segunda-feira, 30 de junho de 2008

Grand Funk Railroad - On Time (1969 US First Album)


VOCÊ ESTÁ PRONTO!! ARE YOU READY!! É ASSIM QUE COMEÇA ESTE DISCO COM ESTA FAIXA QUE MOSTRA O PODER DOS VOCAIS DE MARK FARNER E DON BREWER!! ESTE É O PRIMEIRO DE VÁRIOS DISCOS LANÇADOS POSTERIORMENTE PELA BANDA, MAS DA DISCOGRAFIA DESTACO ESTE PRIMEIRO E O DISCO "SURVIVAL", O QUAL É MINHA PRÓXIMA POSTAGEM!! ESTES DOIS DISCO MERECEM ESTAR ENTRE OS VENENOS PORQUE SÃO DE PRIMEIRA LINHA!! ABAIXO ESTÁ ALGUMAS HISTÓRIA E RELEASES DA BANDA QUE TIREI DA NET PRA QUEM QUISER SABER UM POUCO MAIS DA BANDA, MAS PRINCIPALMENTE SOBRE ESTE ALBUM!!

O nome é em homenagem à famosa estrada de ferro que ligava Michigan a Ontário chamada Grand Trunk and Western Railway, o The Pack passa a se chamar Grand Funk Railroad, em março de 1969.

Não é exagero dizer que ON TIME é uma das maiores estréias do rock. O disco foi gravado em apenas três dias e todas as faixas foram compostas por Mark Farner. Tudo começava com"Are You Ready", mostrando os poderosos vocais de Mark e Don. Essa se tornaria a música de abertura de todos os shows nessa fase. "Time Machine" se transformou no primeiro single, e trazia uma irresistível levada blues. "T.N.U.C.", com seus quase nove minutos de duração, é uma verdadeira "orgia rítmica", devido ao histórico solo de bateria executado por Don Brewer. "Heartbreaker" foi o segundo single, e até hoje é presença obrigatória nos concertos do grupo. A influência psicodélica pode ser sentida na introdução de "Into the Sun". Curiosidade: o capricho do produtor/empresário Terry Knight era tamanho, que mais de 30 mil cópias do disco foram destruídas pela gravadora Capitol, pois o mesmo não tinha "gostado" da arte original da capa!

A Estréia

O astuto Terry Knight descola para "seus meninos" uma ponta como banda de abertura do Atlanta Pop Festival em 4 de julho de 1969. Sem nenhum disco lançado, os garotos do GFR não tinham nada a perder. Era a maior oportunidade de suas vidas; imaginem só, três moleques dividindo o palco com Led Zeppelin, Johnny Winter e Janis Joplin, diante de uma audiência de mais de 180 mil pessoas!

A banda se apresentou de graça e roubou completamente o show. Eram três dias de festival, e a performance de estréia foi tão avassaladora, que no último dia a banda foi promovida a headliner. De boca em boca o até então desconhecido trio, passou a ser falado por toda América. Vale lembrar que Mark Farner considera esse o melhor momento do GFR - foi quando eles se tornaram, da noite para o dia, os novos heróis do rock pesado.

É lógico que com toda essa falação ao redor do grupo, a Capitol Records caiu matando e ofereceu um tentador contrato para a banda, lançando apenas três semanas após o festival, o primeiro single - "Time Machine" - já pela nova estampa.

Finalmente é lançado em 25 de agosto de 1969 On Time, primeiro álbum do trio, que se, por um lado foi malhado pela crítica, por outro, foi um verdadeiro sucesso nacional. A turnê de promoção foi no mínimo histórica. Em todos locais por onde passava a recepção do público era parecida com a do festival em Atlanta. No Fillmore East de Nova York, apenas duas semanas com On Time nas prateleiras, a platéia já pedia por suas músicas preferidas do álbum.

