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...
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.
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...
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.
A Perfect Circle é um supergrupo de rock alternativo, formado pelo guitarrista Billy Howerdel e o vocalista da banda Tool, Maynard James Keenan. Durante a gravação do álbum Ænima do Tool Billy mostrou suas canção para o vocalista da banda, Maynard James Keenan, que logo se ofereceu como vocalista caso Howerdel viesse a formar uma banda. A banda lançou três álbuns, Mer de Noms, Thirteenth Step e eMOTIVe, e um conjunto de CD/DVD, aMotion, este contendo treze videoclipes, além de um número de remixes de algumas músicas criados por Danny Lohner e outros artistas. Em 2004, a banda entrou em hiato, e desde então os membros da banda têm trabalhado em outros projetos. Em setembro de 2008, Keenan anunciou em entrevistas que ele e Howerdel vinham trabalhando em material novo, terminando oficialmente o hiato do grupo. No entanto, a banda só se tornou realmente ativa cerca de dois anos depois, em setembro de 2010, quando a banda anunciou turnê e o lançamento de novas músicas que podem ou não ser sob a forma de um novo álbum. Em 27 de outubro de 2010, a banda fez sua primeira aparição na televisão desde o hiato no Jimmy Kimmel Live!. Em 2011 fez uma turnê norte-americana, passando em 24 cidades. Em Abril do mesmo anos a banda postou em seu Twitter que estava trabalhando em novas músicas. Em 29 de Junho de 2011 o grupo lançou uma nova música chamada By and Down. Em outubro de 2012 confirmou duas apresentações na América do Sul, no festival Lollapalooza, no Brasil e no Chile. O grupo se apresentou no Brasil dia 30 de Março de 2013. E em outubro Josh Freese anunciou em seu Twitter que deixou a banda, sem nenhuma intenção de retornar...
A Passing Fancy was a Toronto band from the mid-1960s fronted by the singer-songwriter and guitarist Jay Telfer, today publisher and editor of the antique collector's magazine Wayback Times, and Dr. Brian Price, president of In The Game Hockey Cards. The band's debut single, Telfer's “I’m Losing Tonight”, released in February 1967, reached No. 22 on the CHUM chart the following month. While its follow up, “You’re Going Out Of Your Mind” only made No. 37 in June, the group's third single for Columbia, “I Believe in Sunshine” restored some faith by reaching No. 28 in September. By then, Steve Wilson had left and Louis Pratile joined on drums. During the summer of 1967, A Passing Fancy played at Expo ’67 in Montreal where they jammed with local band, Les Tetes Blanches. The moderate success of the singles, prompted Columbia to finance a fourth single, “People In Me”, was listed at No. 48 and failed to chart anymore when it was released in December. Telfer's demanding need to practice was met with little enthusiasm by Price who was completing his third year in university and wanted to pursue a career in dentistry. In March 1968, Price quit. Although Telfer was recognized as the musical leader of the group, Price was the founder and spiritual and business leader. His leaving the band had a major impact on Seon and Mann. A Passing Fancy carried on by replacing Price with Fergus Hambleton on organ and vocals and Brian Smith who contributed a third folky guitar but the chemistry of the band was never the same. After shooting at the CBC, playing the first Let's Go TV show in colour and performing that same night at the Granite club, Telfer was told by the Wal-Dan management that he would no longer be in the group. Unhappy over the new direction Seon and Mann left shortly thereafter. A few months later, in June 1968, the remaining members of the band also left.
This rather shadowy figure -- the CD's only picture of him is bathed in darkness -- was once lead guitarist for the deliciously named Dutch group the Treble Spankers who, the publicity notes state, were one of Europe's most popular surf bands. Phantom Frank's debut solo release uses that genre as a starting point, but veers into other styles during its nearly one hour playing time. Frank -- whose last name is nowhere to be found -- plays all the instruments in a tour de force performance that never drags. Although it might grab at retro straws, it is never stuffy, musty or predictable. A few mostly female vocals punctuate the instrumentals as the musician tears from the Dick Dale-styled intensity of "Punjabi" to the cha cha, Spaghetti Western twang of "Vermona" -- one of three extra tracks added for the album's U.S. release. The recording, mixing, and production, also all done by Frank, perfectly capture the often spooky ambiance, especially on Ennio Morricone-inspired tracks such as "Kapuna" with tape delay echo hovering over the track. "Fata Morgana" displays Frank's talents on the lap steel, an instrument perfect for this style. He flies to Hawaii for further lap steel adventures on "Dusseldorf HBF." A Middle Eastern vibe saturates "Darshan," which brings even more international intrigue with an accordion adding flavor. "Condition Black" brings an ominous vibes and a thudding, sparse drumbeat to the table, creating one of the album's most eerie, disconcerting, and atmospheric tunes. Most impressive is that this set doesn't have the insular feel of a one-man recording. The songs are spacious, open and never overly busy. Frank overdubs himself as he finds the sweet spot in these 17 short yet never abbreviated and perfectly imagined tracks, which are not just for the surf inclined.
For the first years of the swinging 60s, the unique sound of The Shadows held sway over the airways, a hit factory that was responsible for such inimitable instrumental hits as "FBI", "Kon Tiki", "The Savage", "Wonderful Land", "Dance On", "Foot Tapper", singles which effortlessly recall an era. The Shadows dominated the hit parade, clocking up more weeks on the charts than The Rolling Stones, The Beegees, The Who... The most successful British group of all time apart from The Beatles. As a testament to The Shadows influence, one of the earlier Beatle compositions and the only John Lennon/George Harrison collaboration was an instrumental entitled "Cry For A Shadow". A generation grew up admiring the look and sound of The Shadows - Eric Clapton, Pete Townshend, Queen's Brian May and Roger Taylor and Dire Straits' Mark Knopfler, are only some of the home grown superstars who have testified to The Shadows influence. While in Toronto, a teenage Neil Young was to later admit that hearing Hank Marvin's guitar was his first formative musical experience. A very novel tribute record, Twang spotlights the music of Hank Marvin and the Shadows. Clearly one of the biggest influences on surf as well as British rock & roll, the Shadows' music (aside from their work with Cliff Richard) was always marked by a clean precision that welded R&B, country, rock and other influences perfectly. The re-recordings here bear this out. One of the finest is the collaboration of Randy Bachman and Neil Young on "Spring Is Nearly Here." It's a gorgeous arrangement, augmented by Young's trademark intensity. Several other standouts include testimonials by Peter Frampton, Peter Green, Brian May, and others. A real must for fans of the art of the electric guitar.
Fanny was an American all-female band, active in the early 1970s. They were one of the first notable rock groups to be made up entirely of women, the third to sign with a major label (after Goldie & the Gingerbreads and the Pleasure Seekers), and the first to release an album on a major label (in 1970). They achieved two top 40 singles on the Billboard Hot 100 and released five albums.
"Já foi dito que o tempo cura todas as feridas. Não concordo. A ferida continua. Com o tempo, a mente se protege da insanidade cobrindo a ferida com cicatrizes, e a dor diminui, mas nunca desaparece." Rose Kennedy
Aninha
"guerreira amada...!!!!"
Mel
....number one....
Alita de Aponcho
..tomara goste de Chet Baker...
Ao Mestre "Manito"
Cara sinto uma puta saudade de vc que chega a doer!!!!
"Rock Fly - é só clicar....."
Não se odeia quando pouco se preza, odeia-se só o que está à nossa altura ou é superior a nós.
