quarta-feira, 18 de janeiro de 2017
A solo project by the Japanese artist/producer K.Saito first showcased in March 2009 at the SXSW MUSIC convention in Austin, Texas. This was followed by the release of the album, ‘SELF TITLED’, on NYC based WAX POETICS magazine’s WAX POETICS RECORDS label. The album’s mix of electric fusion and boogie as well as high production values gained Saito both fans and critical acclaim around the world, including many well known names within the world of music.
The sole album by this quintet from Cheltenham, England, came and went in May 1972. Fronted by husband-and-wife duo Michael and Barbara Wainwright, they played a deft blend of prog, folk-rock, and singer-songwriter material, but failed to connect with an audience at the time. The original LP has sold for over $500, and makes its long-overdue return to CD here, complete with background notes and rare images. ( http://www.forcedexposure.com/Catalog/9-30-fly-cd/PT.8043CD.html )
It’s All Meat were a late 60s/early 70s band that hailed from Toronto and released this excellent album in 1970 (Columbia). Prior to that, It’s All Meat had been known as The Underworld. The Underworld released a superb, crude garage single (“Go Away”/”Bound” – the label is Regency) in 1968 and also recorded some fine unreleased material captured on acetate. As mentioned before, some of the members of The Underworld would form It’s All Meat. In 1969 this new group would release their debut 45, “Feel It” coupled with “I Need Some Kind of Definitive Commitment.” The A-side combined MC5 energy with New York Dolls-style swagger and features plenty of feedback and great guitar breaks. It’s one of the great proto-punkers.
Their album was released the following year and feartured 8 fresh original numbers written by drummer Rick McKIM and keyboard player/lead vocalist Jed MacKAY. There are a bunch of good, solid stonesy garage rockers that form the axis of this lp: “Make Some Use Of Your Friends,” “Roll My Own,” “You Brought Me Back To My Senses,” and “You Don’t Know The Time You Waste.” The latter track would be released as the group’s second and final single but “Roll My Own” and “Make Some Use Of Your Friends” were just as good, featuring fine psychedelic guitar work and raw vocals. Other note worthy tracks flirted with blues (“Self-Confessed Lover”) and folk-rock (“If Only”) but the lp’s brightest moments were its two 9-minute marathon compositions. “Crying Into A Deep Lake” was full-blown Doors psychedelia with spacey keyboards and spooky Jim Morrison influenced vocals. The other lengthy track, “Sunday Love,” sounds like a strange Lou Reed/John Cale concoction with lots a great psychedelic guitar noise and soft folk-like passages sprinkled with light garage keyboards. So while these last two tracks are very long, they never wear out their welcome and are required listening for both garage and psych fans. The album’s production teeters between a primitive recording sound and the typical major label gloss, making it just right.
It’s All Meat is a fine, consistent trip all the way thru. It’s one of the best late period (really late) garage rock albums I know of. The album’s hard rock and proto-punk sounds give it a nice, visceral edge. It’s All Meat was reissued in 2000 by Hallucinations though originals are not hard to come by either. (http://therisingstorm.net/its-all-meat-its-all-meat/)
terça-feira, 17 de janeiro de 2017
Ache biography (http://www.progarchives.com/artist.asp?id=1753)
The seeds for ACHE were sown in the early 60's via the Danish beat group THE HARLOWS. When HARLOWS Torsten Olafsson (bass), Peter Mellin (organ) and Glenn Fischer (drums) were joined by former MCKENZIE SET guitarist Finn Olafsson in 1968, ACHE was born.
They spent the next two years working on an extended piece called "De Homine Urbano", which was released as programme music to an experimental "rock ballet" in 1970. Released on the Philips label the same year with an accompanying single of non-album tracks, it netted positive reviews in the Danish press. ACHE's "rock theater" created something of a sensation in the rock underground, and "Green Man" followed in 1971. The next major ACHE project, by a revised six-piece version of the band, was a conceptual work called "Pictures From Cyclus 7", written in collaboration with lyricist Bo Lillesöe in 1975 and released one year later.
Ache have remained active on and off, albeit sporadically, ever since. Their only other major work (i.e.: not counting singles and compilations) has been "Blå som altid", a folk-oriented album released in 1978.
Why this artist must be listed in www.progarchives.com :
They're important to the history of Danish progressive music.
