A La Ping Pong (Klaus Bloch) - Krautrock

Very rare and very experimental early 80s electronics from Germany in Kraftwerk's style. Apart from being Klaus Bloch's project name, the 'A La Ping Pong' phrase was what he called his tape delay system, which was in essence his variation on the Frippertronic system. His two albums as such bridged ambient and Krautrock instrumental styles akin to Fripp & Eno, Harmonia, etc..

"Hiding behind the moniker of 'A La Ping Pong', Klaus Bloch was a talented amateur guitarist who broke on to the independent scene in a small way in the early '80s. Apart from being the project name, the 'A La Ping Pong' phrase was what he called his tape delay system, which was in essence his variation on the Frippertronic system. Klaus Bloch went on to make two very different albums. The first [Phase I] featured a highly inventive music featuring more recognisably 'Frippertronic' style guitar looping and delays, with multi-tracking and electronics, often comparable to Manuel Göttsching's echo and delay guitar work, early Heldon, or Camera Obscura. Then, in contrast, Phase II took a diversion to Kraftwerk styled electro-pop blending with Frippian touches" 

Hardy Kukuk (synthesizer, sequencer), Hucky Thoss (drums), Karsten Recke (electric piano, sequencer, electronic drums), Matthias Romann (bass, gong, 12-string acoustic guitar), Thomas Wasiliszczak (guitar, gong), Klaus Bloch (guitar, bass, [Ping Pong System] tape loops, percussion, vocals)

Extrem Musik A La Ping Pong Phase 1 (1980)

Phase II - Go Go Pongs (1981)

A Fleeting Glance - Rare Psych Folk Rock

One of the most astonishing British private pressing rarities, only two copies have surfaced of this 1970 concept album. Telling the story of a woman's life from her own conception to giving birth, the LP was put together by a variety of musicians at a social club, and allegedly includes an uncredited appearance by Billy Fury. Linked by narration and sound effects, the music runs the gamut from heavy space-rock jamming (including a snatch of 'Interstellar Overdrive') to folk rock (an acoustic cover of 'Light My Fire' & a stunning version of 'Watch The Stars') avante-garde choirs, krautrock-styled interludes and even trad jazz. The result is among the trippiest albums I have ever heard, comparable only to Jumble Lane in terms of eccentricity, although the music is infinitely better, with a strong Pink Floyd spacy edge. Indeed, had Syd Barrett remained with the Floyd, one could well imagine 'Dark Side of The Moon' might have sounded thus."

http://www.2ozofplastic.com/

A Fleeting Glance (1970)

1860 Band - Progressive Funk

The 1860 band was a New Zealand group who took their name from the establishment they held residency at.(The 1860 Tavern in Wellington). Their sole LP released in 1978. Formed by Rodger Fox (The Rodger Fox Big Band, Quincy Conserve) the band also included Dave Pearson and other Quincy Conserve members Peter Blake, Billy Brown, Geoff Culverwell and Martin Winch (Espresso Guitar). Quincy Conserve Group recorded from 1968 to 1975. Rodger Fox is a New Zealand jazz trombonist, big band leader, jazz educator, arranger and producer. 

Group Members: Rodger Fox (Trombone) - Martin Winch (Guitar) - Geoff Culverwell

(Trumpet, Flugal, Vocals) - Peter Blake (Keys) - Billy Brown (Drums) - Rob Winch (Bass) 

1860 Band (1978)

145th Street Deluxe Blues Band

145th Street is a five-piece blues band that plays pubs, clubs, casinos, and festivals around San Diego. The group was founded in 2002 by singer/harpist Steve Bulger, aka Stevie B, and Marco Marrewa on guitar as the Bossmen.

“We added bass and drums, and all of the sudden, we had a band,” says Bulger. The winning lineup includes Mike Bullard on bass and a sax player from New Orleans by way of Southeast San Diego named Walter Gentry. The sax man’s dad owned a barbershop in Southeast. When he died, Walter came home and worked the shop for a while. (“He doesn’t cut hair anymore,” says Bulger.)

