domingo, 24 de julho de 2016
Cosmograf is a progressive rock project lead by Robin Armstrong, a multi instrumentalist musician from Waterlooville, England. The Cosmograf sound is rooted in 70’s classic rock with a contemporary and progressive twist with obvious influences from classic progressive rock such as Pink Floyd, Yes and Genesis, but with more contemporary flavours from bands such as Porcupine Tree, Muse, and Radiohead.
Robin plays guitar, keyboards, bass and drums, sings, and records, producing himself and fellow collaborating musicians, in his own self built music studio ‘The Trees’. Cosmograf tracks feature guest musicians from the progressive rock community performing and contributing to each album.
Captivated as a teenager by Deep Purple’s fusion of Heavy Rock with Baroque intros and lead lines, Robin often utilises a blend of classical music and contemporary rock music to provide a fusion of progressive rock that polarises audiences and demands attention.
Cosmograf albums are built around concepts – Conceptual Progressive Rock allows the freedom to span genres, stop and start in different tempos, with the inclusion o f relevant soundscapes and effects to build the story. This creates a musical freedom far beyond the commercial rules and constraints of a disposable 3 minute pop song.
terça-feira, 12 de julho de 2016
Samuel Aaron Bell (April 24, 1921, Muskogee, Oklahoma - July 28, 2003) was an American jazz double-bassist. In the 1950s, Bell appeared on Billie Holiday's album Lady Sings the Blues and with Lester Young, Stan Kenton, Johnny Hodges, Cab Calloway, Carmen McRae, and Dick Haymes. In 1960 he left Haymes' band after being offered a position in the Duke Ellington Orchestra, opposite drummer Sam Woodyard. He left in 1962, spending time with Dizzy Gillespie before taking jobs on Broadway as a pit musician. He and Ellington collaborated once more in 1967, on a tribute to Billy Strayhorn. Bell held a residence at the La MaMa Experimental Theatre Club in New York City from 1969 to 1972. He also began teaching at Essex College in Newark in 1970, remaining there until 1990. Later in the 1970s he toured with Norris Turney, Harold Ashby, and Cat Anderson; in the 1980s he returned to piano playing, and retired from active performance in 1989. He died in 2003.
domingo, 10 de julho de 2016
Abayomy significa “encontro feliz” em Yorubá, palavra que traduz bem o clima da banda. Todos amigos, que se divertem bastante tocando juntos. A banda conta com Vitinho Gottardi na guitarra, que também toca com Claudio Fantinato (percussão), Leandro Joaquim (trompete) e Pedro Dantas (baixo) na banda Sobrado 112. A banda também tem Thomas Harres, que também toca bateria com o Letuce, Gustavo Benjão guitarra no Do Amor, Donatinho nos teclados, Rodrigo La Rosa e Alexandre Garnizé nas percussões, Marco Serragrande no trombone, Thiago Queiroz no saxofone barítono , Mônica Ávila no alto e Fábio Lima no tenor. Todos se juntaram para tocar em homenagem ao nigeriano Fela Kuti, no famoso Fela Day no Rio. O próprio Vitinho explica quando e como isso aconteceu.
“A Abayomy surgiu no dia 15 de outubro de 2009, quando nos juntamos para tocar no primeiro Fela Day no Rio. Fela Day é um evento que rola em várias cidades do mundo, e que celebra o aniversário do Fela Kuti, um dos criadores do Afrobeat” – junto com o Tony Allen, com quem a banda gravou neste ano (visto no vídeo acima comparticipação do BNegão no vocal, cantando Jorge Benjor). “Montamos uma banda pra tocar somente nesse dia, mas foi tão legal que sentimos necessidade de continuar com o projeto, e a partir daí começamos a tocar pela cidade e a compor”, complementa Vitinho.
sexta-feira, 8 de julho de 2016
Abacus biography (http://www.progarchives.com/artist.asp?id=468)
ABACUS is surely a big name for everyone interested in rock music. The band formed in 1971 made their breakthrough at the Germersheim rock festival, where ABACUS drew not less applause from the 300,000 visitors than PINK FLOYD, SANTANA or ELP which appeared on stage as well. Jürgen Wimpelberg takes on himself to play keyboards, guitars, drum programming as well as vocals. After a lengthy absence from the recording scene, German band are back with a new album, "Fire Behind Bars". They develop Pop melodies into a wide instrumental manner, with gorgeous neo-classical and symphonic sequences. In a vein near GENESIS, GREENSLADE or PINK FLOYD. ABACUS offers a modern and attractive Progressive Rock music.
