Choose your STYLE!!!

domingo, 30 de novembro de 2014

Maskarad - Heavy Psych Prog Rock

By Peter Hammil
Máskarad is a progressive rock band from Sherbrooke, Canada. 

E foi só esta informação que encontrei. Nem o glorioso ProgArchives tinha info desta banda canadense. Som poderoso, confiram...



Tracklist:
1. C’mon Hot 7′s 02:36
2. Cold 03:49
3. Wicked Lover 03:56
4. Planet 5ive 04:35
5. 20 Miles 07:14
6. High to High 03:11
7. The Other Side 05:30
8. A Wild Ride 02:26
9. I Always Thought 03:35
10. I Never Want It To (End) 02:34

PLUS Bonus tracks...

sexta-feira, 28 de novembro de 2014

Kid Creole & The Cococnuts - Funk "Disco" Performance


Thomas August Darnell Browder was born in The Bronx, New York City, USA on August 12, 1950, his mother was from South Carolina and his father from Savannah, Georgia. As an adult, Thom Browder began going by his two middle names as August Darnell.Kid Creole and the Coconuts is an American musical group created and led by August Darnell. Its music incorporates a variety of styles and influences, in particular "American and Latin American, South American, Caribbean, Trinidadian, Calloway" and conceptually inspired by the big band era. The Coconuts are a glamorous trio of female backing vocalists whose lineup has changed throughout the years. Growing up in the melting pot of the Bronx, Darnell was exposed early on to all kinds of music". Darnell began his musical career in a band named The In-Laws with his brother, Stony Browder Jr, in 1965, which disbanded so Darnell could pursue a career as an English teacher. Darnell obtained a masters degree in English, but in 1974 again formed a band with his brother Stony Browder Jr under the name Dr. Buzzard's Original Savannah Band. Their self-titled debut release was a Top 40-charting album which was certified gold and was nominated for a Grammy.


Darnell began producing for other artists, such as Don Armando’s Second Avenue Rhumba Band and Gichy Dan’s Beachwood No.9,[4] before adopting the name Kid Creole (adapted from the Elvis Presley film King Creole) in 1980. The persona of Kid Creole is described as:
Inspired by Cab Calloway and the Hollywood films of the 30s and 40s, the Kid fills out his colorful zoot suits with style and grace, dancing onstage with his inimitable, relentless and self-proclaimed cool.
Kid Creole was to be "the larger-than-life central figure in a multi-racial, multi-cultural musical carnival." The co-founders of the band were Darnell and his Savannah Band associate vibraphone player Andy Hernandez, also known as his "trusty sidekick" Coati Mundi. Hernandez served as Darnell's on-stage comic foil, as well as his musical director and arranger. The original Coconuts, a trio of glamorous (and often skimpily-attired) backing vocalists were led by Darnell's then-wife Adriana "Addy" Kaegi, who also served as the choreographer and costume designer of the Coconuts. On their earliest releases, the Coconuts were Kaegi, Cheryl Poirier and Lori Eastside; Eastside dropped out early, and was replaced by Taryn Hagey, who in turn was replaced by Janique Svedberg.


hroughout the 1980s, the band also included Peter Schott on keyboards (Schott also occasionally co-composed material with Darnell), drummer David Span, bass player Carol Colman and legendary Jamaican drummer Winston Grennan. With horn players, percussionists and other adjunct members, the full band line-up often swelled to over a dozen players. Their debut album Off the Coast of Me was critically well-received but not successful commercially. The second release Fresh Fruit in Foreign Places was a concept album matched with a New York Public Theater stage production; it received rave reviews, and Darnell was recognized as a clever lyricist and astute composer, arranger and producer. By the second album they were accompanied by the Pond life horn section Charlie Lagond, Ken Fradley and Lee Robertson as well as lead Guitarist Mark Mazur. They performed "Mister Softee" on Saturday Night Live during their promotional tour for the album. The album charted briefly, and subsequently Coati Mundi's early Latin RAP "Me No Pop I", though not originally on the album, became a Top 40 UK hit single. Their breakthrough came with 1982's Tropical Gangsters, which hit #3 in the UK and spun off three Top 10 hits with "Stool Pigeon", "Annie, I'm Not Your Daddy" and "I'm a Wonderful Thing, Baby". "Dear Addy" also made the Top 40. In the US the album was retitled Wise Guy and reached #145, and "I'm a Wonderful Thing, Baby" flirted with the R&B charts.
Their live shows at this time were among the most propulsive and enchanting of the period, with outlandish dancing and cod theatricals garnishing the Latin beats."













