quarta-feira, 31 de dezembro de 2014

JP Jones - Magical Thinking


















JP Jones - Magical Thinking - 2006

By Steven Francis from OpEdNews.com
John Paul Jones, saddled with the same name as Led Zeppelin's bassist and thus operating under "JP Jones", is a Rhode Island folk musician and rocker who almost caught the fast track to fame in the 70's. He was signed to the Windfall label, a subsidiary of Columbia Records and home to hard rockers Mountain, but at exactly the wrong time, when Clive Davis & Co. decided they didn't like the upstart venture and buried it, Jones going down with the ship.

But now, it's 30 years later and the troubadour is one of America's best-kept secrets, a condition hopefully soon to change. He's been issuing CDs regularly and has just now put out his twelfth, Magical Thinking, and not a moment too soon. At a time when damn near every dial position of commercial radio is as gawdawful as ever, this disc is a shining star. Jones is head-shotted on the disc's cover, the weathered countenance of a guy who's seen life and the industry, standing firm without losing his balance, while both took their best shots. There's a hard edge there, just beneath the tentative smile, evincing a musician who's become a bit weary and a lot wiser, imbued with the rough and tumble of making it day to day in a world hostile to loners.

"A Man Stands Up" opens the CD and gives a broad hint of the soul and integrity of the musician-poet's position. A soporific synthesizer floats above Jones' voice and lulls the listener while the lyrics take on an anthemic proportion. The cut's a re-working of a selection from his last CD, Thugs and Lovers, longer and more engaging. In fact, on this release, the composer has chosen to revivify three works from a long catalog, something many Big Time musicians might want to take a cue from. He re-crafts "Prophet in His Prime" as well, from the elder "Jeremiah", newly cutting in zydeco accordion and sounding very Dylan-ish.
It proceeds in a shuffling beat, lazy and thick, with airy guitar glances glazing starry borders to the tune's atmosphere. Once or twice, Jones approaches Tin Pan Alley from the Paul Williams sidestreet (think "Old Souls"), penning laments to pain and pleasure in thoughtful drawing-room memories. His voice holds the savor of many antecedents: Dylan foremost but also Mark Knopfler, a tang of Warren Zevon, and a distant growl of Waits, nonetheless his own man through it all. Those vocal chords show they've been through the mill and traveled many nights, but this only lends an expressive uniqueness while displaying emotional vulnerabilities and strengths, the sort of thing folk music thrives on.

The music of all of Magical Thinking is tight while relaxed, showing the easy grace of a professional who very well knows where the pocket is, falling into it every time. Jones continually lets down borders, exposing his heart, ushering listeners into the forgotten realms of life, reflecting on the kaleidoscope we behold from day to day. "Ezmerelda" features what appears to be strings but could be adept synthesizers, a moody tune delivered late at night, pondering the shallow rewards of promiscuity, the bright lights of the fast life. The blunt exposure of a slide to disappointment and pain is tempered by the kindredness the listener him- or herself may have had to the condition at one time or another, the setting sun a metaphor for an approaching wisdom dipped in regret.

"Sufficient" pulls tempo and spirits back up, a bopping spell of admiration for a woman sitting in the center of the singer's warm regard. The title sabotages society's glamour sickness and invokes the sentiment that we're just what we are and that all of it is quite sufficient. The 15-minute "The Fire and the Rose" closes out the entire disc, trad folk stretched out to Homeric lengths, dropping the fire and thunder that often accompany such opuses, organ propping up the backspaces of a small novel. It signals a return to Dylan and the height of the folk movement, where the psyche of the brazen rock world is reminded of its roots. Appropriate to all Jones' tunes, we're left with wistfulness.

This is an affecting disc. It carries such a myriad of flavors, scents, ideas, laments, and ruefully gentle smiles, calling back across the musician's many long years of craft to produce his crowning statement in a field of excellences. Magical Thinking is indeed magical listening, wrought by a vet who never lost the spark that drove him to take up the crucible in the first place. Of all the die-hards who have impressed us with their devotions to the Muse, there is perhaps no one more tried and true than Rhode Island's JP Jones, a man who may well be America's most talented yet hidden lion of independent music. This disc at long last should prove to be his shining moment. 


01. A Man Stands Up
02. Prophet In His Prime
03. Wreck The Bed
04. Us And Them
05. Strut
06. Fool In Love
07. That All Right
08. Loaded Question
09. Ezmerelda
10. Sufficient
11. The Fire And The Rose



+@192

segunda-feira, 29 de dezembro de 2014

District 97​-​ Live at CalProg


















District 97​ - ​Live at CalProg - 2010

From Prog-Sphere
This is the first live album by US band District 97, you may say it is a bit early because they have only released one studio album, and having on par one live is not something that we can see every day. This is a performance in the Cal Prog Festival which was completely recorded and released, and now enjoyed by District 97 newcomers and future fans.

What this live show features is a set of seven songs, including their long 27-minute epic Mindscan, so this is an ambitious live introduction which in my opinion works as a revulsive for the band, because in this high-quality performance we appreciate that they are not only good on studio.

The first track here is the single “I Can’t Take You With Me”, with symphonic keyboards, nice harmonies, cool drums and nice female vocals. This may be their introductory piece, but not their best.

“Termites” has a heavier sound, which does not really mean the music goes towards prog metal, not at all. When keyboards appear they really help, putting even more power to the music, which in addition with the vocals make a strong, heavy and good track. I also like the short changes and the backing male vocals. The final two minutes are crazy, with a weird but cool guitar solo.

READ MORE HERE




01. I Can’t Take You With Me
02. Termites
03. Who Cares
04. The Back and Forth
05. Presto Vivace/Back in NYC
06. Mindscan
07. Open Your Eyes

Leslie Hunt – Vocals, Tambourine
Jim Tashjian – Guitar, Backing vocals
Rob Clearfield – keyboards, Additional Guitar
Patrick Mulcahy – Bass
Jonathan Schang – Drums

+@192

quarta-feira, 24 de dezembro de 2014

The New Rascals - It's a Beautiful Morning


















The New Rascals - It's a Beautiful Morning - 2014

Ok! Eu sei (e os chatos de plantão também sabem) que Rascals sem Felix Cavaliere é quase uma banda tributo. E é mais ou menos assim como eles vêm se apresentando: uma banda tributo a Cornish e Danelli.

Bom, como hoje é Natal, Papai Noel também não existe e mesmo assim a maioria curte..... o presente da noite está aqui.

Feliz Natal para todos e nos veremos novamente em 2015!!!!!  

Merry Christmas for all and see you in 2015!!!!

Gene Cornish - Guitar
Dino Danelli - Drums
Bill Pascali - Keyboards, Vocals
Charlie Souza - Bass

01. It's a Beautiful Morning
02. A Girl Like You
03. Mustang Sally
04. Groovin'
05. People Got To Be Free
06. Come on Up
07. Good Loving
08. Midnight Hour
09. Lonely Too Long
10. How Can I Be Sure
11. Love Is a Beautiful Thing
12. You Better Run
13. Ain't Gonna Eat Out My Heart Anymore




+@192

domingo, 21 de dezembro de 2014

Max Middleton - Two Cranes


















Max Middleton - Two Cranes - 2013

Two Cranes is an intriguing musical voyage combining classical nuances with Max Middleton's inimitable Rhodes keyboard style. Chill-out vibes, driving rhythms and cinematic soundscapes make this his best album to date. The two previous solo albums 'Land of Secrets' and 'One Thousand Sails' drew the following reviews from buyers on CD Baby......

