domingo, 23 de abril de 2017
sábado, 22 de abril de 2017
A Go Graal Blues Band faz a sua aparição em 1975, integrando João Allain (guitarra), Artur Paes (baixo), Zito (bateria), Tony Sousa (guitarra) e José Carlos Cordeiro (voz) e definiam-se como um grupo que se dedicava a tocar e a cantar blues. Após várias experiências a formação estabiliza com Paulo Gonzo (voz e harmónica), João Allain (guitarra solo), Raúl Barrigas dos Anjos (bateria), Augusto Mayer (harmónica), António Ferro (baixo), João Esteves (guitarra) e José Carlos Cordeiro (voz principal). Em 1979 assinam contracto com a Imavox e lançam, ainda nesse ano, Go Graal Blues Band, o seu primeiro LP, onde o grupo assume totalmente uma postura dedicada ao blues eléctrico, notório em temas como "Baby, I Wanna…", "The Fault Is Her Own" e "The Last One". Nesse ano entra Tó Andrade para o lugar de baixista. A 22 de Setembro, a convite de José Nuno Martins realizam o primeiro concerto com raios laser no Instituto Superior de Agronomia. Este concerto foi transmitido em directo pela RTP 1 e consta dos arquivos da RTP.
Em 1980 lançam o single "They Send Me Away", apresentando um som mais rock, muito próximo do estilo dos Dr. Feelgood. O apresentador do programa Rock Em Stock, Luís Filipe Barros, produz o single "Lay Down", vindo este a atingir o primeiro lugar do Top no Rock Em Stock.
Em 1982 é lançado o segundo LP da banda, "White Traffic". Da formação original já só restam Paulo Gonzo e João Allain. O baixo está a cargo de Fernando Delaere e a bateria de Hippo Birdie. Deste LP fazem parte temas como "N'Roll", "Lonely" e "Guetto Drunk". A evolução musical do grupo é notória e o sucesso mede-se não tanto pelas vendas de discos, mas sim pelo número de espectáculos.
Divergências internas quanto à autoria dos temas levam à saída de Delaere e Birdie que vão para os Roxigénio e novos membros são recrutados. Entra para a bateria Mário Pereira (Márito) e Henrique Leite fica encarregue do baixo. É editado o Mini-LP "Blackmail" onde se podem escutar temas de blues/rock como "Champagne All Night", "Love Fashion" e "Midnight Killer".
Em 1984 é editado o Máxi-Single Dirty Brown City com temas como "Dirty Brown City", "Fast Flirt" e "Wild Beat Blues". Nesse ano dá-se a reentrada de Tó Andrade para o baixo, a convite de João Allain.
Em 1987,é lançado o último álbum da banda, "So Down Train", com uma sonoridade mais amadurecida mas longe do sucesso de outras épocas. O último disco da Go Graal traz-nos temas como "They Don't Give A Damn", "A Little Bit" ou "City Lights".
Após o lançamento desse LP, Paulo Gonzo abandona a banda para se lançar numa carreira a solo. É substituído por João Melo, passando a banda a ser constituida por João Melo, João Allain, Tó Andrade, Leonel Cardoso (sax), Fernando Costa (teclas) e Chico Cardoso (bateria). Após cerca de seis meses, regressa Mário Pereira à bateria e o 1º cantor José Carlos Cordeiro.
Devido ao fracasso comercial do LP "So Down Train", reflectindo-se na diminuição do número de espectáculos, o grupo toma a decisão de se dissolver, levando, no ano de 1989, à extinção de um dos grupos mais marcantes de blues/rock em Portugal. Tiveram uma carreira recheada de espectáculos, onde se destacam a primeira parte do espectáculo dos The Shirts em Lagos, a 1ª parte de Jan Akkerman no Dramático de Cascais, a 1ª parte da Blues Band no Coliseu e um concerto memorável no Coliseu de Lisboa como cabeça de cartaz.