- Chris Williams - vocals, guitar, percussion
- Chris Barutzky - keyboards
- Charlie Schade - guitar, sitar
- Klaus Kohlhase - base
- Felix Hans - drums, percussion
quarta-feira, 6 de julho de 2016
Aaron Space was a Canadian psychedelic rock band from Toronto, performing art rock with a touch of psychedelia and a pinch of 70's hard rock.
Hailing from Sudbury, Ontario, Aaron Space was formed in the late 1960s by guitarist Jake Thomas (originally from North Bay, Ontario, and ex of Bucstone Hardware) Yarmouth, NS native Dave Moulaison, Gene Falbo (originally from Digigriano Cosenza Calabria, Italy) on bass, and local native drummer Bob DiSalle. While they played the area's circuit as a covers band, they slowly started writing their own material and inserting it into their playlists. By 1970, they'd relocated to Toronto to take advantage of the bigger crowds. Soon after, Warner Brothers rep John Pozer caught their act and signed them to a deal. They released their first single, "Keep On Movin'," which featured Lisa Garber on bg vocals, b/w "The Visitor" in the fall of '71 to mixed reviews. It eeked its way up to #83 on some strong support from Toronto radio, where it stayed for three weeks. Recorded at Eastern Sound in Toronto and produced by John Stewart, their eponymous debut album followed early the next year, with the single, "Marsha" b/w "She Smiles" close behind. Despite a heavy ad campaign being launched, it failed to make a dent in the chart, yet still many critics later praised the album as a whole. Entirely self-written with Moulaison and DiSalle sharing lead vocals, other songs like "Silly Ceilings," North Country Rock n Roll," and "Man In A Yellow Car" were full of heavy riffs and fuzz guitar, and indicative of the acid rock scene of the day. After a series of short tours around central Canada, plans were being made for a follow-up album, some songs had been written, and some time in the studios had been spent. But with their deal with Warner on the brink of ending, the band imploded, and everyone went on to individual projects. Falbo, now going by his real name, joined Jackson Hawke a few years later.
segunda-feira, 4 de julho de 2016
Nosso correspondente espacial trouxe um grande Prog da longínqua Turquia.
Nemrud biography (http://www.progarchives.com/artist.asp?id=5723)
NEMRUD was established in the second half of 2008 in Istanbul-Turkey by Mert Göçay, Harun Sönmez and Aycan Sarı. By the time the band had its current formation, there had been several changes in the composition of band members. The current line-up was formed with the participations both Mert Alkaya and Mert Topel in 2010 and Levent Candaş in 2015 as band members. NEMRUD have released their first two conceptual Progressive Rock albums "Journey of the Shaman"(2010) and "Ritual"(2013) on Musea Records from France. In late 2015 NEMRUD continued the recordings with a conceptual S/T album, released by Rainbow45 Records from Turkey. The group is named after Mount Nemrut; the 2150m high mountain lies in southestern Turkey, known by tomb-sanctuary built in 62bc by King Antiochus I Theos of Commageme on the top mouintain overlooking The Euphrates Valley. Mount Nemrut is the place embracing the Middle of the Ground and the place that first album character 'Mitos' passes by while going to the underground. This mountain is at a sacred place which is the intersection point of East and West, two worlds that mankind have been believing for hundreds of years. NEMRUD has gone beyond the Turkish standard rock or popular line-chorus structured songs and pushed the technical and composition limits of rock music. Besides, there are classic, jazz and avant-garde components in their compositions. Their music shows the general characteristics of Progressive Rock such as changing melodies and rhythms, refrains from repetition, conceptual and abstract lyrics. The admiration of the band for the golden era of Progressive Rock reflects itself in the epical stories used in the albums. Their albums are referring to the golden 1970s era and made up of reminiscences to Eloy, Pink Floyd, Yes, Camel and other bands with psychedelic and symphonic leanings.
sábado, 2 de julho de 2016
Finalmente saiu um grande documentário sobre ZAPPA. "Eat That Question: Frank Zappa in His Own Words" . (Engula esta Pergunta: Frank Zappa em suas próprias palavras). Vejam o trailer...
