sábado, 20 de setembro de 2014

Lebowsky - Prog Sounds from Polland (Crossover Prog)


Mais uma garimpada de Peter Hammil...

From Band member RADOSLAV on their debut release:
LEBOWSKI - Are a band founded in 2002, playing a wide spectrum of progressive music.
On their debut album in 2010, the listener gets to experience the tunes along the lines of artistic rock, motion picture music, experimental and improvisation, all with harmonized integrity.
"Cinematic" is music for a non-existent film. From a theme aspect we can intrepidly consider it as a concept album, dedicated to the 'big figures' of the Polish and World Cinema.
Lyrics for "Cinematic" are original quotes adopted from the classical Polish and international films.
Bio supplied by Marty McFly










quinta-feira, 18 de setembro de 2014

Phish - Jam with Rock, Jazz and Prog


Phish is an American rock band noted for their musical improvisation, extended jams, blending of musical genres, and dedicated fan base. Formed at the University of Vermont in 1983 (with the current line-up solidifying in 1986), the band's four members—Trey Anastasio (guitars, lead vocals), Mike Gordon (bass, vocals), Jon Fishman (drums, percussion, vocals), and Page McConnell (keyboards, vocals)—performed together for over 20 years before going on hiatus in August 2004. They reunited in March 2009 for Phish in Hampton, a series of three consecutive concerts played in the Hampton Coliseum in Hampton, Virginia, and have since resumed performing regularly. Phish's music blends elements of a wide variety of genres, including rock, jazz, progressive rock, psychedelic rock, hard rock, funk, folk, bluegrass, and blues. Due to the band's improvisational style, their concerts are original in terms of the order and selection of songs and the way each song and set are performed[clarification needed].


Although the band has received little radio play or mainstream exposure, Phish has developed a large and dedicated following by word of mouth, the exchange of live recordings, and selling over 8 million albums and DVDs in the United States. Rolling Stone stated that the band helped to "...spawn a new wave of bands oriented around group improvisation and super-extended grooves". They remain a very popular and successful touring act.

Em resumo: O SOM É BOM, OUVE AÌ...



Fuego is an album by the American rock band Phish. Released on June 24, 2014, it was their twelfth official studio album and their first in five years, since 2009's Joy. The album is a mix of rock, soul, reggae and bluegrass. Fuego was recorded in late 2013 in Nashville, Tennessee after a series of writing sessions at the Barn in Vermont and was produced by Bob Ezrin (Pink Floyd, Lou Reed, Peter Gabriel). While Fuego's ten new tracks include songs that individual members brought to the table in usual Phish fashion, the bulk of the material was written by all four, working together at the Barn, often writing in a stream-of-consciousness style.

(BY PETER HAMMIL)

segunda-feira, 15 de setembro de 2014

Iron Maiden & The New Wave of British Heavy Metal (NWBHM)


Iron Maiden é uma banda britânica de heavy metal, formada em 1975 pelo baixista Steve Harris, ex-integrante das bandas Gypsy's Kiss e Smiler. Originária de Londres, foi uma das principais bandas do movimento musical que ficou conhecido como NWOBHM (New Wave of British Heavy Metal). O nome "Iron Maiden", homônimo de um instrumento de tortura medieval que aparece no filme O Homem da Máscara de Ferro, foi baseado na obra de Alexandre Dumas. Com quase quatro décadas de existência, quinze álbuns de estúdio, seis álbuns ao vivo, quatorze vídeos e diversos compactos, o Iron Maiden é uma das mais importantes e bem sucedidas bandas de toda a história do heavy metal, tendo vendido mais de 100 milhões de álbuns registrados em todo o mundo. Seu trabalho influenciou diversas bandas de rock e metal. São citados como influência por diversas bandas, antigas e modernas.


