31 de dez de 2014
25 de dez de 2014
Tony McPhee was part of the first generation of young British blues disciples influenced by Cyril Davies and his band Blues Incorporated.
Review by Bruce Eder
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 Fully illustrated with several previously unpublished photographs, Eccentric Man is the authoritative account of one of the most important and influential British musicians of the last 50 years.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.
UM FELIZ NATAL A TODOS
UM FELIZ NATAL A TODOS
às 10:44 AM
20 de dez de 2014
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."
às 10:33 AM
15 de dez de 2014
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...
A Special Motown Disco Album (1976)
01. Thelma Houston - Don't leave me this way
02. The Originals - Down to love town
03. Dynamic Superiors - Stay away
04. Jermaine Jackson - Let's be young tonight
05. Diana Ross - Love hangover
06. Eddie Kendricks - Goin' up in smoke
07. The Supremes - You're my driving wheel
08. Tata Vega - Full speed ahead
às 10:23 AM
10 de dez de 2014
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.
às 10:13 AM
5 de dez de 2014
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.
às 10:00 AM