"highly recommended, infusing jazz, Latin and reggae whilst retaining the wonderful Fender Rhodes playing that was the watermark on Jeff Beck's fusion era. Not a moment of disappointment on this album"

"This is music that satisfies on both an intellectual and emotional level. Highly recommended"

"This is an ultra-fine piece of smooth jazz style work with an international flavour. Highly enjoyable rhythms under expert keyboarding along with very subtle vocalisations make this CD the perfect soundtrack for viewing a spectacular summer sunset"

"Finding this after so many years is like stumbling across a buried treasure. It doesn't get any better than this"

Following in the footsteps of two acclaimed albums, Two Cranes adds further dimension and depth to Max Middleton's composing skills and playing style.

01. Two Cranes
02. Bamboo Forest
03. Mountain
04. Absent Friends
05. Water Garden
06. Down Home Girl
07. Nomad
08. Sendai
09. Hush Little Fin

Max Middleton - Keyboards, Piano
Martin Ditcham - Drums, Vocals
Kuma Harada - Bass
Robert Ahwai - Guitar
Maiuko, Richard Bundy - Vocals



+@192

sexta-feira, 19 de dezembro de 2014

Vince Martell - Endless High


















Vince Martell - Endless High - 1995

from Wikipedia
Martell was born in the Bronx to parents who played the guitar and encouraged him to play as well. While in his teens, Martell joined the Navy, where he discovered his skills as a guitarist.

In 1963, Martell moved with his family to Florida and soon joined a band called Ricky T & The Satans Three that played in Miami blues clubs and shrimp bars in Key West. In 1966, he formed the band The Pidgeons with organist Mark Stein, bassist Tim Bogert and drummer Joe Brennan. After Brennan was replaced by Carmine Appice and a record deal forced the band to change its name, the band became Vanilla Fudge.

After the breakup of Vanilla Fudge in 1970, Martell continued to perform until Vanilla Fudge reunited for another album in 1984 called Mystery. In 2000, he released his first solo CD, Endless High, followed in 2001 by a self-titled CD, Vince Martell. In 2002, he recorded a third solo CD as a tribute to Jimi Hendrix, whom Martell had befriended when Vanilla Fudge and Hendrix toured together.

In 2005, Vanilla Fudge reformed with all the original members including Martell, Mark Stein, Tim Bogert and Carmine Appice, for a tour with The Doors and Steppenwolf. In July, 2006, Vanilla Fudge recorded a tribute to Led Zeppelin, working title Out Through the In Door, scheduled for release in early 2007. Martell continues to tour with Vanilla Fudge, and his own band, the Vince Martell Band with Peg Pearl (keyboards/vocals), Pete Bremy (Bass/vocals), and Russ T. Blades (drums).

READ MORE HERE

01. Cause I Love You
02. The Old Man In The Sky
03. Just a Little
04. All In Love Is Fair
05. Ladder of Life
06. Baby, I'm Blue
07. In The Court of The Crimson King
08. Yolanda
09. Thoughts

Vince Martell - Guitars, Vocals, Background Vocals
Chuck Alder - Bass
Tony Pinisi - Organ
Neil Capolongo - Drums
Peg Pearl - Background Vocals

Additional:
Tim Bogert
Ian McDonald
Chuck Alder, John Vinci and Richie Cerniglia (of Illusion)
John Garner (of Sir Lord Baltimore)
Phil Weiss and Scott Treibitz (of Star People)







+@192

domingo, 14 de dezembro de 2014

Nick Drake - The John Peel Session


















Nick Drake - The John Peel Session - 2014

From Itunes
A singular talent who passed almost unnoticed during his brief lifetime, Nick Drake produced several albums of chilling, somber beauty. With hindsight, these have come to be recognized as peak achievements of both the British folk-rock scene and the entire rock singer/songwriter genre. Sometimes compared to Van Morrison, Drake in fact resembled Donovan much more in his breathy vocals, strong melodies, and the acoustic-based orchestral sweep of his arrangements. His was a much darker vision than Donovan's, however, with disturbing themes of melancholy, failed romance, mortality, and depression lurking just beneath, or even well above, the surface. Ironically, Drake has achieved a far greater stature in the decades following his death, with an avid cult following that grows by the year.

Part of Drake's failure to attract a mass audience was attributable to his almost pathological reluctance to perform live. It was at a live show in Cambridge, however, that a member of Fairport Convention saw Drake perform, and recommended the singer to producer Joe Boyd. Boyd, already a linchpin of the British folk-rock scene as the producer for Fairport and the Incredible String Band, asked Drake for a tape, and was impressed enough to give the 20-year-old a contract in 1968.

Drake's debut, Five Leaves Left (1969), was the first in a series of three equally impressive, and quite disparate, albums. With understated folk-rock backing (Pentangle bassist Danny Thompson plays bass on most of the cuts), Drake created a vaguely mysterious, haunting atmosphere, occasionally embellished by tasteful Baroque strings. His economic, even pithy, lyrics hinted at melancholy, yet any thoughts of despair were alleviated by the gorgeous, uplifting melodies and Drake's calm, measured vocals. Bryter Later (1970) was perhaps his most upbeat effort, featuring support from members of Fairport Convention, and traces of jazz in the arrangements. On some cuts, the singer/songwriter, remarkably, dispensed with lyrics altogether, offering only gorgeous, orchestrated instrumental miniatures that stood well on their own.

Neither album sold well, and Drake, already a brooding loner, plunged into serious depression that often found him unable to make music, work, or even walk and talk. He managed to produce one final full-length work, Pink Moon (1972), a desolate solo acoustic album that ranks as one of the most naked and bleak statements in all of rock. He did record a few more songs before his death, but no more albums were completed, although the final sessions (along with some other fine unreleased material) surfaced on the posthumous compilation Time of No Reply.

Drake's final couple of years were marked by increasing psychiatric difficulties, which found him hospitalized at one point for several weeks. He had rarely played live during his days as a recording artist, and at one point declared his intention never to record again, although he wished to continue to write songs for others. (It's been reported that French chanteuse Françoise Hardy recorded some of Drake's songs, but she hasn't released any.) On November 25, 1974, he died in his parents' home from an overdose of antidepressant medication; suicide has been speculated, although some of his family and friends dispute this.

In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose alienation.





01. Time Of No Replay
02. River Man
03. Three Hours
04. Bryter Layter
05. Cello Song



+@192

sábado, 13 de dezembro de 2014

Nick Vigarino and Kathi McDonald - The Ghost of Time (repost)


















Nick Vigarino and Kathi McDonald - The Ghost of Time - 2000

O primeiro instrumento de Nick Vigarino foi um velho e acabado violão que tinha intactada apenas - e somente - uma corda.  E foi assim, como centenas de blueseiros seminais, que este americano deu seus primeiros passos na música, desenvolvendo um som que não demorou a conseguir o respeito daqueles interessados em sua abordagem dada ao blues. Vigarino já realizou lançou 3 álbuns próprios, além de várias participações e contribuições, tendo excursionado por vários países da Europa.
 
Nick Vigarino junta o blues tradicional de seus mestres sem deixar de lado o compromisso de marcar sua música  com um estilo vigoroso - nas guitarras, na gaita ou nos vocais - não importando se está no palco de um pequeno bar ou de frente à uma plateia numerosa.

