It was early in the Thirties: after emerging from the piano-bars and honky-tonks of Texas, boogie woogie moved into rent parties in Harlem. The fashion had started. Passing jazzmen, converted bluesmen or authentic diehards, the aces of the keyboard here show all the richness of this powerful, obsessional genre that was the most African of piano jazz styles, an essential component of what became rock and roll.
Blues Anytime: An Anthology of British Blues is a series of compilation albums featuring tracks from various British blues artists. Three volumes were released by Immediate Records in 1968, followed by Blues Leftovers in 1969. The albums feature various tracks from such artists as John Mayall, Tony McPhee, Savoy Brown Blues Band, Jo Ann Kelly, Jeremy Spencer, Cyril Davies, Stuff Smith, Albert Lee, Dave Kelly and Rod Stewart and were also the first release of several exclusive tracks recorded for Immediate between 1965 and '67. These include recordings by Jimmy Page with Jeff Beck, Nicky Hopkins and the All-Stars,[1] plus several tracks recorded by Page and Eric Clapton, backed by members of The Rolling Stones (Bill Wyman, bass, Mick Jagger, harmonica and Ian Stewart, keyboard)[2] and the only recorded output by Santa Barbara Machine Head.
Uma pequena coletânea de canções agradáveis... Não me lembro como este álbum veio parar na minha coleção. São canções bem agradáveis, meio Pop, meio Soul... Bom para ouvir em um domingo de manhã. espero que gostem.
High Voltage is a double live album by British progressive rock band Emerson, Lake & Palmer, released in 2010. On 25 July 2010, Emerson, Lake and Palmer played a one-off 40th anniversary concert, headlining the High Voltage Festival event in Victoria Park, London. The entire concert was later released as the double-CD live album "High Voltage".
Disc 1
"Karn Evil 9: 1st Impression - Part 2"
"The Barbarian"
"Bitches Crystal"
"Knife-Edge"
"From The Beginning"
"Touch and Go"
"Take a Pebble"
"Tarkus (Eruption/Stones Of Years/Iconoclast/Mass/Battlefield/Aquatarkus)."
The A Time and a Place box set brings together a select body of live performances by Emerson, Lake & Palmer captured before worldwide audiences during the band's career and tenure at the sharp end of the Progressive rock genre. It features high-quality soundboard recordings on the first three discs and audience recordings on the fourth. The collection has been praised by fans and in album reviews for the quality of the soundboard recordings, as well as the vast diversity of tracks featured on the discs. This collection is a part of a series of “official” bootleg releases by Shout! Factory and producer David Skye, with the blessing and participation of artists to provide fans with only the best performances, highest quality recordings, superior packaging and with original cover artwork designed by illustrator William Stout, internationally renowned as one of the first rock “n” roll bootleg cover artists. Other releases in the series include Iggy Pop’s Roadkill Rising and Todd Rundgren’s For Lack of Honest Work.
It was only a question of time. It had to happen. After all, didn't the Orb's Alex Paterson and a host of ecstasy-addled dance music producers take the music of Pink Floyd into the mixologist's lab? Emerson, Lake & Palmer, whose very name is synonymous with rock excess and the curse of prog rock, has now been given the same treatment by producer Mike Bennett on this (shudder) three-CD box set from Burning Airlines. Oh yes, and it was done with the cooperation and participation of Keith Emerson. Discs one and two each begin with remixes of "Fanfare for the Common Man," which was already a reinterpretation of Aaron Copland's canonical classical work. Jungle, ambient, techno, and even hard house are used by Bennett to restring the piece, and Emerson re-recorded bits and bites for texture. The rest of discs one and two are reworkings of ELP "classics" such as "I Believe in Father Christmas," "Brain Salad Surgery," "Take a Pebble," etc., and a deconstruction of Carl Palmer's aggressive drumming style on "Palmstone" at the end of disc two. Disc three consists of various remixes of -- guess what? It's "Fanfare for the Common Man" once again, by such luminaries as Digger, Clive Mead, Simon Guilfoyle, Graham Pilgrim, and Bennett himself. This is not for everybody, but ELP fans, wherever they may be, will be tempted to realize this box of electronic plunder for all of its dubious glory.