terça-feira, 25 de novembro de 2014

The J.B's - Funk Good Time


Os J.B.'s foram formados em Março de 1970 após a saída maioria dos membros da banda anterior de Brown motivada por uma disputa financeira (as bandas de Brown durante os anos 50 e 60 ficaram conhecidas como "The James Brown Band" e "The James Brown Orchestra"). A formação inicial dos J.B.'s incluía o baixista William "Bootsy" Collins e seu irmão, o guitarrista Phelps "Catfish" Collins, anteriormente membros da obscura banda de funk The Pacesetters; Bobby Byrd (orgão) e John "Jabo" Starks (bateria); três inexperientes músicos (sopro), Clayton "Chicken" Gunnells, Darryl "Hasaan" Jamison e Robert McCollough; e o tocador de conga Johnny Griggs. Esta versão dos J.B.'s tocaram em alguns dos mais intensos discos de Brown, incluindo "Get Up (I Feel Like Being a) Sex Machine", "Super Bad", "Soul Power" e "Talkin' Loud and Sayin' Nothing". Eles também acompanharam Brown durante a turnê europeia, na qual foi gravado o álbum ao vivo Love Power Peace, estiverem na gravação do disco Sex Machine e lançaram dois singles instrumentais muito sampleados: "The Grunt" e "These Are the J.B.'s".


Em Dezembro de 1970 trombonista Fred Wesley juntou-se novamente a James Brown para liderar os J.B.'s. Outros antigos colaboradores de Brown incluindo Maceo Parker e St. Clair Pinckney seguiram Fred Wesley, enquanto os irmãos Collins e a maioria dos J.B.'s "originais" deixaram Brown para se juntar ao Parliament-Funkadelic de George Clinton. Os integrantes dos J.B.'s mudaram frequentemente até o fim do grupo em 1976, após a saída de Wesley e Parker. Além de ser a banda de apoio de Brown, tanto no palco como em gravações, os J.B.'s também gravaram seus próprios álbuns e singles, algumas vezes com Brown tocando orgão ou sintetizador. Seus álbuns geralmente foram uma mistura de funk e jazz. Alcançaram uma série de sucessos no começo dos anos 70, incluindo "Pass the Peas", "Gimme Some More", e "Doing It to Death". Quase todos seus álbuns foram produzidos por James Brown e a maioria lançada pelo selo de Brown, a People Records. Como muitas músicas de James Brown, os J.B.'s também foram um farta mina para produtores musicais, especialmente do hip-hop com o uso de samples.


Durante os anos 80 e 90 Maceo Parker e Fred Wesley fizeram turnês sob o nome de The JB Horns, às vezes acompanhados de outro braço-direito de Brown: Alfred "Pee Wee" Ellis. Os JB Horns gravaram diversos discos para a Gramavision Records que mais tarde foram relançados pela Rhino Records. Também gravaram outro álbum com os produtores Jeff McCray e Richard Mazda chamado I Like It Like That.

Palhinha:












domingo, 23 de novembro de 2014

Rigoni & Schoenherz - Opera Prog Rock from Austria


Victor é uma ópera com rock progressivo, ou um Classical Prog, composto pelos músicos austríacos Richard Schonherz (tecladista / vocalista) e o baterista Manuel Rigoni. A ópera  nos fala sobre o menino de circo Victor. Sua mãe está em uma cadeira de rodas depois de uma queda de um trapézio. Seu pai trabalha como palhaço e quer que o seu filho também se torne um palhaço ... Mas Victor não quer ser um palhaço e não gosta de circo.


Rigoni & Schoenherz biography ( http://www.progarchives.com/artist.asp?id=9090 )
Before Richard Schöenherz (born 1947) became known for working in bands such as Dawn and Einstein, he and Manuel Rigoni created the concept album 'Victor'. It is viewed by many as a lost classic of progressive rock, as it balances between orchestrated and sophisticated rock in a unique manner. As well as Richard providing keyboards and lead vocals, and Manuel providing drums and percussion, they combined Kurt Hauenstein (Supermax), Harry Stojka, Achim Buchstab, Johan Daansers and Peter Wolf along with the Royal Philharmonic Orchestra and the Vienna Academy Chamber Choir. 'Victor' is a symphonic tour de force about the power of youth and a plea for deference to authority, war and cruelty. It is centred around a young man and his upbringing in a circus and his thoughts and rebellion, of sorts, against the adult conception of life and what one is supposed to with it. Partly recorded and mixed in the legendary Abbey Road Studios, 'Victor' is still a timeless work that is worth exploring.