Em 2002, a banda recebeu o prêmio Ivor Novello em reconhecimento às realizações em um parâmetro internacional como uma das mais bem-sucedidas parcerias de composição da Inglaterra. Durante a turnê americana de 2005, foi adicionada à Calçada da Fama do Rock de Hollywood.3 Em 2011, ganharam seu primeiro Grammy por "El Dorado". A banda também está presente nas principais listas de maiores bandas de rock de todos os tempos, assim, sendo considerada pela MTV a maior banda de heavy metal de todos os tempos.





Sempre gostei de Iron Maiden. Desde Paul Di'Anno até os dias de hoje, o Iron Maiden lançou diversos álbuns. Lembro a primeira vez que ouvi o Number of the Beast e fiquei completamente fascinado. Separei algumas amostras...




Os Iron Maiden foram a sensação do circuito do rock inglês de 1978. A banda tocava sem parar havia três anos, ganhando um tremendo número de fãs; mas mesmo assim até essa época, eles nunca tinham gravado nada. No ano novo de 1978, a banda gravou uma das mais famosas demo tapes da história do rock, The Soundhouse Tapes. Com apenas três faixas, a banda vendeu todas as cinco mil cópias imediatamente, e não distribuiu a demo novamente até 1996. Cópias da versão original são vendidas hoje em dia por milhares de dólares. Duas das faixas da demo, "Prowler" e "Iron Maiden", ficaram em primeiro lugar nas paradas de metal inglesa. Em muitas das formações antigas dos Iron Maiden, Dave Murray era acompanhado de outro guitarrista, mas grande parte de 1977 e todo o ano de 1978, Murray foi o único guitarrista dos Maiden. Durante o ano de 1979 a banda teve vários segundos guitarristas sucessivos, tais como Paul Carns, Paul Todd e Tony Parsons. No fim do ano, o baterista Doug Sampson abandonou a banda por motivos de saúde. Em novembro de 1979, a banda assinou contrato com uma gravadora de renome, a EMI, uma parceria que se mantem até aos dias de hoje. Pouco antes de entrar em estúdio, Parsons foi substituído pelo guitarrista Dennis Stratton, que trouxe Clive Burr, um amigo seu, para a bateria. Murray queria trazer Adrian Smith para o grupo, mas ele estava ocupado tocando guitarra e cantando com sua banda Urchin.



This would be the band's first world tour, including their debut shows in North America (where they supported Judas Priest on their World Wide Blitz Tour and UFO on select dates)[1] and Japan where they recorded the live release, Maiden Japan.[2] On top of this, the band moved into larger venues in the United Kingdom, including the Hammersmith Odeon, London. This would be Iron Maiden's last tour with singer Paul Di'Anno, who was dismissed due to his unreliability. He was replaced with Samson vocalist Bruce Dickinson, with whom the band undertook a short series of concerts in Italy and the UK before they set about writing and recording their next album, The Number of the Beast.





Best of the 'B' Sides é uma compilação de singles da banda britânica de heavy metal Iron Maiden lançados entre 1980 e 1999. Best of the 'B' Sides foi lançado em 2002 no boxset Eddie's Archive. E tem uma das minhas preferidas "Cross-Eyed Mary" do Jethro Tull...




sexta-feira, 12 de setembro de 2014

Rush - Just the Best Band Ever...


Mais um post de minha banda preferida... Na minha opinião, os melhores álbuns do Rush são ao VIVO. Como três caras conseguem fazer um som desta qualidade? E por tanto tempo... O trio toca junto há 40 anos (Neil Peart um pouco menos, pois entrou a partir do segundo álbum) e tem uma incontestável obra... Todos os álbuns são excelentes. Divido o Rush em duas fases, Pré e Pós Moving Pictures. A fase Pré é marcada pelo Hard Rock, pelos riffs distorcidos e pela obra prima YYZ. Na segunda fase, Geddy Lee introduz teclados mais elaborados, Alex Lifeson diminui o distortion, tirando um pouco de peso da guitarra e o grande Neil Peart adiciona elementos eletrõnicos a sua poderosa batera. O som fica mais leve, mas com o primor de sempre, e muito mais técnico. O melhor mesmo é ouvir tudo isso...




