Conrad.
Após o término da segunda formação, João Ricardo num encontro casual com o empresário Guilherme Araújo, é levado para um jantar com o presidente da Phillips/Phonogram (André Midani) e o diretor artístico (Roberto Menescal), que o convidam para gravar seu primeiro disco solo em 1975. Em 1976, lança o disco "Da Boca Prá Fora" acompanhado de um trio de jovens músicos, entre eles o guitarrista Wander Taffo. Em 1979, lança o LP "Musicar", com participação do guitarrista Mozart Mello. O último disco solo "Puto", lançado em junho de 2007, é uma colaboração de João Ricardo (que compôs, produziu e cantou todas as canções) com o músico Daniel Iasbeck (responsável por todos os arranjos, instrumentos, gravação e mixagem).
sábado, 28 de março de 2015
|By Peter Hammil|
SIGMUND SNOPEK III is the multi-instrumentalist from Milwaukee. He started his career in the 60's with the pioneering prog rock band THE BLOOMSBURY PEOPLE (which performed on Atlanta Pop Festival along with 60's pop-rock icons, such is Jimi Hendrix). They were innovative, combining elements of baroque pop, psychedelia, classical music, pop & rock, electronic music and avangarde. As a solo artist, Snopek had released a plethora of albums over the span of four decades, greatly varying in styles. As a composer, he wrote a number of Western Academic music pieces, varying from operas to symphonies - with a nod to a post-modern style. From a rock point of view, his career is equally as eclectic - some albums from the 70's were released under his name; some as SNOPEK, the band where he was a mastermind, playing flute, oboe, clarinet, saxophone, horns, as well as his battery of keyboards and vocal duties. He collaborated with a variety of well-known rock names, from TOM PAXTON to VIOLET FEMMES. Snopek's music is eclectic, innovative, melodic, zany, edgy and deep. It's highly recommended for any prog rock enthusiast, or for anyone appreciating intelligent music altogether.
For deeper exploration of Snopek's huge body of work, his website is a good starting point.
Moris Mateljan, 2010.
quinta-feira, 26 de março de 2015
"A real stunner from this rural rock outfit from Delaware whose only album was this 1977 private pressing on the Alligator Shoes label (Alligator Shoes 40004). The album features seven original compositions combining acoustic, electric and pedal steel guitars augmented by some tasty keyboards. There's loads of blistering, well-structured guitar jams, and a few Band-style rural funk vocals, with a of hippy psych interludes thrown in for good measure. The sound is unique, cool and beautifully played. The album rocks from start to finish, and is another one of those obscure rarities that should have enjoyed significant commercial success and those fortunate enough to have heard Snakegrinder are unanimous in their praise." ( http://www.forcedexposure.com/Artists/SNAKEGRINDER.html )
terça-feira, 24 de março de 2015
|By Peter Hammil|
"Dark" was: Steve Giles (songwriter, guitars and vocals), Ron Johnson on bass, Clive Throneycroft on drums and Martin Weaver (the founder of "Wicked Lady")) - guitar. The band lasted from 1968 until 1972. ( By Golovanov Alexey - http://www.amazon.com/Round-Edges-Dark/dp/B0000645FX )
ANONYMOUS DAYS is the second studio album from Dark recorded 23 years after the first, the famous and highly collectable 'Round the Edges' LP. The band's line-up remains the same, Steve Giles, Ron Johnson, Martin Weaver and Clive Thorneycroft. Anonymous Days contains songs written between 1974 and 1995 and is the album we always wanted to make, combining the Dark progressive rock style with the latest recording techniques.
domingo, 22 de março de 2015
A fan project mix combining Pink Floyd The Division Bell and The Endless River into one coherent piece, with a couple of surprises thrown in along the way. At last, after 20 years you are able to hear the 'journey' as it should be.