Ya pasado mas de un año del fallecimiento de Dead or Alive, siento que a pesar de los excelentes post de todos aquellos que han querido mantener vivo este blog, lamentablemente, a parte de proponer discos increíbles, este ha perdido completamente su identidad y aquello que muchos llamamos "alma".
Una de las características principales de SOM MUTANTE de la mano de Dead siempre fue la de aportar, no solo con los discos, si no también con algunas historias de aquellos que estaban inmiscuidos directamente con la realización de estos, cerca, en la misma década o simplemente una relación personal con la música contenida en el, para bien o para mal, Dead tenía una opinión sobre casi todo, además de una manera bastante peculiar de escribir, esa opinión quedaba (casi) siempre clara para quienes lo leían.
Esto generaba muchas veces controversia, discusiones, argumentos para uno y otro lado, iban y venían, a veces estas discusiones llegaban (casi) a las manos, muchas veces estos desacuerdos seguían vía correo electrónico o en otras páginas y ahí asistíamos a grandes intercambios de ideas y otras veces descalificaciones sin contemplación de lado y lado, en resumen, nadie quedaba indiferente de estos magníficos post, los que además iban acompañados de fotos y comentarios los que siempre aportaban aun más al post, como aprendí y cuan entretenidos podían llegar a ser estos!, haciendo de la lectura de estos post algo especial y era la razón por la cual muchos de nosotros volvíamos día a día a revisar que locura tenía planeada para nosotros.
Muchas veces estos comentarios no tenían nada que ver con la banda o el disco posteado, otras era una anécdota casi desconocida de esta, pero siempre, siempre contenía al menos un punto de vista o una historia.
Para seguir la tradición de este blog, es mi opinión per-so-nal, a mi NO me gusta ver posteados solo las caratulas y el link.
Cuando entro en un blog con estas características simplemente me voy para no volver, ni siquiera, aunque este buscando algo muy puntual, bajo desde ese blog la música que pudiera estar linkeada desde ahí, para eso voy a Kickass o The Pirate Bay... donde ha veces hay mucha más información que en esos sitios!
Me da mucha pena pasar por aquí y ver que aparte de un copy/paste no hay nada, ni un comentario de lo que están posteando, ni una opinión respecto al contenido, ni una historia que acompañe.
Por favor, no me entiendan mal, todo mi reconocimiento a quienes hacen el esfuerzo de mantener el blog vivo, Gringo, Java, Breu quienes son los que mantienen con sus post este blog, y es a ustedes mismos que les pido, no dejen de aportar desde su perspectiva lo que están posteando, a veces ese disco o banda que para ti es ultra conocido, para el resto de nosotros los mortales es una incógnita. Este no es cualquier blog, es SOM MUTANTE. Comenten, opinen, no dejen pasar la oportunidad de dejarnos una apreciación personal de lo que escuchamos, vivieron o hicieron, un copy/paste no es suficiente!
Aunque Dead me dejó, así como a otros blogeros muy cercanos y de toda su confianza, con los permisos necesarios para postear en el blog, yo no me he sentido con la capacidad de mantener esa tradición, por un lado después de la muerte de Dead (la que me puso a pensar profundamente) hizo que finalmente, por supuesto que acompañada de otras cosas que ocurrieron en mi entorno, dejara de postear en mi propio blog, dándole prioridad a otras cosas en mi vida, y por otro lado porque considero que en este blog hay que hacer, para estar a la altura, un trabajo de excelencia, ya que lo considero para mi, una manera de rendirle un pequeño homenaje a mi amigo.
En resumen, prefiero no hacerlo, ha hacerlo mal. Hoy hago una excepción y la hago para precisamente rendirle un homenaje, atrasado ya lo sé, a un amigo que hecho de menos.
Respecto a este disco doble en vivo de Spin Doctors, Songs for the Roar, un maravilloso nuevo disco de esta talentosa banda más conocida por su single "Two Princes" de 1991 y a penas un par de otros temas del álbum Pocket Full Of Kryptonite y poco o nada de su trabajo posterior. Tremenda banda acostumbrada a viajar por todos los Estados Unidos en unas largas y cansadoras giras, conocida como una "Travelling Band" la que durante casi una década casi no paro de girar.
