King Crimson - In the Court of the Crimson King (40th Anniversary Edition)

O Crimson lançou 03 packs simplesmente fantásticos em 2009, sendo um do disco acima, do "Lizard" e tb do "Red", todos pra comemorar os 40 anos de aniversário desta banda revolucionária, louca, cheia de altos e baixos, considerada por muitos a melhor e seu mentor e criador Robert Fripp um verdadeiro gênio enquanto por outros é tida como um fracasso retumbante e ele uma farsa.

Como adoro polêmicas e já fiz isso com especialistas nos caras, afinal tenho aqui postado um dos primeiros bootlegs deles (de 69) que é meu o disco original e que não consta nem na bio de boots (rs) uma versão italiana e menor do que essa compilação, básicamente minha iniciação e que mostra o qto tento acompanhar a carreira do "Rei e sua corte";passando por umas dezenas de trabalhos e ainda ganhando de presente um dvd duplo japonês o "Eyes Wide Open" com shows de 2000 e 2003 (remasterizado a pouco tempo).

No meu simples entender a melhor fase deles está aqui documentada, e com o Lake foi o auge de todo esse movimento original progressivo, provado na sequência de sua saída para o ELP; e que mesmo com a vinda de outro mestre (Wetton) o padrão começa a cair não ficando ruím mas longe do pico do início.

Falar mais é chover no molhado, e aqui só tenho a agradecer ao amigo "Guevara" do belo site Mussiqa Best Music from the Web que gentilmente cedeu seus links do rapidshare o que facilita em muito para os quase 01gb de material em 05 discos e artes inclusas; e pra quem é fã creio que o melhor do "Lagarto" será encontrado por lá.
Aqui sua resposta ao meu pedido:

"Thank you for such a comment use any link you like my friend
keep visiting Mussiqa"

Guevara thanks my dear friend.

Os releases abaixo foram tirados do site oficial da banda e claro que dá pra ver assinado pelo próprio Fripp; e o que me chama a atenção é que apesar de eternos, nós lobos somos saudosistas e me lembro como se fosse hoje quando ouvi pela primeira vez "In the court" e Epitaph".

Se tornaram de imediato minhas preferidas, afinal sou sim baladeiro e prefiro as mais tensas e românticas às loucas e desconexas e lá se vão 40 anos do seu lançamento........e acho melhor quem quiser baixar logo aqui prq..........!!!!!!!King Crimson Re-Issues in 5.1 Surround Sound
In 2009 DGM launches the King Crimson 40th Anniversary Editions. Each album features a new 5.1 surround sound mix by Porcupine Tree's Steven Wilson, additional bonus material, comprehensive sleevenotes and in some cases, a new stereo mix.

The first releases in October 2009 are In The Court of the Crimson King, Red, and Lizard. The series will continue throughout 2010.

Over the course of the next twelve months this website will celebrate all the releases, providing features on each of these classic albums that will include track listings, background details, excerpts from sleevenotes, exclusive video, interview and bonus materials.
© 2009 Robert Fripp http://www.king-crimson.com/ It’s astonishing to think that when this record was released in 1969 King Crimson had been together for less than nine months.

Aside from the impeccable musicianship, the record’s impact was helped enormously by Barry Godber’s cover painting. Commissioned by Crimson lyricist, Pete Sinfield, rarely has an album sleeve so accurately conveyed the shock-and-awe reaction which this extraordinary music produced in its listeners. Even the jewel-case format has done little to dilute its iconic power.

Going into the album charts upon its release on both sides of the Atlantic, the first incarnation of Crimson imploded whilst on tour in America in December 1969. Though short-lived, the music produced by this line-up continues to resonate 40 years later.

In light of this, Pete Townshend’s declaration that the album was “an uncanny masterpiece” seems something of an understatement.
In addition to the revelatory 5.1 surround sound mix, the 40th Anniversary editions of In The Court of the Crimson King also come with a brand new stereo mix by Robert Fripp and Steven Wilson, as well as numerous previously unreleased extras including alternate takes of I Talk To The Wind, the backing track for Epitaph (including a previously unheard guitar solo), and a powerful instrumental version of the first take of 21st Century Schizoid Man.

Please go to the shop to check out the full tracklistings of all three 40th Anniversary Editions of Court.“brooding Wagnerian angst and whizz-bang virtuosity...daringly executed, lovingly updated in high-res, lossless sound” John Bungey, The Times

“music rich in ambition and atmosphere...the frenzied jazz-rock of 21st Century Schizoid Man...wouldn’t sound wildly out of place on a Queens of The Stone Age album” Paul McGee, The Word.

“King Crimson’s debut is still eclectic and original enough to lay claim to being the first major statment of the progressive rock epoch.” Mike Barnes, Mojo.

"The new version of In The Court of the Crimson King (is) restored from the best available studio master tapes...These DGM DC/DVDA editions are essential for longterm fans and newbies alike” Tommy Udo, Classic Rock presents ProgThe 2009 Remix

This, the Wilson-Fripp 2009 Definitive Edition Remix, was an unexpected yet inevitable outcome of Steven’s interest & initiative in moving the Crimson catalogue into 5.1.

The original Wessex recording was on 8-track. This necessitated several sub-mixes; such as drums, bass guitar, piano & acoustic guitar on one stereo pair and all the mellotrons on another. These stereo sub-mixes were then mixed down to the original stereo master; the final master took another generation, to allow for cross-fades; and production masters went another generation.

The original stereo master was lost for decades, found by Simon Heyworth in a pile of KC tapes from the Virgin tape store, and until recently was the best master available.On this release, Steven was able to transfer all the original analogue multi-tracks to digital, enabling us to work from the first generation tracks prior to sub-mixing.

We have taken the original mix as our template. The only significant change to the original release is our edit of the improv following Moonchild. This was discussed at the time, has been discussed since, and is now done.

Robert Fripp
June 27th. 2009;
Worcestershire, England.The legacy of In The Court of the Crimson King.

A life-long King Crimson fan, 40th Anniversary Editions producer, Porcupine Tree's Steven Wilson offers his thoughts on the debut album.

“For me this is the birth of progressive rock. Yes there were other albums before that. You could say Sgt. Peppers or Moody Blues Days Of Future Passed have a claim to laying down a blueprint of progressive rock but ITCOTCK really is the first time you have such technical prowess allied to musical experiments, great songwriting, and a conceptual feeling all tied together in one record.I think musicianship is the key here. Bands like The Beatles and the Moody Blues attempted very ambitious psuedo-progressive albums before, but Crimson was the first time you had a band that were able to go that one step further in terms of their musicianship. They were young guys full of ideas and ambition and I really think you have to say that this is the true point at which progressive rock is born, and some would say never bettered.

Some people snigger at the idea of progressive rock but for me when progressive rock was at its peak in the 69 - 74 period it was the most experimental, most credible, most ambitious music that has ever been made. The guys were reaching for the stars and very often got there."
Robert Fripp Guitar

Michael Giles Drums, Percussion, Backing Vocals

Greg Lake Bass Guitar, Vocals

Ian McDonald Saxophone, Flute, Clarinet, Vibes, Keyboards, Mellotron, Backing Vocals

Peter Sinfield Lyrics Illumination...© 2009 Robert Fripp.Personel:
Robert Fripp Guitar
Michael Giles Drums, Percussion, Backing Vocals
Greg Lake Bass Guitar, Vocals
Ian McDonald Saxophone, Flute, Clarinet, Vibes, Keyboards, Mellotron, Backing Vocals
Peter Sinfield Lyrics, IlluminationTracklist:
21st Century Schizoid Man
including Mirrors
I Talk to the Wind
Epitaph

including March for No Reason and Tomorrow and Tomorrow
Moonchild

including The Dream and The Illusion
The Court of the Crimson King

including The Return of the Fire Witch and The Dance of the Puppets.

CD1
1."21st Century Schizoid Man"
2."I Talk to the Wind"
3."Epitaph"
4."Moonchild"
5."The Court of the Crimson King"
6."Moonchild" [full version]
7."I Talk to the Wind" [Fripp and McDonald duo version]
8."I Talk to the Wind" [alternate take]
9."Epitaph" [backing track]
10."Wind session" [extracts from the session that produced the intro to "21st Century Schizoid Man"]
tracks 1-5: 2009 Robert Fripp & Steven Wilson re-mix from the original multi-track master tapes.
tracks 7-10: Alternative takes from the original studio session. Mixed & produced by Steven Wilson.