While Gentry was playing New Orleans gigs, he met Tony Peterson, a drummer who would also come to San Diego and eventually join 145th Street.

Their debut CD, 145th Street Deluxe Blues Band, was nominated Best Blues Album at the 2005 San Diego Music Awards. Joe Walsh heard a copy and liked it. “He said it was pretty fucking good,” says Bulger.

The group has opened for acts such as B.B. King, Bobby "Blue" Bland, Charlie Musselwhite, Tommy Castro, and others. They’ve had a residency at Patrick’s II in the Gaslamp for years and Bulger says they’ve played Humphrey’s Backstage, the House of Blues, 4th&B, “and all the local festivals.”

But 145th Street has otherwise been off the local radar. Why? “That’s a good question.” Bulger puts the blame on lack of self-promotion. “When people hear us, they say, ‘Holy shit, are you guys from around here?’”

Bulger, who lives in Serra Mesa and is a distant relative of ex-mobster Whitey Bulger, explains the band’s name: one-four-five describes the chord changes in the 12-bar blues. “We added ‘Street’ because that’s where everything happens.” They carry an old-school wallop redolent of the 1960s, when rock bands were romancing traditional blues. “We don’t play the usual blues covers.”

In late 2011, the band won a series of elimination rounds to end up as Blues Lovers United of San Diego’s (BLUSD) designated hometown choice for the International Blues Challenge in Memphis at the end of January, 2012. The International Blues Challenge is the world’s largest battle of the blues bands. It takes place over five days. More than 748 musicians from 13 countries compete. Oceanside’s Nathan James & Ben Hernandez won the solo/duo title in 2007.

145th Street Deluxe Blues Band (2005 )

The Black Keys by Dead

21 DE NOV DE 2012

The Black Keys "Rubber Factory" by Lucy

Se tem uma coisa que gosto é de uma idéia.

Acho idéias fantásticas, outras nem tanto, uma vez em outra vida alguém me disse que as grandes idéias acabam sempre no mesmo lugar......no vaso!!!

Credo, mas é verdade e se não forem aproveitadas pra nada servem.

Já tive idéias que iriam revolucionar o mundo, mas como não as apliquei a esta altura nem sei mais o que ou pra que serviriam e o mundo escapou ileso.

Qdo abri o Som Mutante, o primeiro nome seria "Lar de Maravilhas", numa alusão ao Netinho e seu Casa das Máquinas e tb ao que considero isso aqui, uma fábrica de idéias, um lar pra maravilhas que ficariam guardadas se não viessem pra cá, afinal nossos colaboradores são exclusivos e especiais.

Nada que fosse menos que isso pra mim não serve.

Sempre quis o melhor, e luto pra isso, e sou consciente que não atinjo essa perfeição mas sempre a persigo prq é o mínimo que exijo de mim e cada postagem é uma forma de vê-la por perto...umas dão um puta ibope,rs

Outras nem tanto, mas to me lixando prq estão aqui até sei lá qdo, mas fizeram parte da história de muita gente e da minha principalmente, o que me deixa extremamente satisfeito por ter conseguido alcançar.

Nessa época que começam os festejos de fim de ano (é já começaram sim, o congresso tá tentando taxar o 14º e o 15º afinal são tributáveis, mas tá difícil decidir o que fazer com o nosso dinheiro e eu nem 10º tenho,rs) e muitos esperam melhoras, desejam um futuro agradável no mínimo e lutam com suas vidas como sempre dia após dia.

Não espero nada.

Já tive, tenho e luto o meu reme reme pra ir em busca do que quero, do meu lar de maravilhas ao som mutante dessa loucura que se chama internet, e se já chegamos até aqui me sinto realmente satisfeito, prq chegamos juntos.

Até qdo?

Até a próxima curva da estrada........