Documentário: 90 min., 2016.
Diretor: Thorsten Schütte.
Uma pequena sinopse:
O documentário dirigido por Thorsten Schütte aborda Zappa através de sua persona pública e sua relação complicada com a mídia. Utilizando como matéria prima várias entrevistas na TV e performances ao vivo um tanto obscuras e esquecidas, o filme revela duas facetas deste artista complexo na longa carreira de trinta anos. Zappa foi tanto um compositor carismático que exultou no palco comoe um debatedor inteligente e intransigente que nunca renunciou às suas crenças. Este filme ressoa sua música e ideias que marcaram gerações. A luta para libertar o público de conformismo que continua a ser mais relevante do que nunca.
Mais uma palhinha:
E não é só isso... O legado de Zappa é enorme, e sua família têm administrado para que suas gravações não se percam ao longo do tempo. Vejam este vídeo abaixo...
Vejam o tamanho do armazém que possui várias gravações não publicadas... Isto quer dizer que vem muita coisa por aí.
E segue um último lançamento...
Road Tapes, Venue #3 features two complete shows from Tyrone Guthrie Theater in Minneapolis, MN. The July '70 Mothers line-up featured Flo & Eddie, George Duke, Ian Underwood, Aynsley Dunbar & Jeff Simmons. FZ's vast Vault does not contain many full shows from this time period, so that alone makes this release a special one. The tapes were recorded to stereo reel-to-reel, but not without problems. Due to their historical relevance, we felt it was worth it, warts 'n all! Venue #3 does not disappoint.
1 Tyrone Start The Tape… (1:59)
2 King Kong (3:37)
3 Wonderful Wino (Zappa/Simmons) (4:47)
4 Concentration Moon (2:34)
5 Mom & Dad (3:25)
6 The Air (3:46)
7 Dog Breath (2:01)
8 Mother People (2:06)
9 You Didn’t Try To Call Me (4:10)
10 Agon – Interlude (Stravinsky) (0:36)
11 Call Any Vegetable (7:59)
12 King Kong / Igor’s Boogie (20:25)
13 It Can’t Happen Here (3:05)
14 Sharleena (4:59)
15. The 23rd “Mondellos” (3:13)
16. Justine (Harris/Terry) (1:46)
Show 2, continued
1 Pound For A Brown (5:07)
2 Sleeping In A Jar (3:37)
3 Sharleena (5:49)
4 “A Piece Of Contemporary Music” (7:03)
5 The Return Of The Hunchback Duke (incl. Little House I Used To Live In, Holiday In Berlin) (10:00)
6 Cruising For Burgers (3:44)
7 Let’s Make The Water Turn Black (1:42)
8 Harry, You’re A Beast (1:29)
9 Oh No / Orange County Lumber Truck (11:01)
10 Call Any Vegetable (11:29)
11 Mondello’s Revenge (1:46)
12 The Clap (Chunga’s Revenge) (13:01)
Frank Zappa: guitar
George Duke: electric piano, vocal drum imitations
Aynsley Dunbar: drums
The Phlorescent Leech & Eddie (Mark Volman, Howard Kaylan): vocals
Jeff Simmons: bass, vocal
Ian Underwood: alto sax, electric piano
E aguardem, que muito em breve, deve ter muito mais...
(Thanks to Peter AGAIN!!!!)
quinta-feira, 30 de junho de 2016
Eu fiquei surpreso quando ouvi a notícia, e fiquei imaginando como seria. Depois eu vi um vídeo,e escutei o som... Dois grandes nomes do Rock, Axl Rose e Angus Young juntos, tocando ACDC... Muito difícil de imaginar para quem curtiu as duas bandas em seu auge, lá nos anos 80. Eu ouvi e gostei!