Direto dos arquivos do Magal
sexta-feira, 21 de abril de 2017
Aragon biography (http://www.progarchives.com/artist.asp?id=25)
Before listening the music of the Australian band ARAGON, I took my time reading all the info available, and the information provided is not very good, comments go from they suck (specially directed towards John Poloyannis in the guitars) but being that I'm part of the Neo Prog Team and having to make a new bio for this band I tried their music.
The truth is that they were always pretty good, but their orientation was hardly Prog until their surprisingly strong last album, I believe they were in the borderline that divides Neo Prog from Prog Related, with clear MARILLION influence and RUSH luike vocals, but of course oriented towards the softer and more commercial side, also you can get some Yes sounds similar to the 90125 era and three men Genesis touch.
So my conclusion is that they were always good but not too Prog oriented, but most of the people who talk about them, haven't heard their last album, which is a pity, because they are loosing the opportunity to listen very good Prog.
ARAGON could be called a subsidiary of the United Nations because Scottish-born Les Dougan (Vocals), Italian-born Tony Italia (Drums), German-born Tom Behrsing (keyboards) and Greek-born John Poloyannis (guitar), joined forces in Melbourne Australia to form ARAGON on 1987, the four guys with the help of Ron Bacon in the bass, release their debut album "Don't Bring the Rain" in 1990, mainly inspired in MARILLION and 80's GENESIS but very mainstream oriented.
Until 1998 they manage to release 5 albums and keep the same lineup withourt radical musical changes, but after the release of "Mister Angel" they seem to vanish in the air as many bands who never found their own identity.
The surprise is that in the year 2005 the band reappears as a trio formed by John Poloyannis (guitar, bass, keyboards, percussion) Les Dougan (vocals, drums, percussion) and Tom Behrsing (keyboards), this time with a stronger sound and definitely more oriented towards Prog, seems the Sabbatical made good effect on them, because sounds almost as a different band with many similarities to early MARILLION but a unique touch.
According to their website, we must expect more of them and if the new stuff is like the latest album, we can only wait with great hope, because they have reached maturity and an own unique sound.
Iván Melgar Morey - Perú
Cosmos biography (http://www.progarchives.com/artist.asp?id=4485)
Swiss outfit COSMOS can trace it's roots back to 1990, when Reto Iseli (drums, vocals) formed his first band, at that time called Glacier Eagles. Late in 1993 they decided that Cosmos was a better sounding and describing name for their Pink Floyd influenced musical ventures, and the following year saw them release their debut album The Deciding Moments of Your Life.
The album was met with a fairly good reception; and for the next few years Cosmos enjoyed a fair degree of success in their native country with live shows combining their own original material with Pink Floyd covers. However, in 1998 internal tensions saw to it that the band broke up.
Come 2003 and a solo project started by Heiko Garrn (bass) and Olivier Maier (guitars) invited Iseli to join them; and with the addition of Silvia Thierstein (vocals) and Daniel Eggenberger (keyboards) it was decided to scrap the solo project, and to revive Cosmos again.
From Magal Files
Discipline biography (http://www.progarchives.com/artist.asp?id=82)
DISCIPLINE is one of those rare cases of obscurity combined with reverence. Much like Änglagård was the Swedish phenomenon, DISCIPLINE was the U.S. counterpart. They are bands that released two highly praised studio albums in the '90s, and then disappeared. The ensuing passage of time allowed them to become legendary. The most obvious difference from Änglagård being that the DISCIPLINE albums are still readily available.
Even though they did not have an official release until 1993, the band had been around since 1987. Guitarist John Preston Bouda, drummer Paul Dzendzel, bass player Mathew Kennedy, and singer/multi-instumentalist Matthew Parmenter began in a place that is not usually considered fertile ground for prog. When one thinks of Detroit (Michigan) music, it usually conjures images of Motown, Ted Nugent, or Iggy Pop. I lived in the area in 1987, and I can tell you that I was not looking for the next best thing to Marillion to emerge in my neck of the woods. However, they took the bull by the horns, and created a loyal following in the Detroit area. It wasn't just the challenging music that drew fans. The live shows harkened back to Gabriel-era Genesis. Matthew Parmenter changed costumes for each song, and wore his now trademark mime makeup. This led to his nick name, The Magic Acid Mime. They had no recording contract, but their cassette tapes were very well received.