In 1974 Rush released their self-titled album. Shortly after that, in August, they played a gig in Cleveland at the Agora Ballroom, which was recorded live for the FM station, WMMS[1]. The concert was eventually released as an unauthorized live bootleg called The Fifth Order of Angels.
Drummer Neil Peart joined the band on July 29, 1974, approximately one month prior to this recording. He replaced founding drummer, John Rutsey.





According to the liner notes, this live album (Rush's first) marks the end of the "first chapter of Rush," and would mark the start of a trend of releasing a live album after four studio albums. That trend was broken in the 2000s when the band would release a studio album then a live album from the ensuing tour. Songs like "Bastille Day" and "Anthem" are similar to their studio versions with the addition of Neil Peart's drum solo during "Working Man". All the World's a Stage would be Rush's first US Top 40 charting album and would go gold, alongside A Farewell to Kings and 2112 on November 16, 1977. It was certified platinum in the US in 1981 after the release of Moving Pictures. In Canada, gold certification came on December 1, 1976; platinum on August 1, 1978.













Rush in Rio was the first live album released by the band to not follow the pattern of releasing a live album after every four studio releases, and was also the first to feature a complete setlist without any changes in song order, including Neil Peart's drum solo. It is also the band's first live album that presents a single night's performance in its entirety (not counting the two bonus tracks). In an interview about the album and DVD, Alex Lifeson and James "Jimbo" Barton noted that it took an extended amount of time to mix the sound. This was due to technical difficulties of recording the audio on primitive equipment.
At this concert, Rush played to 40,000, their second largest crowd on the Vapor Trails Tour (the largest crowd was 60,000 at the show the previous night in São Paulo). In a rare departure from the band's practice of re-creating the sound of their studio work when playing live, the song "Resist" (on disc 2) was rearranged into a stripped-down acoustic version between Lifeson and Lee, with Peart sitting out after his drum solo.



Rush - R30 - 30th Anniversary World Tour (2005)


R30: 30th Anniversary World Tour is a live DVD by the Canadian band Rush, that was released on November 22, 2005 in Canada and the U.S. and November 28, 2005 in Europe, therein documenting the band's R30: 30th Anniversary Tour. The DVD was released in a standard and deluxe set. The deluxe version features two audio CDs of the DVD content as well as various interviews and extra live footage.

CD Disc 1
"R30 Overture" - ("Finding My Way", "Anthem", "Bastille Day", "A Passage to Bangkok", "Cygnus X-1", "Hemispheres") – 6:42
"The Spirit of Radio" – 5:05
"Force Ten" – 4:49
"Animate" – 5:49
"Subdivisions" – 6:09
"Earthshine" – 5:41
"Red Barchetta" – 6:49
"Roll the Bones" – 6:22
"The Seeker" – 3:27
"Tom Sawyer" – 5:00
"Dreamline" - 5:20
Running Time: 61:19

CD Disc 2
"Between the Wheels" – 6:17
"Mystic Rhythms" – 5:22
"Der Trommler" – 9:01
"Resist" – 4:33
"Heart Full of Soul" – 2:44
"2112" ("Overture"/"Temples of Syrinx"/"Grand Finale")/"Xanadu" (abbreviated version)/"Working Man" - 21:19
"Summertime Blues" – 3:41
"Crossroads" – 3:13
"Limelight" – 4:57
Running Time: 61:13




terça-feira, 9 de setembro de 2014

Peter & The New Neo Prog Galaxies


Peter e suas novas descobertas:




Combination Head biographyhttp://www.progarchives.com/artist.asp?id=4845 ):