CD2
1."21st Century Schizoid Man"
2."I Talk to the Wind"
3."Epitaph"
4."Moonchild"
5."The Court of the Crimson King"
6."21st Century Schizoid Man" [early instrumental recording]
7."I Talk to the Wind" [BBC session, from bootleg source]
8."21st Century Schizoid Man" [BBC session, from a BBC transcription disc]
9."The Court of the Crimson King (Part 1)"
10."The Court of the Crimson King (Part 2)"
tracks 1-5: 2004 re-master, transferred of the original 1969 vinyl mix
tracks 7-8: BBC Radio 1 session
tracks 9-10: A-side and B-side from the original vinyl single

CD3
1."21st Century Schizoid Man" [trio version – instrumental]
2."I Talk to the Wind" [studio run-through]
3."Epitaph" [alternate version]
4."Moonchild" [take 1]
5."The Court of the Crimson King" [take 3]
6."21st Century Schizoid Man"
7."I Talk to the Wind"
8."Epitaph"
9."Moonchild"
10."The Court of the Crimson King"
tracks 1-5: Alternative takes from the original studio session. Mixed & produced by Steven Wilson.
tracks 6-10: De-clicked vinyl transfer of the first Island Records stereo UK pressing run.

CD4
1."21st Century Schizoid Man"
2."The Court of the Crimson King"
3."Get Thy Bearings"
4."Epitaph"
5."Mantra"
6."Travel Weary Capricorn"
7."Mars"
8."The Court of the Crimson King"
9."A Man A City"
10."Epitaph"
11."21st Century Schizoid Man"
tracks 1-7: restored bootleg, recorded live at Hyde Park, London, 5 July 1969
tracks 8-11: restored bootleg, recorded Live at Fillmore East, New York, November 1969

CD5
1."21st Century Schizoid Man"
2."I Talk to the Wind"
3."Epitaph"
4."Moonchild"
5."The Court of the Crimson King"
6."The Court of the Crimson King"
tracks 1-5: mono album mix used for radio promotion only in the USA
track 6: edited, mono single mix used for radio promotion only in the USA

+Artwork

http://mussiqa.net/to/ej Password : Mussiqa.Net

Obs: Sei que a maioria sabe se virar ou tem conta no rs, mas pra quem não quer apanhar que nem eu apanhei recomendo um programinha free que basta copiar, colar e dar início e ir cuidar da vida.
Alguns dizem que é lento e tal, mas ele dá a menor e a maior vel e tira a média e pra mim sempre trabalha no máximo e não precisa instalar, eu salvei e guardo prq me é muito útil.
Free Rapid Downloader até agora só não virou no mediafire apesar de constar como "ok"

Enjoy!!!!!!!!!!!!

Tony Levin - Pieces of the Sun

Postagens são sempre postagens!!!!

Óbvio!!!!!!

Mas, as que procuro fazer sempre tem um "quê" de sentimental, tem de haver algo mais além de um grupo de pessoas fazendo sons, ou um ou uma só pessoa cantando ou tocando.
Não só isso não me basta, tem de ter algo mais.

E Tony Levin não tem......................... ele é algo mais!!!

Músico conceituado,respeitadíssimo passou por tudo e todos que entendem de musica e claro tem sua carreira solo que não é tão extensa qto sua lista de participações; e chamo a atenção pra o que ele fez com Peter Gabriel em Milão num show absurdamente lindo em 2003.

Quem quiser conhecê-lo melhor e ver esse show não vai ser lendo por aqui, ouça o som e veja como se comporta um musico na essência da palavra, como é tratado pelo "dono" do show e como o público o vê e o respeita.Tony Levin, um homem, um mito, um ser humano fantástico, ao ponto de parar o que está fazendo quando Gabriel o chama pra algum trabalho.

Fidelidade, amizade, amor pelo que faz e pelos que ama.

Tony Levin, adoro pronunciar esse nome e fico honrado de postá-lo aquiPra quem gosta de detalhes técnicos preferi deixar algumas notas no original afim de não perder sua integridade e intensidade.

Pieces of the Sun is Tony Levin's third solo record. It is an often jazzy, progressive rock, instrumental record. It features the Tony Levin Band, which includes Levin on bass guitars, stick and cello, Jerry Marotta on drums, Larry Fast playing synthesisers and Jesse Gress on guitars.

The California Guitar Trio accompanies the quartet on the opening track, "Apollo." In addition to his percussion duties, Marotta plays acoustic guitar, Omnichord and saxophone on the record.

The only vocal performances are a spoken word on "Tequila" and the called "dog one," "dog two" and "dog three!" on "Dog One," which is a new recording of an unreleased Peter Gabriel composition, which Levin, Marotta and Fast had played on.Musics:

Tony Levin - bass guitars, electric upright bass, stick, cello
Larry Fast - synthesizer
Jesse Gress - guitars
Jerry Marotta - drums, percussion, acoustic guitar, saxophone, Omnichord
Bert Lams - acoustic guitar
Hideyo Moriya - acoustic guitar
Paul Richards - acoustic guitar
Randy James - Steel Guitar


Track List:
01-"Apollo" (Levin) - 6:49
02-"Geronimo" (Levin, Larry Fast, Jesse Gress, Jerry Marotta) - 3:11
03-"Aquafin" (Levin) - 5:13
04-"Dog One" (Peter Gabriel) - 5:15
05-"Tequila" (Levin, Chuck Rio) - 5:20
06-"Pieces of the Sun" (Levin/Jerry Marotta) - 7:20
07-"Phobos" (Larry Fast) - 7:08
08-"Ooze" (Levin) - 4:16
09-"Blue Nude Reclining" (Levin, Larry Fast, Jesse Gress, Jerry Marotta) - 3:08
10-"The Fifth Man" (Levin) - 5:47
11-"Ever the Sun Will Rise" (Levin) - 9:08
12-"Silhouette" (Levin)

Obs: Post originalmente feito em 27/03/09 e derrubado por aquela nhaca do mega que simplesmente deleta uma conta qdo acha que deve mas tem centenas de contas com material duvidoso que não sai nunca, basta pagar e pagar pra essa corja eu não pago, derruba eu reposto em outro lugar e pronto.

Enjoy!!!!!!!!!!!!!!!!!!!!!!!
or
Enjoy!!!!!!!!!!!!!! (320Kbps)

Little Anthony and Sugar Ray - Take it from Me

E que tal continuar na linha do Blues?

É ao meu ver um dos sons mais envolventes e apaixonantes, apesar de muitos compararem ao Jazz e com isso tentarem diminuir sua importância por usar uma escala básica de apenas 04 notas enquanto o Jazz seria infinito!!!! o que concordo discordando e não consigo ver diferença é na qualidade, se é bom é bom e pronto.

Mas aqui cabe uma observação; ganhei de presente do Omar este som delicioso de dois músicos fantásticos e de carreiras sólidas e reconhecidas, mas até evito me estender muito prq para os conhecedores ficaria devendo e para os novatos poderia parecer pedante.

"Estou te mandando um disco,que sempre chamou a minha atenção,por dois motivos,primeiro pela sua qualidade musical e segundo porque achei corajosa a proposta dos caras,gravando un cd apenas com gaita, piano e voz,tanto e assim que,pelo menos eu,não tenho conhecimento de outro trabalho parecido,tudo bem que os caras são tarimbados e tem muita bagagem.
O link e meu,(agora e seu) se gostar pode postar,sei em este caso fará a sua pesquisa pessoal,assim que não falo mais nada,experimente."E não?
Por isso só tenho a agradecer por este post do Sugar que junto a sua banda os "Bluetones" marcou a história da música e é reconhecido no meio por seu estilo acústico e por sua simpatia e tb por tocar com mitos como Big Joe Turner e Ronny Earl enquanto que Anthony e sua "Loco-Motivos" ao piano detonou tb com muita gente boa apesar de menos famoso ao meu ver que Sugar.