Akron, cidade de mais ou menos 200 mil habitantes na região dos Grandes Lagos, no Estado americano de Ohio, já foi conhecida como a capital mundial da borracha -- a Goodyear ainda é um dos seus dez maiores empregadores.

As manchetes dão conta de uma reputação pouco lisonjeira de violência e centros de distribuição de metanfetamina.

Mas de Akron também saíram alguns dos maiores craques da NBA, entre eles LeBron James, e uma das melhores bandas de blues rock que uma garagem americana já produziu, The Black Keys.

A banda é um power duo: Dan Auerbach (guitarra e vocais) e Patrick Carney (bateria).

Este "Rubber Factory", de 2004, é o terceiro disco deles. 

E leva o nome (fábrica de borracha) porque foi gravado no andar de cima de uma antiga fábrica de pneus que eles alugaram por US$ 500,00 o mês.

Compraram um console de mixagem no eBay, a gravadora (Fat Possum, do Mississippi) enviou fitas recicladas e eles meteram a mão na massa, sem acústica e sem poder abrir as janelas mesmo com um calor de lascar.

Os dois primeiros discos tinham sido gravados no porão da casa do baterista. Mas depois que o dono vendeu o prédio, eles ficaram sem ter onde produzir, se viraram como deu.

Mesmo no perrengue, "Rubber Factory" foi o disco de virada que fez o blues rock da banda conhecido fora de Ohio e cercanias, levando o duo a tocar em festivais importantes como Coachella e Lollapalooza.

Foi o primeiro disco deles a alçar posições na Billboard e várias músicas foram usadas em trilhas sonoras de filmes, campanhas publicitárias e videogames. "Alguém sabe a música que toca no comercial da Victoria's Secret?" Essas coisas caem na internet e se espalham como fogo. É como as coisas acontecem no século 21.

"Rubber Factory" voltou às paradas agora em 2012 (em posição melhor que à época de seu lançamento), impulsionado pelo sucesso do mais recente "El Camino", lançado no ano passado.

Já são mais de 2 milhões de discos vendidos só nos Estados Unidos, dão conta as estatísticas mais recentes.

O Black Keys já gravou sete discos de estúdio.

Em todos, eu consigo ouvir aquele "raw sound" do início.

Vale a pena ouvir desde as origens e conferir o que tem no YouTube, entre festivais e gigs live in the studio para a BBC e outras rádios. Para dois caras da poeirenta Akron, Dan e Patrick construíram, ao longo de uma década, um respeitável arsenal de blues rock.

Como bem notou a New Yorker, que considerou "Rubber Factory" um dos melhores discos de 2004, além do som intoxicante, as letras são fabulosas.

Você pode ser tão ruim
Não consigo ver um meio termo
A gente entende para que serve o sol
Quando as luzes se apagam

"When the lights go out"
http://www.youtube.com/watch?v=h6pg-srf0Xs

Você tem dores como um adicto
Estou te deixando
Você tem dores como um adicto
10 da manhã, automático
"10 A.M. automatic"