A escolha do cantor para o lugar de Brian Johnson rendeu muitas críticas ao AC/DC, que teve de reembolsar alguns milhares de fãs que se recusaram a pagar por uma apresentação sem o vocalista original. Por outro lado, os fãs de Guns N' Roses ficaram animados com a notícia. Avesso a entrevistas, Axl deixou a rebeldia de lado e, pela primeira vez em cinco anos, aceitou falar com a rede britânica BBC. Ele revelou ao canal que tomou a iniciativa de procurar a banda assim que soube do problema de saúde de Brian Johnson.
"É uma coisa horrível e eu espero que ele melhore", disse o líder do Guns N' Roses. O cantor destacou que em nenhum momento quis aparecer ou levar alguma vantagem justamente por ser uma situação grave de saúde.
Brian Johnson teve de se afastar dos shows por causa de um problema auditivo. Ele recebeu um ultimato dos médicos dizendo que ficaria surdo se continuasse a se apresentar com o AC/DC. O músico, contudo, declarou que não está se aposentando. Em uma carta aberta e dirigida aos fãs ele explicou que continuará gravando em estúdio e que segue fazendo exames para descobrir se poderá voltar aos palcos. Ele ainda chamou Axl Rose de "grande vocalista" e também agradeceu o apoio dos colegas, em especial o guitarrista Angus Young e o baixista Cliff Williams. Johnson entrou no AC/DC em 1980, após a morte do cantor Bon Scott. Ele falou em mensagem aos fãs, sobre a difícil decisão de deixar a banda. "Este foi o dia mais obscuro de minha vida profissional", declarou. Conhecido por sua voz aguda e suas atuações onde coloca à prova suas cordas vocais, Johnson, de 68 anos, afirmou que seguiria gravando em estúdio.
Como eu já disse, eu gostei...
Confiram alguns shows...
Rock Or Bust World Tour (2016)
terça-feira, 28 de junho de 2016
Mais uma de Zappa, agora como Mestre de Cerimônias em 1969, no Actuel Festival, e fazendo uma JAM com quem quisesse. A qualidade do áudio é razoável e agradeço ao brilhante indivíduo que teve a idéia de registrar este momento histórico...
Zappa was a Master of Ceremonies (with Pierre Lattes) - at the Actuel Festival 24th-28th October 1969. The festival was organised by BYG Actuel, a French record label.
The five day, 24 hour, open air, festival was to be held at the Parc de Saint Cloud in Paris but the French authorities banned the festival a few days before it was due to start. The organisers moved the festival to Amougies in Belgium - a three hour drive east of Paris. Over 15,000 people attended the festival despite the seasonal cold, damp and fog.
"There were this group of people from Paris who put the shit on this festival, mainly because they were scared to death of having large numbers in that city. So these guys who wanted to put the festival on just refused to quit and they finally wound up choosing a cow pasture about two hours out of Brussels.
A lot of fog, and I guess it must have been twenty or thirty degrees out there, it was really miserable, a few tents and the people began to turn up from nowhere and they turned on the PA and that worked, and they turned on the lights and they worked, and the groups actually began to play and by God they had a pop festival.
And then they looked at it and realised that they had to keep on for five days. I was asked to join the festival. They first of all asked for the Mothers to play but there weren't any Mothers at that time, so Pierre Lattes, who I had known for some time, asked me to co-host the festival, but when I arrived there I found that most of the people spoke French and they wouldn't know what the fuck I was talking about so it was useless for me to introduce the groups.
So Pierre suggested that I might play with some of the groups. But I was at a great disadvantage because I didn't have my own guitar and I had to use other people's guitars and the amps that were around for everyone at the festival to use, and they kept blowing up and fucking up, and on top of that some of the groups found it a little difficult to relate to what I was playing. Cause, if you have a group that has certain arrangements and sets that they play every night, it's difficult to stick in an alien element that isn't part of the set up.
The audience and the reviewer forgot about those variables - perhaps seeming a little anxious to prove that I was a crappy guitar player".