Já Kathi MacDonald é uma veterana artista que cantou em muitos grandes LPs dos anos 1970. Seu primeiro álbum solo, Insane Asylum, foi gravadado com Neil Schon, John Cippolina, Ronnie Montrose, Aynsley Dunbar, Pete Sears, The Pointer Sisters e a sessão de metais da  Tower of Power e hoje é um item de colecionadores.


Kathi McDonald correu turnê com Ike e Tina Turner por 3 anos. Com apenas 21 anos, participou de gravações e turnês com Long John Baldry. Seus poderosos vocais podem ainda ser encontrados em discos como Joe Cockers' Mad Dogs and Englishmen, Shelter People do  Leon Russell e Tumbleweed Connection com Elton John; o clássico Delaney and Bonnie;  Headkeeper de Dave Mason (ex-traffic) e no lendário Exile on Main Street.


Nick Vigarino - Dobro, Guitar, Vocals
Kathi McDonald -  Vocals
Brian Auger - Hammond, Grand Piano
Robben Ford - Guitar (Electric)
Rob Mullins - Piano
Nathan East, Charles Meeks -  Bass
Tony Dumas -  Bass (Acoustic)
Ralph Penland - Drums, Tambourine, Backing Vocals
Brenda Lee Eager - Backing Vocals
 
01. The Ghost of Time
02. Earl's Gumbo
03. God Bless the Child
04. Letting a Good Man Go
05. Yardbird
06. Folk Funk (Instrumental)
07. I'd Rather Be
08. Poor People
09. Did She Say Anything
10. Louisiana Breakdown
11. Temptation Road (Instrumental)
12. A Love Letter
13. Blacktop Road
14. Baby You Know I Love You
15. Ghost of Time (Reprise)



+@192

quinta-feira, 11 de dezembro de 2014

Ian Hunter - Missing in Action (repost)


















Ian Hunter - Missing in Action - 2000

Missing in Action is a compilation of previously unreleased live material from various periods in Ian's solo career (Long Island NY 1979; Chicago IL 1979; Essen Germany 1980; San Jose CA 1989; Toronto Canada 1987/88). The bonus disc, Collateral Damage, contains more live material from those shows, and was included with the first 5000 copies.

CD 1 - Missing In Action

01. Life After Death
02. Ships
03. Letter To Brittania From The Union Jack
04. We Gotta Get Out Of Here
05. While You Were Looking At Me
06. (I'm The) Teacher
07. American Music
08. Day Tripper
09. Tell It Like It Is
10. Pain
11. Women's Intuition
12. Wild East
13. Na Na Na.

CD 2 - Collateral Damage (limited bonus disc)

01. FBI
02. Once Bitten Twice Shy
03. When The Daylight Comes
04. Laugh At Me
05. I Wish I Was Your Mother
06. Cleveland Rocks
07. Bastard
08. Standin' In My Light
09. Angeline
10. All The Way From Memphis
11. Walking With A Moutain/Rock 'n' Roll Queen
12. All The Young Dudes
13. Slaughter On 10th Avenue.

+@320

quarta-feira, 10 de dezembro de 2014

The Coal Men - Skeletons


















 The Coal Men - Skeletons - 2013

Founded in 1999, The Coal Men have been playing there own brand of roots rock ‘n’ roll for twelve years with the same core line up.  Guitarist and lead singer Dave Coleman grew up with bassist Jason “Hitch” Hitchcock in rural Jamestown, TN.  After playing in high school bands, the blood brothers from the Cumberland Plateau both moved to Nashville.  Coleman started writing his own songs, and through luck and fate, wrote for two years at legendary Acuff-Rose Music Publishing.

The Coal Men formed as an outlet for these songs with the addition of drummer and singer Dave Ray, a Virginian native.  The band tightened with residency gigs in Nashville.  “Playing every Tuesday night for six months was a way to explore songs in every avenue.”  The band released their first E.P in 2001 and their first full length record in 2004.  Coleman spent time as a side guitarist for major label acts on Warner Brothers Records and Big Machine Records.  The band started touring with ventures into North Carolina, Virginia, and Georgia.

The album “Beauty is a Moment” brought The Coal Men into 2006 with an extended band.  Jen Gunderman (The Jayhawks) joined on keyboards, and Chris Frame (Son Volt) joined playing a second guitar.  The Song “Louisiana” from that record was featured on a Benefit album for New Orleans Flood Survivors.  The album has been played extensively on Sirius/XM Radio’s Loft Station.

The Bands 2009 album Kids with Songs, found the band back as a stream lined three piece and on the road in the “Silver Beagle” van for a long time, opening for acts such as the Avett Brothers, Chris Knight, and Roger Clyne and the Peace Makers; and also a performance on West Virginia’s Mountain Stage, alongside The Squirrel Nut Zippers and Southern Culture on the Skids.  In 2010 the band  opened for and backed the Banjo/Slide guitar virtuoso Tony Furtado on a tour out west to Colorado, Utah, Idaho, Oregon, and Wyoming.

Skeletons is a 7-song E.P. offering brand-new material from the band. Right on the heels of the release of their album Escalator, it features guests: Jimbo Mathus (mandolin, harmonica, guitar), Ericson Holt (organ & Wurlitzer), and Eamon McCloughlin (strings).

Produced and engineered by Dave Coleman, Skeletons is a roots rock/power pop album with heart, guts, and energy. The band tracked all the songs live in one day, and vocals were recorded in their southernmost home of Key West, FL.

While on tour with the Tri-State Coalition, Jimbo added some of his Mississippi Catfish harmonica and mandolin to "Half the Price," a booking bar room shuffle that rebukes the predatory bar fly. Boogie Woogie piano master, Ericson Holt, gave tasteful keyboard work to "Heartfelt" and "So Easy" (wry post-exit relationship songs).

"Dog Won't Hunt" features Coleman on an amped up acoustic through a fuzzed out Vox amplifier. Eamon McCloughlin adds gorgeous strings to the groove heavy song about devotion to marriage.

All seven songs feature the powerful rhythm section of Dave Ray on a 1968 Slingerland drum set and Paul Slivka with his vintage Gibson Les Paul recording bass (oh so many switches).



01. Dog Won't Hunt
02. Heartfelt
03. Half The Price
04. Homesick
05. Never Been Good
06. So Easy
07. Cough Drop

Dave Coleman - Vocals, Acoustic, Pedal steel Guitar, Farfiza
Dave Ray - Drums, Vocals
with:
Paul Slivka - Bass Guitar

Guests:
Jimbo Mathus - Aoustic Guitar (1), Mandolin. Harmonica (3)
Eamon McLoughlin - Violin, Viola (1)
Ericson Holt - Organ (2), Wurlitzer (6)

+@192

domingo, 7 de dezembro de 2014

The Good Rats - Play DUM


















The Good Rats - Play DUM - 2002

Em meados da década de 1990, Peppi Marchello e os filhos Gene Marchello e Stefan Marchello começaram a tocar sob o nome "The Good Rats". Desta fase sairam 3 CDs de estúdio, Tasty Seconds (1996), Let's Have Another Beer (2000) e Play Dum (2002)

O Nome da banda na verdade era DUM, mas quase todo mundo sabia que se tratava mesmo é da Goods Rats. Play Dom é composto por 7 músicas do " Let's Have Another Beer" (Beethoven, Ashes to Ashes, Elbo, 6000 Days, The Springer Sing Along, Mean Mother Fucker e Let's Have Another Beer (que foi renomeada para World Party Anthem)

Acrescentaram 3 faixas do Tasty Seconds: She's Staying Home Tonight, Thunder Rocks My Soul e Football Madness, basicamente com uma nova mixagem e algumas guitarras adicionais e regravaram Joey Ferrari e Mr. Mechanic  que originalmente sairam em albuns anteriores da Good Rats

Para completar as 15 faixas deste CD que você não encontra mais para comprar nem no site oficial da banda, gravaram uma nova música, Rock Radiold (cantada por Stefan Marchello) e fizeram versões mais curtas para as faixas World Party Anthem e Ashes to Ashes.