In 1993 Discipline recorded their first proper album, "Push & Profit." It wasn't exactly a smash, but it was a critical success. A supporting tour in Norway also proved that they had moved far beyond local hero status. To get proper albums out there, they created their own independent label. DISCIPLINE, and Matthew Parmenter, are the only artists on Strung Out Records. "Push and Profit" was not your typical Neo fare. They took cues from many different areas of the prog realm. Where lesser bands using this approach might seem unfocused, DISCIPLINE blended it together as if this is the way it is supposed to be done.
1997 saw the release of the much-heralded "Unfolded Like a Staircase." Most (if not all) of the whimsy found on the debut was gone. This was a much darker album, and consisted of four long tracks. For this album, a Peter Hammill influence was very much in the forefront. That did not deter the fans, and it solidified what was to become their legendary status.
Although the studio albums were spaced out over four years, that did not mean these guys didn't keep busy. They toured often, and played ProgDay for five consecutive years. Parmenter also appeared as a guest on other artists' albums. However, by the end of the decade, it was over. Mathew Kennedy joined Parmenter's nephew in Eyestrings, and Matthew Parmenter focused on a solo career. He released his first solo album, "Astray," in 2005. The only other musician appearing on the album was Mathew Kennedy, so it wasn't that far from home. DISCIPLINE was not completely out of sight before this either. There were a series of live recordings released between 2000 and 2005.
So, that brings us to 2008. Just when you thought it would never happen, DISCIPLINE is reforming. The band was booked to play NEARfest 2008, and is doing a small gig on their home turf, with fellow Detroit proggers Tiles. At this time, these are the only dates scheduled. We can only hope it will lead to a full reunion, and new music.
H.T. Riekels (bhikkhu)
quinta-feira, 20 de abril de 2017
Vocalist, Hammond B 3 specialist and educator, Adrienne Fenemor unveils a tasteful musical treat with the dynamic Mo' Puddin' presenting an explosive session of organ-based music offering a selection of six originals and three standards full of swing and swagger. A New York-based performer and educator since moving to the USA in 2008, Fenemor was born and raised in New Zealand and hailed from a musical family. With no jazz organ players in the country, in 2003 she imported a Hammond B 3 organ and taught herself how to play it. Inspired by the great Jimmy Smith, Richard "Groove" Holmes, Jack McDuff and Joey DeFrancesco, she studied and copied their styles.
Having performed professionally prior to her move to the states, Fenemor has several other recordings she made for the Asian market and one in New Zealand. Those previous albums featured Fenemor on the vocals and piano while this date, is her very first instrumental album performing on the organ only. For this recording the leader chose to use a trio format with Willie Jones III on the drums and the great Peter Bernstein rounding out the rhythms on the guitar.
The title track and first original, kicks off the program with the inevitable call-and-response between her and the guitarist establishing the template for the date. After the swinging "Minor Mixup," which features both Bernstein and Fenemor on a quick-paced, powerful performances, the infectious bluesy standard from Jimmy Smith, "Back at the Chicken Shack" takes on a whole new life with a propulsive rendition by the trio.
Fenemor show us a bit of her soft side on the beautiful original ballad "Lovers Embrace" performed slow and gentle with Bernstein also weighing in with delicate guitar work as the leader takes and keeps center stage on this track. The organist's affinity for the music of Smith is confirmed here with another version of the legend's classic "The Boss," in able hands here as the lady kicks back and delivers a burner.
The music finalizes on two amazing performances first, on the high-energy original "Caribbean Day Dream" then percolates and finally explodes on the oft-recorded Bobby Timmons finale tune "Moanin,'" where Fenemor is at her best sounding much like Joey DeFrancesco on a steamy solo performance. Adrienne Fenemor is a surprisingly gifted musician with one very sweet sugar-high treat on Mo' Puddin', offering delicious swinging organ-based grooves sure to resonate with aficionados and audiences everywhere.
Track Listing: Mo' Puddin'; Minor Mixup; Back at the Chicken Shack; Old Yeller; Lovers Embrace; The Boss; Sunday Sermon; Caribbean Day Dream; Moanin'.