-Extract from It's all in self-defence
DS: Alright. Here's a controversy you can settle. There are many people who think that you performed, in 1969, at a festival in Belgium called 'Amougies'...
DS: ... performed onstage with Pink Floyd. True or false?
FZ: Not with Pink Floyd.
DS: That's what I thought. You introduced Beefheart to the audience...
FZ: Yes, and I introduced a lot of other acts, too. You see, that was a very weird thing. I was hired to be a master of ceremonies...
FZ: That was after the Mothers had broken up, and y'know, I had time on my hands. These people contacted me. They offered me ten thousand dollars to be an emcee at a festival, all expenses paid, and go over there, and, y'know, whatever I wanted to do, and I said, "Fine." So, I get there, and they neglected to tell me that nobody spoke English. (laughter) I mean, most of the people there spoke French, and all I could do was point and wave, (laughter) and furthermore, the festival was originally supposed to be in France. The French government stopped it, and so, at the last minute, it was moved across the border into Belgium, into the middle of a turnip patch, in the middle of nowhere, in a tent that was held up by steel girders. This tent held fifteen thousand people. Freezing cold, damp weather, constant fog, the most MISERABLE (laughter) circumstances you could find yourself in, for three days, and it was a twenty-four-hour-a-day festival, and the kids would come there, and they had their sleeping bags, and they were sleeping through ... they were just in this tent FREEZING, laying on the ground, sleeping, while music went on around the clock with all these groups...
DS: How bizarre.
FZ: ... and they were filming it.
DS: A true war story.
RS: So, did you perform with anyone?
DS: Yeah. To nail that down once and for all, you did not perform with Pink Floyd, right?
FZ: No. I think I performed with Aynsley Dunbar, and then, there was a jam session that had Archie Shepp, 'Philly Joe' Jones, and some other jazz guys that played.
-Extract from They're Doing the Interview of the Century, Part 2
Zappa & Caravan at Amougies, an extract from an interview with vocalist/bassist Richard Sinclair;
Interviewer: Do you recall jamming with Frank Zappa?
Sinclair: That was later, at the Actuel Festival in Amougies in Belgium, in a big marquee that held about five thousand people. It was a double, round-ended tent with a big gantry through the middle. The Festival was compered by Pierre Lattes, who was a radio presenter. On the bill were artists like The Nice and Archie Shepp. It was like a whole job lot. I’ve still got the programme. That’s where I first saw Gong. On the day that we played they had The Nice, East Of Eden with Dave Arbus, the violinist who still lives in Canterbury [the town Caravan were from], The Band, and Zappa was there to play with everybody.
Just before the concert got going he spoke to every group that he’d seen doing a quick rehearsal. He just said ‘Hello I’d like to play with you for about ten minutes, have you got a tune that could work with us?’ I think Pye [band member] suggested that we play ‘If I Could Do It All Over Again’. We made it last ten minutes and he played a solo on it. He was quite a small man actually and he looked very stoned indeed, but actually he made a good job with everybody he played with. I remember him climbing onstage with us and it was like someone putting in the handle to start up a vintage car engine. He just wound it up and it was amazing, just incredible. We were just playing a 7/4 figure over a small amount of chords and Dave was rocking it up. It was really good.
The band that played before The Nice, Germ they were called, were like a 15 piece, maybe more, and they did an ‘experimental’ bit of entertainment. Amongst all of this Rock & Roll and Jazz they played one note for thirty minutes and it disturbed the audience so much! They were just going ‘Urrrrrrrrrrrrrrrrrrrrrrr’, all one tone, all of the lot of them. In total contrast to lots of notes and rhythms it was just one note with varying rhythms, droning on and on and the audience just pelted them and made them leave the stage. They pelted them with everything they’d got, cans and everything. The Road Manager of The Nice, Baz Ward, came shooting on stage and turned all the Marshall cabinets the other way so that all the speakers didn’t get broken because all the tins were hitting everything in sight. Then he had to dash off stage and hope the gear would survive. They had to wait until the audience had calmed down and then The Nice came on and everything was OK, but that was one of the highlights. It was like "What IS that?" Bang, Bong etc because they didn’t like one note being played for thirty minutes.