Tracks:
All tracks written by Manuel Rigoni and Richard Schönherz.
01. Victor (Part 1) - 18:40 including:
a). The Invitation
b). The Head Of The Circus Sings For His Beloved Audience
02. Victor (Part 2) - 15:51 including:
a). Who Is Victor
b). Victor's Song For Himself
03. Victor (Part 3) - 17:32 including:
a). Victor's Song For His Father
b). Where Is Victor
04. Victor (Part 4) - 22:28 including:
a). Victor's Dream
b). Victor's Song For The White Man
c). The Song Of Life

Personnel:
- Richard Schönherz - keyboards, lead vocals
- Manuel Rigoni - drums, percussion
+
- Harry Stojka - guitar
- Johan Daansen - guitar
- Kurt Hauenstein - bass, lead vocals (04c) 
- Achim Buchstab - lead vocals (02a,03b)
- Peter Wolf - Arp synthesizer (01a)
- The Royal Philharmonic Orchestra - orchestra
- Wiener Akademie Kammerchor - choir
- Peter Hauke - producer


Um sonzaço!!!!

sexta-feira, 21 de novembro de 2014

Auntie Kate & The Uncles of Funk

loumy93 's gift...

AUNTIE KATE & THE UNCLES OF FUNK:

Rising out of the ashes of a west coast R&B band called Club Mongo, a singer, who was to become known as Auntie Kate, and guitarist, Tom Bowler, started a new band. The group formed in 1991 and consisted of Auntie Kate, Tom Bowler, and Clark Brendan. Auntie Kate and the Cheap Suits leaned on the acoustic blues and featured stand bass, accordion, guitar, and of course, flamboyant matching suits. In 1994, a desire to get back to the electric blues, resulted in the dissolution of the Cheap Suits and the formation of Auntie Kate and Small Potatoes. This group was short-lived but was the nucleus of future Auntie Kate endeavours. Former Club Mongo bassist, Doug “Buffalo” Saunders rejoined Kate and Bowler and would remain a member on and off to this day. Joby Baker was the drummer and Tim Boss played B3 organ. 

1995 brought about the creation of the first CD. The band went into the studio and the result was, “Food For Thought”. It was produced by Joby Baker, who would go on to produce albums for many notable Canadian acts. The band comprised of Auntie Kate, Bowler, Buffalo Saunders, and Baker but would also include some of Vancouver’s finest session players. One of these was the late great Robbie King who would play with the band on a number of occasions, especially when the band would play the venerable “Yale Hotel” in Vancouver. Immediately following the release, Kate and Bowler teamed up with a Nanaimo outfit that was on hiatus called Rubber Soul. This marked the beginning of Auntie Kate and the Uncles of Funk. Phil Wipper was back powering the rhythm section. He was joined by Ken Scardina on bass, Joel Spillette on keys, Brock Miller on sax, and Colin Perry on baritone sax. The band went into the studio with engineer Rick Salt and recorded a number of songs, “Never Been Rocked Enough”, “Think”, “Trading Post”, “Cash Talking” and “I Can’t Stand the Rain”, none of which saw the light of day until “Aunthology” was released in 2008. During this time a live CD, “Snapshots”, (produced by Bowler), was released instead. Buffalo was back on bass, Kyle Burrows replaced Colin and the only female uncle, Tina Jones, joined the horn section on trumpet. A video of “Better than good” was made and received extensive play on video channels internationally.






Constant touring brought other changes to the Uncles of Funk and in 1996 another CD, “Do You Have This In Blue?” was recorded in Calgary but this time the Uncles were made up of a group of talented players from that city. Tommy Knowles, who had been a long time member of Long John Baldry’s band, was the bass player for this recording and many Auntie Kate projects to come. The CD was produced by veteran bluesman Tim Williams and represented a straight ahead blues approach. Donald Ray Johnson (A Taste of Honey) played drums and Ron Casat (Amos Garrett) played organ as well as Bowler on guitar. Blues guitar whiz, Bill Johnson, rounded out this version of the band. Some of the songs on this CD have been played on the Galaxie Cable Blues station to this day! Years of touring had taken their toll and family and personal concerns limited the amount of traveling that Kate and the Uncles achieved for a number of years. The band stayed close to home and have actually enjoyed a consistent lineup of Kate, Bowler, Christian Stephenson on bass, and drummer, Joe Kovacs.