COMBINATION HEAD a Neo-Prog band from the UK originally formed as a trio of Paul Birchall on Keyboards, Keith Ashcroft on bass and guitar, and Paul Burgess on drums. Paul Birchall had previously worked with the likes of THE CORRS, Geri Halliwell and Cher and recorded singles with them all. Although he has previously worked with bands and performers who have nothing to do with progressive rock, he takes inspiration from keyboardists such as Emerson, Bardens and Jobson. He has also worked with jazz-fusion guitarist Gary Boyle as well as Jim Diamond.  Paul Burgess may be a familiar name to Progressive Rock fans, as he has played drums with CAMEL, JETHRO TULL and 10CC. Taking inspiration from CAMEL and ELP, and augmenting the band with Gareth Moulton on guitars, Dominic Finley on bass and a couple of additional drummers, the band released its all-instrumental self-titled debut album in 2006. After the release of their first album, the band began working on their second album, "Progress?". This time they decided to add vocals to the mix. Guitarist Gareth Moulton was called on to provide lead vocals to three of the six vocal songs on the album. Guesting as lead vocalist on one of the songs on the album was CUTTING CREW's Nick Van Eede. Again the band was augmented by additional drummer and percussionist Phil Knight who provided drums on four of the album's songs and percussion on three additional songs.  After the release of "Progress?", the band released a non-album song "We Are Machine" as a single. Fans of the band will be very happy to know that they are currently working on their third album, with the working title "Museum".


Palhinha:







Prog Sounds from Norway

Six young men from Norway with a background in jazz and classical music were signed to Karisma Records. Influences they mention include Everything from Jan Garbarek and Side Brok Enslaved, Tool and Meshuggah.









Prog Sounds from Sweden

Um sonzaço... Segue o Website do Grupo: ( http://starlightbrigade.com/ )





sábado, 6 de setembro de 2014

Betty Davis - The Funk Godess Part(y) II



Betty Davis (Pittsburgh, 26 de julho de 1945) é uma cantora negra americana de música funk e soul. Aliás, foi a CANTORA. Uma grande diva, quase esquecida... Foi casada com Miles Davis, segundo algumas lendas, se encantou por Jimi Hendrix... Teve influências de Sly (& The Stone Family) e cantou muito. Já publicamos aqui dois álbuns, e vamos agora postar os dois que temos no acervo. Divirtam-se.

"If Betty were singing today she be something like Madonna, something like Prince, only as a woman. She was the beginning of all that when she was singing as Betty Davis." ~ Miles Davis with Quincy Troupe, Miles: 



The Autobiography
The former wife of Miles, Betty Mabry Davis is perhaps the only woman in the world who could rightfully have the following legend tattooed across her rear: THIS ASS INVENTED FUSION. While their marriage only lasted a year (1968-1969), Betty's impact on the immortal jazz trumpeter was tremendous. Her cutting-edge musical tastes and incomparable sense of style were too much for Miles to resist. A self-righteous 23-year old model, Betty conquered the man twice her age with a potent mixture of youth, beauty, and sex. Within a year, she had completely remade Miles in her own youthful image. As she poured herself into him, his playing grew younger, his outlook fresh. She ripped through his closets, tossing out the elegant suits he had worn for years. This was the late '60s, revolution was in the air, and suits were the uniforms of the Establishment. The time had come to get hip, and Betty pointed the way, introducing Miles to the musical and material gods of revolutionary style: Jimi Hendrix and Sly Stone.


Anyone with half a grip on the past knows that Miles expereiced far more than a wardrobe makeover during his tumultuous Betty year. Deeply influenced by the cosmic rock guitar of Hendrix and the experimental funk of Sly Stone, Miles turned mad genius and unleashed the electrified musical Frankenstein known as Bitches Brew. This monster he created would sadly run amok as fusion lost its soul and became an F word. But for a brief moment during these still glowing days of late '60s Eden, Betty ruled as the mentor-muse for the original man and his music. There are even rumors about an unreleased album of songs that Betty wrote and recorded with Miles and his band.