Bootlegs from the festival include Zappa performing with:
- Aynsley Dunbar's "Retaliation: Improvisation" (7:08 - Oct 24th)
Victor Brox (vocals, harmonica); John Moorshead (guitar);
Alex Dmochowski (bass); Aynsley Dunbar (drums)
- Pink Floyd: "Interstellar Overdrive" (20:25 - Oct 25th)
David Gilmour (guitar); Richard Wright (organ);
Roger Waters (bass); Nick Mason (drums)
- Caravan: "If I Could Do It All Over Again, I'd Do It All Over You" (7:55 Oct 26th)
Pye Hastings (guitar & vocals); David Sinclair (keyboards);
Richard Sinclair (bass & vocals); Richard Coughlan (drums)
- Blossom Toes: "Improvisation" (26:10 Oct 26th)
Brian Godding (guitar, vocals & keyboards); Jim Cregan (guitar & vocals);
Brian Belshaw (bass & vocals); Kevin Westlake (drums)
-Sam Apple Pie: "Moonlight Man" (6:04 Oct 27th)
Sam Sampson (vocals & harmonica); Danny Barnes (lead guitar);
Andy Johnson (slide guitar); Bob Renny (bass & vocals); Lee Baxter Hayes Jr (drums)
- Zappa can be heard introducing Captain Beefheart:
"Listen, be quiet and pay attention to this man's music. Because, if you don't you might miss something important - and we wouldn't want that to happen to you - because you need all the friends you can get..."
domingo, 26 de junho de 2016
Egoband biography (http://www.progarchives.com/artist.asp?id=93)
Even though they started out on Musea, EGOBAND is another Mellow Records Italian obscurity. What does that mean? It means it's hard to find band information. But there is enough to paint a picture. The first album's lineup consisted of Alessandro Accordino on vocals and keyboards, Fabio Cioni on drums, Massimo Fava on guitars, and Alfonso Capasso on bass. However, only Accordino and Capasso would be consistent with the group over its four-album career. This, along with the fact that there were no live efforts, leads to speculation that EGOBAND may have been more of a project than a band (a la Steely Dan). They went through interesting changes over their career. Starting out purely Neo, with heavy AOR tendencies, and ending up almost in Canterbury territory by the time they got to "Earth." "Trip in the Light of the World," and "Fingerprint" firmly true Neo albums, but not exactly the same. The first album took a more Heavy Prog approach, and the second showed more of a blues influence. For "Fingerprint," Andrea Brogie played the drums, and Simone Coloretti took the guitarist position. The evolution of the sound was much more apparent on "We Are..." That time the direction was psychedelic. Simone Coloretti stuck around for this "trip," and the percussionist position was filled by Jacopo Giusti. Five years passed, and they decided to go in a completely new direction for "Earth." The same lineup continued, except for the addition of David Matteucci on oboe and sax. As I mentioned before, this album went into Canterbury land. So much so that comparisons have been made to Soft Machine, Caravan, and National Health. This would also explain the need for a horn player. "Earth" was released in 2000, and there has been nothing heard from them since. Being that the lineup was relatively stable for the last two albums, makes me wonder how true the project concept is. Whatever the case may actually be, it's not really important. Being an Italian band with vocals in English, and eclectic variation, EGOBAND remains one of the more dynamic acts of Neo Prog.
H.T. Riekels (bhikkhu)
(Mais um "achado" do Mestre Peter Hammil)
sexta-feira, 24 de junho de 2016
Austrian progressive rock band, with boogie rock and blues influences. On their debut LP they had a more Teutonic/Krautrock hard-rock type sound akin to Harlis or Kaputter Hamster. The Salzburg 'aardvark' produce on their first LP a classic Krautrock sound. The band was founded in 1980 and played eagerly in the Salzburg and Upper Austria. The driving force behind the group was the bassist Michael Wagner. The Aarvarks left us 3 LPs and a single from the 2nd LP.