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

LINK

3rd Force - Smooth Jazz

3rd Force is a smooth jazz band on the EMI Higher Octave label, consisting of trio William Aura, Craig Dobbin, and Alain Eskinasi.[1] Founded in 1994 by William Aura after a prolific solo career in new-age music, he, Dobbin, and Eskinasi immediately set out working on their self-titled debut album, 3rd Force which was released that same year. After the album's commercial success, the trio continued the studio project with their next release, Force of Nature in 1995. This album garnered an even bigger success than their debut spawning the popular single Here Comes the Night featuring guest guitarist Peter White. After a two-year break, 3rd Force released their 3rd album Vital Force in 1997. The album gained 3rd Force's second hit single You Gotta Be Real once again featuring guest guitarist Peter White. The 4th album, called Force Field, was released in 1999 resulting in another of the band's singles Revelation of the Heart, with guest saxophonist Paul Taylor. In 2000 Higher Octave released a best-of compilation of 3rd Force, entitled Collective Force, which featured the band's best hits in both radio and fan favorites,along with two new songs, Dance With Me and Sweet Surrender. 2002 saw the release of their 5th studio album, Gentle Force, which showcased a mellower jazz sound than the band's usual output. Three years later,3rd Force released Driving Force in 2005. Their latest release showcases a completely opposite style than the previous Gentle Force album which was almost lounge-style mellow jazz in sound. Driving Force, however, features a funky lively jazz mix never before heard in 3rd Force's music. The most popular singles from their latest release are Believe In Me, featuring the trumpeter Greg Adams, keyboardist Jeff Lorber, and guitarist Brian Hughes, and You Got It, featuring guitarist Marc Antoine. After more than a 10 year hiatus, 3rd Force reunited to release "Global Force" in 2016. Throughout the course of their career, 3rd Force has performed with numerous guest musicians including guitarists Peter White, Marc Antoine, Acoustic Alchemy, Grant Geissman, Brian Hughes, Craig Chaquico, Earl Klugh, Shahin Shahida of Shahin and Sepehr, and saxophonists Paul Taylor, Tom Scott, Dave Koz, Eric Marienthal, Jimmy Sommers, Bryan Savage, Richard Elliot, Boney James, Eric Darius, Ozzie Ahlers, Euge Groove, Rick Braun, and Lawson Rollins.

3rd Force - Vital Force (1997)

101 North (with George Duke)

In 1987, George Duke formed a R&B group called "101 North", whith Lynn Davis and the big fellows George Duke Band members Josie James, Napoleon Murphy Brock, and Carl Carwell (of Earth, Wind, and Fire). The group released their self-titled debut album in August 1987.

 101 North (1988)

George Duke (Synthesizer)

Paulinho Da Costa (Percussion)

Byron Miller (Bass)

John Robinson, Leon "Ndugu" Chancler (Drums)

Dawilli Gonga (Keyboards)

Carl Carlwell, Ellis Hall, Josie James (Lead Vocals)

Carl Carwell, George Duke, Josie James, Lynn Davis, Napoleon Murphy Brock (Backing Vocals).

The Keyboard Circle - First Class JAZZ!

In 1976, the pianists Rob Franken en Jan Huydts both lived in Soest (Netherlands). They hung out together a lot, and shared their love for newly developed key instruments. Both of them were Fender Rhodes electric piano pioneers. Rob Franken's piano virtuosity is to be recognized on as many as four hundred records. In 1976, he had his own trio and performed with the Dutch funk fusion formation ‘Scope’ from the city of Zwolle. In this band, he met with drummer Henk Zomer, whom he was very impressed with.

At the end of 1975, Rob Franken came to the idea to start a new formation based on the combination of different consonance colors by combining Fender pianos with synthesizers, string cabinets and other electronic key instruments. Jan Huydts, who was experienced in making experimental music through his formations ‘Basic Train’ and ‘Third Eye’, thought this was a good idea. They decided to arrange their key instruments in a circle during their performances and so the ‘The Keyboard Circle’ was born.

The two musicians composed their own repertoire out of their own compositions and music covers. For example, on this record we find the Scopesong ‘Tamotua’, Kenny Dorham’s ‘Blue Bossa’ and Eddie Henderson’s ‘The Kumquat Kids’. They decided to play the bass lines themselves, one by one, on a bass synth, while the other was playing his solo. The drums of Henk Zomer, clearly inspired by Jack DeJonetthe and Tony Williams, became the driving force.

Soon after a few rehearsals the first performances took place. One of these first performances is to be found on this CD, recorded on February 8, 1976 in youth centre ‘De Trucker’ in Pijnacker, near The Hague. Han Reiziger, producer for VPRO radio had a craze for special jazz music and was not afraid to show his admiration for Rob Franken's work. He is the instigator of this special recording, that for reasons that aren't clear were never broadcasted. Whilst researching for a radio documentary the maker ran up against these tapes, which everyone had forgotten existed.

