Larry Jon Wilson (October 7, 1940 – June 21, 2010) was an American country singer, guitarist and musician. He recorded "Through the Eyes of Little Children" and "I Betcha Heaven's on a Dirt Road". orn in Swainsboro, Georgia, Wilson picked up the guitar and taught himself how to play. In 1975, he released his debut album New Beginnings. Three more albums on the Monument record label imprint of CBS Records followed, Let Me Sing My Song to You (1976), Loose Change (1977), and The Sojourner (1979).
Despite Wilson's accolades and fans, no hit record emerged. Wilson left the music industry in 1980. He returned in the late 1980s when other songwriters encouraged him to attend the Frank Brown International Songwriter's Festival in Perdido Key, Florida. He began touring again in 1989, and by 2003 still accepted occasional engagements. Wilson remained devoted to his music, rather than to the marketplace. Wilson appears in the documentary film Heartworn Highways recorded 1975–1976, where he is filmed recording the song "Ohoopee River Bottomland". In 2008, Sony BMG released a new Wilson album, after a thirty year hiatus from recording. In 2009, Drag City re-released the album in the US.
Wilson died, following a stroke in June 2010, at the age of 69.
Harmonica Shah (born Thaddeus Hall, March 31, 1946, Oakland, California) is an American Detroit and electric blues harmonicist and singer. His playing was influenced by Junior Wells, Jimmy Reed, Little Walter, Lazy Lester, and Little Sonny. Born in California, Shah also spent time in Somerville, Texas, with his blues harmonica and guitar playing grandfather, Sam Dawson. Dawson had recorded for both Alan Lomax and Duke Records.His mother, a beautician, encouraged him to be a salesman for Jet magazine in the latter part of the 1950s. This allowed Shah access to Oakland's bars and clubs, where he heard musicians such as Lowell Fulson, Jimmy McCracklin, Juke Boy Bonner and Big Mama Thornton.
Shah told Living Blues magazine that his grandfather's passion for the blues inspired him. "Well see I picked it up from him, he'd be out in the fields singin' all that (sings in a slow moan) 'Tell me how long, whoa, tell me how long it's been since you've been away from home' Well, that's raw! That's a big damn difference from 'Good Golly Miss Molly'". He moved to Detroit in 1967, and worked for Ford Motors for fifteen years. Shah bought himself a cheap harmonica in 1976 and, while operating as a taxicab driver, Shah was introduced to local blues jam sessions. "Hell, that was it, no turning back then", Shah recalled.
He has toured across the United States, as well as in Europe, Russia, Japan and Australia. Closer to his roots, Shah still occasionally performs for free at John's Carpet House in East Detroit. He legally changed his birth name to Seward Shah.
Harmonica Shah – That’s Raw The Detroit Sessions Volume One (feat. Howard Glazer)
Harmonica Shah – Raw and Acoustic The Detroit Sessions Volume Two (feat. Howard Glazer)
"Please note: This image is a general representation of the album cover, but the actual product may differ slightly in terms of color shading, logo placement, borders, or other small details. If the item offered is a used, second-hand item, please note that there may be some cosmetic differences as well."
Um dos ombudsmans desta alcatéia, o irmãozinho Celso Loos me acorda um dia gritando na porta da caverna:
"Dead que porra de disco é esse que nem na discografia do cara aparece?????"
Cara, como tem maluco nessa floresta....os caras nem dormem direito e ainda não deixam os que vivem mais a noite cochilar um pouco (apesar que já passava do meio dia eu acho, afinal lobos não usam relógio) e ainda por cima encanam com uma coisa que só na cabeça doida deles tem algum significado.
Mas vai que o camarada teve um sonho ou uma visão e tal, aí tem que ver qualé prq senão vc não tem mais sossego,rs.
E nessas peguei a encomenda, um papel riscado com um nome e uma observação que depois me enviaria o link!!!!!
Ai meu saquinho, como é dura a vida de um lobo sem juízo, mas ao mesmo tempo é isso que faz o sangue pulsar dentro das veias e a abertura é só pra chamar a atenção pra mais um do Buddy considerado obscuro, raro ou sei lá o quê e até a imagem do álbum tem observação e deixei como encontrei; obscuro.....é uma palavra bem interessante pra um cara como o Buddy não acham?