O resto, como de costume para os discos da banda, é pura diversão e puro rock and roll sem frescuragem.




01. Beethoven
02. Ashes To Ashes
03. Elbo
04. 6000 Days
05. The Springer Sing Along
06. Mean Mother
07. World Party Anthem (Let's Have Another Beer)
08. She's Stayin' Home Tonight
09. Thunder Rocks My Soul
10. Football Madness
11. Joey Ferrari
12. Mr. Mechanic
13. Rock Radiold
14. World Party Anthem (short)
15. Ashes To Ashes (short)


+@192

sexta-feira, 5 de dezembro de 2014

Ian McLagan And The Bump Band- Live At WXPN


















Ian McLagan And The Bump Band- Live At WXPN - 2008

Um bom bootleg gravado numa das inúmeras vezes que se apresentou na rádio WXPN. Não tem capa, nem detalhes de quando, aonde e com que rolou a apresentação. Só dá pra saber que fora meses antes do lançamento de Never Say Never, pois ele fala sobre uma nova música que sairá no álbum que sairia um pouco mais a frente.

Este é um registro que eu tenho desde 2008 e sempre quis ter soltado por aqui. Mas por muito tempo sempre fui postergando, trocando por outro, achando que tinha coisa melhor, etc.....

01. You're So Rude
02.  I'm Hot You're Cool
03. Spiritual Babe
04. Kushty Rye
05. Little Trouble Maker
06. Glad And Sorry
07. Never Say Never
08. Follow




+@192

terça-feira, 2 de dezembro de 2014

Jimbo Mathus & The Tri-State Coalition - Oxford Sounds Presents


















Jimbo Mathus & The Tri-State Coalition - Oxford Sounds Presents - 2012

Along with his work in the Squirrel Nut Zippers, singer/songwriter/multi-instrumentalist Jim Mathus pursued projects outside of the group (often under slightly different names, including James Mathus, Jas Mathus, Jimbo "Hambone" Mathus, and Jimbo Mathus), appearing on collaborator Andrew Bird's albums Thrills and Bowl of Fire. In 1997, Mathus, Zippers bassist Stu Cole, producer Mike Napolitano, and pianist Greg Bell formed the Knockdown Society and released Play Songs for Rosetta, a collection of bluesman Charley Patton's songs that benefited his daughter Rosetta and her family. 

His music took another turn in late 2001 with the release of National Antiseptic, this time offering tribute to the electric juke joint swamp rock of the Deep South. Mathus followed up with the similarly bluesy and eclectic Stop and Let the Devil Ride in 2003, and two years later Knockdown South was issued. Mathus decided to return to the acoustic roots of Mississippi blues and country with Old Scool Hot Wings, which came out in 2006. 

Also appearing in 2006, this time under the name Jimbo Mathus, was the album Jimmy the Kid, released by Artemis Records. Mathus stuck with the Jimbo moniker for his 2011 full-length Confederate Buddha. Blue Light, a six-song solo vinyl EP, arrived in 2012, followed by the full-length White Buffalo in 2013, which was attributed to Jimbo Mathus & the Tri-State Coalition, a group that included guitarist Matt Pierce, bassist Terrence Bishop, keyboardist Eric Carlton, and drummer Ryan Rogers. 

READ MORE HERE

01. Leash My Pony
02. Aces And Eights
03. Town With No Shame
04. Cling To The Roots
05. Days Of High Cotton



 +@192

domingo, 30 de novembro de 2014

Western Electric - Western Electric - 2000


















Western Electric - Western Electric - 2000

from Fame Review

Defining sub-genres like folk-rock is often more complicated than stating the obvious: folk-rock is folk music performed on rock instruments. Many factors, including styles of harmony and layered guitars, contribute to the folk-rock sound, but many people would hark back to Fairport Convention, Pentangle, and Bob Dylan, to define what folk-rock should or shouldn't be. Western Electric's self-titled debut includes ringing guitars, soaring harmonies, and pedal steel to create folk-rock that reaches back to the 60's while developing its own sound.

The defining element of Western Electric's sound is Rob Childs' and Neil Robert Herd's pedal steel playing. It is prominent on almost every song, but it doesn't overwhelm the listener with its presence (call it the dominant sound within the tapestry). It's laid-back, similar in style to the steel work on early Steely Dan albums (Can't Buy a Thrill and Countdown to Ecstasy). One might think that the presence of the pedal steel would create a country or country-rock sound, but the expansiveness of the playing and the structures of the songs never suggest anything remotely country.

If the style of music often suggests that its roots lie in the 60s, the lyrics go even further to create that impression. The songs are overtly romantic, often about love or lost love. This undoubtedly reflects Sid Griffin's sensibility, since he is - both alone and with others - the primary songwriter on this album. When I'm Out Walking With You is an unabashedly happy love song. Griffin uses pastoral images of the sun and corn, of country lanes and friendly farmers, to paint the beauty of the moments the couple spend together. Emily In Ginger, also by Griffin, is a darker love song, filled with unsettling (and somewhat violent) imagery. The pedal steel floats above a steady percussion to create a dream that glides effortlessly for over seven minutes.

This same dreamlike trance is replicated on Whirlwind, a seven-plus minute song of love lost by Griffin and Elliot Murphy. On first listen, the leisurely pace can almost lull the listener into allowing the music to fade into the background. A similar "relaxed" pace repeats itself on 10-4 (Pat McGarvey) and Carousel Day" (Sid Griffin and Pat McGarvey). One may be reminded of the leisurely pace found on certain cuts of late 60s and early 70s rock albums like In the Court of the Crimson King and Dark Side of the Moon. Like these albums, even Western Electric's darker lyrics remain romantic.

Even the one non-band member song, Straight From The Heart, written by Gene Clark and sung with the help of Robyn Hitchcock, fits into the band's lyrical and musical vision. Clark's song also helps to certify Western Electric's folk-rock credentials. Fans of Sid Griffin will also know of his former band, the Coal Porters (who recorded a live Parsons' tribute). Four members of the Coal Porters, Griffin, McGarvey, Bob Stone, and Rob Childs, are also members of Western Electric.

Western Electric's experienced band members have created a layered sound and a strong first release. It should appeal those who have a strong pull toward the more expansive rock of the mid-to-late 60s and early 70s. To some, the lyrics and happy soaring vocals will clash with modern, and perhaps more cynical sensibilities, but there should already be numerous bands with dour lyrics to please that crowd. For those who haven't become hopelessly cynical, Western Electric's debut will offer a refreshing change of musical scenery.