To begin with, the soundscape that reveals itself to you when listening to ‘The Keyboard Circle’ is a unique product of its time. Grounded in the mid seventies it’s no less than the works of Herbie Hancock and Chick Corea of those days. Exuberant swing and virtuous solos will find their way through your core. At the same time, the music is subdued in a typically Dutch manner. Most importantly, this music has its own sound, which can't compare to anything you’ve ever heard before.

Unfortunately, ‘The Keyboard Circle’ died at a young age. While Franken was Jean ‘Toots’ Thielemans' regular pianist, he had multiple radio and television performances, taught at the conservatory and above all, he was one of the most frequently programmed Dutch musicians during the seventies. Because of the immense amount of gigs Rob Franken was offered, performances were frequently cancelled at short notice. For this reason, Jan Huydts decided to quit after a while. This became irreversible by the sudden death of Rob Franken in 1983. Unfortunately, no record was ever released. Now this time has come. By listening to the CD you finally have the chance to get to know ‘The Keyboard Circle’. This rectification in the history of Dutch jazz music was a necessary one. And so: the circle is round. 

https://www.reddit.com/r/listentothis/comments/4a3a64/the_keyboard_circle_the_kumquat_kids_jazz_1976/

The Keyboard Circle (1976)

Psychotic Aztecs

The Psychotic Aztecs are without doubt the brain child of Tito Larriua as he produced and wrote all the songs. Tito has several albums with his group "Tito and Tarnatula" and his mark is all over this CD. Tito, who hails from Ciudad Juarez and grew up in El Paso, Texas, sings songs of the border experience. Tito, who is now part of the LA scene has been recording for years and has even done some acting. He has worked with Robert Rodriquez of "El Mariachi" fame and even had a bit part in the movie. The soundtrack to the film "EL Mariachi" contain three tracks by "Tito and Tarantula", including the cool tracks for the wild bar fight scene. This is an album that hits you for it's grittyness and pure old time rock and roll with a twist, very twisted. Some songs are reminiscent of the early work of the "Doors" complete with haunting lyrics, great guitar riffs and sudden drops and crescendos in the rhythms that set a chaotic then peaceful mood."Salmame" is a sort of Norteno-Punk tune that is rapid fire to mid-tempo to rapid fire music with superb guitar work. "Puro" is a song that tells a tale of the border clashes complete with reference to LA Migra and his joy in being "puro Mexicano y que no me voy". The music for the most part is a sort of dark, rhythmn and blues mixture of modern songs of the Southwest. "Bella Marruilla" is a number that slowly builds up to a masterful blending of guitar riffs that have you wondering where the song is going. Enjoy the ride as Tito takes you along for a desert ride, on a horse in search of the elusive wonders of life. This song would fit well as a backdrop for a movie, trippy stuff. The landscapes are yours to paint as there are no lyrics to this instrumental song, just beautiful music. "Agente Secreto" sounds an awful lot to me like "Secret Agent Man" of pop fame years ago only in Spanish . The "Psychotic Aztecs" are Tito, lead vocals and guitar, Steven Medina, guitar, John Avila, bass and vocals and Johnny "Vatos" Hernandez on drums and percussion. A very good CD that will get a lot of play once you get it. It takes several listens to understand their sound but make no doubt these guys are uniquely talented. This is about as uncommercial as it gets, raw, southwest music in search of a soul in the desert.

Enrique Torres

(http://www.amazon.com/Santa-Sangre-Psychotic-Aztecs/dp/B00000HZFW)

Psychotic Aztecs - Santa Sangre

Diesel Therapy - UK Folk Rock

Diesel Therapy is a four piece band from the North East of England. You would somehow expect a band that has the initials DT to be into alcohol fuelled, happy-go-lucky, timeless, noisy, bar room filled, leather clad, rock and roll but, actually, they are something of a laid back country band. They can surprise though. They can rock and roll if and whenever they want to, and they can even do a little bit of Little Feat if they choose – all that neat, syncopated shuffle, Southern Country rock charm; Diesel Therapy can do more than the obvious.