01 Clusterscape 05:16
02 Things Left Unsaid 03:53
03 What Do You Want From Me 04:14
04 It's What We Do 06:18
05 Ebb And Flow 01:28
06 Poles Apart 07:08
07 Sum 03:28
08 Coming Back To Life 06:03
09 Unsung 00:54
10 Marooned 04:52
11 Anisina 03:01
12 A Great Day For Freedom 04:09
13 The Lost Art Of Conversation 01:42
14 Evrika/Wearing The Inside Out (Live) 09:45
15 Night Light 01:39
16 Take It Back 06:07
17 Allons-Y (1) 02:02
18 Autumn 68 01:35
19 Allons-Y (2) 01:25
20 Keep Hawkin' 08:14
21 Lost For Words 05:04
22 Surfacing 02:38
23 High Hopes 07:22
24 Louder Than Words 06:36
Mixed By – Dave McD
a great gift from Peter - The Prog Explorer
sábado, 21 de março de 2015
Shirley Scott (March 14, 1934 – March 10, 2002) was an American hard bop and soul-jazz organist. She was best known for working with her husband, Stanley Turrentine, and with Eddie "Lockjaw" Davis, both saxophonists. She was known as "Queen of the Organ". Born in Philadelphia, Pennsylvania, Scott was an admirer of Jimmy Smith, and played piano and trumpet before moving to the Hammond organ, her main instrument, though on occasion she still played piano. In the 1950s she became known for her work (1956–1959) with the saxophone player Eddie Davis, particularly on the song "In the Kitchen". She was married to Stanley Turrentine and played with him from 1960 to 1969. Later, she led her own group, mostly a trio. Saxophonist Harold Vick often played with her.
In the 1980s, she became a jazz educator and became a highly known and respected member of Philadelphia, Pennsylvania's jazz community. Scott died of heart failure in 2002, which was hastened by the diet drug fen-phen. Scott won an $8 million settlement in February 2000 against American Home Products, the manufacturers of the drug cocktail.
quinta-feira, 19 de março de 2015
A double disc collection of rare, collectible and hit black soul music titles cut during the 70s and compiled by soul expert Glenn Gunton. Includes tracks by Freda Payne, The Whispers, Chairmen Of The Board, The Real Thing, Fatback Band and many more. Castle Pulse. 2005.
01. Crown Heights Affair - Galaxy of love
02. Jimmy James & The Vagabonds - Suspicious love
03. Jeannie Napoli - Forget that girl
04. The Continental IV - What you gave up
05. The Street People - Never get enough of your love
06. New York City - I'm doin' fine now
07. Demon Fuzz - Message to mankind
08. Larry Saunders - On the real side
09. The Real Thing - You're my number one
10. Freda Payne - Bring the boys home
11. Honey Cone - Want ads
12. Chairmen of the Board - Pay to the piper
13. Flaming Ember - Westbound nº. 9
14. The Glass House - Crumbs off the table
15. 8th Day - You've got to crawl (Before you walk)
16. The Politicians - Love machine
17. 100 Proof (Aged in Soul) - 90 day freeze (On her love)
18. Zingara - I surrender
01. Jimmy James & The Vagabonds - Now is the time
02. Honey Cone - One monkey don't stop no show
03. Lamont Dozier - Going back to my roots
04. Barrino Brothers - I shall not be moved
05. Linda Carr - Highwire
06. Fessor Funk & His Queen 8th Street Funk Band - Love is such a good thing
07. The Dynamics - She's for real
08. Willie & the Mighty Magnificents - Funky 8 corners
09. Eloise Laws - Love factory
10. Brother to Brother - In the bottle
11. The Fatback Band - Goin' to see my baby
12. Shalamar - Take that to the bank
13. Chocolate Syrup - You've got a lot to give
14. The Moments - I've got the need
15. The Whispers - I've got a feeling
16. New York City - Reach out
17. Chairmen of the Board - I'm on my way to a better place
18. The Carstairs - It really hurts me girl
terça-feira, 17 de março de 2015
Strut has a habit of re-releasing excellent compilations, and Afro-Rock Vol. 1 is no exception. Originally released on Kona in 2001, nine years later the collection still comes as close to perfectly presenting a panoply of afro-rock as is necessary. From jazz-inflected big band rockers to groove-heavy soul influenced dance tunes, Afro-Rock Vol. 1 trots through the gamut like so many dikdik and puku.
domingo, 15 de março de 2015
System is psychedelic rock band from Denmark. They released their self-titled album in 1974. Any info and album is extremely hard to find and rare.
Danish early 70's rock/bluesrock band with a parallel German career using the bandname System. Started out playing in the early 70's, recording their first album in 1972 though it wasn't released until 1974, In 1973 the band toured in Norway and W.Germany. In the 1974 their debut album was finally released, in Denmark as by Sensory System titled "Sensory!" and in W.Germany as selftitled "System". The 1975 second album too was released in both markets under different band names but this same with the same title, "What We Are". Disbanded 1976.