Palhinha:







terça-feira, 18 de novembro de 2014

Accept - German Heavy Metal


Accept é uma banda de heavy metal da Alemanha que teve importante papel no desenvolvimento do speed metal e power metal na Europa. O início da banda se deu em 1968 quando era chamada de Band X, mas a carreira profissional foi iniciada em 1976 quando mudaram o nome para Accept. Devido ao vocal arranhado de Udo e a seu estilo sonoro, o grupo serve de influência para quase todas as bandas de power metal, e são um dos precursores do speed Metal. Seus temas líricos são: problemas sociais, sexo, rock/metal e fantasia. No final da década de 1970 e início da de 1980, a Alemanha começava a despontar como um dos grandes berços do rock and roll. E foi nesse país e nessa época, que o vocalista Udo Dirkschneider, depois de algumas breves experiências musicais, montou o Accept.


Após a formação estar completa com Wolf Hoffmann e Jorg Fischer nas guitarras, Peter Baltes no baixo e Frank Friedrich na bateria, a banda lança o álbum de estreia auto-intitulado em 1979. Apesar da voz de Udo ter sido o grande destaque do disco, Peter Baltes foi quem cantou nas faixas "Sounds Of War" e "Seawinds". No ano seguinte, I’m a Rebel serviu para marcar a entrada do baterista Stefan Kaufmann e foi só em Breaker, de 1981, que o grupo começou a ter uma estrutura realmente profissional, com produtor, empresário e tudo mais. Já nacionalmente conhecidos, o Accept decide então dar um grande passo e lança Restless and Wild em escala mundial. O álbum, de 1982, é aclamado pela mídia e é até hoje reconhecido como um dos mais importantes do heavy metal. A faixa de abertura "Fast As a Shark" torna-se um dos maiores hits do grupo, e de grande importância no cenário do speed metal. O guitarrista Jan Koemmet substitui Jorg Fischer e é lançado, em 1983, o clássico Balls To The Wall. A faixa-título ganha um videoclipe bastante executado e rende grandes turnês, tornando-se um dos maiores sucessos do Accept.


 Dois anos depois, sai Metal Heart, que contou com o mesmo produtor do Scorpions, e com a volta de Fischer ao grupo. Quase que simultaneamente, é lançado o EP ao vivo Kaizoku-Ban' que trazia faixas como "Head Over Heels", "Love Child" e "Living For Tonight". Em 1986, "Russian Roulette", marcou o rompimento do Accept. Por divergências artísticas, Jorg Fischer e o vocalista Udo abandonam o grupo. Novos desentendimentos entre os próprios membros e problemas de saúde com Stefan Kaufmann levaram ao encerramento das atividades do grupo. Um álbum ao vivo com a antiga formação, intitulado Staying a Life, foi lançado em 1990 e trazia todos os grandes sucessos como "Neon Nights", "Son Of A Bitch" e "Dogs On Leads". A volta do Accept, porém, com Udo de volta aos vocais, não demorou. Em 1992, Objection Overruled chegou para reconquistar o público, mas desta vez como um quarteto, já que Wolf Hofmann ficou sendo o único guitarrista. Death Row, editado na sequência, foi a despedida de Stefan Kaufmann no grupo. 


Em 1996 os alemães lançaram seu último trabalho. Predator contou nas baquetas com Michael Cartellone, que tocou com Ted Nugent, e depois desse lançamento decidiram encerrar novamente as atividades da banda. Udo Dirkschneider retomou sua carreira solo com o U. D. O. e o duplo ao vivo The Final Chapter, saiu dois anos depois. Em 2001 e 2002 foram lançados A Tribute To Accept e A Tribute To AcceptII, respectivamente, no qual bandas consagradas como Primal Fear, Darkane, Therion e Dimmu Borgir fizeram suas versões para os clássicos do Accept. Em 2004, para alegria dos fãs da banda, chegava às lojas o CD e DVD Metal Blast From The Past. O material foi gravado durante uma turnê mundial do grupo na década de 1980 e reúne além de grandes sucessos da carreira, extras e galeria de fotos. Em 2005, depois de inúmeras apresentações pelos quatro cantos do mundo, o grupo anunciou que tiraria umas férias dos palcos. O concerto de despedida aconteceu em Kaverna, na Bulgária. Em 2009, a banda se reúne novamente, agora com o Mark Tornillo nos vocais, e em 2010 lança o décimo segundo álbum de estúdio: Blood of the Nations. Ao contrário das expectativas, o álbum tornou-se um sucesso nas paradas musicais, ficando na quarta posição na Media Control Charts. Nesse ano a banda tocou pela segunda vez no Rock Hard Festival. 



