24 de mar de 2015

Booker T. & The MG's


American instrumental rhythm & blues and soul combo, formed 1962 in Memphis, Tennessee. Best remembered as the in-house backing band of the Stax record label. The band’s name is a combination of organist Booker T. Jones’s first names and the acronym for “Memphis Group”, MG. Other members were Al Jackson Jr. (drums), Steve Cropper (guitar), and Lewis Steinberg (bass guitar) who was replaced by Donald “Duck” Dunn in 1963.






Melting Pot is a 1971 studio album recorded by Booker T. & the M.G.'s for Stax Records. It is the last album to feature the group's classic lineup of Jones, Cropper, Dunn, and Jackson, and featured longer jam-oriented songs for the first time on an MG's album. 

The review in Rolling Stone magazine was very positive, concluding in its final paragraph:

"Altogether, as an album, it works really well, with the group's customary taste and precision balanced against a new looseness and a return to earlier, funky playing patterns. That's more than enough to make it the best Booker T. album in some time, the Memphis Gas of the Year, and a Major Rock Event for everyone."







22 de mar de 2015

Jack Bruce & Robin Trower


Two legends, one hour of fearsome axe-wielding! 

Essa é uma parceria que sempre teve tudo para dar certo. O escocês Jack Bruce teve importantíssimo papel na criação do blues rock (e depois, do hard rock e do heavy metal) inglês, tendo participado do Blues Incorporated (de Alexis Korner) e do Graham Bond Organisation, bandas nas quais tocou com o baterista Ginger Baker, que viria a ser seu parceiro no Cream algum tempo depois. Tocou também no John Mayall’s Bluesbreakers, onde conheceu o guitarrista Eric Clapton, que completaria a formação do Cream. Antes mesmo de montar o chamado “primeiro dos supergrupos”, teve tempo ainda de participar da banda do tecladista Manfred Mann, ou seja, esteve envolvido com o “crème de la crème” da cena musical inglesa dos anos 60. Com o Cream, que teve carreira tão meteórica quanto avassaladora, simplesmente revolucionou o rock, abrindo espaço para os deliciosos excessos dos anos vindouros. Depois disso, lançou uma penca de discos solo brilhantes (dos 3 membros do Cream, era na minha singela opinião o mais criativo e talentoso), e formou outros trios memoráveis como o West, Bruce & Laing (com os membros do Mountain Leslie West e Corky Laing) e o BBM (que incluía Gary Moore e Ginger Baker). Já o inglês Robin Trower não ficou muito atrás. Tendo integrado no final dos anos 60 o Procol Harum, participou dos álbuns que forjaram o rock progressivo, do qual o Harum é certamente um dos pioneiros (junto a The Moody Blues, The Nice e, um pouco depois, o King Crimson). Com eles, gravou os discos mais clássicos, tendo saído da banda em 1972. A partir daí, lançou uma série de discos sob a égide de Robin Trower Band, dentre os quais se destacou “Bridge of Sighs”, de 1974. Seu timbre na guitarra (obviamente, uma Fender Stratocaster) foi sempre comparado ao de Jimi Hendrix, sendo até mesmo chamado em determinados pontos de sua carreira de “o Hendrix branco”. De fato, sua habilidade em tirar timbres recheados de influências combinando blues e psicodelismo tinham, e têm, muito do estilo de Jimi. Os caminhos de Trower e Bruce se juntaram pela primeira vez no começo dos anos 80, quando se reuniram para gravar o disco “B.L.T.”, que apresentava um power trio completado pelo baterista Bill Lordan. Um disco muito bom, apesar da sonoridade (mais tarde, datada) que viria a vingar nos anos 80 já estar dando suas mostras no trabalho. Na sequência, lançaram “Truce” em 1982, trocando o baterista por Reg Isidore, sendo que nesse segundo disco não conseguiram manter o mesmo pique, e a reação da crítica e do público não foi das mais positivas. Afinal, seu estilo incorporou elementos de funk e soul, com mais “groove”, o que fugia ao som original dos envolvidos. 


