segunda-feira, 27 de fevereiro de 2017
Two CD live archive release from this Classic Rock super trio (plus friends). The birth of The Boys Club started way back on April 6, 1974, at Ontario Motor Speedway in Southern California, at the Cal Jam rock festival. ELP and Deep Purple were the headlining acts and was the first time Keith Emerson and Glenn Hughes appeared together on the same stage. It wouldn't be until almost 25 years later that these two luminaries met again, this time under the new moniker of The Boys Club. The Boys Club was the start of Marc Bonilla's long musical collaborative partnership with Keith Emerson, and was the beginning of the very successful Keith Emerson Band, featuring Marc Bonilla. Live from California features classic Keith Emerson ELP tracks, as well as songs from Marc Bonilla's solo projects, and also includes Glenn Hughes' soulful rendition of the Procol Harum classic 'A Whiter Shade Of Pale'. This double disc set of the complete 1998 concert recorded live in California has never before been released anywhere.
Obrigado C A R L O S....
domingo, 26 de fevereiro de 2017
Acoustic Alchemy: A 29 Year History
Since 1987, Acoustic Alchemy has pushed the limits of the acoustic guitar’s potential by embracing a spectrum of musical styles ranging from straight-ahead jazz to folk to rock to world music and beyond.
Through it all, the overriding mission of Acoustic Alchemy has been to reach the broadest possible audience by pushing the potential of instrumental music to embrace a broad spectrum of styles without being limited to any specific genre.
“For a lot of people, instrumental music is just a sound that plays in the background,” says Greg Carmichael. “But we put a lot into it – not just with this record but with every record we’ve ever made. I’d like to think that after all these years, we’ve learned how to take people on a journey. A lot of our fans have said that we do that for them. As long as they keep coming back, and as long as they want to stay on that journey, we’ll keep doing what we’re doing.”
During their brief existence, Heat Exchange from Canada recorded an album of which only four tracks were released as 45s for the Yorkville. This is the complete Heat Exchange studio recordings (1972–73), including their three 45s plus the previously unreleased recordings they did for their never released LP in 1972.
sábado, 25 de fevereiro de 2017
Just Great Music!!!
1. Richard "Groove" Holmes - Halleluja, I Love Her So (2:32)
2. Jimmy Smith Trio - I Got My Mojo Workin' (4:57)
3. Lou Donaldson - Who's Making Love (6:42)
4. Milt Buckner - The Beast (2:32)
5. John Keating - I Feel The Earth Move (3:32)
6. Lonnie Smith - Spinning Wheel (7:30)
7. Ronnie Foster - Some Neck (4:36)
8. George Nardello - Ooga Mooga (3:09)
9. Alan Hawkshaw - Blarney's Stoned (1:50)
10. George Semper - Shortnin' Bread (2:26)
11. Jimmy McGriff - The Worm (3:15)
12. Jimmy McGriff - I've Got A Woman (Part 1) (2:42)
13. Reuben Wilson - Love Bug (7:53)
14. Jimmy McGriff - Where It's At (live) (4:45)
15. Paul Bryant - Burnin' (4:11)
16. Brother Jack McDuff - Oblighetto (6:35)
Aaron Neville (born January 24, 1941, New Orleans, Louisiana, United States) is an American R&B singer and musician. He has had four Platinum-certified albums and four Top 10 hits in the United States, including three that went to #1 on Billboard's Adult Contemporary chart. His debut single, from 1966, was #1 on the Soul chart for five weeks. He has also recorded with his brothers Art, Charles and Cyril as The Neville Brothers and is the father of singer/keyboards player Ivan Neville. Of mixed African American and Native American heritage. His music also features Cajun and Creole influences.