Em 2012 a banda volta a lançar outro disco com a formação atual. Lançado em 6 de abril, Stalingrad foi um sucesso comercial e artístico para a banda, bem recebido pelos fans e pela mídia, rendendo uma turnê mundial que passou recentemente pelo Brasil nas cidades de Porto Alegre, Curitiba e encerrando em São Paulo. Tocando em vários festivais europeus, a banda encerra o giro na Espanha com a sua Stalingrad Tour. O Accept volta aos estúdios e grava seu décimo quarto trabalho, lançado em 18 de julho de 2014 com o título Blind Rage. O disco veio a ser o primeiro da banda a chegar ao topo das paradas da Alemanha, seu país natal.



Palhinha:







Balls to the Wall é o quinto álbum de estúdio da banda alemã de heavy metal Accept, lançado em Dezembro de 1983. É o álbum da banda de maior sucessoo, vendendo a nível mundial mais de 2 milhões de discos. O crítico de música Martin Popoff disse que este disco foi um dos melhores álbuns de metal dos anos 80.




Restless and Wild é o quarto álbum de estúdio da banda Accept, lançado em Outubro de 1982. Foi com este álbum que o Accept despontou para o sucesso e ficou conhecido internacionalmente. Após essa relíquia lançaram em seguida os outros dois clássicos: Balls to the Wall e Metal Heart.






I'm a Rebel é o segundo álbum de estúdio da banda Accept, lançado em Junho de 1980. Como se já não fosse o bastante o primeiro disco da banda não ter sido um sucesso comercial, o guitarrista Gerhard Wahl e o baterista Frank Friederich se demitiram, pois não se interessavam em continuar com a carreira musical profissionalmente, foram substituídos por Jörg Fischer e Stefan Kaufmann, respectivamente. A faixa título I'm a Rebel, inicialmente foi escrita para o AC/DC, mas nunca lançada por eles. Esse foi o álbum que chamou atenção da mídia, sendo então convidados para fazer seu primeiro show televisionado.


sábado, 15 de novembro de 2014

Barrabas - Spanish Rock


Barrabas era uma banda Espanhola com mistura de Rock, Funk, Soul dos anos 70. Emplacaram dois sucessos "Wild Safari" e "Woman" ambas do disco Wild Safari. Esta banda foi formada por Fernando Arbex e Ricky Morales (ex-Los Brincos), e misturavam os sons psicodélicos com a salsa, o funk.

Segue a biografia do Wikipedia:

Barrabás are a Spanish musical group, most successful in the 1970s and 1980s, when they were led by drummer Fernando Arbex. The group's musical style was initially Latin rock with jazz and funk influences, and later developed into a more disco-orientated sound. Arbex formed Barrabás in 1971 when his previous band, Alacrán, split. He and Alacrán's bass guitarist and vocalist Ignacio "Iñaki" Egaña were joined by several other musicians in preparation for the recording of their debut album Wild Safari released later that year. These were Filipino guitarist brothers Ricky and Miguel Morales; Portuguese keyboard player Juan Vidal and Cuban percussionist, saxophone and flute player Ernesto "Tito" Duarte. Wild Safari spawned the hit singles "Woman" and "Wild Safari" which were successful in various countries across Europe and the Americas, including the USA and Canada.


Egaña left the group in 1973 after his involvement with drugs was made public, and Arbex decided to further reduce his own involvement as a musician, hiring two new members, José Luis Tejada and José María Moll, as vocalist and drummer respectively. Moll had played live with Barrabás from the beginning, with Arbex only playing on Wild Safari. This new line-up recorded two albums, Power in 1973 and ¡Soltad a Barrabás! in 1974. Moll then left the band after disagreements with the other members, and was replaced by Daniel Louis. With the popularity of disco in the mid-1970s, Barrabás moved in that direction and produced a number of minor hits. They disbanded in 1978, and Arbex moved fully towards writing and producing music for other artists. 


