Trio do Armando de Souza Lima, mais conhecido como o ‘Armando do Solovox’, um excelente tecladista brasileiro de décadas passadas. Em “Som de Boite 1”, há um repertório variado, entre temas de sucessos nacionais e internacionais. Música de fundo, música ambiente, música de boate dos anos 60. Instrumental legal... ( http://www.toque-musicall.com/?p=2377 ).
27 de mar de 2015
Jefferson Starship is an American rock band formed in the early 1970s by several members of the former psychedelic rock group Jefferson Airplane. The band has undergone several major changes in personnel and genres through the years while retaining the same Jefferson Starship name. The current Jefferson Starship, led by co-founder Paul Kantner, more closely resembles its original mix of psychedelic and electric folk music than the pop-driven tunes it was widely known for in the early to mid-1980s. It is not to be confused with Starship, a spin-off of the group featuring former co-lead singer Mickey Thomas that also periodically tours. The latter group is most frequently identified with the 1980s pop tunes of Jefferson Starship.
às 2:08 PM
24 de mar de 2015
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."
às 1:54 PM
22 de mar de 2015
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.
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
às 6:29 PM
21 de mar de 2015
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
às 12:58 PM
18 de mar de 2015
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.
às 1:58 PM
15 de mar de 2015
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
às 1:26 PM
12 de mar de 2015
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.
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
08. Believe Me Lady
09. I Can Stand
10. Boogaty Shoot
às 11:28 AM
6 de mar de 2015
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,
às 5:56 PM
3 de mar de 2015
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/ )
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/ )
às 4:26 PM