É isso, no mais é curtir mais uma bela apresentação de Blues de um lado Sugar Ray de Connecticut e de outro Little Anthony de Chicago (até onde me lembro) misturam talento e musicalidade; o que me deixa feliz por representarem tão bem um estilo que parecendo fácil de se tocar se torna dificílimo de sair do lugar comum.

Gracias Omar!!!!!!!!!!Pianist Anthony Geraci and vocalist/harmonica player Sugar Ray Norcia team up for some great acoustic blues.

As I'm Sitting in the House of Blues on this cold winter Monday with English blues giant Otis Grand, drummer Neil Gouvin and west coast singer Curtis Salgado, Curtis is suggesting thai I should not write generic liner notes.

Well, there's nothing generic about Anthony and Sugar Ray! Ever since their early days together with Sugar Ray and the Bluetones, through their later work with Ronnie Rarl and the Broadcasters, Sugar Ray Norcia and Little Anthony Geraci have shared a special musical chemistry that has kept their blues vital and fresh.

So sit back, enjoy this album, and welcome these gentlemen into our homes. Anthony and Ray, you don't just play the blues, you are the blues!

notes by Geeorge LewisTracks:
1. Take It From Me 4:41
2. Girl From Idaho 3:17
3. Let Your Conscience Be Your Guide 5:49
4. Look Like Twins 5:25
5. Ja-to-me 2:12
6. Dark Road 5:51
7. Must Have Been the Devil 3:15
8. Worried Life Blues 4:23
9. Runnin' Around 2:43
10. Hard Hearted Woman 4:45
11. Let Me Live 3:56
12. Danger Zone

Enjoy!!!!!!!!!!!!!!!

Willian "Harmonica" Clarke

"Slashing, fat-toned harmonica…Clarke welds Chicago blues passion to West Coast swing, emerging with a sound of his own"
- LIVING BLUES

Eu continuo insistindo com este post por amar de paixão este disco, e já derrubaram de duas contas, e aqui não atualizou de jeito nenhum, mas mesmo assim eu tento mais uma vez atualizando ou não prq quem ainda não tem com certeza vai ouvir um som fantástico nas mãos de um dos melhores que já passaram por este planeta chamado música.

Eu posso dizer que sou um amante do Blues e de sua história, apesar de faltar muita coisa pra eu conhecer ou ter, consegui ao longo de alguns anos adquirir alguns trabalhos que considero verdadeiras "preciosidades".

Claro que esta é minha opinião, e não estou aqui pra obrigar ninguém a nada, mas gosto de postar aquilo que tenho prazer em ouvir e que me faz bem qdo ouço; e este é o caso de William Clarke.
Um cara alegre, que ao ouví-lo sempre me imagino numa festa de Blues com toda galera reunida; um cara pra cima, de um talento fantástico e boa-praça toda vida que viveu mas que infelizmente já nos deixou; mas que tem um legado que poucos "bluesman" possuem.

A melhor homenagem que encontrei foi este texto abaixo; então é isso....esse é o cara e eu tomei a liberdade de meter no meio do nome dele o nome de seu instrumento,afinal pra mim "É ele!!!!!!!""William Clarke é aquele bluesman branquelo que conseguiu levar a paixão do blues de Chicago para o suingue da Costa Oeste, criando um som próprio.

Desde que surgiu na cena blueseira americana, seu estilo chamou atenção, embora ele nunca tenha posto de lado os cânones do blues tradicional. Sua voz consegue passar um sentimento verdadeiro, sendo rascante quando necessária ou suave e mais grave quando assim exige músicas como a I Got a Feeling, uma das três inéditas do disco.

Tendo tocado com nomes de peso como T-Bone Walker, Big Joe Turner, Pee Wee Crayton e Big Mama Thornton e participado dos discos do seu mentor George "Harmonica" Smith, Smoke Wilson e Lone Gone Miles."

Texto extraído do "JC Online" de autoria de Marcelo Pereira, para o lançamento de uma série de Blues.

Musicas:

1) Daddy Pinnochio (4:53)
2) Saturday Night Blues (2:40)
3) The Complainer's Boogie Woogie (4:53)
4) This Is My Last Goodbye (2:49)
5) Telephone Is Ringing (4:48)
6) A Good Girl Is Hard To Find (5:09)
7) The War Is Over (4:14)
8) Broke And Hungry (3:05)
9) Somebody Is Calling Me Home (4:25)
10) Blowin' The Family Jewels (2:35)
11) Watch Dog (4:34)
12) Saint Or Sinner (3:11)
13) Chicago Blues (6:10)
14) Bedroom Boogie (3:01)
15) Your Love Is Real (3:50)Cast:

Harmonica and Vocals: William Clarke
Lead Guitar:Alex Schultz, on Daddy Pinnochio, Saturday Night Blues, The Complainer's Boogie Woogie, This Is My Last Goodbye, A Good Girl Is Hard To Find, Blowin' The Family Jewels and Your Love Is Real
Kid Ramos, on Telephone Is Ringing, and Chicago Blues, Rhythm Guitar on Your Love Is Real
Little Henry, on Saint Or Sinner and Bedroom Boogie
Greg Verginio, on The War Is Over
Barry Levenson, on Broke And Hungry and Watch Dog
Al Blake, on Somebody Is Calling Me Home
Piano or Organ :Steve f'Dor, on Telephone Is Ringing and Bedroom Boogie
John "Juke" Logan, on Daddy Pinnochio, This Is My Last Goodbye and Your Love Is Real
Andy Kaulkin, on Saturday Night Blues
Fred Kaplan, on all other songs
Acoustic Bass: Tyler Pederson
Drums:Jimi Bott, on This Is My Last Goodbye, Telephone Is Ringing and Your Love Is Real
John Moore, on Broke And Hungry
Eddie Clark, on The Complainer's Boogie Woogie
Bob Newham, on all other songs

WITH
John Marrotti, Trumpet
Jon Viau, Tenor Saxophone
Troy Jennings, Baritone Saxophone

Obs: Post opriginal em 05/11/08

Enjoy!!!!!!!!!!!!!!!!!!

Noddy's Puncture at the Six Bella - Thanks you Masked Man!

Olha!
É difícil eu postar algo que eu não saiba exatamente o que é, prq eu pesquiso, conheço, procuro, pergunto, enfim, tento trazer o máximo de informação possível prq sou assim.

Mas este trabalho que o amigo Carlos me passou à meses eu não postei por não conseguir as informações que gostaria; é um fã clube que gira em torno do ELP e sua obra, e este bootleg que virou oficial e esses fãs que viraram banda são uma grande incógnita; claro que existe o site dos caras, o site de cada um, mas deste trabalho específico se tem pouco ou quase nada e resolvi juntar o que consegui e deixar no original pra não perder a qualidade devida.

O som é de boa qualidade e a sonoridade ídem, é ainda um disco raro na net, apesar da venda por eles no site oficial e dele fazer parte do catálogo das majors hj; afinal eles se reúnem todos os anos e comemoram numa festa a união que já conta com uma dezena de participantes, a formação sempre muda, mas o ideal não, homenagear à Keith Emerson e ao ELP, aí está, são apenas 04 faixas da primeira festa que deu origem ao que são hoje.

Exact timings as promised in the CD booklet:
Track 2 - Tarkus/Knife Edge

Half way through the "Stones of Years" solo Keith appears on stage and takes over from Tom at 04:30 until 05:43.

Track 3 - Fanfare/Pictures

Tom starts the intro and then after the Timp rolls - at 01:03 - Keith plays the first part of Fanfare. Tom then takes over for the "Old Castle" at 03:10.

During "Blues Variation" Keith takes over at 05:57 until 07:07 where he hands it back to Tom. Later on, having picked a quiet moment, Keith is to be found round the back of the Hammond for a spot of reverb-spring-twanging - from 11:34 to 12:02. This one took the band totally by surprise as none of us could see him hiding there!

Track 4 - Rondo

Keith appears on stage during Tom's "Italian Concerto" intro and then repeats that intro on synth at 01:07 He then suggests they play "Rondo" together with Tom on Hammond, Keith on synth. At the start of the solo section - at 03:28 - Emo plays "Flight of the Bumblebee" and then Tom repeats it.

By 03:51 Keith is behind the organ and starts the "Toccatta & Fugue" over Tom's descending left hand. He then crosses to the front of the Hammond and it's Emo until 05:14.
From this point it's Tom on Hammond and Keith on synth, throwing quotes back and forth.