Mad Dog Boogie (2016)

The Cyborgs - ROCK di ITALIA...

Eles vêm de 2110, em uma tentativa de mudar o destino do nosso futuro (e seu presente) tentando manter vivo o blues, caso contrário, destinado a desaparecer do planeta Terra. Banda de dois homens, The Cyborgs é uma das últimas novidades interessantes do underground italiano, e eles estão conseguindo conquistar um grande público, graças ao álbum de estréia, TheCyborgs (INRI). Ambos os membros da banda se vestem de preto e tem os rostos cobertos com máscaras para soldadores: a voz da banda - Cyborg 0 - canta através de um microfone ligado ao interior da máscara e toca guitarra, enquanto Cyborg 1 lida com a seção rítmica tocando bateria e teclado. Mas ninguém sabe quem eles são...

Cyborgs - Extreme Boogie (2015)

ADA LE FOL - France Prog Rock

Ada le Fol is another example of the French underground of bands that played in that unique French theatrical progressive rock style made so popular by Ange and Mona Lisa. This is more under produced and amateurish, just as Trefle and Grime are, but that's where the appeal lies. It's creativity at its most raw. Vocalist does a fine job at the Decamps style, whilst the keys and guitar keep the progressive quotient alive. There's one throwaway good times rock and roller on Side 1 to endure, but otherwise this is a strong example of the style.

Les Années D'Errance (1980)

Terje Rypdal - Norwegian Jazz

Terje Rypdal (born 23 August 1947) is a Norwegian guitarist and composer. Most of his music has been released on albums of the German record label ECM. Rypdal has collaborated both as a guitarist and as a composer with other ECM artists such as Ketil Bjørnstad and David Darling. Over the years, he has been an important member in the Norwegian jazz community, and has also given show concerts with guitarists Ronni Le Tekrø and Mads Eriksen as "N3". Rypdal was born in Oslo, the son of a composer and orchestra leader. He studied classical piano and trumpet as a child, and then taught himself to play guitar as he entered his teens. Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek's group and later George Russell's sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany, in 1969, where he was part of a band led by Lester Bowie. During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions (some of which do not feature Rypdal's guitar). His compositions "Last Nite" and "Mystery Man" were featured in the Michael Mann film Heat, and included on the soundtrack of the same name...

Odyssey (1975)

Personnel:

- Terje Rypdal - guitar, string ensemble, soprano sax

- Tornbjørn Sunde - trombone

- Brynjulf Blix - organ

- Sveinung Hovensjø - 6 & 4-string fender bass

- Svein Christiansen - drums

Absolution - Blues Rock Trio

One of the UK's finest emerging blues trios return with their second studio album. Terrific songwriting and exquisite musicianship help craft this 12 track album. From the foot tapping rock of Giving It Up, to the burning slow groove of Left In The Corner, this is an album for music lovers and blues rock fans in particular! 

Absolution’s second studio album, Dusty Road, is the band’s follow-up effort to 2012’s Issues. They split the two by filling the bus and taking their music to the road, which gave way to their live release. The trio stem from England, but the music reaches much further. Their smooth vocals and ear for the blues make them a modern blues machine. The album ranges from heavy riffs to soft, tasteful licks, a true balancing act. Lead vocalist Joe Fawcett brings a cool, collected delivery to each verse. Their simple, powerful riffs drive catchy tracks such as “Giving It Up” and “Lay Me To Rest”; both energetic, upbeat jams. On the other end, their intricate guitar work gives way to some suave tunes like “Don’t Know Where.” On “Head For Trouble,” the heaviest of them all, the trio turns the distortion high, juxtaposing low, gritty riffs with high ranging vocals a-la Clapton. Absolution brings the blues to the modern music front, with shades of classic rock and blues artists alike. Their second studio album is packed full of tunes every blues fan should check out. With everything from searing solo work to pounding drums to delicate vocals, their sound weaves a tasteful take on the blues.

Dusty Road (2014)