This Danish band was founded in '68 and featured Torsten Olafsson (bass and vocals), Finn Olafsson (guitar and vocals), Peter Mellin (organ and keyboards) and Glen Fisher (drums and pecussion). They made two albums: "De hombre urbano ('70) and "Green man" ('71). The music is similar to the Early British Progressive Rock Movement (JULIAN'S TREATMENT, RARE BIRD, BEGGAR'S OPERA, ATOMIC ROOSTER), the German Krautrock (early JANE, ELOY, RAMSES, TRIUMVIRAT) and Dutch masters EARTH & FIRE (their early, con-commercial era). In 2000 both albums were released on 1 CD entitled "Ache: De hombre urbano + Green man". The music is based upon splendid keyboardplay (many floods of Hammond organ) and some fiery electric guitar. The first album contains two 'side-long tracks', the atmosphere is typically end Sixties and early Seventies with lots of solos and long, exciting interplay between guitar and keyoards, like jams. The second album includes shorter songs but the climates are in the vein of the first LP. If you listen to this CD, it's incredible that the magnificent keyboardplay is delivered by an unknown Danish musician!
Why this artist must be listed in www.progarchives.com :
This is very inspired and powerful Hammond organ driven early progrock.
segunda-feira, 16 de janeiro de 2017
Agora o palco fica pesado... Eric Clapton convida Mark Knopfler, John Mayer, Willie Nelson, Tom Petty, Derek Trucks e Don White, para homenagear seu ídolo, J.J. Cale. Nada melhor para finalizar esta série de postagens de parcerias do Sir .Eric Clapton.
Subindo ao palco Sr. Wynton Marsalis.... Wynton Learson Marsalis (Nova Orleans, 18 de outubro de 1961) é um trompetista e compositor americano. Conhecido pela sua sisudez e seriedade ao tratar a música, é um músico polêmico. Diretor do Jazz at Lincoln Center em Nova Iorque, é considerado "embaixador da música americana" pelo seu profundo respeito e divulgação das tradições musicais. Começou na música muito cedo, tendo manifestado profundo interesse pelo jazz e pela música erudita. É considerado um dos maiores "virtuoses" do trompete atualmente. A lista de músicos com os quais já colaborou inclui Dizzy Gillespie, Arturo Sandoval, Herbie Hancock, Jack DeJohnette, Bobby McFerrin, entre outros. Só fera... E agora, Eric Clapton.
New York City’s premier jazz venue got the blues last April when Wynton Marsalis and Eric Clapton performed together in Rose Theater at Frederick P. Rose Hall, home of Jazz at Lincoln Center for two sold-out shows dedicated to vintage blues. The extraordinary collaboration, billed as Wynton Marsalis & Eric Clapton Play the Blues, paired these musical virtuosos with members of the Jazz at Lincoln Center Orchestra as they brought to life a repertoire of songs selected by Clapton and arranged by Marsalis.
Wynton Marsalis (trumpet)
Eric Clapton (guitar, vocal)
Dan Nimmer (piano)
Carlos Henriquez (bass)
Ali Jackson (drums)
Marcus Printup (trumpet)
Victor Goines (clarinet)
Chris Crenshaw (trombone, vocals)
Don Vappie (banjo)
Chris Stainton (keyboard)
"This collaboration was a pure joy because Eric is about music. We didn’t have any pettiness or stupidity about anything small. It takes great courage to come to New York and learn 12 new arrangements in three days, front a band that you’ve never played with in a form of music you don’t normally play, play three concerts, and sing almost all of the material. Eric did this flawlessly, and after all of that he told me, “I’d rather play the rhythm parts than play any solos.” That’s why I love and respect him."
- Wynton Marsalis
domingo, 15 de janeiro de 2017
Erik Norlander biography (http://www.progarchives.com/artist.asp?id=267)
ERIK NORLANDER is the keyboardist for the ROCKET SCIENTISTS and also for his wife Lana Lane's band. He has also worked as a session musician for MARK BOALS, AYREON, STAR ONE and many others. He has released five solo albums and a live album in between working with his two bands. On his solo albums, he has worked with such well-known artists as Glenn Hughes, Edward Reekers, Arjen Lucassen, Robert Soeterbek and Donald "Buck Dharma" Roeser, as well as his wife and his bandmates from the ROCKET SCIENTISTS.
His first solo excursion, released in 1997, was an entirely instrumental affair, primarily a symphonic keyboard-driven album, although also including drums and bass guitar. Keith Emerson was so impressed with Norlander's "Threshold" album, that he wrote the liner notes for it. On his second solo album, released in 2000, he moved away from the completely symphonic, embracing a much harder prog style, with vocals this time and with Arjen Lucassen providing guitars and several vocalists from the hard rock/heavy prog arena singing.