After starting the "Rondo reprise" on synthesizer (which was Keith's idea!) Emo plays the "swipes" between Tom's block chords at 11:42 until 11:49 then he's back on the synths to the end.

The Emerson, Lake and Palmer tribute band Noddy's Puncture was the brainchild of keyboard wizard Tom Szakaly. He formed the band from the ashes of cult rock band Shanghai.

Tom had decided to forge a band, which would fulfil his own musical ambitions and encompass his love of the music of ELP. Together with Adey McDermott on drums and vocals and Mark Conroy on bass and vocals his band came to fruition and they gradually gained a following playing ELP material together with some rock classics.

Over the coming years the band progressed and earned a reputation amongst many ELP fans and as this reputation grew so did Tom's keyboard pyrotechnics...

At their appearance at the 25th Anniversary Convention in Birmingham in 1995 Noddy's Puncture played a storming set, with a review from the ELP fanzine Impressions writing "Tom Szakaly strode the stage like a colossus..." but as the band's reputation was growing so were internal wranglings, eventually resulting in Adey and Mark leaving the band.Tom Szakaly - Keyboards

Tom was born in Rochdale, Lancashire.
He started piano lessons at the age of six and continued until the age of seventeen..Tom has been an ardent ELP fan ever since hearing 'Pictures At An Exhibition' when he was fourteen.

He experimented and diversified at home with styles such as 12 bar, Boogie and Jazz, as well as working out his favourite ELP tracks.His first job gave him a background in electronics and by the age of nineteen he had already built his first synthesiser from a kit.

Eventually, financed by his job as a television repairman, a Crumar electronic piano was obtained to supplement the synth.In 1979 working for a new employer, Tom heard that one of his new colleagues was selling a Hammond Organ. This was quickly acquired and together with his 'arsenal' of instruments, Hammond, Electronic Piano, Synth etc.Steve Roberts - Drums & Percussion

Steve started playing drums aged 11 and has remained committed to his musical cause ever since. He started listening to hard rock bands but soon took in ELP, Yes, Chick Corea and other progressive/jazz/rock artists.

After school bands his musical path turned towards live performance with rock and pop acts. A love of jazz also grew and he has since been playing regularly with various jazz trios, quartets and big bands around the UK, including The Heavy Quartet.
He also still leads his own outfit, 'The Steve Roberts Band', playing jazz originals penned by himself and arrangements of other pieces, sometimes classical in origin, including one of Ginastera's 'Danzas Argentinas'.

His musical career has taken him all over the UK, Holland, Germany, where he was based with 'The Dostoyevskys' after their European release on BMG: 'Orange' and even a 24 state tour of the USA in 2003/4 with UK band 'They Walk Among Us'. With his technical abilities and dynamic subtleties, he is equally at home within many styles of music, live and in the studio and although working within bands as a member, also plays sessions independently.
He also teaches within schools & privately.Graham Seaman - Guitars & Vocals

Graham's musical career commenced at the age of 12, after his father taught him the rudiments of guitar playing, and introduced him to the wonders of the Bert Weedon songbook. Growing up in Liverpool during the 60's it was impossible to ignore the influence of the Beatles on his musical direction, and the band output (together and individually) remain a favourite to this day.

His musical tastes developed to take in the rock genre, and bands such as Free, Zeppelin and Deep Purple started making their way onto his turntable.
In 1972 a school mate brought around an album featuring a mythical tank/armadillo character on its cover and after the third play, Graham was hooked on the power of progressive rock and (more specifically) Emerson, Lake and Palmer.

Graham has been working with EMP (E-Music Project) - a group of talented musicians located in the USA who record and produce covers of ELP and Beatles tracks over the Internet.
So far Graham has provided vocals on most of the bands ELP covers, as well as playing guitar on 'Lucky Man' and 'I Believe in Father Xmas'.
He has built a home studio which he uses to record his daughter and other artists, as well as to produce his own music.Postagem original em 05/12/09

Thank you Masked Man, Enjoy!!!!!!!!!!!!!!!!!!!!!!!

Kang Ino - The Road

Mais uma vez começo me desculpando pela falta de atualização dos posts, afinal o blogger não explica, não corrige e não sei qual o critério prq muitos não são atualizados e outros sim.

Nem o reader foi atualizado, mas seguimos em frente e pra quem gosta eu faço até um pedido que dêem uma olhada no SM prq normalmente posto algo pra distração minha até e pra compartilhar com aqueles que aqui frequentam e só em casos extremos deixaria de fazê-lo ou se não tiver algo que ache a altura de aqui dividir.
Obrigado!!!!

Como muitos sabem sempre tento encontrar algo que me agrade para poder compartilhar com a alcatéia, e acompanho ou melhor tento acompanhar a carreira deste virtuose fantástico chamado Kang Ino em seu próprio website e por muitos tb por Ino Kang, o que declaro desconhecer completamente o prq,rs

Desde criança ele dedilha suas guitarras e no próprio YouTube existem vídeos dele bem moleque já destruindo as cordas e até agora vi muitos posts dos dois trabalhos mais conhecidos dele, o primeiro "My World" capa de seu website e este o "The Road", mas de resto é quase tudo que se tem ou se encontra.

Aqui só uma mostra que me apaixonei do trabalho do cara na parte individual do G3.



O ZM tá na garimpagem tb prq achar coisas na Korea não é fácil, e ainda assim achamos este G3 koreano que posto o vídeo abaixo da capa do álbum e que não deixa em nada a desejar ao G3 de Satriani e Cia (guardadas as devidas proporções até em tempo de estrada e experiência de todos os envolvidos); inclusive eles se arriscam mesmo em clássicos do rock e blues sem medo de serem felizes, mas não quero ainda me dispersar pros outros dois antes de conseguir o que interessa sobre Kang.

Só posso dizer que o cara é muito, mas muito melhor do que a grande maioria que se vê por aí hoje e que temos de olhar mais para o oriente prq o que tem de músicos e músicas fantásticas é um verdadeiro absurdo e que absurdo tb é não termos nada aqui que nos dê informação sobre este mundo a parte e de uma categoria absurdamente superior.

Sei que alguns podem e devem torcer o nariz,afinal opinião e gosto cada um tem o seu, mas não estou falando de gosto pessoal e sim de talentos, e aí o gosto vai pelo ralo pq só ouvindo ou vendo do que são capazes e esses vídeos são só uma mostra de Kang and friends e do padrão de qualidade de imagem de um show gravado pra tv koreana, um absurdo repito e insisto; e depois quem tiver curiosidade ou gostar pode assistir mais uns vídeos na sequência e até me contestar, mas que tal garimparmos mais por lá?Korean guitarist Ino Kang's album The Road comes two years since the first album "My World" was released, which quickly rose to #2 on Guitar Nine's sales charts.

Well-known guitarist Blues Saraceno (ex- Poison) participated on The Road and people were glad to see his name on Kang's album. Kang played at the famous rock festival, PentaPort, in the summer 2006 - very rare for a stand alone instrumental player.
At this festival, more people got into his playing and music and he was nominated at the Korean Pop Music Awards as best instrumental musician.

Recording The Road began in the late summer of 2007.
The band members are same as the first album, Jae-gyu Kim (drums), Sun-il Kim (bass) and Jang-won Kim (keyboards)., The album includes songs with famous session musicians such as Soo-yong Sung (bass) and Ji-young Kim (percussion), and most of all, famous guitarist Il-min Choi (who has already released three solo albums) provides a guitar solo.

Instrumental Guitar (Electric (Heavy)/Hard Rock), total running time, 35:41

Produced by INO KANG

Aqui só uma mostra do G3 em ação e claro que escolhi uma das que menos gosto e que o vocal ainda deixa a desejar, prq eles creio, ainda estão em evolução, mas mesmo assim ainda fico de boca aberta vendo e ouvindo o talento dessa turma.