Biography : Released in a limited batch of 99 in 1970, A to Austr's one-off masterwork Musics from Holyground takes the psych-pop aesthetic to an entirely new level. A behemoth (and fun) journey through psychedelia, Musics from Holyground touches on everything from psych-pop and eastern influenced folk to pub ready saxophone jams and vaudevillian break downs, with a ton of other sounds I have no business describing thrown in the mix. The Penguin Guide to Rare Records calls A to Austr's only record "the most sacred UK LP there is," which sort of makes sense considering only 99 folks in the world have an original copy, and it wasn't given the reissue treatment until 1989. Apparently the initial goal was "to write about King Arthur who lies sleeping with his knights of the Round Table until England needs him." This was news to me, as the record in no way, shape or form feels like a treaty on Renaissance knights, rather an exploration of an entire genre, gleaming back and forth from the nuanced psych pop of "Birds" to "Hawaiian War Chant" (which sounds exactly like its title suggests) to "It's Alright", which is basically the Incredible String Band-Love-Zombies collaboration I've been dreaming about for years. I could go on and on about this record, but it wouldn't do any good, mostly because its impossible to describe. Even after listening to it about twenty five times over the past six months, I still have trouble wrapping my head around it, as if its not supposed to be chewed on, merely experienced, over and over again, sort of like life (and psychedelic experiences in general). If this spiked your interest, even just a little bit, I highly recommend heading over to Holy Ground's website and peeping their extremely thorough and insightful history of the recording session, the album itself, and its little known legacy.
04.Prelude To Change For Arthur 0:10
05.Thumbquake & Earthscrew 2:47
06.Change For Arthur 0:39
07.Between The Road 2:30
08.Hawaiian War Chant 1:12
09.It's Alright 6:45
10.Reprise Of Part Of Bird 0:20
11.Essex Queen (She Dances) 3:08
12.D Minor Minuet 1:01
13.A Curse On You 3:18
14.What Did You Go 7:56
15.Grail Search 4:28
16.Essex Queen (First Version) 2:46
17.Grail Search (First Version) 3:36
18.Judy (Fragment Of First Version) 0:48
19.It's Alright (Later Version, Remixed) 6:42
20.Aren't You Glad You Stayed (Early Vocal Version) 3:59
Brian Calvert - lead guitar, vocals, guitar, lute, horn, trombone
Chris Coombs - lead guitar, vocals, guitar, piano, organ, glockenspiel, horn, percussion
Brian Wilson (aka Pete Taylor) - bass, vocals, guitar, organ, mandolin, harp, clarinet
Ted Hepworth - drums
Mike Levon - triangle, effects, electronics
Bill Nelson - guitar, hawaiian guitar
Mike Gould - trumpet
John Perfect - tenor sax
Lyn Cavell - alto sax
George Mabon - flute
Gill Green - cello
Al Green - organ
Dave Wood - goüd
Yvonne Carrodus - vocals, triangle
Denise Calvert - vocal, piano, harpsichord
Gill Maudsley - spoken vocal
Cath Wood - raspberry saw
sexta-feira, 24 de fevereiro de 2017
One of the most astonishing British private pressing rarities, only two copies have surfaced of this 1970 concept album. Telling the story of a woman's life from her own conception to giving birth, the LP was put together by a variety of musicians at a social club, and allegedly includes an uncredited appearance by Billy Fury. Linked by narration and sound effects, the music runs the gamut from heavy space-rock jamming (including a snatch of 'Interstellar Overdrive') to folk rock (an acoustic cover of 'Light My Fire' & a stunning version of 'Watch The Stars') avante-garde choirs, krautrock-styled interludes and even trad jazz. The result is among the trippiest albums I have ever heard, comparable only to Jumble Lane in terms of eccentricity, although the music is infinitely better, with a strong Pink Floyd spacy edge. Indeed, had Syd Barrett remained with the Floyd, one could well imagine 'Dark Side of The Moon' might have sounded thus."
Um álbum bem obscuro, com poucas informações. Direto do Canadá, um som meio Prog, meio Krautrock. Encontrei apenas este comentário abaixo...
Yes, this one's credited to A New Place To Live, but for all intents and purposes it's a Robert John Gallo release with studio backing from singer Joey Carbon and guitarist Richard Zito of Sounds of Modification fame. As an added bonus, radio/television personality John Zacherly recited the poetic segments. Written, arranged, conducted, and produced by Gallo 1972's "A New Place To Live" was also released on Gallo's Mandala label. Quite an industrious guy !!! A concept piece seemingly based on American psychic Edgar Cayce and a bizarre mixture of ecological concerns, history, religion, social commentary, and probably way too many illicit substances, the album sported one of the strangest plotlines I've come across. To quote the liner notes: "Due to recent occurrences in the world, I would like to bring your attention to my concept album " A New Place To Live". Written by Robert John Gallo more than two year ago. Its meaning and significance take on a frightening yet truthful aspect now that the earthquakes and other disturbing occurrence of nature have begun." Some of you will swear I'm makin' this stuff up.