01. Everything
02. The Power Of Glory
03. When I'm Out Walking With You
04. Emily In Ginger
05. 10-4
06. Faithless Disciple
07. Whirlwind
08. Memory Captures Time
09. Carousel Days
10. Straight From The Heart
11. Theme From Western Eletric
12. Love You Down
13. Emily in Ginger (dub mix)
14. Sweet Young Thing
15. Keep on Chooglin'
16. When You Find Out
17. So You Got A Lover
18. Emily In Ginger (single mix version)

version with 18 tracks (originally released with 10 songs)






+@192

sexta-feira, 28 de novembro de 2014

Head West - Head West (with Bob Welch) (repost)


















Head West - Head West - 1970

Head West foi uma banda baseada em Paris, França e hoje ela é conhecida por abrigar o vocalista e guitarrista Bob Welch, que esteve com o Fleetwood Mac a partir de 1971. Tanto que este álbum foi relançado mais tarde como sendo mais um dos discos da carreira solo do guitarrista, adquirindo o nome de "Bob Welch with Head West" (mais um exemplo de honestidade e respeito pelos músicos). A banda tinha ainda  Bobby Hunt nos vocais e orgão e Henry Moore na bateria e vocais.

Bob Welch


Bob Welch, que desfrutou de uma carreira solo de sucesso, morreu ontem (* jun/07/2012),  quinta-feira, aparentemente cometendo suicídio em sua casa em Nashville. Aos 66 anos e sofrendo de problemas de saúde não revelados, ele deixou um bilhete de despedida que foi encontrado junto a seu corpo por sua esposa.

Para Mick Fleetwood, que era seu agente durante a carreira solo, a notícia de sua morte foi "incrivelmente contraditória", pois, segundo ele, o guitarrista era um ser humano inteligente e sempre o encontrava de bom humor.

A morte dele junta-se à de outro ex FM, Bob Weston, ocorrida em janeiro.


01. Head West
02. People
03. Hurry Up
04. Changes
05. Tired of Hangin' On"
06. Faces
07. Attention
08. Czar
09. Someday
10. Straight Down
11. Starchild
12. Costalarico
13. Victória (Bonus Track)

Bob Welch – Vocals, Guitar, Bass
Robert Hunt – Vocals, Organ
Henry Moore – Vocals, Drums, Percussion

+@192

* originalmente postado em jun/08/2012

terça-feira, 25 de novembro de 2014

Gayle McCormick- Gayle McCormick (RE-POST)


















Gayle McCormick- Gayle McCormick- 1971

from wikipedia
Gayle McCormick was born in St. Louis on the 26th of November 1948. Gayle attended Pattonville High in St. Louis and sang high soprano with the Suburb Choir, a 150-voice unit that performed annually with the St. Louis Symphony. Her recording and performing career stretched from 1965 to 1976. McCormick had started her career singing songs by Tina Turner and Etta James.

In 1969 Smith was formed in Los Angeles, California, their first album entitled "A Group Called Smith," featured Gayle McCormick as the primary vocalist. Smith mainly played and recorded covers of pop and soul songs and made the top ten with a remake of "Baby It's You", a previous hit for The Shirelles, was also featured in Quentin Tarantino's Grindhouse film Death Proof.

After the group disbanded, McCormick went on to record three solo albums. In the fall of 1971, her performance of "It's A Cryin' Shame" charted at #44.

01. It's A Cryin' Shame
02. Superstar
03. C'est La Vie
04. Natural Woman
05. You Really Got A Hold On Me
06. Rescue Me
07. If Only You Believe
08. Save Me
09. Everyting Has Got To Be Free
10. Gonna Be Alright Now





+@320 (CD reissued 2008)

domingo, 23 de novembro de 2014

Gayle McCormick - Flesh & Blood


















Gayle McCormick - Flesh & Blood 1972 

Flesh And Blood é o segundo album solo da ex-vocalista da Smith. Lançado em 1972, da sua discografia solo é o mais Funky e, basicamente, R&Blues. Bem diferente do seu primeiro (já foi postado aqui) que é essencialmente pop.

Embora a capa do disco possa sugerir algo vulgar e ordinário, com a clara tentativa do mainstream (no caso Decca/MCA) de transformá-la na putinha da hora, é um disco muito bom, indispensável pra quem curte clássicos da R&B, Soul, Funky.

Outra coisa: Pra quem já tem e pegou em um rip horrivel cheio de estalos que roda pela net, vale a pena pegá-lo novamente. Esse, embora também de vinil (já que nunca foi relançado em CD), passou por uma espécie de WikiTeacher remaster (kkkkkk) e está - digamos - nota 7.0. 

01.Take Me Back    
02.Near You    
03.Sweet Feeling    
04.Knight In Shining Armou    
05.Stay With Me    
06.Flesh And Blood    
07.Whoever's Thrilling You Is Killing Me    
08.Make Myself Over    
09.Grey Live Tour    
10.Alabam    

Gayle McCormick - Vocals
Stan Seymore - Guitar
Frank Collette* - Keyboads
Ray Neopolitan - Bass
Maurice Miller - Drums





+@192

quinta-feira, 20 de novembro de 2014

Simon Townshend - Denial


















Simon Townshend - Denial - 2014

“This album was born out of real life experience. Pain and joy, agony and ecstasy. I seem to document my life through my music – this album is no exception. In fact, more so than anything I’ve produced before, this is the real me. I put down the basic tracks quickly. I recorded them as soon after writing as possible to keep the spirit and excitement there, rarely using click tracks. Being clean brought this album home swiftly – decision making has never been easier and luck was always on my side, especially when it came to getting good performances.” ST

01. Mother
02. Denial
03. Leaving This Town
05. All So Real
06. Saving Grace
07. Gone
08. Time Bomb
09. About Love
10. Bare Essence
11. Won’t Let Go




+@192

domingo, 16 de novembro de 2014

Mad River _ Shining


















Mad River - Shining - 2014

Mad River embodies the indomitable exuberance of Rock ranging from petulance and precision. Their recipe? A dose of rock to post-punk sauce - Yeah Yeahs Sonics, Stooges, Blur, Buzzcocks - a touch of lyricism and a pinch of savagery sensual declined in English. Impression of fragility, the voice of Kim Ohio Fuzz mixes with unbridled melodic riffs and Fabrice Fortin and frenetic rhythms of Damien Christ. Their unique training - no bass - shows their uniqueness and strength. On stage, Mad River excels releasing a powerful energy and a cascading waterfall of rock madness.

01. Hollywood Babylon
02. Shining
03. Gold into Lead
04. Hello Yellow
05. Plastic Glance
06. Your Happiness
07. Man in Action
08. Any Shout
09. Guaranteed
10. Brain Bomb
11. Friends




+@192

quarta-feira, 12 de novembro de 2014

John Parker Compton - Live At The Turk's Head Coffeehouse (re-post)


















John Parker Compton - Live At The Turk's Head Coffeehouse - 2006

Singer, songwriter, and guitarist John Parker Compton co-founded the acoustic band Appaloosa with violinist Robin Batteau in the late '60s. Both musicians had been heavily influenced by the folk scene in their hometown, Cambridge, MA. Compton got his start singing in a Cambridge church choir before he and Batteau began playing the coffeehouse circuit together.

As the 1972 press release for Compton's solo album, To Luna, tells it, John Compton showed up at producer Al Kooper's Columbia Records office in late 1968, hoping to show Kooper his songs. Uninterested, Kooper told the kid (Compton was 18) to come back some other time. But a little while later, Kooper came in on Compton and Batteau performing for the office secretaries. Won over, Kooper recorded their demo, and within a year the newly signed musicians had an album out, the self-titled debut from their group Appaloosa. Also including bassist David Reiser and cellist Eugene Rosov, Appaloosa was joined in the studios by members of Blood, Sweat & Tears, and by Kooper himself.