Bass – Michael Wagner
Drums – Robert Jansky
Guitar – Kurt Deixler
Guitar, Vocals – Rico Pucher
Keyboards – Johann Kastinger
Vocals, Blues Harp – Horst Trattning
quarta-feira, 22 de junho de 2016
German band Train puts the jazz in jazz fusion. Mostly this is sax and toned down guitar driven jazz rock. But there's also some acoustic guitar pieces, and the opener 'Solution' is pure funk. The best track is saved for last, a slow atmospheric exotic percussive Middle Eastern piece with flute as the lead, appropriately enough titled 'Arabesque'. A real jewel of early jazz-rock in Germany. Groovy interesting themes... Coo Coo out is a danceable jazz-funk track. All the musicians handle their instruments on a high level.
Bass, Double Bass – Michael Harmssen
Composed By, Electric Piano, Synthesizer, Clarinet – Gert Lueken
Cover – Ulrich Neels*
Drums, Percussion – Ulli Neels
Electric Guitar, Acoustic Guitar – Ronald Geißler
Producer – Train (6)
Recorded By, Mixed By – Horst Fehrmann, Josef Alterbaum
Soprano Saxophone, Tenor Saxophone, Flute, Percussion – Siegmar Fetter
terça-feira, 21 de junho de 2016
Aaron Corthen, better known as A.C. Reed (May 9, 1926 – February 24, 2004) was an American blues saxophonist, closely associated with the Chicago blues scene from the 1940s into the 2000s. Reed was born in Wardell, Missouri, and grew up in southern Illinois. He took his stage name from his friend Jimmy Reed. He moved to Chicago during World War II, playing with Earl Hooker and Willie Mabon in the 1940s. He toured with Dennis "Long Man" Binder in 1956 and worked extensively as a sideman for Mel London's blues record labels Chief/Profile/Age in the 1960s, with Lillian Offitt and Ricky Allen, among others. He had a regionally popular single in 1961, "This Little Voice" , and cut several more singles over the course of the decade. He became a member of Buddy Guy's band in 1967, playing with him on his tour of Africa in 1969 and, with Junior Wells, opening for the Rolling Stones in 1970. He remained with Guy until 1977. He then played with Son Seals and Albert Collins in the late 1970s and 1980s. He began recording solo material for Alligator Records in the 1980s. His 1987 album, I'm in the Wrong Business, includes cameo appearances by Stevie Ray Vaughan and Bonnie Raitt. Reed toured extensively in the 1980s and 1990s with his band, the Spark Plugs, playing small venues throughout the United States. He and the Sparkplugs performed in Chicago before he died of cancer in 2004.
segunda-feira, 20 de junho de 2016
O primeiro disco que tenho dos Stones é de 1964. O último, é de 2016! Fazendo a matemática básica, são 52 anos!!!! É muito tempo... Muito tempo lançando hits atrás de hits, se reinventando, lotando estádios, fazendo tours, lançando novos álbuns... Só há uma explicação para isso... Os caras são os melhores no que fazem, e AMAM fazer isso. O som dos Stones deu umas pequenas variadas, mas sempre foi fiel ao seu estilo Rock-Blues-Ballad, com riffs de arrepiar. O Mick Jagger sempre foi um showman. Keith Richards sempre foi ele mesmo, competente, e doidão. É a maior banda de todos os tempos, e temos que reconhecer isto.
Leiam esta reportagem da Billboard sobre o show no Brasil em Fevereiro de 2016.
Quando os relógios marcaram exatas 21 horas, as luzes se apagaram e o vídeo da turnê Olé começou a passar no telão. “Os caras são ingleses mesmo”, notou um espectador à pontualidade britânica dos Stones. Diferente do show no Rio e do primeiro em São Paulo, mas igual ao último na Argentina, o grupo trocou “Start Me Up” pela potente “Jumpin’ Jack Flash” como faixa de abertura, mas manteve “It’s Only Rock N’ Roll” na sequência.