Tocou com os melhores, foi um dos melhores e ainda é reverenciado no mundo todo, mas as tais majors não soltam o material do cara, não dão e não emprestam e as que vendem é a preço de ouro sem nenhuma informação ou o que quer que o valha mostrando total desrespeito pelo artista e sua obra e por isso teimoso que sou (maluco que sou diria meu irmãozinho Raul,rs) insisto e tá aí mais um do Buddy Miles que não roda por aí prq só tem aqui,aí pai do céu ficar acordado dá nisso até rima quer inventar.
Baixem com fé e logo, aproveitem como se deve e se possível espalhem com rapidez prq a alcatéia adverte: "Este som faz muito bem pra alma", valeu Celso."Did not chart
Obscure album by Buddy Miles for the Tulsa-based T. Town label, released in 1977. After the synth-heavy 'More Miles Per Gallon', and the somewhat better 'Bicentennial Gathering' for Casablanca, this LP is a breathe of fresh air: low-fi production, raw and funky. Actually has some 'meep meeps' in the mix.
More to come on this rarity...
Singles from the LP: - "Roadrunner Stomp" b/w "I Love You More and More"
Buddy Miles - RoadRunner
Data de lançamento:1977
Gravadora:T Town RecordsSinopse
Produced by: Buddy Miles and Monty Stark Co Produced By: John Stevenson and Jim Paris Associate Producer: "The RoadRunners" Director: Jim Paris Engineer: Monty Stark Mixers: Monty Stark, Buddy Miles, Jim Paris Contractor: Jim Paris Rhythm Leader: Buddy Miles Horns Leader: Tobie "Big Homy" Wynn Horns Arranged By: Buddy Miles and Rusty Higgins Song Arrangement by: Buddy Miles Design Art Direction and Illustration: Richard OlesonMusician Credits:
Richard Cole Richard Fortune Rusty Higgins Gary Hoppy Hodges Peter Hysen Ron Johnson Gary Johnston Fitzpatrick Magee Buddy Miles John Murray Eddie Reddick John Stevenson Nah Wah Watsow Tobie Wynn Jimmy McKinney
Caros amigos, desde que o Dead nos deixou, o Blog Som Mutante não possui administrador. O Dead deixou alguns colaboradores, que conseguem fazer posts, mas não não têm permissão para alterar configurações, tais como, aprovar mensagens, ou incluir/excluir blogs...
Por isso, vamos usar este post para informar que alguns blogs alteraram o endereço:
Antes que me crucifiquem, peguei sim um texto que achei o mais completo sobre este trabalho e como dizem: copiei e colei!!!
Falar o quê mais disso?
É o típico baixar e assistir, quem já viu que bem, eu tinha em video cassete e claro que perdi mofada em algum canto da minha vida e mais uma vez o Omar repôs meu estoque de shows, e com a ajuda primorosa do Poucosiso, aqui está em qualidade 100% de aúdio e vídeo este registro que considero talvez o melhor que os dois tenham conseguido alcançar, tudo devidamente nos seus lugares e harmônicamente perfeito.
Divirtam-se, enquanto durar o link prq subir vídeos é mais dificil que álbuns e dá no saco qdo caem logo, mas é a vida, estão caindo blogs inteiros, quem dirá um link,rs
Se algum dia entrarem aqui e não acharem o SM, não liguem, o blogger deletou, aí iremos pra outro lugar, mas só na hora e se ocorrer será dado um novo endereço através de amigos, senão derrubam os dois é claro,rs
Mas esperamos estar juntos ainda em 2010, aos bons e queridos sempre aquele bj que gosto de dar sim prq bj só se dá em quem se ama e um abraço de coração, deste lobo que vai ficando mais velho e mais emotivo; estas datas pra mim são meramente comerciais, mas tb são uma oportunidade de agradecer a todos que estiveram por aqui durante mais um ano, ajudando, criticando, elogiando, nos tornando melhores a cada dia.
Sejam felizes sempre.
(SEGUE O ÁLBUM, POIS O VÍDEO DANÇOU HÁ MUITO TEMPO)
"Kashmir" was nominated for a 1996 Grammy Award for Best Rock Performance By A Duo Or Group With Vocal.