Personnel: Adrienne Fenemor: Hammond B 3 organ; Peter Bernstein: guitar; Willie Jones III: drums.
Year Released: 2016 | Record Label: Self Produced | Style: Straight-ahead/Mainstream
A perfect combination of classic jazz standards with wonderfully unique vocals, groovy hammond organ, dynamic guitar and swinging drums.
Bandleader Adrienne Hindmarsh is a vocalist with a unique voice, which has often been compared to the female singers from the 1950's big band swing era. She is also a dynamic Hammond organist with immense skill in the style of jazz organ. Playing theatre organ as a child, Adrienne taught herself to play the Hammond by copying the recordings of Jimmy Smith, Joey DeFrancesco, Groove Holmes and Jack McDuff. Due to the lack of jazz oganists in her native New Zealand, Adrienne relocated to the USA in June 2008. "Blue Skies is her Debut recording since her arrive in USA.
Josh Hindmarsh, one of the finest jazz guitarists New Zealand has produced. USA based guitarist Hindmarsh has shared the stage with jazz luminaries such as Bobby Floyd, Gene Walker, Art Gore, Tony Monaco and Jim Rupp. Influenced by his study with Pat Martino, Josh's innate sense of swing spirited musical improvisations and dynamic drive have helped develop his reputation as one of jazz's rising stars within the jazz organ genre.
Jim Rupp has toured for decades in the great big bands of Woddy Herman, Maynard Ferguson and Glenn Miller and also spent eight years with three time grammy Award-winning jazz singer Diane Schuur, touring worldwide. Other well-known artists and groups Rupp has performed with include Ray Charles, Joe Lovano, Buddy DeFranco, Tony Bennett, the Smithsonian Masterworks jazz Orchestra, the Columbus Symphony Orchestra, Hank Marr, Clark Terry, Joe Williams Rosemary Clooney and Natalie Cole.
808 State are an English electronic music group, formed in 1987 in Manchester, taking their name from the Roland TR-808 drum machine. They were formed by Graham Massey, Martin Price and Gerald Simpson, and they released their debut album, Newbuild, in September 1988.
The band secured commercial success in 1989, when their song "Pacific State" was picked up by BBC Radio 1 DJ Gary Davies.
Ninety is the second full-length album and first on ZTT Records by British electronic music group 808 State, released in 1989 and featuring the single "Pacific State" which reached number 10 in the UK Singles Chart on November 1989. It was released in the US as Utd. State 90, without "The Fat Shadow (Pointy Head Mix)," but with other bonus tracks.
Slant Magazine listed the album at number 54 on its list of the "Best Albums of the 1980s" saying "A thrilling expansion of the possibilities for acid house and arguably the best LP ever produced in the style"
In September 2008, Ninety was re-released as a 'deluxe edition', the original album remastered by Graham Massey, and a bonus disc of remixes and tracks previously exclusive to Utd. State 90 which included:
"Pacific (Britmix)" – 4:23
"Cobra Bora (Call The Cops Mix)" – 4:53
"Donkey Doctor (GMEX Mix)" – 4:45
"Boneyween" – 6:12
"Kinky National" – 4:01
"State To State" – 5:56
"Revenge Of The Girlie Men" – 4:13
"Magical Dream (Instrumental)" – 5:09
This 1974 Steely Dan set was recorded live in front of a small studio audience at Los Angeles' famed Record Plant Studios. It was broadcast live on KMET-FM and has previously only been available in bootleg form. Compared to the Dan's signature studio polish, this set, while impeccably performed, is a bit unbalanced and contains some sonic flaws that might turn some listeners off. However, it would be a shame to miss this spirited set from the Pretzel Logic era; Going Mobile is notable not only for its casual offhand vibe and predictably heroic musicianship, but for the inclusion of a couple of prime rarities in the form of the previously unreleased "Your Gold Teeth II" and "This All Too Mobile Home." If the drums are a bit too up-front and the vocals occasionally dip in and out, the set itself is a flawless document of a great American band in its heyday.