“Hoje é sábado. Vamos quebrar tudo”
Alguns ficam maravilhados com o repertório de frases em português de Mick Jagger, outros acham que o vocalista poderia se esforçar mais para melhorar o idioma, já que tem um filho por estas terras. O fato é: quem ensina as frases ditas por Jagger nos shows? Depois de lançar um “beijinho no ombro” no show anterior, Jagger voltou com outras pérolas. Em um momento, antes de enfileirar “Wild Horses”, “Painted In Back” e “Honky Tonk Women”, ele disse se sentir devagar por ter “comido muitas coxinhas”. Jagger usa pequenas colas no palco para não se perder no idioma. Jagger também se inteirou sobre o futebol local. “Vocês torcem para o Corinthians? Para o São Paulo? Palmeiras? Ou Santos? É a primeira vez que temos os quatro no Morumbi”. Até para apresentar os integrantes da banda, Jagger deu um jeito de encaixar uma citação, chamando Ron Woods de “o Rogério Ceni do rock” e o baterista Charlie Watts de “a rainha da bossa nova”. Watts fez uma cara como se quisesse dizer: “Ok, se é você que está dizendo…!”. Apenas um momento non sense da noite. E não foi dessa vez que o público brasileiro viu um show dos Stones sem chuva. Se no Rio, uma tempestade caiu antes do show, no dia do primeiro show em São Paulo a cidade viveu um dia de caos depois de uma chuva igualmente forte. Neste sábado, o público chegou ao Morumbi com o céu aberto e poucas nuvens. O tempo foi ficando nublado e em “Gimme Shelter” começou a cair uma chuva fraca que durou cerca de 15 minutos, o suficiente para muitas pessoas tirarem suas capas de chuva do bolso. Veremos se Porto Alegre seguirá essa tradição.
Embora não tenha estes shows no Brasil, partilho com vocês o show de Cuba, com o mesmo repertório.
Um álbum fresquinho, fornecido pelo nosso correspondente espacial, Peter Hammil:
Totally Stripped is a newly-revised version of the documentary that was originally made to coincide with the release of The Rolling Stones Stripped album released in November 1995. It tells the story of the two studio sessions and three live shows that made up the Stripped project. This followed the conclusion of the mammoth Voodoo Lounge tour and found The Stones reimagining tracks from their back catalog pared back versions alongside a couple of carefully chosen covers in the studio and doing smaller scale club gigs to showcase these versions, which was a marked contrast to the huge arenas and stadiums that had hosted the Voodoo Lounge tour. This new version of the documentary includes previously unseen footage and lays bare the inner workings of both The Rolling Stones and of some of their best loved tracks. Revealing, intimate and moving, Totally Stripped is unmissable. The deluxe edition also contains a CD of favourites drawn from across the three live shows and three DVDs featuring, for the first time, each of those shows in full.
E para finalizar, meu disco ao vivo preferido (foi o que mais ouvi)...
“Still Life” foi produzido com o fim de reproduzir os melhores momentos da American Tour 1981, a qual entraria pra história como uma das melhores da história da banda, além de dar início a um novo tipo de shows, com palcos gigantescos, e duração de até 3 horas, algo inovador e que se tornaria um modelo copiado à exaustão pelos grandes músicos pop internacionais a partir de então. A banda havia atingido o auge novamente, após o enorme sucesso de crítica e público dos recentes álbuns Some Girls, Emotional Rescue e Tattoo You, compostos por sucessos como Miss You, She So Cold e Start Me Up. Nessa enorme turnê, os Stones fizeram dezenas de shows por várias cidades americanas, lotando estádios e arenas, com uma arrecadação milionária,e atingindo novo ápice de prestígio tanto entre os velhos roqueiros como quanto com a nova geração. As músicas foram gravadas em shows esparsos ocorridos em 5, 6 e 25 de novembro, e em 13, 18 e 19 de dezembro de 1981. A edição de estúdio ocorreu entre março e abril de 1982. Os shows refletiam o bom momento vivido pelos membros da banda, com Keith Richards controlando enfim seu destrutivo vício em drogas, e Mick Jagger, já quarentão, demonstrando muito vigor físico e absoluto domínio de palco. O sucesso desta turnê também levou o diretor cinematográfico Hal Ashby a gravar durante seus shows e lançar o filme Let's Spend the Night Together, o qual também conseguiu uma boa bilheteria nos cinemas em 1982.
Keith Richards and his Daughters: When THEY die, HE will inherit ALL!!!!
More Rolling Stones