De qualquer forma, em 2008 os dois se reencontraram, mais de 25 anos depois, para gravar mais um trabalho. Após os graves problemas de saúde que enfrentou em 2003/2004, quando sofreu um transplante de fígado e quase faleceu, Jack Bruce parece que embarcou num ritmo de extrema produtividade e criatividade. Após uma breve reunião do Cream (e boatos sobre outra reunião, do West, Bruce & Laing), Bruce e Trower finalmente entraram no estúdio e registraram o ótimo “Seven Moons”, junto ao baterista Gary Husband, antigo companheiro de Bruce em outras empreitadas. Sem sombra de dúvidas, o melhor disco gravado pela dupla até agora. Legitimamente um trabalho cooperativo, o talento de ambos transborda de forma totalmente balanceada no decorrer do álbum. É nitidamente um trabalho lançado sem pressões de gravadoras, sem a necessidade de “ter que vender”. Todas as faixas são boas, alternando momentos mais rápidos, “uptempo”, com outros mais arrastados, “midtempo”, e ainda algumas baladas introspectivas e reflexivas compostas em tom menor, com letras certamente influenciadas pelo momento atual de Bruce, que as canta de forma praticamente confessional. Este é o caso de, por exemplo, “Just Another Day” e “I’m Home”. É interessante notar que Jack não utilizou, como de praxe, as letras de Pete Brown, seu parceiro de longa data. O mesmo pode ser dito de Robin, que tem em Keith Reid seu principal letrista. No presente caso, tal trabalho ficou também a cargo da dupla Bruce/Trower. Os solos e bases de Trower no disco são de uma precisão absurda, com notas na medida certa e distorção idem. Poucos guitarristas hoje em dia tocam com tanta classe, unindo originalidade e personalidade com as modernas técnicas de gravação, num estilo ao mesmo tempo limpo e com boas doses de efeitos. Em “Close To Me”, o uso do pedal wah-wah chega a emocionar, um toque de mestre. O som do baixo está um pouco mais no fundo do que de costume, em se tratando de um disco com participação de Jack, mas mesmo assim há ótimas passagens. A bateria de Husband, por sua vez, está excelente como sempre, mesmo sem ter grande destaque específico. Não há músicas de destaque, pois o álbum é muito coeso, todo no mesmo (alto) nível. Para escolher duas, posso citar a empolgante “The Last Door” e o bluesão “Bad Case Of Celebrity”, que são daquelas de arrepiar. O que talvez faça falta no disco, como um todo, sejam algumas partes com solos estendidos, tradicionais dos trabalhos pregressos de ambos, mas o que parece é que provavelmente tenham deixado isso para as apresentações ao vivo, que por sinal já estão sendo marcadas agora em 2009 (vamos torcer para que sejam devidamente registradas em vídeo!). Dessa forma, o enfoque foi nas composições, e nisso eles se saíram muito bem. Enfim, não apenas um disco de rock clássico, mas acima de tudo um disco de rock feito com muita classe.

Tracklist:
1. Seven Moons
2. Lives Of Clay
3. Distant Places Of The Heart
4. She's Not The One
5. So Far To Yesterday
6. Just Another Day
7. Perfect Place
8. The Last Door
9. Bad Case Of Celebrity
10. Come To Me
11. I'm Home

Websites:
http://www. jackbruce.com
http://www.trowerpower.com







21 de mar de 2015

RUSH TRIBUTE (1996)




Working Man : Sebastian Bach - Lead Vocals; Jake E. Lee - Lead Guitar; Mike Portnoy - Drums
     Bylly Sheehan - Bass; Brendt Allman - Rhythm Guitar

By-Tor and the Snow Dog : James LaBrie - Lead Vocals; Jake E. Lee - Lead Guitar; Mike Portnoy - Drums; Bylly Sheehan - Bass; Brendt Allman - Rhythm Guitar