A year after Appaloosa's 1969 release (which was produced by Al Kooper) on Columbia Records, a 19-year-old John Compton got to take the stage at Fillmore East the last weekend of December, along with the Allman Brothers, and Blood, Sweat, and Tears. Appaloosa soon gave way to a duo project of Compton & Batteau, and the two musicians recorded Compton & Batteau in California for Columbia. By 1971, Compton was on his own with a new LP, To Luna, but after this, it would be over 20 years before he returned to the studios. His return was marked by 1995's Mother of Mercy,

01. Pascal's Paradox
02. Glossolalia
03. Now That I Want You
04. Feathers
05. Green Brown Sound
06. Subway
07. Rosalie
08. We Can't Forget
09. Green Brown Sound No.2
10. Lifetimes in Nesinex
11. Rivers Run to the Sea
12. Lacsedo-Lacsede
13. Loving Her Makes Today
14. Downtown Row
15. Rosalie #2

John Parker Compton - Acoustic Guitar, Vocal
Robin Batteau - Violin



+@192

sábado, 8 de novembro de 2014

The Music Machine - Rarities Vol 2 - Early Mixes & Rehearsals

The Music Machine - Rarities Vol 2 - Early Mixes & Rehearsals - 2014

The Music Machine was an American garage rock and psychedelic (sometimes referred to as garage punk) band from the late 1960s, headed by singer-songwriter Sean Bonniwell and based in Los Angeles. The band sound was often defined by fuzzy guitars and a Farfisa organ. Their original look consisted of all-black clothing, (dyed) black moptop hairstyles and a single black glove.

The group came together as The Ragamuffins in 1965, but became The Music Machine in 1966. In addition to Bonniwell, the original line-up consisted of Ron Edgar (drums), Mark Landon (guitar), Keith Olsen (bass), and Doug Rhodes (organ).

In 1967, Music Machine (essentially only Bonniwell at this point) were signed to Warner Bros. and renamed The Bonniwell Music Machine. The name was changed to give more prominence to the band's core member, songwriter and vocalist. A self-titled LP was released that year, made up mostly of previously recorded singles with the original line-up. The recording spawned no big hits, despite the inclusion of a few more pop-oriented songs.

READ MORE HERE

01. Talk Me Down (Early Version)
02. Affirmative No (Early Version)
03. Worry (Early Version)
04. Astrologically Incompatible (Early Version)
05. Something Hurting On Me (Early Version)
06. No Girl Gonna Cry (Early Version)
07. Smoke And Water (Early Version)
08. Absolutely Positive (Early Version)
09. The People In Me (Rehearsal)
10. Trouble (Rehearsal)
11. Masculine Intuition (Rehearsal)



+@192


The Music Machine - Rarities Vol 1 - Last Singles & Demos


















The Music Machine - Rarities Vol 1 - Last Singles & Demos - 2014

The Music Machine was an American garage rock and psychedelic (sometimes referred to as garage punk) band from the late 1960s, headed by singer-songwriter Sean Bonniwell and based in Los Angeles. The band sound was often defined by fuzzy guitars and a Farfisa organ. Their original look consisted of all-black clothing, (dyed) black moptop hairstyles and a single black glove.

The group came together as The Ragamuffins in 1965, but became The Music Machine in 1966. In addition to Bonniwell, the original line-up consisted of Ron Edgar (drums), Mark Landon (guitar), Keith Olsen (bass), and Doug Rhodes (organ).

Their debut album, (Turn On) The Music Machine, was released in 1966 on the Original Sound label. Seven of the twelve tracks were originals, written by Bonniwell. One of these, "Talk Talk", became a Top 20hit[1] in the U.S. The follow-up single, "The People In Me", peaked at No. 66.[citation needed] Bonniwell blamed the weak showing of this single on a supposed feud between the band's manager and a top record executive. Four cover songs were included on this release, due to record company pressure.

READ MORE HERE

01. Double Yellow Line (mono)
02. Absoltely Positively (mono)
03. The Eagle Never Hunts The Fly (mono)
04. I've Loved You (mono)
05. Worry
06. No Girl Gonna Cry
07. The Trap
08. Smoke And Water
09. Discrepancy
10. Suffering Succotash
11. Bottom Of The Soul
12. The Eagle Never Hunts The Fly
13. I've Love You



+@192

* Vol 2 coming today

sábado, 1 de novembro de 2014

Steve Marriott's Packet of Three - All Or Nothing LIVE

















  
Steve Marriott's Packet of Three - All Or Nothing LIVE - 1998

O post de hoje traz um bootleg de boa qualidade  de uma apresentação do Packet of Tree de Steve Marriot gravado em 1985 no Camden Palace Theatre, Londres. Esse boot, depois de circular por anos sob o título de simplesmente "Live in London", ganhou no final dos anos 90 o status de oficial ao ser lançado pelo selo "receiver records" e voce pode encontrá-lo no amazon pela bagatela de $ 59,99 + entrega + impostos + a grande chance do produto sumir de alguma prateleira dos Correios.

O show é bem legal e tem um set-list um pouco modificado com relação aos shows que Marriott fazia nos anos 80, trazendo "Itchycoo Park" de seus bons tempos com o Small Faces. "Watch Your Step", clássico de Bobby Parkers traz um andamento mais comportado, longe das versões mais incendiadas de sua parceria com os DT's. Já "Five Long Years", blueseira que sempre esteve em seus shows, extende-se por mais de 9 minutos e traz um dos melhores momentos da noite, com Marriott mais "blues" do que comumente se ouvia quando ao vivo.

Já chegando ao fim da noite, vem, além da clássica "All or Nothing", "This Old Fool" - de Buddy Guy - magistralmente interpretada por Jim Leverton. E, encerrando, "Natural Born Boogie", dos primórdios do Humble Pie com Leverton (que nesse show cantou mais que o usual) fazendo a parte que coube originalmente a Peter Frampton.

Ao terminar, volto ao ínicio para dizer que a primeira música desta gravação é assim  mesmo, "da metade pra frente". Portanto, não adianta reclamar pra mim que a faixa está cortada, porque ela está cortada para  este que escreve também.

01. Watch Your Step
02. This Train Stops At Memphis
03. Watcha Gonna Do About It
04. Talking' Bout You
05. What A Silly Song
06. Itchycoo Park
07. Mr. Pitiful
08. Hallelujah I Love Her So
09. Five Long Years
10. All Or Nothing
11. This Old Fool
12. Natural Born Boogie 



+@192

domingo, 26 de outubro de 2014

Too Smooth - live From Mother Earth


















Too Smooth - live From Mother Earth - 1974

Too Smooth were an Austin Texas based four piece who specialized in hard edged Southern Rock, but also occasionally dallied with progressive song structures. A legendary band, and a huge live draw in their homestate in the '70's.

Their twin guitar attack and legendary live shows soon garnered the band a huge home-state following. When touring acts such as GOLDEN EARRING, TED NUGENT and LYNYRD SKYNYRD made their initial forays into Austin, bookers would put Too Smooth on as the opening act to ensure a full house. Too Smooth signed with Michael Lang's Just Sunshine label in '74 and recorded an album at the Record Plant in California.