Betty was fire, and while Miles welcomed the sparks, he knew better than to stay too close for too long. In his autobiography he wrote: "Betty was too young and wild for the things I expected from a woman...Betty was a free spirit, she was raunchy and all that kind of shit." Rumor holds that Miles broke things off because he suspected that his wife was tangled up in a torrid affair with Jimi Hendrix, an infidelity that she has flatly denied to this day. Miles self-preserved, giving up his good thing in the end. It might have been enough if the story ended there, but it certainly did not. As Betty's lyrics attest, she was not a tragic woman beholden to any man. This was a woman with the strength of a Black Panther, a woman in total control, a predatory feline fully aware of the power that her beauty and sexuality gave her over men. On her self-titled 1973 debut album, she declares war on love in her raunchy funk masterpiece, "Anti Love Song." In sharp lines probably directed at her ex-husband, she sings: "No I don't want to love you / 'Cause I know how you are / Sure you say you're right on and you're righteous / But with me I know you'd be right off / Cause you know I could posess your body / You know I could make you crawl / And just as hard as I'd fall for you, boy / You know you'd fall for me harder / That's why I don't want to love you." Belted out in a ferocious over the top style, "Anti Love Song" is the classic bad girl anthem. It was songs like this, along with the album's openning track, "If I'm In Luck I Might Get Picked Up," that solidified her notorious image as a "nasty girl." Unfortunately for Betty, America was not yet ready to embrace a woman with such an explicitly sexual persona. Her outrageously flamboyant image eclipsed her talent. Several of her live shows were boycotted by religious groups and even canceled. Radio steered clear of her unconventional music, judging it too hard for black stations and too black for white ones. Her records didn't sell. Betty vanished from the scene, a rumored victim of a drug overdose.


That the record buying public shunned Betty Davis should come as no surprise. She had a much rougher edge to her music than other female funk and soul artists of the '70s. Song for song,Betty Davis is actually one of the most extreme sounding debut records of the decade. Like Bitches Brew, it takes equal parts inspiration from Hendrix and Sly Stone. Future Journey guitarist Neal Schon gives the music its distinctly hard rock Hendrix edge. The Sly angle is fleshed out by former Family Stone drummer Gregg Errico, who plays on and produces the entire record. Former Sly bassist Larry Graham adds an even more unmistakable sound with his trademark grooves. The roster of other musicians playing on this record is impressive: Patryce Banks, Willie Sparks, and Hershall Kennedy of Graham Central Station; Tower of Power horn players Greg Adams and Michael Gillette; and the Pointer Sisters. All these musicians come together to form a flexible and propulsive band, laying down heavy beats behind Neal Schon's dominant lead guitar and Betty's shocking vocals. One critic aptly described their sound as something like a cross between Tina Turner, Funkadelic, and Sly & The Family Stone.

Like all original sounding music, Betty's voice eludes description, and must be heard. A friend was struck by how contemporary it sounded. It's pretty obvious that she was a major influence on Macy Gray. Betty was a powerhouse, pushing her vocal cords to the limit on every performance. She gave it all up, unpredictably alternating between sexy breathiness, moans, and full throated screams. Her voice is not for the feint hearted, as she drags the listener on an fiery tour of her bad-ass soul. This take no prisoners style of singing can sometimes be a bit much to handle. Make no mistake, Betty's brand of black music is not pleasantly soulful, it's ecstatically hard. Many will find it grating and inaccessible in places. Here was a woman capable of projecting sex in a single sceam, an unsentimental envelope pusher with the raucous pipes of a banshee. Even on the album's only slow song, "In The Meantime," Betty sings with tongue in cheek sweetness about the dark pleasures in being alone, closing out the record with a promise that she will survive with or without a man. Way ahead of her time, Betty was the original super freak, a musical extremist who demanded too much from her audience. She came and went with a thunderous roar.

(Source: About Betty Davis from AllAboutJazz.com)










More Betty Davis (in FLAC)

quarta-feira, 3 de setembro de 2014

Brand X - "Jam" with Fusion Jazz


Brand X was a jazz fusion band active between 1975–1980 and 1992–1999. Noted members included John Goodsall (guitar), Percy Jones (bass), Robin Lumley (keyboards), and Phil Collins (drums). Goodsall and Jones were the sole constant members throughout the band's existence. Brand X started in 1975 as a "jam" band signed by Island Records' Richard Williams. Williams A&R man Danny Wilding wrote down the name "Brand X" to keep track of their activity on the studio calendar and the name stuck. The initial lineup consisted of Goodsall, Jones and Lumley, along with guitarist Pete Bonas and drummer John Dylan. Shortly after the band's formation, Dylan was replaced by Phil Spinelli, who left Brand X shortly thereafter along with Bonas. During this time the band made several unreleased studio recordings at Island Records' Basing Street studio.