The group reformed in 1980 with a new line-up. The Morales brothers, Vidal and Louis were replaced by the returning Moll, Costa Rican guitarist "Koky" Maning, bassist "Susy" Gordaliza and keyboard player Armando Pelayo. This line-up recorded two albums before being dropped by their record label, RCA, and subsequently Tejada, Maning, Gordaliza and Pelayo all left. Miguel Morales and Iñaki Egaña then returned for the recording of the 1983 album Forbidden for CBS. Barrabás continued on a smaller scale afterwards under the leadership of Moll, still accompanied by Egaña and Miguel Morales, with Duarte and other musicians helping out both live and in the studio. A number of albums were recorded in the 1990s, consisting of re-recordings of songs from the 1970s and 1980s. Barrabás founder Fernando Arbex and multi-instrumentalist Tito Duarte both died in 2003.












quarta-feira, 12 de novembro de 2014

Sweet Smoke - Psychedelic Jazz-Rock Band


http://sweetsmokeband.com/gallery (Peter's Gift)
AS PIRAÇÕES SESSENTISTAS DE SWEET SMOKE:
Sweet Smoke foi uma alquimia dos fim dos anos sessenta e início dos anos setenta. Um representação da contracultura e do espírito de liberdade da juventude daquela época. Um som que merece ser escutado infinitas vezes. ( http://lounge.obviousmag.org/hepatopatia_cronica/2013/06/as-piracoes-sessentistas-de-sweet-smoke-just-a-poke-1970.html )

"Sweet Smoke were a psychedelic jazz-rock band formed in Brooklyn, New York in 1967. The group moved to Europe in 1969, living in Germany, and performing in Germany, Holland and France until 1974 when the band split up. Initially, some members stayed in Europe, some went to India, but most of the band returned to the United States. Although originating in the U.S., Sweet Smoke is often referred to as a Krautrock band. Noted for their buoyant rhythms, inventive improvisations and complex musical structures, in interviews, the group says their music was influenced by Eric Clapton, Jimi Hendrix, Frank Zappa, John Coltrane and The Beatles. The group has a fan presence on the internet, and their CDs are sold worldwide by EMI International."








domingo, 9 de novembro de 2014

Pink Floyd and The Soundtrack of Man's First Land on the Moon (BBC Archives)


Pink Floyd é e sempre foi um grupo cheio de enigmas... Seus discos venderam mais de 200 milhões de cópias, e seu som, seus símbolos são ícones e reconhecidos em todo o mundo. Dark Side, Wish You were Here, Animals, The Wall continuam nas prateleiras das Music Stores, e vão resistindo, geração após geração. São reformulados, re-editados e escutados por todo o mundo. Não existe uma banda com essa biografia, e ainda têm folego para lançar mais uma obra prima: "The Endless River", que na minha opinião, é melhor que o Division Bell e seu antecessor. Mesmo tendo uma participação/homenagem póstuma de Rick Wright, a produção está magnífica...


O Pink Floyd sempre foi inovador, desde seus primórdios. Por letras narrando as peripécias de um travesti em Londres, pela música transgressora, pelos shows originais como também pelas biografias de seus integrantes... Apesar de muito ter sido escrito, um fato histórico talvez tenha passado desapercebido por alguns... O Soundtrack do homem pousando na Lua em 1969. E é este o tópico deste post...



Como o Pink Floyd participou da trasmissão do pouso do homem na Lua
Quando o mundo parou na frente da televisão em julho de 1969, Neil Armstrong liderava a equipe da Apolo 11 no primeiro pouso do homem na Lua. Com imagens da BBC1, BBC2 e ITV, esse evento histórico foi visto por mais ou menos seiscentos milhões de espectadores ao longo de oito dias de trasmissão. Com a recente morte de Armstrong, uma velha canção do Pink Floyd chamada "Moonhead" voltou a ser destaque no mundo da música. O motivo? Ao mesmo tempo em que os astronautas chegavam à Lua, David Gilmour, Nick Mason, Roger Waters e Richard Wright faziam uma jam session no estúdio da BBC, criando uma trilha sonora para a aventura lunar. O guitarrista David Gilmour já havia falado sobre isso ao The Guardian, em 2009: "Nós estávamos em um estúdio de TV da BBC tocando para o desembarque. Era uma transmissão ao vivo, e havia um painel de cientistas ao lado do estúdio, com nós. Eu tinha 23 anos". Mesmo figurando em vários bootlegs do grupo ao longo das décadas, “Moonhead” permance inédita na discografia oficial até os dias de hoje.