Tracks:
1. The inevitable
2. Blue Driver
3. Belated Regrets
4. Circle
5. Serenity
6. The Rock Climber ('1996)
7. Who Knows
8. Nostalgia ('1993)
9. Like The River Flow

- All Songs Written by Kang, In O (강인오)
(except Track#4='Circle' - written by Kim Sun-Il & Kang Ino):

- Guitar : Kang, In O (강인오)
- Drums : Kim, Jae Kyu (김재규)
- Bass : Kim, Sun Il (김선일)
- Bass : Seong, Su Yong (성수용) {Track#1,#6}
- Keyboard : Kim, Jang Won (김장원)

- Special Guest Guitar :
Blues Saraceno (블루스 사라세노){ Track #2 }
Choi, Il Min (최일민) {Track #4}

- Recording Engineered & Mixed : MOL STUDIO( MIX : Cho, Sang Hyun / Engineered : Kim, Seong Ho)
- Mastering : Sonic Korea ( Chae, Seung Kyun {채승균})
- Released and Distributed by DreamOn Records

Discografia:
* 1999~ : 그룹펜타활동 등
* 2005년 11월 : 솔로 1집 연주(instrumental) 앨범 'My World' 발표
* 2006년 : 'My World'앨범 미국 기타나인레코드 소개&진출
* 2006년 : PentaPort Rock Festival 공연
* 2007년 : 한국대중음악상 '올해의 연주'부문 노미네이트
* 2008년 : 솔로 2집 연주(instrumental) 앨범 'The Road' 발표
* 2009년 : EBS SPACE 공감 특별기획 G3 공연 (이현석,조필성,강인오)
Enjoy!!!!!!!!!!!

Uriah Heep - Revelations "The Uriah Heep Anthology"

Estou repostando e só atualizei um pouco meu comentário de sempre.

Como já contei a música sempre foi meu combustível e minha vida, conheci muitas bandas que nasceram, cresceram e frutificaram enquanto outras....bem todos sabem.
Mas a minha relação com o Uriah é diferente porque me lembro ainda como se fosse hj qdo amigos mais velhos me apresentaram os primeiros acordes de "July Morning, Easy Livin e etc".

Aquilo era mágico e coroava aquela sonoridade os vocais de Byron, um mestre entre tantos como Gabriel, Plant e sei lá mais quem caberia aqui,mas garanto não seriam tantos com o talento de Byron que conseguiriam levar até onde foram os Heep's.
Quando comecei a me distrair postando algumas coisas que tinha e outras que apareciam, tive a oportunidade de retomar vários contatos com amigos espalhados pelo mundo, que compartilham músicas à anos e não competem entre si,dividem o que tem e não aceitam quem não pense como eles.

Simplesmente eles se isolam e não aparecem à não ser entre eles, é uma sociedade secreta(rs)eles escolheram compartilhar e o fazem bombardeando a net pelo mundo afora como fizeram comigo,eles mandam um disco, vc posta, ele roda e pronto, o milagre acontece, todos tem e o compartilhar aconteceu.

Mas de onde veio?
Se tentarem seguir o rastro vão dar em endereços dos mais variados, mas encontrá-los? Só qdo eles querem!!!!
Ré,ré,ré mais uma história do Lobo Viejo ou será a verdade?

Estava meio distante sim de muitos,mas ao retornar uma das primeiras coisas que recebi foi esse Heep de um amigo que me disse: Acabei de receber e lembrei que vc ama, é seu, Enjoy!!!!!!Segue uma análise minuciosa e bem feita que veio junto na íntegra; é longa mas pra quem gosta é um prato cheio, prq analisa música a música.

Uriah Heep - Revelations: The Uriah Heep Anthology (2004)

Metro Doubles present the story of one of the most successful and long-running bands in hard rock history, Uriah Heep. Name-checked by Queen, Iron Maiden and even Marillion as a huge influence, with their mix of epic rock operas, plaintive ballads , mystical story-telling and pure rock energy the band developed a massive global following in the '70s, charting with several massive-selling albums. They also survived numerous line-up changes to successfully re-invent themselves with a slicker, cleaner sound during the '80s.
Still fronted by original guitarist Mick Box, Uriah Heep continue performing and recording to this day.

CD 1

1. Gypsy
2. Come Away Melinda
3. Wake Up (Set Your Sights)

Produced by Heep manager Gerry Bron and sporting a sinister Gothic cover featuring a grisly face (that of singer David Byron) covered in cobwebs, the band's debut LP confused the music press (it was released simply as 'Uriah Heep' in the U.S.).

The direction of the band indicated progressive tendencies, as on the King Crimson-like ‘'Wake Up (Set Your Sights)’ and, musically, it was an experimental time for them as they began to create their own, unique sound through the Box / Byron / Hensley writing team.
Initially, guitarist Mick Box and singer David Byron generated the majority of the songs and 'Gypsy' was among the first.

Featuring earthy, pounding guitar riffs, dominant keyboards and multi-tracked vocal harmonies, it established the group's trademark sound. Hensley's songwriting contribution to 'Very 'Eavy ...Very 'Umble' was limited to re-recording some of Colin Wood's keyboards (as on 'Come Away Melinda') and completing the final tracks. Hensley would later establish himself as the band's main songwriter.

4. Here Am I (Alternative mix)

Taken from the 1993 release of 'The Lansdowne Tapes', 'Here Am I' was originally recorded during the sessions for the group's second LP, 'Salisbury', at Lansdowne Studios between October and November 1970.

A collectors item for any discerning Heep fan, 'The Lansdowne Tapes' features previously unreleased material of the band from the early 1970s during the period when Gerry Bron first took Spice into the recording studio, right through to the release of Uriah Heep's third album, 'Look At Yourself'.5. Time To Live
6. Lady In Black

Uriah Heep's new found songwriting chemistry was brought to the fore on 'Salisbury', the band's second album, with keyboardist Ken Hensley penning half of the album and co-writing the rest.

Determined to stand out from their hard rock contemporaries, the Heep recalled Gerry Bron back to Lansdowne Studios for production duties and set to tape a varied potpourri of musical ideas; highlights included the colourfully climatic 'Time To Live' (featuring Byron hitting the high notes) and 'Lady In Black', an appropriately ‘Euro rock’ styled track that subsequently became a gigantic hit in Germany upon its re-release in 1977, earning the band a Golden Lion award (the European equivalent of a Grammy) for its thirteen week stay at No. 1. By contrast, the British music press remained relatively unmoved by Heep's progressive direction.

7. July Morning
8. Look At Yourself

The recording of the group's third album, 'Look At Yourself', took place during the summer of 1971, marking a hat trick of visits to Lansdowne Studios.
With Gerry Bron's initial deal with Phillips / Vertigo now finished, he wasted no time in setting up his own record label, Bronze, releasing the Heep's first two albums and 'Look At Yourself' featuring its stand-out “mirror effect” cover. More importantly, the varying musical ideas that had dominated on 'Salisbury' began to gel together with a more consistent sound and direction for the band, notably on the title track, 'Look At Yourself' (featuring Teddy Osei, Mac Tontoh and Loughty Amao from Osibisa on percussion) and 'July Morning' (featuring Manfred Mann on Moog synthesiser).

The album stands as an epic, true hard rock classic, up there with big albums by any comparable British rock giant from Sabbath to Zeppelin. Success in Germany had already opened up the European market and they had made major in-roads into the US. Now the UK belatedly came on board, giving the band their debut Top 40 album.

9. Paradise / The Spell

See note for CD 2, tracks 1 and 2.

10. Rock 'N Roll Medley (Live)

By 1973, Uriah Heep had become a major global band. Whilst, in the studio, the group were honing their music in ever more complex directions, their live performances were becoming almost legendary.

A double live album, recorded at the Birmingham Odeon in January 1973, was released as living testimony. Lavishly packaged in a classic traditional gatefold LP sleeve with a hefty eight-page booklet, the record featured prime Heep cuts such as 'July Morning', 'Gypsy', 'Look At Yourself' and 'Rock 'N' Roll Medley', a staple part of the band’s live shows since their days as Spice.

The inner sleeves were plastered with press cuttings, both good and bad. Selling over a million units, the album stuck up the proverbial finger to all of the band’s critics.
CD 2

1. The Wizard
2. Easy Livin

When drummer Lee Kerslake and bassist Gary Thain joined Uriah Heep, the band’s creative direction fell into place.
The group's fourth opus, 'Demons And Wizards' (regarded by many fans as their best ever record), was proof enough of that “special relationship”.