In this age of unplugged it was inevitable that Led Zeppelin would return in some shape or form to reclaim a legacy which fused folky ...musings with harder leanings. On NO QUARTER, Robert Plant and Jimmy Page are joined by a core group of musicians featuring the Cure's Porl Thompson, The London Metropolitan Orchestra, and a multitude of Middle Eastern musicians playing exotic instruments.
The result is a fascinating blend of Zeppelin classics and three new songs. "Nobody's Fault But Mine" and "Friends" are given a slightly altered interpretation while the more recent "Yallah," "City Don't Cry," and "Wonderful One" revel in multicultural trappings. "Yallah" and "City Don't Cry" are both steeped in chanting in a foreign tongue while "Wonderful One" sounds like an outtake from HOUSES OF THE HOLY.
Robert Plant and Jimmy Page's world music approach casts a positive sheen on the remainder of this collection of Zeppelin songs which include exotic versions of "The Battle Of Evermore," "Gallows Pole," and "Kashmir."
Original Import pressing features a track not available on US Reissued Remastered version, 'Thank You'. The song, 'Yallah' as titled here on the original version was also renamed for the US reissues, 'The Truth Explodes'. This Import version also features the original artwork.
Recorded in Marrakesh, Morocco; Bron-Y-Aur, Wales; London, England.
Personnel includes: Jimmy Page (acoustic & electric guitars, mandolin) Robert Plant Najma Akhtar (vocals) Porl Thompson (guitar, banjo) Jim Sutherland (mandolin, bodhran) Nigel Eaton (hurdy gurdy) Ed Shearmur (Hammond B-3) Charlie Jones (bass, percussion) Michael Lee (drums, percussion); Hossam Ramzy, Ibrahim Abdel Khaliq (percussion) Abdel Salam Kheir (oud) London Metropolitan Orchestra, Hassan El Arfaoui, El Mahjoub El Mathoun, Abdelhak Eddahmane.Músicas: Nobody's Fault But Mine Thank You No Quarter Friends The Truth Explodes (aka Yallah) The Rain Song* City Don't Cry Since I've Been Loving You The Battle Of Evermore Wonderful One Wah Wah* That's The Way Gallows Pole Four Sticks Kashmir
Now this is more like it -- Tony McPhee alone in his home studio with just his Yamaha FG180 on the first six tracks, doing whatever comes to mind. Mostly, as the title suggests, he plays some nimble slide guitar through some appropriately raspy-voiced renditions of "Reformed Man," "Mean Disposition," "Tell Me Baby," and the obviously autobiographical "Hooker & the Hogs." The other nine songs were cut solo by McPhee in concert during 1993, and he comes off even better there, his playing even more nimble and his singing far more expressive on songs like Son House's "Death Letter," Muddy Waters' "I Just Can't Be Satisfied," and Howlin' Wolf's "Down In the Bottom" and "No Place To Go," among others. The fidelity on the live stuff, cut with a Yamaha APX-6 in Vienna, is also excellent.
This is the definitive biography and discography of Tony McPhee, and the complete history of his legendary band The Groundhogs. Fully illustrated with several previously unpublished photographs, Eccentric Man is the authoritative account of one of the most important and influential British musicians of the last 50 years. A pioneer of rhythm and blues in the UK, McPhee learnt his craft in the 1960s backing major American blues artists (including John Lee Hooker, Jimmy Reed and Little Walter) during their British tours. McPhee was one of a small group of outstanding British guitarists that emerged during the formative years of rock music. He developed innovative and unique styles as a guitarist, but the factors that really set him apart were his technical knowledge of electronics, constant musical experimentation and groundbreaking recording and performing techniques. In the early 1970s Tony McPhee & The Groundhogs released two classic albums, Thank Christ For The Bomb and Split, that are acknowledged as milestones in the history of rock. At this time he was hailed as "the British Hendrix" and described by Sounds in 1974 as "the definitive rock guitarist". Today he is still recording and performing, and he is recognised as a major influence by numerous musicians, including Julian Cope, Captain Sensible, Karl Hyde, Stephen Malkmus, Mark E. Smith and the record producer Jack Endino.