In 2003, Norlander released "Music Man", a 2CD rock opera concept album about the dramatic rise and fall of a genetically engineered rock star. With this release he again produced an album primarily in the heavy prog arena, although there was also some symphonic as well as some ambient/electronic work on the album as well. The following year, he released two albums, the live "Stars Rain Down" combining tracks from his first three solo releases as well as a ROCKET SCIENTISTS song and a cover of the theme to "Space: 1999".
For his second release of the year, "Seas of Orion" he returned to the fully instrumental, but this time focusing more on the ambient/electronic side of prog, although there were still touches of the symphonic. In 2007, he released an album of covers titled "Hommage Symphonique". On this album, he covered songs by ELP, PROCOL HARUM, YES and JETHRO TULL, among others.
Erik's music has some echoes of work of AYREON and full of breaks close to EMERSON, LAKE & PALMER, TRACE or SOCIAL TENSION with classical, jazzy, medieval and even hard accents. Erik's evocative synthesizer technique is reminiscent of the legendary RICK WAKEMAN, KEITH EMERSON and JON LORD while still very unique and forward-moving in its own right.
Erik is from Southern California but many of his guest appearances and tours have taken him to Europe where he is better known. All his recordings are recommended with emphasis on "Into the Sunset" and "Music Man".
sábado, 14 de janeiro de 2017
Agora o Dr. Otis Rush sobe aos palcos para dedilhar sua guitarra com o Sr. Clapton. Otis Rush (Filadélfia, 29 de abril de 1934) é um cantor e guitarrista de blues americado. Foi considerado o 53º melhor guitarrista de todos os tempos pela revista norte-americana Rolling Stone. Rush é canhoto e usa a guitarra para destros simplesmente virada ao contrário, sem trocar o encordoamento. Com isso, a corda mais fina (E) fica em cima, e os bends têm que ser realizados para baixo, contribuindo para seu som distinto. Outros guitarristas que utilizam o instrumento dessa maneira são Albert King, Dick Dale e Edgard Scandurra. Dois shows muito bons registrados em CD...
09 July 1986 - Le Casino, Montreux, Switzerland (20-30)
10 July 1986 - Le Casino, Montreux, Switzerland (1-19)
Bass – Fred Barnes (tracks: 3-1 to 3-11)
Bass, Backing Vocals – Nathan East (tracks: 1-1 to 2-9)
Drums – Eddie Turner (3) (tracks: 3-1 to 3-11)
Drums, Vocals – Phil Collins (tracks: 1-1 to 2-9)
Guitar – Anthony Palmer (tracks: 3-1 to 3-11)
Keyboards, Vocals – Greg Phillinganes (tracks: 1-1 to 2-9)
Lead Vocals, Guitar – Eric Clapton (tracks: 1-1 to 2-9), Otis Rush (tracks: 3-1 to 3-11)
Vocals, Keyboards – Professor Eddie Lusk (tracks: 3-1 to 3-11)
Live In Montreux, Switzerland on July 10, 1986
Bass – Fred Burns
Drums – Eddie Turner
Guitar – Anthony Parker
Guitar, Vocals – Eric Clapton, Otis Rush
Keyboards – Prof. Eddie Lask
Depois de passar anos como backing vocal de artistas como Don Henley, Rod Stewart, Eric Clapton e Michael Jackson, e de dar aulas de música para crianças deficientes, Sheryl Crow gravou seu primeiro disco em 1993, no qual estourou com a música "All I Wanna Do". Já fez duetos com diversos artistas, teve canções em várias trilhas sonoras de filmes; cantou com Luciano Pavarotti, Elton John, Rolling Stones, Johnny Cash, U2, The Corrs e vários outros grandes artistas. Em 1997, ela compôs a trilha sonora para o filme de James Bond, 007 - O Amanhã Nunca Morre, com a música Tomorrow Never Dies. Já namorou o cantor e guitarrista Eric Clapton, o ator Owen Wilson e o famoso ciclista norte-americano Lance Armstrong, de quem se separou em fevereiro de 2006. Nada mais justo que gravar um sonzaço com o antigo namorado...