Whilst the majority of the material was thematically linked by tales of fantasy and imagination, the Heep seemed to have consciously entered the mystical world of prog rock, complete with a surrealist sleeve design featuring Roger Dean's inimitable graphics.
That aside, 'Demons And Wizards' was a mighty fine collection of solid rock songs, throwing up several Heep classics, most notably the two singles, 'The Wizard' and 'Easy Livin'.

The former showed the lighter side of the band without sacrificing their solid sound, while the latter was a rock 'n' roll dream, all pace and vigour, tailor-made for Byron's extrovert showmanship. The anthemic runaway punch of 'Easy Livin' dented charts worldwide and helped to give Uriah Heep their first truly international album success.
In the UK 'Demons And Wizards' stayed in the charts for some eleven weeks, peaking at No.20.

3. The Magicians Birthday

With the lengthy title track as a highlight, Uriah Heep's fifth long-player, 'The Magician's Birthday', represented a natural follow-up to the awe-inspiring 'Demons And Wizards' (released just six months previously). Continuing the same fantastical, lyrical and instantly recognisable musical themes as its predecessor, it helped the band to establish themselves firmly in the US, UK and Europe.

4. Stealin
5. Sweet Freedom

With the world at their beck and call, Uriah Heep were now true rock 'n' roll stars. Striving to move forward (but primarily for tax purposes), manager Gerry Bron and the band broke from the established routine of recording at home, laying down the tracks for their 'Sweet Freedom' LP at Chateau d'Heronville in France.

Continuing to consolidate their musical identity, 'Sweet Freedom' proved to be a solid rock album and another commercial success, hitting the UK Top 20. 'Stealin' (for many the highpoint of the record), although not an instant success at home, earned recognition internationally and became a massive global hit - a Uriah Heep classic that still features in the band's live shows today.

6. Wonderworld

Having enjoyed recording outside of England for the 'Sweet Freedom' album, Uriah Heep once again packed their bags and headed for Germany, entrenching themselves in Munich's Musicland studios in January 1974 for the recording of 'Wonderworld'.

The resultant album, although well anticipated, wasn't as popular with the fans as some of their previous work, although the critics did give it credit for attempting something slightly different. The title track, 'Wonderworld', rates as one of Ken Hensley's best songs and features a brilliant performance by singer David Byron.

7. Return To Fantasy

Bassist Gary Thain's departure from Uriah Heep made major headline news in the British music press, but so too did the news of his esteemed successor, none other than ex-Family, King Crimson bass player John Wetton.

When Wetton was rushed into the fold, his profile and presence had an immediate impact on the band's music. Their 1975 album, 'Return To Fantasy', represented a much improved Uriah Heep. The public voted with their hard-earned cash, making it the band's biggest selling album so far and a UK Top 10 entry.8. Weep In Silence

By 1976, with manager and record company boss Gerry Bron committed to projects away from the band (including his Executive Express air-taxi service) Uriah Heep made the momentous decision to produce themselves with engineers Ashley Howe and Peter Gallen. The resultant album, 'High And Mighty', also brought together the Ken Hensley and John Wetton songwriting partnership, at its best on the poignant, 'Weep In Silence'.

The launch for 'High And Mighty' was typical of the group's mid-‘70s approach to press and P.R. as the band flew a whole plane-load of journalists and industry people to the top of a Swiss mountain for a reception that no one would forget. It was typically excessive at a time when Uriah Heep personified extreme rock 'n' roll excess.

9. The Hanging Tree

Having fired long-time singer David Byron, a new record entitled 'Firefly', featuring new Heep vocalist John Lawton, emerged in the early part of 1977.
It openly displayed a renewed creative effervescence and brazen energy in what was clearly a new beginning for the band.

Keyboardist Ken Hensley had by now become the main creative musical force within the band, writing more and more of the songs, exemplified by 'The Hanging Tree', a co-write with American songsmith Jack Williams.

10. Free 'N' Easy

'Innocent Victim', Uriah Heep's second release to feature the remarkable talents of vocalist John Lawton, was a much heavier effort than its predecessors.

It sold extremely well, especially in Germany, shifting well over a million copies and becoming Heep's biggest ever album there. Creatively, it flexed the band's muscles once more and even included a number of non-Hensley compositions, most notably the Lawton / Box-penned 'Free 'N' Easy'.

11. Think It Over

'Think lt Over' was originally conceived in 1980 during sessions following the band's 'Conquest' album when John Sloman briefly trod the boards as Heep's singer.

Ear-marked as a possible single, it was destined not to find a home until 1982 when a re-recorded version found its way onto the group's comeback opus, 'Abominog', an album which confidently pulled Heep out of the prog rock excess of the Seventies and into the tight-stripped, image-conscious Eighties, both visually and musically.

While the cover art guaranteed instant attention, the songs featured on 'Abominog' immediately won favour with the critics with some even declaring it the band's best ever record.
It was a success in Europe and America with the accompanying videos gaining heavy rotation on MTV. Uriah Heep's return was crowned with a featured billing at the Castle Donington Monsters Of Rock Festival.

12. Rockarama

With a major label deal behind them and a stable “pin-up” 1980s-style hard rock line-up in tow, it seemed as if Uriah Heep could do no wrong.

Produced by Tony Platt, the 'Equator' album proved to be a solid slice of commercial rock with the potential to sell extremely well.

Focusing on epic, anthemic rock, especially on the album's lead cut, 'Rockarama', the album was wholeheartedly pitched to the American market.
Tracklist:
CD 1
01. Gypsy 6.39
02. Come Away Melinda 3.48
03. Wake Up (Set Your Sights) 6.23
04. Here Am I (Alternative Mix) 8.12
05. Time To Live 4.01
06. Lady In Black 4.43
07. July Morning 10.30
08. Look At Yourself 5.09
09. Paradise / The Spell 12.41
10. Rock 'N' Roll Medley 8.25

CD 2
01. The Wizard 3.00
02. Easy Livin' 2.36
03. The Magician's Birthday 10.20
04. Stealin' 4.50
05. Sweet Freedom 6.29
06. Wonderworld 4.30
07. Return To Fantasy 5.50
08. Weep In Silence 5.06
09. The Hanging Tree 3.41
10. Free 'N' Easy 3.05
11. Think It Over 3.32
12. Rockarama 4.30

Originalmente postado em 01/03/09

Repostado em 20/11/09

Enjoy 01 and 02 !!!!!!!!!!!!!!!!!!!!!!!
or
Enjoy full album!!!!!!!!!!!!

David Bowie - Black Tie, White Noise

A Lucy qdo some faz falta mesmo, ela pensa que eu fico puxando saco mas é verdade; e nesses dias que ela tá meia afastada do pc, a gente não tem se falado muito apesar que não usamos só pc pra comunicação mas enfim; de repente ela me aparece do nada com um recado no mural e eu curioso que só vou atrás e olha só o que trago pra nós!!!!!

Ainda pra deixar bem claro, tá aí o vídeo de uma das músicas deste álbum meio que fatídico, fadado ao descaso no conjunto da obra de um dos maiores gênios da música moderna, chamado de "camaleão" por suas transformações o que eu discordo (novidade,rs) completamente prq o que ele é pode ser considerado a "efervecência" em pessoa; um ser múltiplo de capacidade muito acima do normal e sempre achei que endeusam demais o Brian Eno, enquanto pra mim "o cara" é o Bowie.

David Bowie, um dos meus primeiros mestres qdo ouvia seu Ziggy Stardust e outros sons, via suas coreografias e tinha na parede um poster que mal identificava aquele ser como homem, mulher ou sei lá o quê e isso marcou demais minha vida junto a outros sons também didáticos e iniciáticos (ré,ré,hoje tô meio que viajando no som e na sonoridade e nas palavras), mas David Bowie sempre ficou além de qqr codificação ou segmentação sendo sempre ele e só ele, prq até hoje não vi nada parecido em talento, bom gosto e qualidade.

Nas palavras do próprio Bowie, este álbum foi inspirado por seu próprio casamento, e inclui faixas como "The Wedding" e sua reprise no final do álbum, uma canção que reflete a ocasião.

Tentaram chegar próximo, mas quem tentou virou "fake".


Bowie resolve lançar em 1993 seu primeiro disco-solo desde Never Let Me Down, de 1987.