Prior to Sensory System Jørgen Werner had been in Maxwells who also had a German career. Flemming Bjergby had been in the groups Square Dansk and Kashmir (7). René Wulff joined the C.V. Jørgensen backing band in 1977 More
Brian Burr-Philipp, Flemming Bjergby, Jørgen Werner, René Wulff
sexta-feira, 13 de março de 2015
A recent album from Afrostrut Records recounts the classic sounds of the underrated Segun Bucknor of Nigeria. Titled “Poor Man Get No Brother: Assembly and Revolution 1965-1975,” it’s a time-capsule of an effervescent musical era of funk, groove and re-evaluation of traditions. From a recent BBC review: “the funky James Brown-inspired horn riffs and throbbing bass communicate quite nicely, and Bucknor's urgent, half-sung, half-shouted vocals would be persuasive in any language.” The BBC continues: This reissue of various Bucknor recordings made from 1969 - 1975 represents an interesting slice of Nigerian pop music history and culture. Much of the Nigerian music packaged for export to the West has promoted a particular musical style or point of view - hence the popularity (and availability) of recordings by the likes of juju artists King Sunny Ade and Chief Ebenezer Obey, as well as the more controversial Afro-Beat of Fela Kuti.
Bucknor, on the other hand, was one of the rank and file, a journeyman who was trying to eke out a living in Nigeria as a popular musician, and who was beholden to local record labels and the demands of the marketplace. Even over this relatively brief six year period, playing first with a group he called The Assembly, and then with The Revolution, Bucknor displays a stylistic diversity reflecting everything from pure commercial opportunism to heartfelt political and moral exhortations. Regardless, Bucknor's individual talent almost always shines through. He's a strong, convincing vocalist in the American soul tradition, and had obviously listened closely to the likes of Otis Redding, Wilson Pickett and Sam Cooke. In fact, Bucknor had a direct connection to Western pop music influences, because he studied in New York City at Columbia University in the early 60's, pursuing a liberal arts curriculum and taking courses in ethno-musicology.
All Music Guide also has a nice summary of Bucknor’s newly released recording, including links where you can hear song samples: If anything good came of Fela's death, one thing was the attention focused not only on the music of the man, but of his country. As aficionados of Afro-beat have known for a long time, there were other bands and sounds that erupted from Lagos during the '70s. Bucknor was a contemporary of Fela, and hugely popular in the country. Of course, a lot of this sounds like the man himself — it would be asking a lot not to be influenced by that sound. But the progression of the songs here is more rhythmic and more circular — not a march toward the abyss, but a march around your head. The first and most important thing Bucknor wants to do is to make you dance. The lyrics are strong and mostly political, but the groove is the thing here. These tunes are drenched in sweat, played with the hard-edged precision of men who could and often did play for hours. Fans of the sound will love this. Anyone who's fond of funky music or who loves the sound of Memphis and Muscle Shoals and Detroit but hates the time limitations of the 7" groove will dig this severely. This is another great moment from a scene that is only now reaching Western ears. Stay tuned. ( http://afrofunkforum.blogspot.com.br/2006/09/segun-bucknor-lives.html )
"Afrobeat will be one of the musics of the future" - Miles Davis
quarta-feira, 11 de março de 2015
Caedmon biography (http://www.progarchives.com/artist.asp?id=3861)
Named after a seventh-century Anglo-Saxon poet-monk, CAEDMON began as a trio of veterinary students from Edinburgh University in 1973. The group's early repertoire consisted of traditional folk and spirituals, as well as cover tunes. The band expanded to a quartet the following year and managed to stretch out their touring career nearly six years before disbanding where they began (at Edinburgh) in 1978. The band's only studio album came as a result of a self-financed and produced private label recording with a pressing of just 500 copies. The band miscalculated the length of their tracks and ended up issuing a single that accompanied the vinyl album and which contained what would become tracks 6 and 12 on the 2002 Kissing Spell CD reissue. The band has claimed PENTANGLE and FAIRPORT CONVENTION among their musical influences, as well as fellow 'Jesus freak' musicians WATER INTO WINE BAND, who they appeared with in concert on at least one occasion. They took much of the inspiration in their mildly spiritual lyrics from contemporaries such as LARRY NORMAN, PARCHMENT and AFTER THE FIRE. CAEDMON reunited in 2008 with hopes of making new music together, and are also working to collect and release some of their earlier unissued studio and live recordings. The band's single studio work is generally highly regarded as a solid example of seventies Jesus movement music, as well as a classic acoustic prog folk album.