New York City, New York - September 12, 1996
O Sr. Clapton tem muito bom gosto...
sexta-feira, 13 de janeiro de 2017
FZ Project/Object No.#15
(A Miles Mellough Joint)
Source material comes from the following:
Absolutely Free (1967)/Uncle Meat (1969)/Weasels Ripped My Flesh (1970)
200 Motels (1971)/Waka/Jawaka (1972)/Over-Nite Sensation (1973)
Zoot Allures (1976)/Shut Up And Play Yer Guitar Some More (1981)
Ahead Of Their Time (1993)/Civilization, Phaze III (1994)/The Lost Episodes (1996)
Mystery Disc (1998)/Joe’s XMAsage (2005)/Greasy Love Songs (2010)
Feeding The Monkies At Ma Maison (2011)/The Crux Of The Biscuit (2016)
and incidentals from various FZ/MOI recordings (1966-1996)
Project Object Series:
quinta-feira, 12 de janeiro de 2017
Blackfield V is the name of the fifth studio album by art rock band Blackfield. Recorded over a year and a half period across 2015 and 2016, the album, initially intended for release on 18 November 2016, was later delayed to 10 February 2017. The album, the fifth between the musical partnership between Steven Wilson and Aviv Geffen, is the third to be released as an even collaboration between the two; while Blackfield and Blackfield II were even collaborations, Welcome to My DNA and Blackfield IV saw increased writing and musicianship from Geffen while Wilson focused on his solo albums The Raven that Refused to Sing and Hand.
After the release of Blackfield IV, and a brief tour in its support, co-founder of the group Steven Wilson, who had already played his smallest role in the project yet, announced that he intended to leave the band altogether in 2014 to focus on his solo career. While this originally left the future of the band in question, throughout the 2015 and 2016, the band's social media accounts would release pictures of Wilson, co-founder Aviv Geffen, and music producer Alan Parsons in recording sessions in the studio. In August 2016, it was confirmed that there would be a fifth album, Wilson was still with the project, and he even contributed evenly to the sessions as he had with the band's first two albums, before he had begun to focus more on his solo career while Geffen took over more responsibilities for their second two albums. The album had been recorded on and off over the course of an 18-month period, including sessions in both England and Israel. Wilson and Geffen shared vocals, guitars, and keyboard duties, while long-time drummer Tomer Z returned to play the drum parts. Additionally, the London Sessions Orchestra was recruited for the string arrangements of the album. It was also announced that Parsons had produced three of the key tracks for the album.
quarta-feira, 11 de janeiro de 2017
On 16 September 2016, Eagle Rock Entertainment release the live concert film FACE THE FACE by Pete Townshend’s Deep End as a DVD+CD set [Cat No: EAGDV068]. This is the first official release of the show on either DVD or CD format. FACE THE FACE features Pink Floyd’s David Gilmour on lead guitar throughout and the set includes ‘Face The Face’, ‘Secondhand Love’, ‘Rough Boys’, ‘Slit Skirts’, ‘Give Blood’, ‘Won’t Get Fooled Again’, ‘Behind Blue Eyes’, ‘Pinball Wizard’ and more.
This show was filmed for the famous German TV series Rockpalast at MIDEM in Cannes on 29 January 1986. Pete Townshend’s Deep End were touring in support of Townshend’s solo concept album WHITE CITY: A NOVEL. Several of the musicians that appeared on the album were featured in the line-up of Deep End including Pink Floyd’s David Gilmour on lead guitar. The set list has tracks from the WHITE CITY album, other Pete Townshend solo tracks, Who classics, David Gilmour’s song ‘Blue Light’ and a couple of surprises.
The line-up for this show boasts Pete Townshend (vocals, guitar); David Gilmour (guitar, vocals); Peter Hope-Evans (harmonica); Chucho Merchan (bass); Simon Phillips (drums); John ‘Rabbit’ Bundrick (keyboards); Jody Linscott (percussion); The Kick Horns: Simon Clarke, Roddy Lorimer, Tim Sanders, Pete Beachill & Dave Plews; Backing Vocalists: Billy Nicholls, Ian Ellis, Chris Staines, Gina Foster and Coral Gordan.
1. Won’t Get Fooled Again
2. Secondhand Love
3. Give Blood
4. Behind Blue Eyes
5. After The Fire
6. Slit Skirts
7. Blue Light
8. I Put A Spell On You*
9. Hiding Out
10. The Sea Refuses No River
11. Face The Face
12. Pinball Wizard
13. A Little Is Enough
14. Rough Boy
15. Night Train
* not on CD
FACE THE FACE is a fascinating and compelling release. Pete Townshend and the band deliver an outstanding performance that showcases him as a solo artist as distinct from his work with The Who.