Analog Kid : Jack Russel - Lead Vocals; Michael Romeo - Lead Guitar; Mike Pinnella - Keyboards
     Mike Portnoy - Drums; Billy Sheehan - Bass; Brendt Allman - Rhythm Guitar

The Trees : Mike Baker - Lead Vocals; Brendt Allman - Lead and Rhythm Guitar, Mike Portnoy - Drums; Billy Sheehan - Bass; Chris Ingles - Piano; Gary Wehrkamp - Keyboards

La Villa Strangiato: Steve Morse - Classical Guitar & main solo; Mike Portnoy - Drums; Billy Sheehan - Bass; Brendt Allman/Devin Townsent - Rhythm Guitar; James Murphy - ending Guitar solo and Keyboards

Mission : Eric Martin - Lead Vocals; Brad Kaiser - Drums; Robert Berry - Lead Guitar, Bass, Rhythm Guitar, Keyboards, Background Vocals

Anthem: Mark Slaughter - Lead Vocals; George Lynch - Lead Guitar; Deen Castronovo - Drums
     James Murphy - Rhythm Guitar; Stuart Hamm - Bass

Jacob's Ladder: sebastian Bach - Lead Vocals; John Petrucci - Lead Guitar; Matt Guillory - Keyboards; Mike Portnoy - Drums; Billy Sheehan - Bass; Brendt Allman - Rhythm Guitar

Closer to the Heart: Performed by Fates Warning; Ray Alder - Lead Vocals; Jim Matheos - Lead Guitar; Mark Zonder - Drums; Joey Vera - Bass

Natural Science: Devin Townsent - Leav Vocals; James Murphy - Lead Guitar; Matt Guillory - Keyboards; Deen Castronovo - Drums; James Murphy - Rhythm Guitar; Stuart Hamm - Bass; Devin Townsent - Second lead guitar

YYZ: James Murphy - Lead and Rhythm Guitar; Matt Guillory - Keyboards; Deen Castronovo - Drums; Stuart Hamm - Bass

Red Barchetta: James LaBrie - Lead Vocals; Steve Morse - Lead Guitar; Richard Chycki - Rhythm Guitars; Sean Malone - Bass; Sean Reinert - Drums; James Murphy - Rhythm Guitar and Keyboards; Devin Townsent - Rhythm Guitar

Freewill :Gregoor van der Loo - Lead Vocals; Marcel Coenen - Lead Guitar; Trent Gardner - Keyboards; Jeff Brockman - Drums; Carl Cadden-James - Bass


18 de mar de 2015

Smith...- Rock


Smith was an American rock band, formed in Los Angeles, California, in 1969. They had a blues-based sound and scored a Top 5 hit in 1969 with a cover of the Burt Bacharach song "Baby It's You", featuring Gayle McCormick on lead vocals. This disc sold over one million copies between July and October 1969, out-charted popular versions by the Beatles and the Shirelles, and received a gold record awarded by the R.I.A.A. The group evolved from "The Smiths" (not to be confused with later English band "The Smiths"), which featured two of the same members, and had attempted a hit single with "Now I Taste The Tears", produced and arranged by Ron Budnik. "Tears" was a brooding, foreboding sounding record that didn't chart well. When the band didn't succeed, McCormick, who had started her career singing songs by Tina Turner, Etta James and others, was added as a front woman and lead vocalist. The group were then discovered by 1960s rocker Del Shannon in a nightclub in Los Angeles. Shannon arranged "Baby It's You" for the group and got them signed to the ABC-Dunhill label. 


Smith released an album titled A Group Called Smith, which spent 11 weeks in the Top 40 album listings of the since-called Billboard 200 record chart. On the album, vocals were split amongst Rich Cliburn, Jerry Carter and McCormick. Smith recorded a second album titled Minus-Plus with lesser success since it only reached #74. Smith's version of "The Weight" was included on the epochal Easy Rider soundtrack because The Band's version, which appeared in the movie, was, because of contractual reasons, unavailable . Most of their material consisted of covers of popular rock and R&B tunes. The band's singles "Take a Look Around" and "What Am I Gonna Do" reached the charts, but the group broke up after two albums. The band's hit "Baby It's You" was featured in Quentin Tarantino's Grindhouse film, Death Proof.