Recém-casado, Bowie gravou um de seus melhores e mais desconhecidos discos, Black Tie White Noise, cercado de velhos amigos, como o produtor e guitarrista Nile Rodgers o mesmo de Let's Dance e o velho comparsa dos anos 70, Mick Ronson, já gravemente enfermo.

O disco não teve sucesso, mas provou que Bowie ainda podia e sabia gravar ótimas canções e que sua inspiração estava de volta. Com Black Tie White Noise, David Bowie começou a resgatar o prestígio perdido e que hoje anda em alta.

Um belo disco para uma bela virada em sua vida.

Destaques:

Jump They Say( uma homenagem ao meio-irmão de Bowie, Terry, que cometeu suicídio depois de ser hospitalizado por esquizofrenia na década de 1980), Black Tie White Noise( inspirado no tumulto em Los Angeles, provocando o problema do racismo no sistema legal. Essa faixa inclui um dueto com o cantor Al B. Sure) e I Know It's Gonna Happen SomedayAll Music Guide:

Black Tie White Noise was the beginning of David Bowie's return from the wilderness of post-Let's Dance, the first indication that he was regaining his creative spark. To say as much suggests that it's a bit of a lost classic, when it's rather a sporadically intriguing transitional album, finding Bowie balancing the commercial dance-rock of Let's Dance with artier inclinations from his Berlin period, all the while trying to draw on the past by working with former Spider from Mars guitarist Mick Ronson, collaborating with Let's Dance producer Nile Rodgers, and even covering inspiration Scott Walker's "Nite Flights."

On top of that, the record was inspired by his recent marriage to supermodel Iman — the record is bookended with "The Wedding" and "The Wedding Song" — and then tied up and presented as a sophisticated modern urban soul record, one that draws from uptown soul (including, rather bafflingly, a duet with Al B. Sure!) and state-of-the-art dance-club techno, while adding splashy touches like solos from avant jazz trumpeter Lester Bowie and a nod to modern alt-rock via a nifty cover of Morrissey's "I Know It's Gonna Happen Someday."That's a lot of stuff for one record to handle, so it shouldn't come as a great surprise that the album doesn't always work, but its stylish restlessness comes as a great relief, particularly when compared to the hermetically sealed previous solo Bowie record, 1987's Never Let Me Down. Black Tie White Noise displays greater musical ambition than any record he'd made since Scary Monsters, and while much of the record feels like unrealized ideas, there are songs where it all gels, like on the paranoid jumble of "Jump They Say," the aforementioned covers, the impassioned "You've Been Around," and the self-consciously smooth title track.

Moments like these are the first in a long time to feel classically Bowie, and they point ahead toward the more interesting records he made in the second half of the '90s, but they are encased in a production that not only sounds dated years later, but sounded dated upon its release in the spring of 1993, two years into the thick of alternative rock. At that point, the club-centric, mainstream-courting Black Tie White Noise seemed as an anachronism during the guitar-heavy grunge-n-industrial glory days — something Bowie tacitly acknowledged with its 1995 successor, Outside, which was every bit as gloomy as a Nine Inch Nails record — but separated from the vagaries of fashion, it's an interesting first step in Bowie's creative revival.

-Stephen Thomas Erlewine

Personnel:

David Bowie – Vocals, Guitar, Sax, Dog alto, production
Nile Rodgers – production
Jon Goldberger, Gary Tole, Andrew Grassi, Mike Greene, Louis Alfred III, Dale Schalow, Lee Anthony, Neal Perry, Andy Smith – engineering
Pugi Bell, Sterling Campbell – drums
Barry Campbell – bass
Nile Rodgers – guitar
Richard Hilton – keyboards
John Regan – bass
Michael Reisman – harp, tubular bells
Dave Richards, Philippe Saisse, Richard Tee – keyboards
Gerardo Velez – percussion
Fonzi Thorton, Tawatha Agee, Curtis King, Jr., Dennis Collins, Brenda White-King, Maryl Epps – background vocals
Al B. Sure! – vocal duet on "Black Tie White Noise"
Fonzi Thornton, Tawatha Agee, Curtis King, Jr., Dennis Collins, Brenda White-King, Maryl Epps, Frank Simms, George Simms, David Spinner, Lamya Al-Mughiery, Connie Petruk, David Bowie, Nile Rodgers – choir on "I Know It's Gonna Happen Someday"
Mick Ronson – Guitars on "I Feel Free"
Lester Bowie - Trumpet on "You've Been Around", "Jump They Say", "Pallas Athena", "Don't Let Me Down & Down", "Looking For Lester"
Wild T. Springer -- guitarTracks:

01 The Wedding
02 You've Been Around
03 I Feel Free
04 Black Tie White Noise
05 Jump They Say
06 Nite Flights
07 Pallas Athena
08 Miracle Goodnight
09 Don't Let Me Down
10 Looking For Lester
11 I Know It's Going To Happen Someday
12 The Wedding Song
13 Real Cool World
14 Lucy Can't Dance

Enjoy!!!!!!!!!!!!!!

Alphaterra - Planet in a day

Obs: O blogger não está atualizando as postagens de novo!!!!! Atenção amantes do progressivo e por favor o chamado não é orientado aos dito cujos que se acham "entendidos" ; "especialistas" e/ou "puristas", prq são muito chatos,rs.

Este post teve a iniciativa num comentário feito no post do The Watch feito aqui, banda aliás que postei até o bootleg oficial,rs e devido a este comentário que copio e colo na sequência a história tomou outro rumo:

- "Ho visto la band THE WATCH già due volte e devo dire che suonano magnificamente le canzoni dei Genesis del periodo più bello, ma i loro dischi sono ottimi e vi garantisco che live sono perfetti. Inoltre ho avuto la possibilità di parlare assieme e sono delle persone squisite, semplici e senza tante pretese. Pensate che sono loro stessi che smontano e rimontano gli strumenti dal furgone , fanno il ceck sound, ecc. come qualsiasi garage band alle prime armi. Volevo dirvi che il chitarrista ha sviluppato un progetto parallelo che si chiama Alphaterra, assieme a un tastierista che si chiama Gianni Viaggi e fanno una bellissima musica progressive-Metheny, e che vi consiglio di ascoltare.
Complimenti e continuate così.

Ho conosciuto questi ragazzi e visti suonare e vi garantisco che sono così anche dal vivo. Nonostante la loro professionalità sono loro stessi che smontano e rimntano gli strumenti, fanno il ceck sound e le loro ragazze curano il merchandising: insomma sono un vera garage band che però meriterebbe molto di più. Il chitarrista ha un secondo progetto assieme a un tastierista che si chiama Gianni viaggi e che si chiama ALPHATERRA cd PLANET IN A DAY e che vi consiglio di ascoltare. Complimenti e continuate così, la musica è soprattutto cultura, e DEVE essere AIUTATA più possibile anche perchè un disco lo puoi ascoltare un centinaio di volte nella tua vita a differenza di un film o di un libro"Baseado numa dica fantástica, lá fui eu atrás do som perdido, o que confesso não foi nada fácil, disco novo, nicho restrito e o que tinha estava a venda, mas como bom caçador aí está pra vcs em primeira mão um trabalho que considero um dos melhores que já ouvi, gostoso, delicado e pela gentileza do anônimo italiano, um dos meus preferidos.

Se eu já era fã do The Watch agora dobrou o amor e seguirei o Alphaterra pra onde for, espero só que o bloggers da vida deixem vivo o link pelo tempo suficiente porque vale a pena baixar mesmo e se possível ter o original; os caras merecem.

Site oficial: Alphaterra
GIOVANNI VIAGGI (TRAVELS)
Giovanni Viaggi (Travels) was born in Milan on 9th February 1966. He developed an interest in music at a very early age, and started studying the piano when he was 7. He learned harmony and solfeggio at the Davoli School of Music. From 1976 to 1978, he studied the church organ under Luigi Giudici. As an adolescent, he discovered such groups as Genesis, Brand X and Marillion, and became a great enthusiast of their music.

When he was 15 he moved to Tuscany, then a few years later to Rome, where he still lives.