La grabación de este disco fue hecha en Alemania en el mes de Octubre de 2013, una de las mejores si no la mejor que he escuchado de la banda en vivo.
Este disco doble es una gran oportunidad de conocer a la banda donde y haciendo lo que a ellos más les gusta, tocando frente a sus fanáticos.
Spin Doctors (2015) Songs From The Road
01. What Time Is It?
02. Traction Blues
03. Off My Line
05. Little Miss Can't Be Wrong
06. Some Other Man Instead
07. If the River Was Whiskey
08. Jimmy Olsen's Blues
09. About a Train
10. Two Princes
11. Lady Kerosene
12. Scotch & Water Blues
13. What My Love?
14. Yo Mamas a Pajama
Músicos
Chris Barron - Voz, guitarra, guitarra acústica.
Aaron Comess - Bateria, percusión, órgano hammond, piano, bajo eléctrico, stick, clavinet, coros.
Eric Schenkman - Guitarra principal, piano, voz y coros.
Mark White - Bajo eléctrico, guitarra, teclados, coros.
DR. Z. is an obscure early 70's English trio whose LP version of their only album now fetches in the 3-digit price range (only 80 copies were sold at the time, the rest of the pressings were trashed by their record company). A cd version of the album, released by Vertigo in 1991, features a couple of extra tracks. The dominant mood of the album ("Three Parts to my Soul") is set by a percussive harpsichord that is alternately majestic and militaristic - imagine the sound of a Keith EMERSON harpsichord concerto if Carl PALMER matched him note for note on a kettle drum. The lyrics, dealing with occultism and the evil of man, are far better written than the music, which sounds rather clumsy and awkward to our modern ears. At its most inventive and textured, the album is a fine example of early 70's prog at its darkest. It has simple rhythms and the music is peculiarly obsessive, with very long piano and organ solos, baroque melodies and satanic lyrics.
Strictly for serious collectors of dark, early 70's curios willing to overlook a highly mangled production.
The brothers Rudy and Tonny de Queljoe moved from Ambon to the Netherlands in 1951. They played in several bands like Johnny and the Blue Jeans, The Sharks, Dragonfly. In the latter band the brothers played together and the singer was Johhny Caljouw. Due to animosity the three started a new formation: The Beat Five. The name however was soon changed to Group '69 Sect. Other members of thsi band were Huib Power (drums) and Carlos van den Berg (guitar). When Hans Verhagen became their manager, they changed their name to Dragonfly. DragonflyThe music they played was inspired by The Doors, Jimi Hendrix and Moby Grape. They release two singles in 1968: "Celestial dreams / Desert of Almond" (Philips JF333927) and "Celestial empire / Prince of Amboyna" (Philips JF334536). They toured in the Netherlands, but also in England in clubs like The Speakeasy and Middle Earth. The band finally ended after they broke up with their manager, who as a reaction cancelled al their remaining gigs. leaving them out of work. Caljouw joined Machine, de Queljoe brohters would play in several bands like Brainbox. In 1977 John and Rudi tried to revive the band, but this attempt failed. After that Rudi played in Vitesse and Masada. Tony passed away several years ago.
This little known group was formed in 1968 in Cleveland, United States, first under a name SUNRISE. Later in 1969 they changes as DRAGONWYCK, and their musical style moved towards progressive rock. Their first album was released in 1970 for only 85 copies, as a demo LP. Musically they combine the elements of both British and American psychedelic sound with heavy metal tones. The mood of their music is dark and mystical, and their sound is dominated by guitar and Hammonds, Moogs and Mellotrons. The band did lots of touring in the early 70's and they also managed to release an album with bigger amount of copies. Their line-ups varied, but keymembers on all albums are Tom Brehm playing guitars and Bill Pettijohn singing. Today their original releases are also remastered, and their stuff can be recommended for anybody interested of obscure psych rock bands.
Band leader Tom Brehm reformed DRAGONWYCK with a new and younger lineup in 2006 and embarked on a short European tour before fading once again into obscurity.
"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.