Palhinha:







15 de mar de 2015

Zoot Sims - Jazz...


John Haley "Zoot" Sims (October 29, 1925 - March 23, 1985) was an American jazz saxophonist, playing mainly tenor and soprano. n the 1950s and '60s, Sims had a long, successful partnership as co-leader of a quintet with Al Cohn, which recorded under the name "Al and Zoot". That group was a favorite at New York City's Half Note Club. Always fond of the higher register of the tenor sax, Zoot also liked to play alto and late in his career added the soprano saxophone to his performances, while recording a series of albums for the Pablo Records label of impresario Norman Granz. Zoot also played on some of Jack Kerouac's recordings. Sims acquired the nickname "Zoot" early in his career while he was in the Kenny Baker band in California. The name was later appropriated for a sax-playing Muppet. Zoot Sims died in New York City of cancer on March 23, 1985,and is buried in Oak Hill Cemetery, Nyack, New York


Palhinha:







12 de mar de 2015

Snakeye - Canada Rock

Formed under the leadership of Barkhouse ( Langley Beach Crowd) in 1971 with White ( Pepper Tree), Argent (Pepper Tree) and Umphrie (Melody Fair).This line-up recorded Keith Jollimore produced "Blue Feelin'" album which was recorded at Toronto's Thunder Sound but not released until 1975. Barkhouse co-wrote all songs with various members and wrote all the lyrics himself. In 1973 "Choked Up" single was released on United Artists with horn section added to it where the album version had not. Over the next few years several personnel changes occurred . Umphrie was replaced by Gordon Tucker (Double Blind) for a time but later returned. In June of 1974 Brown (Juckatar) and Upshaw (Dogrib) replaced White and Argent. When Umphrie left for a second time in 1975 he was replaced by Russell (Shawnasae, Melody Fair). MacKinnon (Sun Machine) joined in 1976 on keyboards replacing Brown. In July 1976 Upshaw left and joined the Halifax Police Department. He was replaced by John Lake (Sandy Road). Lake had to leave the band because of personal commitments and was replaced by Torreson (Taboo) until his return. When MacKinnon returned to Sun Machine, Amherst guitarist Moore (McCreek) was brought in as his replacement. 


The Barkhouse produced "Shape Up Or Ship Out" was recorded at Solar Audio between March and September of 1979 and released the following year. Lake, Torreson and Moore all played on the album. Two songs "Believe Me Lady" and "See The Sun" that were on the first album were re-recorded for this album. Again, all songs were band originals. The band toured Quebec, Ontario and the Atlantic Provinces several times before they broke up in 1982.  Barkhouse relocated to Toronto for several years before returning to Halifax in the mid 90's and reunited with Lake to form Barkhouse, Lake and Cook. In 1999 he brought back the name Snakeye when Cook was replaced by former Minglewood Band bassist Donnie Hann. Upshaw was one of the founding members of the police rock and roll band "Blue Thunder" which has recorded an album and made several videos urging young people not to use drugs, to stay in school and not to drink and drive. 

Written from conversations with: Jim Rice, Richard Bonner and Cedric Upshaw.

palhinha:





01. See The Sun
02. Blue Feelin’
03. Choked Up
04. Something To Believe In
05. I’m Coming Home
06. Woman in Love Is A Woman Insane
07. Someone
08. Believe Me Lady
09. I Can Stand
10. Boogaty Shoot



9 de mar de 2015

Fable - Hard Rock from Canada...