Joanne Shaw Taylor (born 1986, England) is a British blues guitarist and singer, who was discovered by Dave Stewart of the Eurythmics at the age of 16. The British music publication, Blues Matters!, called Taylor "the new face of the blues".
"The Dirty Truth marks Joanne Shaw Taylor’s fourth studio release and second time working with producer Jim Gaines (the first being on her studio debut some five years ago) with the goal of tapping into some of what drove White Sugar. The record plays out like what we’ve come to expect from Taylor – a heady combination of not-quite-aggressive and not-quite-mellow – but this one sounds a little closer to home for Taylor. Her songs just sort of flow off of the record naturally, almost as though they’d always been out there somewhere and Taylor merely uncovered them and made them accessible.
“Natural” is a good term to describe The Dirty Truth and Joanne Shaw Taylor’s aesthetic in general. Everything Taylor does seems to have a certain inertia to it, as though one idea gives way to the next, and to the next, until The Dirty Truth is over and you’re reaching for the “repeat” button. Joanne Taylor says that she didn’t initially set out to be a singer, and that she had a lot of insecurity regarding her voice to overcome. Strangely enough, the most captivating part of Joanne Shaw Taylor’s sound is her rasped, soulful, and absolutely effortless vocal delivery. She sort of croons in a lower register, and it sounds as though it’s no more effort for Taylor than simply breathing. Maybe this is a major contributor to the natural sound of The Dirty Truth.
The blues scene has had its eyes on Joanna Shaw Taylor for a few years now, and with good reason. Her blues-gone-rock brand of music is incredibly cohesive, and Taylor does casually what most artists strive for."
In 1976, the fortunes of Motown rebounded with six releases reaching the Top 10. Three of them reached #1, including Love Hangover by Diana Ross and Love Machine by The Miracles. It's probably fair to say that Disco gave Motown a new lease of life. This album is clearly a collection of tracks Motown felt fit the bill. My favourites here are Diana Ross (Love Hangover is an Anthem!) & Eddie Kendricks but The Supremes & The Originals are also fair tunes, if somewhat dated. Thelma Houston is a fine artist but Don't Leave Me This Way has been tainted with Hi-Energy success...
Roberts was born in Phoenix, Arizona, and began playing guitar at the age of 8. By the time he was 15 he was playing professionally locally. In 1950 he moved to Los Angeles. There, with the assistance of Jack Marshall, he began playing with musicians including Bobby Troup, Chico Hamilton and Barney Kessel. In about 1956, Bobby Troup signed him to Verve Records as a solo artist. Around that time he decided to concentrate on recording, both as a solo artist and session musician, a direction he would continue until the early 1970s. Roberts played rhythm guitar, lead guitar, bass and mandolin, in the studio and for television and movie projects, including lead guitar on the theme from The Twilight Zone, as well as the classic guitar themes in The Munsters, Bonanza, The Brady Bunch, Green Acres, Get Smart, Batman, Beverly Hillbillies, Andy Griffith, Peter Gunn, Johnny Quest, Gidget, Mannix, Lost in Space, Dragnet, Wild Wild West, Mission Impossible, The Odd Couple, and rhythm guitar on the theme from I Dream of Jeannie.
Artists Roberts backed include Georgie Auld, Peggy Lee (Fever), Eddie Cochran (Sittin' in the Balcony), Bobby Day (Rockin Robin), Jody Reynolds (Endless Sleep), Shelley Fabares (Johnny Angel), Dean Martin (Houston), The Monkees, Roy Clark, Chet Atkins, and The Electric Prunes. In 1961, Roberts designed a signature guitar which was originally produced by Epiphone. The guitar was a modified Gibson ES-175 (Epiphone is owned by Gibson and during this period Epiphone guitars were manufactured in the same factory as Gibson guitars in Kalamazoo, Michigan), with a round sound hole and a single pickup. A redesigned version was later produced by Gibson. The Howard Roberts signature was borne by two other models made by Gibson: the Howard Roberts Custom and the Howard Roberts Fusion III. In 1963, Roberts recorded Color Him Funky and H.R. Is A Dirty Guitar Player, his first two albums after signing with Capitol. Produced by Jack Marshall, they both feature the same quartet with Roberts (guitar), Chuck Berghofer (bass), Earl Palmer (drums) and Paul Bryant alternating with Burkley Kendrix on organ. Both albums were released on a single CD under the title Dirty & Funky on Randy Bachman's label Guitarchives in 1998. In all, he recorded nine albums with Capitol before signing with ABC Records/Impulse! Records.