Conductor, Producer, Written-By – Bob John Gallo* (tracks: A1-A5,B1,B2,B4)
Guitar – Richard Zito*
Narrator [Poems Recited] – John Zacherly*
Vocals – Joey Carbone
quinta-feira, 23 de fevereiro de 2017
The 1860 band was a New Zealand group who took their name from the establishment they held residency at.(The 1860 Tavern in Wellington). Their sole LP released in 1978. Formed by Rodger Fox (The Rodger Fox Big Band, Quincy Conserve) the band also included Dave Pearson and other Quincy Conserve members Peter Blake, Billy Brown, Geoff Culverwell and Martin Winch (Espresso Guitar). Quincy Conserve Group recorded from 1968 to 1975. Rodger Fox is a New Zealand jazz trombonist, big band leader, jazz educator, arranger and producer.
Group Members: Rodger Fox (Trombone) - Martin Winch (Guitar) - Geoff Culverwell
(Trumpet, Flugal, Vocals) - Peter Blake (Keys) - Billy Brown (Drums) - Rob Winch (Bass)
145th Street is a five-piece blues band that plays pubs, clubs, casinos, and festivals around San Diego. The group was founded in 2002 by singer/harpist Steve Bulger, aka Stevie B, and Marco Marrewa on guitar as the Bossmen.
“We added bass and drums, and all of the sudden, we had a band,” says Bulger. The winning lineup includes Mike Bullard on bass and a sax player from New Orleans by way of Southeast San Diego named Walter Gentry. The sax man’s dad owned a barbershop in Southeast. When he died, Walter came home and worked the shop for a while. (“He doesn’t cut hair anymore,” says Bulger.)
While Gentry was playing New Orleans gigs, he met Tony Peterson, a drummer who would also come to San Diego and eventually join 145th Street.
Their debut CD, 145th Street Deluxe Blues Band, was nominated Best Blues Album at the 2005 San Diego Music Awards. Joe Walsh heard a copy and liked it. “He said it was pretty fucking good,” says Bulger.
The group has opened for acts such as B.B. King, Bobby "Blue" Bland, Charlie Musselwhite, Tommy Castro, and others. They’ve had a residency at Patrick’s II in the Gaslamp for years and Bulger says they’ve played Humphrey’s Backstage, the House of Blues, 4th&B, “and all the local festivals.”
But 145th Street has otherwise been off the local radar. Why? “That’s a good question.” Bulger puts the blame on lack of self-promotion. “When people hear us, they say, ‘Holy shit, are you guys from around here?’”
Bulger, who lives in Serra Mesa and is a distant relative of ex-mobster Whitey Bulger, explains the band’s name: one-four-five describes the chord changes in the 12-bar blues. “We added ‘Street’ because that’s where everything happens.” They carry an old-school wallop redolent of the 1960s, when rock bands were romancing traditional blues. “We don’t play the usual blues covers.”
In late 2011, the band won a series of elimination rounds to end up as Blues Lovers United of San Diego’s (BLUSD) designated hometown choice for the International Blues Challenge in Memphis at the end of January, 2012. The International Blues Challenge is the world’s largest battle of the blues bands. It takes place over five days. More than 748 musicians from 13 countries compete. Oceanside’s Nathan James & Ben Hernandez won the solo/duo title in 2007.
quarta-feira, 22 de fevereiro de 2017
The group was signed to John Peel's Dandelion Records after he witnessed their first gig, and their single, "The Ballad of a Big Girl Now", was released in 1969. Following the single was the release (under the same label) of two albums - Soundtrack and The Asmoto Running Band - the second of which was produced by Nick Mason of Pink Floyd. During this time, the group opened for several acts including Pink Floyd, Led Zeppelin, and Fleetwood Mac. The sometimes whimsical, sometimes epic (verging on progressive rock) writing style of guitarist Root Cartwright, was paired with the eclectic lyrical contributions of David Jones, Gillian Hadley and Monica Nettles, and was performed by vocalist Vivienne McAuliffe. The violin and recorders of Bindy Bourquin were another key element of the group's trademark sound. Lyn Edwards, originally on bongos, took over on the drumkit. The group disbanded in December 1971, but a new band with a smaller nucleus (including new bassist Richard Jones from Climax Blues Band) and a name-change to, simply, Principal Edwards, they recorded a few new singles and a third album called Round One for Deram Records. Most of the Deram recordings were also produced by Nick Mason
A Witness are an English post-punk/indie rock band who were originally active in the mid-1980s alternative music scene. Their first EP Loudhailer Songs and début album I am John's Pancreas brought them to the attention of BBC Radio disc jockey John Peel, for whom they recorded four sessions. Their career was brought to a halt with the death of guitarist Rick Aitken in 1989. Founder member and songwriter Vince Hunt revived the band with a new line-up for a series of UK-wide dates in 2014 marking the 25th anniversary of Aitken's death, and the band continues to play live.