Once upon a time, 3 Canadian musicians figured that they had invented their own brand of ROCK. These courageous artists decided to follow their instincts and spread their musical tale to all those who would listen. And thus, the rock band FABLE was formed by individuals coming from such separate regions of Canada as Victoria and Toronto. FABLE immediately found itself attracted to the "play it loud soundtrack" that accompanies peoples' lives who tend to live and die by this score. Screeching wah-wah guitars, thumping drums and throbbing bass notes became the driving force behind this Canadian power trio. Also, yielding to their audiences' requests for a recording, FABLE went into the studio and created a musical response for their adoring fans. Thus, the album Get the "L" outta here was born on LP and CD. The title of the album reflects the indirect encouragement that FABLE received from club owners, booking agents and even family members. FABLE's Get the "L" outta here represents a brilliant effort by the band and the album is dedicated to all those music lovers who appreciate and enjoy that 70's Canadian primeval Rock sound. Previous to Fable, however, there existed a group called HELL HOUND. Following the latest stage of FABLE's musical history, TASK FORCE came into being. Throughout these three bands, two musicians remained the core force: Glen Politano and Gary Anderson.












6 de mar de 2015

Caesar Frazier - Fusion Jazz


Hailing from Indianapolis, Ceasar Frazier was a funky soul-jazz organist who recorded several albums for the Eastbound/Westbound label family during the '70s. First making his mark in 1972 with one of saxman Lou Donaldson's funkier bands, Frazier cut his first album Hail Ceasar! later that year, which featured musicians commonly associated with the Prestige label's jazz-funk outings -- Melvin Sparks (guitar), Houston Person (tenor), and Idris Muhammad (drums). The follow-up, Ceasar Frazier '75, featured the likes of guitarist Cornell Dupree and drummer Bernard "Pretty" Purdie; the album's key track, "Funk It Down," was later sampled by jazz-obsessed hip-hoppers Gang Starr for their "Ex-Girl to the Next Girl." In 1978, Frazier resurfaced as a smooth soul/disco vocalist with the LP Another Life, and while he showed some affinity for the idiom, it failed to reinvent him as a commercial force outside the jazz-funk marketplace. In addition to recording on his own, Frazier also played keyboards in Marvin Gaye's backing band. Thanks to the rare-groove revival, his rare original LPs now fetch generous sums on the collectors' market. ~ Steve Huey,

Palhinha..




3 de mar de 2015

Fabiano Orchestra - Jazz Fusion from French West Indies,


Coming out of the French West Indies, a jazz fusion group known to the world as Fibiano Orchestra and their magnum opus, Butterfly Island (also known as their “Holy Grail” album). This record carries within its grooves, an exploritory journey into the world. The Orchestra masterfully displayes their instrumental control that is matched with moments of beautiful vocal chants, that are equally as powerful. “Pointe Des Châteaux,” “Fo Ca Change,” and “Creole” are just a few of the gems on this record, pressed into a 180 gram vinyl. The good people at Superfly Records are masters of jazz reissues and the addition of Fabiano Orchestra to their list is a good one. This is a very limited run of only 1,000 and will become instantly collectible since the original copies of this record are extremely difficult to track down. Order your copy here! http://soundcolourvibration.com/2013/08/04/fabiano-orchestra-butterfly-island/ )


Palhinha?






Splendid Superfly reissue of one of the rarest and most amazing Jazz Fusion records to have been produced in the French West Indies, includes the Spiritual/fusion masterpiece 'pointe des chateaux', the spacy classic 'west indian meditation' and the hipnotic gwo ka tune 'creole', a truly unique LP, one of those that you always pull out when you feel like listening to something different, features world class musicians like Clifford Jordan, Hannibal Peterson or West Indian legend Velo - 180grs quality pressing with beautiful hard cardboard gatefold cover, set to become collectible as the original is impossible to find, strictly limited to 1000 copies, http://label.superflyrecords.com/release/fabiano-orchestra-butterfly-island/116967796/ )


28 de fev de 2015

The Spirit of John Morgan


Spirit of John Morgan was an English progressive rock band which played crossover prog blended with folk, blues, sould r'n'b & pop influences. 