Já faz mais de 40 anos que a Apollo 11 pousou na lua. Se você estava vivo em 20 de Julho de 1969, as duas grandes notícias eram Neil Armstrong e seu histórico passo na lua e o show de Woodstock. Segue uma reportagem da Rolling Stone:


"Yesterday marked the 40th anniversary of the Apollo 11's landing on the moon. If you were alive on July 20, 1969, you were likely doing one of two things: Watching astronaut Neil Armstrong's historic giant leap for mankind, or packing for Woodstock. Pink Floyd guitarist David Gilmour also watched the lunar landing on July 20th, but recently wrote in The Guardian that he and his bandmates were live-soundtracking the event for the BBC. The resulting jam was called "Moonhead," a song that has frequently popped up on Floyd bootlegs throughout the years but never officially released.

"[Pink Floyd] were in a BBC TV studio jamming to the landing. It was a live broadcast, and there was a panel of scientists on one side of the studio, with us on the other. I was 23," Gilmour writes in the Guardian. "The programming was a little looser in those days, and if a producer of a late-night programme felt like it, they would do something a bit off the wall. Funnily enough I've never really heard it since, but it is on YouTube." (It is in fact on YouTube, as evidenced by the above video, provided by Gilmour's own blog.)

"It was fantastic to be thinking that we were in there making up a piece of music, while the astronauts were standing on the moon. It doesn't seem conceivable that that would happen on the BBC nowadays," Gilmour says in his Guardian piece. "We didn't make any songs out of the jam session. We did, on occasions, do music live that would be a jam session of some sort... And I've heard documentaries where I recognize my music. It's very odd to be watching a documentary and to hear something that you know is yourself, but you have no recognition of when you did it or how. I've never forgotten Moonhead, though. After all, it's not hard to remember exactly where I was."





A música "Moonhead" encontra-se incluída em alguns bootlegs.




Disc One
1. Pow R Toc H (14May67 "Look Of The Week")
2. Astronomy Domine (14May67 "Look Of The Week")
3. The Gnome (25Sep67 "Top Gear")
4. Scarecrow (25Sep67 "Top Gear")
5. Set The Controls For The Heart Of The Sun (25Sep67 "Top Gear")
6. Matilda Mother (25Sep67 "Top Gear")
7. Reaction in G (25Sep67 "Top Gear")
8. Flaming (25Sep67 "Top Gear")
9. Green Onions (12Dec67 "Tomorrow's World")
10. Instrumental (12Dec67 "Tomorrow's World")
11. Vegetable Man (20Dec67 "Top Gear")
12. Scream Thy Last Scream (20Dec67 "Top Gear")
13. Pow R Toc H (20Dec67 "Top Gear")
14. Jugband Blues (20Dec67 "Top Gear")

Disc Two
1. Instrumental (26Mar68 "The Sound Of Change")
2. Set The Controls For The Heart Of The Sun (28Mar68 "Omnibus' All My Loving")
3. The Murderotic Woman (25Jun68 "Top Gear")
4. The Massed Gadgets Of Hercules (25Jun68 "Top Gear")
5. Let There Be More Light (25Jun68 "Top Gear")
6. Julia Dream (25Jun68 "Top Gear")
7. Point Me At The Sky (02Dec68 "Top Gear")
8. Baby Blue Shuffle In D Major (02Dec68 "Top Gear")
9. Embryo (02Dec68 "Top Gear")
10. Interstellar Overdrive (02Dec68 "Top Gear")
11. Daybreak (12May69 "Top Gear")
12. Nightmare (12May69 "Top Gear")
13. The Beginning (12May69 "Top Gear")
14. Beset By Creatures Of The Deep (12May69 "Top Gear")
15. The Narrow Way (12May69 "Top Gear")
16. Moonhead (20Jul69 "Omnibus' What If It's Just Green Cheese?")






Peter's Gift...


Thanks, Pink Floyd

All Music on Valvulado!!!!

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