>>Bio by Bob Moore, aka ClemofNazareth<<
segunda-feira, 9 de março de 2015
Having dished out numerous high-quality compilations dedicated to the funky and soulful side of life, Harmless now switch their attention to all things Latin. Using the musically significant years of 1965to1975 as a parameter, compiler James Maycock has dug out a selection of Latin tunes that were specifically influenced by black music, such as Roberto Roena's "Canta Una Simple", a direct cover version of Sly and The Family Stone's "Sing A Simple Song". Many of the songs here were recorded in New York at a time when the Hispanic and black communities were undergoing similar pressures and could easily find common ground. Stars like Bobby Valentin ("Use It Before You Lose It"), The Latinaires ("Creation"), Tito Puente (whose track "Black Brothers" illustrates his long-standing connections with black music and culture), Herbie Mann ("Jungle Fantasy") and Monguito Santamaria ("Groovetime") all draw on funk and soul and combine them with Afro-Cuban, Afro-Brazilian and other Latin styles to create powerful, floor-friendly records.
Paul Sullivan ( http://www.amazon.co.uk/Broasted-Fried-Breakbeats-Basslines-Boogaloo/dp/B00004VX5Q )
01. Bobby Valentin Use It Before You Lose It (3:00)
02. Latinaires, The Creation (3:16)
03. Joey Pastrana And His Orchestra My Shingaling (3:03)
04. Joe Torres Get Out Of My Way (2:58)
05. Fire Flight To Cuba (3:08)
06. Harlem River Drive Seeds Of Life (5:04)
07. Monguito Santamaria Groovetime (4:41)
08. Joe Bataan So Fine (3:05)
09. Tito Puente Black Brothers (4:17)
10. Kako And His Orchestra Kako's Boogaloo (3:46)
11. Roberto Roena Canta Una Simple (Sing A Simple Song) (2:39)
12. Hector Rivera I Want A Chance For Romance (2:28)
13. Herbie Mann Jungle Fantasy (7:53)
14. St. Vincent Latinaires Broasted Or Fried (4:17)
sábado, 7 de março de 2015
Robin Leonard Trower (born 9 March 1945) is an English rock guitarist and vocalist who achieved success with Procol Harum during the 1960s, and then again as the bandleader of his own power trio. Trower was born in Catford, South East London, England and grew up in the seaside resort of Southend-on-Sea, Essex. In 1962, Trower formed a group that became The Paramounts, later including Westcliff High School pupil Gary Brooker. The Paramounts disbanded in 1966 to pursue individual projects. During this time, Trower created a local three-piece band called 'The Jam' (not to be confused with the later group with Paul Weller). Trower then joined Brooker's new band Procol Harum following the success of their debut single "A Whiter Shade of Pale" in 1967, remaining with them until 1971 and appearing on Procol Harum's first five albums.
Before launching his own eponymous band, he joined singer Frankie Miller, bass player James Dewar, and former Jethro Tull drummer Clive Bunker to form the short-lived combo Jude. This outfit did not record and soon split up. Trower retained Dewar as his bassist, who took on lead vocals as well, and recruited drummer Reg Isidore (later replaced by Bill Lordan) to form the Robin Trower Band in 1973. Perhaps Trower's most famous album is Bridge of Sighs (1974). This album, along with his first and third solo albums, was produced by his former Procol Harum bandmate, organist Matthew Fisher. Despite differences, Trower's early power trio work was noted for Hendrixesque influences. Trower is an influential guitarist who has inspired other guitar legends such as Robert Fripp, who praised him for his bends and the quality of his sounds, and took lessons from him.
In the early 1980s, Trower teamed up with former Cream bassist Jack Bruce and his previous drummers Lordan and Isidore, for two albums, BLT (Bruce, Lordan, Trower) and Truce (Trower, Bruce, Isidore). After those albums, he released another album with James Dewar on vocals titled Back It Up in 1983. Robin Trower was dropped from Chrysalis Records afterwards. In 1991 Trower was also a part of the Night of the Guitars II European tour organised by Sting and The Police manager Miles Copeland. The tour featured Ronnie Montrose, Saga's Ian Crichton, Dave Sharman, Jan Akkerman and Laurie Wisefield. Thirteen albums later, Trower's album, Living Out of Time (2003), features the return of veteran bandmates Dave Bronze on bass, vocalist Davey Pattison (formerly with Ronnie Montrose's band Gamma) and Pete Thompson on drums—the same line-up as the mid 1980s albums Passion and Take What You Need. With the same bandmates Trower gave a concert on his 60th birthday in Bonn, Germany. The concert was recorded by the German television channel WDR. It was then released on DVD and subsequently on CD throughout Europe and later the US under the title Living Out of Time: Live. Trower toured the United States and Canada in the summer and autumn of 2006.
Just a great Guitar Man!