Line-up:
John Morgan (organ, piano, vocals), 
Mick Walter (drums, percussion, vocals), 
Don "Fagin" Whitaker (lead guitar, vocals), 
Phil Shutt [Phil Curtis] (bass), 
Trevor Thoms [Trevor Thomas, Trevor James] (guitar)
(Phil Shutt later played bass in Arthur Brown's Kingdom Come band)


Palhinha...





Spirit of John Morgan (1969) - good mix of psycedelic rock, heavy blues, some folk and early british progressive rock (especially great John Morgan's organ). surely their best album. Very consistent. (Grham Bond's song "I Want You" from this album later was again covered by retro prog Italian band called "Standarte" in their s/t album. Also includes "Honky Tonk Train Blues".


25 de fev de 2015

ADITUS!!!!! (Fusion Jazz)


Formed in early 70s with a heavy Symphonic-rock influence very popular in those years. Later in the 80s the band moved to a Jazz-rock fusion sound that drove them to the Pop-rock style that is until today their trademark sound. The band has released 14 albums and a first single in 1976. The band is still very popular in the Venezuelan musical scene. Jazz-funk fans will enjoy this loungey Venezuelan LP from Aditus.




23 de fev de 2015

CAIN - Hard rock


Cain was a hard rocking Twin Cities band that tried to take on the music industry in the mid-seventies. Their two small label albums were serious hard rock guitar extravaganzas, but with great fun original tunes, raucous lead vocals, and sweet backing vocals. Their influences ranged from the guitar of Deep Purple and Robin Trower, the majesty of Queen, and the vocal harmonies of Styx
Cain's roots went back a number of years. In 1969, the Twin Cities band The Bananas went through some personnel changes. Guitarist Lloyd Forsberg, bassist Dave Elmeer, and keyboardist Al Dworsky brought in Jiggs Lee on vocals and Mike Mlazgar on drums. Jiggs (from the Grasshoppers) and Mike (from Crow!) replaced Jim Offerman and Joe Soucheray. A name change was desired and Lloyd came up with "Cain." Like many local bands, Cain performed at teen clubs and school dances. Eventually, they worked their way up to college shows and started to gain a "heavy" reputation outside of the Twin Cities. Along the way, Mike Mlazgar was replaced by Tom Osfar and Al Dworsky was replaced by Jerry Magee. 



Of course, Cain started writing their own material. The popular ballad "Katy" was written by their next keyboardist, Chas Carlson. Their tours took them to neighboring states with gigs in Chicago, Milwaukee, and Carbondale. They worked clubs with other Midwest bands like Styx, Kansas, and Cheap Trick. More personnel changes occurred before they went in to the studio to record their first album in 1975: Tom Osfar was replaced by Kevin DeRemer (from the Everett James Band) and keyboards were dropped from the line-up entirely.  Their first hard rocking album was titled "A Pound of Flesh" (a reference to Shakespeare's "The Merchant of Venice"). It's not known what the band thought of the cover image that ASI Records' marketing department created. 
The album's guitar sound brings to mind Richie Blackmore; the main riff of the album's opener "Queen of the Night" is in the same vein as Deep Purple's "Burn." Lloyd's Stratocaster sound ventures into Robin-Trower-land on "Badside." The album features an ode to girlie magazines on "If the Right Don't Get You the Left One Will," a big power ballad with "Katy," and an epic rocker with "All My Life." 



They supported the album with tours that took them as far as Texas. 
In 1977, the second (and last) album in their ASI contract, "Stinger," was released. This album was just as hard rocking as the first, but the song writing really advanced. The Queen influences come out strong on "Welcome to the Dance" and the title track "Stinger" (which was a big live favorite when Jiggs broke out the burning book!). The album's Big Power Ballad was "The Minstrel Song." 
A third album was only half completed in 1978 when disco and other pressures took its toll on the group. Dave and Jiggs left the group, while Lloyd and Kevin continued on as Cain for another year before calling it quits. 