He doesn’t like to think of music in terms of rigid categories, and in his composition he attempts to move beyond these, with a free interpretation of all styles and none. He’s particularly interested in jazz and fusion, and among his favourite groups are Spyro Gyra, Yellow Jackets and The Pat Metheny Group, as well as artists such as Herbie Hancock, Chick Corea and Michel Petrucciani, and above all Lyle Mays, from whose style and great sensitivity he takes his inspiration. As well as the piano, Travels also loves synthesisers.

In the course of the years, he’s gone from the Korg Polysix to the Yamaha DX7, Oberheim Matrix 6, Roland JX 8P, D50 Korg Wavestation, Yamaha SY99 and Korg 01W/FD, as well as a variety of samplers, up to the arrival of the virtual sound generators (Kontakt, Battery, AB Synth, Atmosphere and Stylus RMX, etc), whose sound properties he exploits in his own compositions, all of which elude precise classification and can be regarded as a free reinterpretation of his own musical sensitivity and inspiration.GIORGIO GABRIEL
Giorgio Gabriel was born in Milan on 16th July 1966 and still lives there today. He attended the Carlo Porta High School, one of only a handful in Italy that specialises in music. When he was 12, he took off the drums, but a couple of years later he met the love of his life, the guitar.

He started out with a Wilder acoustic, and started playing in his first groups, such as The Supporters, who wrote their own music, and Casino Lights, who had a greater tendency towards fusion.
After building up a certain mastery of the instrument, he perfected his technique by studying for a few years with Maurizio Albini and Andrea Ricca. He has a passionate love of many types of music, from rock to jazz, fusion to the progressive rock of the seventies, anything based on genuine artistic inspiration and isn’t middle of the road or commercial.

Among his favourite musicians are many and varied artists of major talent, such as ELP, Pink Floyd and Abercrombie, as well as Steve Hackett, John Scofield, Bill Frisell, Pat Metheny and Genesis, to whom the tribute band “ G Cover “ is dedicated. They’ve been around for nearly twenty years, and Giorgio is one of the founder members. He’s also worked with singers involved in traditional music in the dialects of Milan (Paola Cavanna) and Naples (Gerardina Corà).

He’s a member of the jazz ensemble Falafel Acoustic Quintet, as well as being the Milanese half of the Alpha Terra project. Among his guitars is a Larrivée, a Gibson Les Paul Custom and a Gibson 335, as well as a rare little Guitalele. Obviously, his equipment also includes Mesaboogie amplifiers.Quando l'amico Salvatore mi ha chiesto se volevo scrivere delle note sul primo album degli Alphaterra spiegandomi che si trattava di un gruppo italiano e che il lavoro era interamente strumentale non ho esitato un attimo a dire si.

E' vero che un album strumentale può rivelarsi ostico o anche talvolta noioso, ma memore di opere quali Monet vol.2 dei XII Alfonso, oppure Prismosfera degli Stereokimono o ancora il recente Labirinto d'acqua degli Yugen che mi avevano favorevolmente impressionato, ero convinto che avrei ascoltato un lavoro pregevole. E così è stato.
La duo/band è composta dal chitarrista/bassista Giorgio Gabriel e da Gianni Viaggi alle tastiere.
Le composizioni, dodici e mai di lunga durata, si ispirano come era il caso dei Conqueror di "74 giorni" al tema del viaggio: ma questa volta non un viaggio reale, bensì un viaggio immaginario che porta noi ascoltatori dalle highlands scozzesi ai fiordi norvegesi, dalla dolce Provenza alla Patagonia, dal desolato Antartide al solare Brasile in un succedersi di emozioni intense.Na foto Steve Hacket e John Hacket com Giorgio

Le fonti di ispirazione della band sono molteplici: si passa con estrema naturalezza dal Mike Oldfield d'annata, alla fusion, dalle improvvisazioni di stampo jazzistico a reminiscenze genesisiane, da un tocco folk a spruzzate più rock.
All'interno di tutto questo "melting pot" sonoro, mi sembra di poter tranquillamente affermare che prevalga comunque il gusto raffinato di Giorgio e Gianni, che senza forzature od ostentazione di capacità, peraltro innegabili, sanno toccare le corde giuste e condurci per mano lungo i sentieri sonori da loro creati con garbo e naturalezza.

Unico neo, a mio parere, è l'assenza di un batterista di ruolo (le parti di batteria sono programmate) che avrebbe permesso un ulteriore salto di qualità al lavoro.
Emozionante

Valentino ButtiE aqui no palco com a banda de rock progressivo The Watch

Tracklist:
01. Scottish Dream
02. Nature Rises from Hibernation
03. Sweet Rain over Provence
04. Sacred Night in Cornwall
05. Patagonia Highlands
06. Nature Falls into Hibernation
07. Norwegian Fjords
08. Starlit Alaska
09. Journey through Lapland
10. Sunset Ride in New Mexico
11. Antarctic Sunglare
12. Last Brazilian Day

Enjoy!!!!!!!!!!!!

Jerry Portnoy Down in the Mood Room

Fala galera e alucinados musicais, o Velho Lobo não aprende nunca, e como recebeu este presente do parceiro de alcatéia Cláudio vamos ouvir juntos prq enquanto posto vou ouvindo também.

Qto a não desistir tenho certeza que como disse ao Mercenário, blogueiros descontentes ficam denunciando os blogs de seus desafetos e por isso eles ficam de marcação com um ou outro mais do que uma máquina faria; só a delação sem prêmio seria capaz de uma perseguição tão eficaz sendo que os mesmos deletados aqui ou no seu se mantém em outros sem problemas.

Ao meu ver e pelo conhecimento que tenho de como funciona a estatística e a probabilidade, só se forçasse uma situação pra se repetir tanto, mas vamos indo e caso como disse a alcatéia saia do ar, enviarei email para os amigos que queiram com o novo endereço, não deixando exposto senão esses discípulos da inquisição delatariam antes de abrir o "lujinha".Jerry Portnoy was born in 1943 and grew up in the blues rich atmosphere of Chicago's famous Maxwell Street Market during the golden age of Chicago Blues. He began his professional career in the late 60's and since that time has performed, live and on television, to more people in more places than any other blues harmonica player.

During a career that includes six years as a member of the fabled Muddy Waters Blues Band, another six as leader of the Legendary Blues Band, four years at the head of his own band The Streamliners, and another four as a featured member of the Eric Clapton Band, he has maintained a constant touring schedule that has carried him to every state in the union and twenty-five foreign countries on five continents, with performances at the White House, Carnegie Hall, Radio City Music Hall, the Smithsonian, London's Royal Albert Hall, and at major jazz festivals worldwide, including the Newport Jazz Festival, the Montreaux Jazz Festival, the Warsaw International Jazz Jamboree, the Hawaii Pacific Jazz and Music Fair, and the Grande Parade du Jazz in Nice, France.

He has played on several Grammy Award winning albums while recording with a wide variety of artists, and was a Grammy Award nominee in 1997 for his work with the Muddy Waters Tribute Band. Television credits include appearances on Saturday Night Live, Soundstage, MTV, VH1, and the Disney Channel, as well as writing and performing original music for Sesame Street. In addition, he has lectured at the Berklee School of Music in Boston, and his definitive 3/CD instructional package, Jerry Portnoy's Blues Harmonica Masterclass, is widely regarded as the premier teaching tool for those wishing to learn the instrument. He now makes his home outside Boston, Massachusetts.Personnel: Jerry Portnoy (vocals, harmonica); Duke Robillard (vocals, guitar); Bob Malone (vocals); Troy Gonyea (guitar);Mark Davis (mandocello, mandolin, fiddle); Doug James (bass clarinet, baritone saxophone); Gordon "Sax" Beadle (tenor saxophone); Steve Ramsay (drums).

Tracks:

1. Doodlin'
2. So Slow
3. You Rascal You
4. Canadian Sunset
5. Lullaby of Birdland
6. Lazy
7. Jug Band Waltz
8. Once Too Often
9. Sentimental Journey
10. Money
11. Stormy Weather
12. Mood Room Boogie
13. Endless Road

Obs: Puta mas é muito bom ouvir o bom e velho "mood" de sempre, que maravilha de presente fantástico, espero que gostem como eu e aproveitem enquanto estamos aqui, rs.

Enjoy!!!!!!!!!!!!!!!