From the late 1960s, Roberts began to focus on teaching rather than recording. He traveled around the country giving guitar seminars, and wrote several instructional books. For some years he also wrote an acclaimed column called "Jazz Improvisation" for Guitar Player magazine. Roberts developed accelerated learning concepts and techniques, which led to the founding of Playback Music Publishing and the Guitar Institute of Technology. As a co-founder of GIT, now known as the Musicians Institute, Roberts' philosophy remains an integral part of the curriculum. Roberts died of prostate cancer in Seattle, Washington on June 28, 1992. His wife Patty, also active in musical education, continued in this field after his death. Howard inspired the opening of Roberts Music Institute in Seattle, Washington, which is currently owned by his son, Jay Roberts.
Keef Hartley (Preston, Lancashire, 8 de março de 1944 - 26 de novembro de 2011) é um músico de rock e blues. Ficou famoso por liderar a banda "Keef Hartley Band". A carreira de Hartley começou como um substituto do baterista Ringo Starr para o Rory Storm and the Hurricanes, uma banda de Liverpool. Consequentemente ele tocou e gravou com o The Artwoods e, posteriormente, atingindo grande notabilidade como baterista de John Mayall, antes de formar a "The Keef Hartley Band", banda que combinava elementos do jazz, do blues e do rock and roll dentro de um som de jazz-rock parecido com o Blood, Sweat, and Tears e Chicago.
A "Keef Hartley Band" tocou no famoso Festival de Woodstock em 1969 e lançou quatro álbuns famosos, incluindo o Halfbreed e o The Battle of North West Six. Em novembro de 1974, a UK music magazine (revista britânica de música), NME, afirmou que Hartley, que esteve inativo por longos anos, desde o fim de sua banda, no começo de 1972, formara uma nova banda chamada Dog Soldier. Eles gravam um álbum homônimo em 1975. Em 2007, Hartley lançou uma autobiografia, "Halfbreed (A Rock and Roll Journey That Happened Against All The Odds)". Hartley escreveu sobre a sua vida, citando o seu crescimento em Preston, e falando também sobre a sua carreira como baterista e líder de banda. No livro fala também da aparição da "Keef Hartley Band" no famoso Festival de Woodstock em 1969. Hartley morreu em 26 de Novembro de 2011, no Royal Preston Hospital, aos 67 anos.
Tony McPhee (born Anthony Charles McPhee, 23 March 1944, at Redlands House, near Humberston, Lincolnshire) is an English blues guitarist, and founder of The Groundhogs. The Groundhogs backed Champion Jack Dupree and John Lee Hooker on UK concerts in the mid-1960s, evolving into a blues-rock trio that produced three UK Top 10 hits in the UK Albums Chart in the early 1970s. McPhee has also released many solo acoustic blues records, as well as duets with Jo Ann Kelly. He is often credited as 'Tony (TS) McPhee'.
He was dubbed TS by the producer Mike Vernon in the mid-1960s. Apart from the Groundhogs, McPhee has played with Herbal Mixture, the John Dummer Band, Hapshash and the Coloured Coat, Tony McPhee's Terraplane, Tony McPhee's Turbo, the Tony McPhee Band and Current 93. In 2009 McPhee suffered a stroke which affected his speech and ability to sing. The definitive biography & discography of Tony McPhee was published in 2012. Eccentric Man: A Biography & Discography of Tony (TS) McPhee by Paul Freestone.
"Já foi dito que o tempo cura todas as feridas. Não concordo. A ferida continua. Com o tempo, a mente se protege da insanidade cobrindo a ferida com cicatrizes, e a dor diminui, mas nunca desaparece." Rose Kennedy
Alita de Aponcho
..tomara goste de Chet Baker...
Ao Mestre "Manito"
Cara sinto uma puta saudade de vc que chega a doer!!!!
"Rock Fly - é só clicar....."
Não se odeia quando pouco se preza, odeia-se só o que está à nossa altura ou é superior a nós.