Unfortunately, just as the band were finishing up work on the LP the label was sold to ABC. The new owners didn't know who Too Smooth was, and didn't care, and dropped the band without releasing the album. The band's second chance came in 1976 when they signed to Buddah Records. Too Smooth were dispatched to Criterion Studios in Miami to record another album, but released only one 45 for Buddah, "Song For the World".

The label had decided to concentrate on it's disco acts, and once more Too Smooth were dropped, with another unreleased album in the can. The band then released a single, "Mamie Mama", on the local independent Armadillo Records label.

When Mercury Records began courting the band it looked like it might be 3rd time lucky for Too Smooth, but negotiations broke down before a contract could be finalised.

01. Too Smooth Boogie
02. Spanada Kid
03. Smile
04. Leavin' It Up To You
05. I Beg Your Pardon
06. Crippled Duck
07. Long Hot Night
08. Peach Preserves
09. Tough Times
10. Mamie Mama

Brian Wooten - Guitar & Vocals
Jeff Clark - Guitar & Vocals
Danny Swinney - Bass
Tom Holden - Drums



+@320

quinta-feira, 23 de outubro de 2014

Crimson Jazz Trio - King Crimson Songbook Volume 2 (re-repost)


















Crimson Jazz Trio - King Crimson Songbook Volume 2

1 In The Court of the Crimson King   
2 Pictures of a City   
3 One Time   
4 Frame by Frame   
5 Inner Garden   
6 Heartbeat   
7 Islands Suite:
a) Press Gang   
b) Zero Dark Thirty   
c) Formentera Lady   
d) Sailor's Tale   
e) The Plank
8 Lament   

Jody Nardone - Piano, Vocal
Tim Landers - Acoustic and Electric Bass
Ian Wallace - Drums

with Mel Collins on Sax

+@320

quarta-feira, 22 de outubro de 2014

Yesterday - A Tribute To The Beatles - Live From Las Vegas! (repost)


















Yesterday - A Tribute To The Beatles - Live From Las Vegas! - 2007


Performing all eras of Beatles music in their original key, wearing drainpipe trousers and playing authentic instruments, Yesterday - The Beatles Tribute has performed on five continents. Beginning with the British Invasions in 1964, the mop tops from Liverpool began the first wave of Beatlemania. The Beatles forever changed the face of pop music with such songs as "Hard Day's Night", "Help", "I Wanna Hold Your Hand", "Sgt. Pepper", and "Revolution". Yesterday recreates note for note the music of the Fab Four.

Based in Las Vegas, Yesterday show bands have performed the long running show in among others, Atlantic City at the Tropicana Casino Resort for three years, at the Horizon Casino Hotel in Lake Tahoe for eight months, five months in the Tiffany Theater at the Tropicana in Las Vegas and hundreds of venues across the US.

READ MORE HERE 




01. Hard Day's Night
02. Help
03. I Wanna Hold Your Hand
04. All My Lovin'
05. Please Please Me
06. Yesterday
07. I Saw Her Standing There
08. Twist and Shout
09. Sgt Pepper's Lonely Hearts Club Band - With a Little Help from M
10. Lucy in the Sky with Diamonds
11. Taxman
12. Got to Get You into My Life
13. I Am the Walrus
14. Here Comes the Sun
15. Revolution
16. Bye Bye Love
17. Wake Up Little Susie
18. All I Have to Do Is Dream
19. Cathy's Clown
20. That'll Be the Day
21. Peggy Sue
22. Everyday
23. Maybe Baby

+@192

terça-feira, 21 de outubro de 2014

District 97 With John Wetton - One More Red Night - Live In Chicago


















District 97 With John Wetton - One More Red Night - Live In Chicago - 2014

One More Red Night: Live In Chicago' includes three songs from the iconic landmark album 'Red’; which inspired many musicians including Kurt Cobain. This CD also captures several other well-known songs from the three King Crimson studio albums John Wetton played and sang on, plus their earlier hit “21st Century Schizoid Man”. This is the first release of this recording and features many tracks which are now rarely heard live.

“I've said it before, and I maintain that D97 is the best young progressive band around right now. Gifted players, great material, and a brilliant, charismatic singer in Leslie Hunt. Their shows are an exciting pleasure to attend, and I am proud to work, and be associated with them.” - John Wetton, Annapolis, October 1,2014.

District 97's drummer and 'One More Red Night' producer, Jonathan Schang, says “The first Crimson song I ever played live with John was 'Lament'. To hear 'that voice' coming from right in front of me, seemingly made only stronger by the passage of time, was an experience I shall never forget. Getting to know John more closely, both as a musician and a human being, is an honor and a privilege. I'm thrilled that our joint interpretations of his iconic work with King Crimson are now available for all to enjoy.”

01. One More Red Nightmare
02. The Great Deceiver
03. Lament
04. The Night Watch
05. Fallen Angel
06. Book Of Saturday
07. 21st Century Schizoid Man
08. Starless
09. Easy Money




+@192

sábado, 18 de outubro de 2014

The Action - Action Packed (DEMON DELUXE)


















The Action - Action Packed (DEMON DELUXE) - 2014

From Wikipedia

The Action foi uma banda britânica mod ativa entre os anos de 1963 e 1969 e era formada por Reg King (vocais), Mike Evans (baixo), Roger Powell (bateria), Alan King e Peter Watson (guitarras) e era produzida por George Martin, famoso por ter trabalhado contemporaneamente com os Beatles.

Contratados da Parlophone, a banda era influenciada pela música soul americana e no seu repertório encontravam-se versões de músicas originalmente gravadas por artistas das gravadoras Motown e Stax, como Wilson Pickett, The Temptations e Martha Reeves & The Vandellas. Apesar de receberem boas críticas na época, a banda nunca foi um sucesso de vendas, tendo seu público limitado aos mods.

Em 1967, Reg King saiu da banda e o The Action mudou de nome para Mighty Baby, agora com Alan King nos vocais, e um estilo mais voltado para o rock progressivo, psicodélico e folk. Enquanto isso, Reg King teve um breve carreira solo, lançando apenas um disco homônimo em 1971 com participação de antigos parceiros do The Action, além de músicos famosos como Mick Taylor (Rolling Stones) e Steve Winwood (The Spencer Davis Group, Traffic e Blind Faith). O Mighty Baby acabaria em 1971. Alan King formaria a seguir o grupo Ace, ativa até 1977.

Entre o material disponível do The Action encontram-se compilações dos singles lançados até 1967 (Action Packed e The Ultimate Action), bem como a reunião de material ao vivo intitulada Uptight and Outasight e o disco Rolled Gold, que apresenta remasterizações de músicas do grupo gravadas entre 1967 e 1969 previamente não realizadas. Este último apresenta apenas músicas autorais, onde a banda funde o soul com a psicodelia do final da década.

 
*/*/*

NB: Action Packed foi originalmente lançado com 17 faixas e este que agora é postado vem com um total de 38 títulos. Foram adicionadas apresentações na BBC rádio nos anos de 1966 e 1967 e, a mais legal, de um show realizado em 1988, em Londres . Este set, é bom frisar, não chega a ser inédito, pois ele está presente no CD 2 da compilação "Uptight And Outasight".