terça-feira, 21 de fevereiro de 2017
In 1987, George Duke formed a R&B group called "101 North", whith Lynn Davis and the big fellows George Duke Band members Josie James, Napoleon Murphy Brock, and Carl Carwell (of Earth, Wind, and Fire). The group released their self-titled debut album in August 1987.
George Duke (Synthesizer)
Paulinho Da Costa (Percussion)
Byron Miller (Bass)
John Robinson, Leon "Ndugu" Chancler (Drums)
Dawilli Gonga (Keyboards)
Carl Carlwell, Ellis Hall, Josie James (Lead Vocals)
Carl Carwell, George Duke, Josie James, Lynn Davis, Napoleon Murphy Brock (Backing Vocals).
Um excelente filme musical... Dois amigos desanimados com a monotonia da cidade em que vivem descobrem um novo mundo ao ouvirem pela primeira vez o legítimo soul americano. A paixão recém-adquirida logo mostra-se uma interessante possibilidade de negócio, os dois se destacam discotecando nas festas locais e, a partir de então, nada será como antes. Nem mesmo a amizade. E muito som rolando... Segue uma palhinha:
segunda-feira, 20 de fevereiro de 2017
Although Blues Power: Songs of Eric Clapton contains a couple versions of blues standards recorded at one time or another by Clapton, it's mostly devoted to covers of Clapton compositions by blues veterans and relative newcomers alike (i.e., either influences on Clapton or artists who have been influenced by him). The performances are generally spot-on, but that's to be expected from an artist roster that includes Koko Taylor, Pinetop Perkins, Otis Rush, Bo Diddley, Buddy Guy, Larry McCray, and Eric Gales, among others.
Um grande tributo... As grandes canções de Bob Dylan cantadas por monstros do Blues & Soul... Vale a pena!!!
1 It Takes a Lot to Laugh, It Takes a Train to Cry (Taj Mahal)
2 Gotta Serve Someone (Mavis Staples)
3 Lay Lady Lay(Isaac Hayes)
4 Everything Is Broken (R.L. Burnside)
5 Pledging My Time (Luther "Guiter Jr." Johnson and the Magic Rockers)
6 I'll Be Your Baby Tonight(John Hammond, Sr.)
7 Ballad of a Thin Man (James Solberg)
8 Million Miles(Alvin Youngblood Hart)
9 Watching the River Flow (Leon Russell)
10 Wallflower (The Holmes Brothers)
11 All Along the Watchtower(Larry McCray)
12 One Too Many Mornings The Band
domingo, 19 de fevereiro de 2017
The idea behind Paint It Blue: Songs of the Rolling Stones is such a simple, appealing one that it's a wonder that the record wasn't made before 1997. The Stones never made any secret of their debt to the blues, so it makes sense that their songs would sound good when performed by blues and R&B artists. That's the idea behind Paint It Blue -- contemporary blues and R&B artists sing some of the band's bluesiest songs. While some may quibble that the idea is a little too cute, the performances by Luther Allison ("You Can't Always Get What You Want"), Junior Wells ("(I Can't Get No) Satisfaction"), Taj Mahal ("Honky Tonk Women"), Clarence "Gatemouth" Brown ("Ventilator Blues"), the Holmes Bros. ("Beast of Burden") and Bobby Womack ("It's All Over Now"), among many others, are hard to argue with. It's a rock-solid record that confirms what great songwriters Mick Jagger and Keith Richards are.
Eric Clapton matando as saudades do Cream, com Jack Bruce e Ginger Baker, além de dar uma duelada com Jimmy Page. Sonzeira.