Genesis drummer Phil Collins replaced Spinelli and in early 1976 Unorthodox Behaviour was released to coincide with an extensive UK tour. Collins had previously taken over lead vocals from Peter Gabriel in Genesis starting with the 1976 album A Trick of the Tail. Due to Genesis schedules conflicting with those of Brand X, Collins would depart the band on several occasions, before departing permanently in 1979.


Percussionist Morris Pert was added to the lineup later for the follow-up Moroccan Roll (1977). The band had previously employed other percussionists, including Gaspar Lawal,[2] Bill Bruford and Preston Heyman, all of whom had operated in an unofficial capacity within the band. Also in 1976 the album Marscape was released by Jack Lancaster and Robin Lumley featuring Jones, Goodsall & Collins of Brand X. In early 1977, Brand X needed a replacement drummer for Collins due to conflicting schedules with Genesis (although Collins would rejoin the band later in the year) and Kenwood Dennard of Pat Martino's group was recruited in New York, making his debut on the band's US tour (a 32-date affair in May and June 1977) and appearing on part of the live album Livestock (1977). Collins came back to the fold for a series of dates in September 1977 including two appearances on the same day in London (Crystal Palace garden party) and Paris (Fete de l’Humanite) where they played 2nd to last before an audience numbering over 230,000. This was the first time a band ever played two open-air shows in different countries on the same day. A second US tour followed late in the year, again with Dennard replacing Collins on drums. The following year saw the departure of Lumley and Dennard, the band recruited keyboardist J. Peter Robinson and drummer Chuck Burgi, following which they recorded their third album, Masques (1978). A good biography on http://en.wikipedia.org/wiki/Brand_X ) where I borrowed these words...


Um grande projeto paralelo do baixinho Phil Collins. Um fusion jazz de primeira...

Palhinha:


Brand X - 1975 Unorthodox Behavior

Unorthodox Behaviour is the first album by British jazz fusion group Brand X. It peaked at 191 on The Billboard 200 in 1976, the same year it was release. This album combines jazz fusion with some elements of progressive rock, influenced by their drummer Phil Collins, shows extensive use of improvisation in the extended pieces, which is common in both genres of music. Collins' drum work is very fast and rhythmic and show a difference in his style from his main band Genesis. Tracks like "Nuclear Burn" and "Smacks of Euphoric Hysteria" are really a showcase for his drum work. Guitarist John Goodsall plays a primarily melodic element, yet he dallies with the solo lines of guitar and intricate off-kilter themes on the second song “Euthanasia Waltz”. Bassist Percy Jones and keyboard player Robin Lumley are also very capable members of the band on each of their respective instruments.

Band:
John Goodsall – acoustic and electric guitars
Robin Lumley – keyboards, Fender Rhodes electric piano, Moog synthesizer
Percy Jones – Fender fretless Jazz Bass, marimba (5), acoustic bass (7)
Phil Collins – drums, vibes (2), lead vocal (1)




Brand X - 1977 Morrocan Roll

Moroccan Roll (1977) is the second studio album by British jazz fusion group Brand X. The title is a pun referring to this being their second album: "more rock and roll", however, Moroccan Roll is not a step toward the rock & roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures. The album is mostly instrumental; only "Sun in the Night" is sung by Phil Collins.

Band:
John Goodsall – guitar, bass, vocals (1), sitar, echo
Robin Lumley – keyboards, piano, Fender Rhodes electric piano, Moog synthesizer, Clavinet, vocals
Percy Jones – bass, autoharp (7), marimba (8)
Phil Collins – drums, vocals (1,3), piano (3)
Morris Pert – percussion and a vast number of bits and things that he hit while the tape was running, including: The QE2, Idi Amin, and undiscovered parts of Scotland



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