01. Land of 1000 Dances
02. In My Lonely Room
03. Harlem Shuffle
04. I Love You (Yeah!)
05. I'll Keep on Holding On
06. Hey Sah-Lo-Ney
07. Just Once in My Life
08. Wasn't It You
09. Baby You've Got It
10. Since I Lost My Baby
11. Never Ever
12. Twenty Fourth Hour
13. The Place
14. Come on, Come with Me
15. The Cissy
16. Something Has Hit Me
17. Shadows & Reflections
*
18. Mine Exclusively (Live on Television & BBC Radio 1966-1967)
19. Baby You've Got It (Live on Television & BBC Radio 1966-1967)
20. Take Me in Your Arms (Rock Me a Little While) [Live on Television & BBC Radio 1966-1967]
21. I See You (Live on Television & BBC Radio 1966-1967)
22. Shadows & Reflections (Live on Television & BBC Radio 1966-1967)
*
23. Meeting over Yonder (Live at the Boston Arms, London 1998)
24. The Monkey Time (Live at the Boston Arms, London 1998)
25. Baby Don't You Do It (Live at the Boston Arms, London 1998)
26. In My Lonely Room (Live at the Boston Arms, London 1998)
27. I Love You (Yeah!) [Live at the Boston Arms, London 1998]
28. Girl (Why You Wanna Make Me Blue) [Live at the Boston Arms, London 1998]
29. Ooo Baby Baby (Live at the Boston Arms, London 1998)
30. Crazy About You Baby (Live at the Boston Arms, London 1998)
31. Heatwave (Live at the Boston Arms, London 1998)
32. People Get Ready (Live at the Boston Arms, London 1998)
33. The Memphis Train (Live at the Boston Arms, London 1998)
34. Since I Lost My Baby (Live at the Boston Arms, London 1998)
35. Harlem Shuffle (Live at the Boston Arms, London 1998)
36. Baby You've Got It (Live at the Boston Arms, London 1998)
37. I'll Keep Holding On (Live at the Boston Arms, London 1998)
38. Land of 1000 Dances (Live at the Boston Arms, London 1998)




+@192

sexta-feira, 17 de outubro de 2014

Jorma Kaukonen - Magic (re-re-post)


















Jorma Kaukonen - Magic  - 1985

From Wikipedia

Magic is a live Jorma Kaukonen album containing performances of acoustic songs from Jefferson Airplane and Hot Tuna albums recorded during his solo tour of 1984. After a brief reunion tour in 1983 with Hot Tuna, Jorma had continued to play solo and eventually landed a contract with Relix Records. In addition to releasing Kaukonen's new solo recordings, Relix also released live Hot Tuna recordings from the 70s, with the albums Splashdown and Historic Live Tuna. In 1995, Michael Falzarano remastered the album and produced a new version that Relix released as the CD Magic Two.

01. Walkin' Blues
02. Winin' Boy Blues
03. I'll Be Alright (Traditional)
04. Embryonic Journey
05. Candy Man
06. Roads and Roads &
07. Good Shepherd (Traditional)
08. Mann's Fate

+@192

quinta-feira, 16 de outubro de 2014

Jorma Kaukonen - 2003-02-13 Barrelhouse Brewing Company, Cincinnati (repost)


















Jorma Kaukonen - 2003-02-13 Barrelhouse Brewing Company, Cincinnati, OH - 2012
(with Barry Mitterhoff)


Hoje trago o mais recente álbum do catálogo pessoal de Jorma  (cheque AQUI ), pelo selo Fur Peace Ranch e cujos títulos estão disponíveis apenas digitalmente.

Ainda trago todo o restante desta coleção, quando o tempo livre me deixar. O outro desta série está posto AQUI .

01. Big River Blues
02. True Religion
03. I'm Free from the Chain Gang Now
04. Hesitation Blues
05. Death Don't Have No Mercy
06. Tom Cat Blues
07. Living in the Moment
08. Good Shepherd
09. Quah    
10. I'll Let You Know Before I Leave
11. Prohibition Blues
12. Trouble in Mind
13. Sales Pitch
14. Red River Blues
15. Blue Railroad Train
16. Waiting for a Train
17. Nobody Knows You When You're Down and Out
18. Another Man Done Gone
19. Keep Your Lamps Trimmed and Burning
20. That'll Never Happen No More
21. Embryonic Journey
22. Flying Clouds
23. Genesis
24. Uncle Sam Blues
25. Tuning
26. 99 Year Blues
27. I Am the Light of This World
28. Tuning Up
29. What Are They Doing in Heaven Today?
30. Just Because
31. San Francisco Bay Blues (encore)

+@192

terça-feira, 14 de outubro de 2014

Jorma Kaukonen - Fur Peace Ranch (repost)


















Jorma Kaukonen - Fur Peace Ranch, Darwin, OH - 2010

Jorma Kaukonen, guitarrista do Jeffeson Airplane e Hot Tuna tem, além de sua discografia conhecida e espalhada por tudo quanto é canto, tem um enorme catálogo pessoal  (cheque AQUI )  cujas gravações estão disponíveis apenas digitalmente.

Fur Peace, gravado em 1999 em seu rancho, traz Jorma acompanhado apenas de seu violão e aonde, como de costume, não economiza em técnica, sentimento e maestria.

01. Hesitation Blues (aborted)
02. Walkin' Blues
03. True Religion
04. How Long Blues
05. Nobody Knows You When You're Down & Out
06. Death Don't Have No Mercy
07. Do Not Go Gentle
08. I See The Light
09. San Francisco Bay Blues
10. Embryonic Journey
11. Good Shepherd
12. Too Many Years
13. 99 Year Blues
14. I Am The Light Of This World
15. Parchman Farm
16. Uncle Sam Blues
17. Nine Pound Hammer
18. Hesitation Blues
19. Genesis
20. That'll Never Happen No More
21. Been So Long
22. Water Song
23. Encore: Police Dog Blues





+@192

segunda-feira, 13 de outubro de 2014

Michael Nesmith - Rays


















Michael Nesmith - Rays - 2006

A cinematic journey of sound with elements of swing, jazz and instrumental funk that come together to form what Michael Nesmith calls "New Century Modern". “For a time I thought Rays had come together differently than any other project I had worked on, until it dawned on me all the various works I had been involved in had happened the same way and doing Rays was simply the first time I had seen it. Rays was my own personal Copernican Shift. 

For years Rays laid around in bits and pieces, and there were long periods when I would put them all away, like disparate parts of disparate building blocks. As if one was a recipe, another was a blueprint, another was a map. I couldn’t see how they fit together. I kept going, as much for not having anything else to do as for the curiosity of how it would all turn out, but I did keep going, and I’m glad I did. It was when I was putting on the horn parts, dreaming of Memphis and Stax Volt that it all came together. It was as if I had come into the garage one evening, and was looking at the detritus of a failed effort laying all over the floor, when suddenly there was this array, a kind! of order to it that I had never imagined. 

That was exciting. It felt new, and gave me the inspiration I needed to finish. This after four years of wandering in darkness --- which actually happened to be one of the lines from Rays. I had always imagined “emergence” as the gradual appearing of something that already exists but was just unseen. Rays was the first time I ever actually saw that happen. And now that I’ve seen it I am aware that all the past works have happened the same way.” 
Michael Nesmith March, 2006

Michael Nesmith – Vocals, Synthesizer, Guitar, Keyboards
John Hobbs – Keyboards, Keyboard Bass
Gregg Bisonette - Drums
Luis Conte – Percussion
Kurt Wagner – Vocals



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