Line-up:
Jiggs Lee - vocals, percussion
Dave Elmeer - bass, acoustic, keyboards
Lloyd Forsberg - electric guitar
Kevin DeRemer - drums


20 de fev de 2015

Chaplin Harness


Chaplin Harness album shows how the band have a feeling for a good balance between longer jams with blues and rock in it ; also within some improvisations they kept the same structural melodic-rhythmical fundament as what makes blues-rock songs so groovy, so that their sound succeeds and remains strong from start to finish. The drum part thus continues its interesting rhythmic fundaments within the improvisations and also the electric guitar as well as the organ keeps this tension intact. There’s an East Coast feeling involved with a hippie and blues touch but occasionally this is performed as if this also breaks out of its stylistic smoothness. The rhythmic guitar for instance plays in a way that it recalls nearly funky elements without ever using this style element and the piano plays more often as if being late night jazz bar improvisations. And also, it is as if they have something of the biker road music smoothness within their use of rhythms and drives. 


The lead singer sings either with a more screaming force, in the late 60s American tradition of trying to add extra power in the voice to create a different white blues alternative by singing more in a black way, elsewhere he’s a more hippie voice while there are added occasional backing vocals arrangements. The organ is great when leading and improvising, and when it is not, it takes over the part like a rhythm guitar (like on the great “3/4 Plaything”, also interesting for its great rhythmic fundament). Less guitar solos are featured, but there are some, mostly in a bluesy fashion. I also need to mention a few other extraordinary ideas, like more strange contemporary almost avant-garde (-for a band with a rather bluesy rock fundament especially-) jazzy chords on piano on an interesting smooth rhythm, still within the east coast context, on “Stitch”.  The bass lines are mostly mixed in a bit softly, but “3/4 Plaything” also featured a bass lead solo (each one of the instruments also had one). Despite some vinyl distortion in the high notes in beginning of the recording, the label managed to deliver an acceptable sound quality of this rather unknown band’s only acetate copy, after a limited vinyl reissue of the same recordings on Void records some four years ago. The band wasn’t entirely unknown at the time. They have played with the Nazz as well as with many other big names on the road. Guitarist Rick Lannaconne became more know within jazz circles. 








18 de fev de 2015

Zoppo Trump - Prog Rock


German early 1970's progressive band from Dortmund. 
The key players were Nicky Gebhard (born in Berlin) a self-taught drummer, who started in jazz-rock with the Günther Boas Band, and one Reimund Eberth, a blues guitarist and singer.








16 de fev de 2015

Principal Edwards Magic Theater


Principal Edwards Magic Theatre was a 14-member communal performance art collective in the United Kingdom made up of musicians, poets, dancers, and sound and lighting technicians.The collective was originally formed at the University of Exeter in the late 1960s, and then was later based at farmhouse in Kettering, Northamptonshire as a commune after educational studies were causing conflict with their musical activities. The core of the group was Belinda Borquin, David Jones, and Root Cartwright backed by several musicians and dancers.


The group was signed to John Peel's Dandelion Records after he witnessed their first gig, and their single, "The Ballad of a Big Girl Now", was released in 1969. Following the single was the release (under the same label) of two albums - Soundtrack and The Asmoto Running Band - the second of which was produced by Nick Mason of Pink Floyd. During this time, the group opened for several acts including Pink Floyd, Led Zeppelin, and Fleetwood Mac. The sometimes whimsical, sometimes epic (verging on progressive rock) writing style of guitarist Root Cartwright, was paired with the eclectic lyrical contributions of David Jones, Gillian Hadley and Monica Nettles, and was performed by vocalist Vivienne McAuliffe. The violin and recorders of Bindy Bourquin were another key element of the group's trademark sound. Lyn Edwards, originally on bongos, took over on the drumkit. The group disbanded in December 1971, but a new band with a smaller nucleus (including new bassist Richard Jones from Climax Blues Band) and a name-change to, simply, Principal Edwards, they recorded a few new singles and a third album called Round One for Deram Records. Most of the Deram recordings were also produced by Nick Mason

.