Álbum do trio americano, que surgiu no final dos anos 60, que traz um repertório de canções com muito suingue, ritmo, qualidade e "massa" sonora, que é a grande preocupação dos integrantes. Destacam-se as faixas "High On A Horse", "Ups And Downs" e "Anybody´s Answer".

Musicians:
Mark Farner - Guitar, Harmonica, Piano, Keyboards, Vocals
Don Brewer - Drums, Vocals
Mel Schacher - Bass, Vocals

01."Are You Ready?"
02."Anybody's Answer"
03."Time Machine"
04."High on a Horse"
05."T.N.U.C."06."Into the Sun"
07."Heartbreaker"
08."Call Yourself a Man"
09."Can't be too Long"
10."Ups and Downs"

Made In Sweden - With Love (1968 Sweden Rock Prog Jazz Bluesy)


ROCK PROG JAZZ BLUES DE PRIMEIRÍSSIMA QUALIDADE E COMPETÊNCIA!! UMA PANCADA NO CÉREBRO!! MADE IN SWEDEN ERA UM TRIO SUECO FORMADO EM ESTOCOLMO NO ANO DE 1968!! ÓTIMO VENENO E DE EFEITO GARANTIDO!!
Well heres a real beaut and underrated Psych album from Sweden. After the success of Lea Riders Group and their contributions to the documentary "Dom kallar oss mods"and single with the same name, the band split up. Main man Hawky Frazen went solo, the rest of the guys reformed into Made In Sweden. In 1968 they released this long jam Psych album which has a distinctive San Fransisco vibe. You could say Made In Sweden was at this time SWE's answer to Grateful Dead or Quicksilver Messenger Service. The vibe and jazzy long jam style is similar BUT theres a personality of the band here and these guys are of equal talent as Garcia and Cipolina...That should say something. This is a vinyl rip of my old LP. Hope you love this as much as I.

Bo Häggström (Bas, Guitar e Mellotron)
Georg Wadenius (Guitar, Piano, Organ e Vocal)
Tommy Borgudd (Drums)

Side A:
1. I don't care
2. Peter Gunn
3. Sombrero Sam
4. Little dame

Sida B:
1. Saucery
2. A day in the life
3. Harry Lime theme
4. Little Charlie

quarta-feira, 25 de junho de 2008

Them - Them (1965 UK 60's Rock and Rythm Blues)


PRIMEIRO DISCO DA BANDA THEM QUE TINHA COMO VOCALISTA O GRANDE "VAN MORRISON"!! OS CARAS ERAM IRLANDESES MAS EM 1964 MUDARAM-SE PRA INGLATERRA E PARTICIPARAM ATIVAMENTE DAQUILO QUE FOI CHAMADO DE "INVASÃO BRITÂNICA"!! ASSINARAM COM A GRAVADORA DECCA RECORDS E EM 1965 LANÇARAM ESSE SEU PRIMEIRO E HOJE RARO DISCO!! BANDA COMANDADA POR MORRISON E QUE FAZIA AQUELE VELHO E BOM ROCK N'ROLL DOS ANOS 60 QUE ERA MARCADO POR MUITO RYTHM BLUES A BASE DE RIFFS DE GUITARRA E HARMÔNICA!!
GRANDE DISCO DE ESTRÉIA DA BANDA COM MORRISON AINDA GURI E COM TODO O GÁS!! ESCUTE A FAIXA "JUST A LITTLE BIT" E VEJA A POTÊNCIA DO VOCAL DE VAN MORRISON, O SAX RASGADO E O RIFF DE ORGAN QUE TE DEIXAM MALUCO!! OUTRA FAIXA QUE DESTACO É "GLORIA" UM DOS GRANDES FENÔMENOS DOS ANOS 60 NOS VOCAIS PODEROSOS DE MORRISON E QUE MAIS TARDE A BANDA THE DOORS ACABOU FAZENDO UMA VERSÃO COM VOCAIS DE JIM MORRISON!!

IMPRESCINDÍVEL EM QUALQUER DISCOTECA DE VENENOS QUE SE PREZE!! HISTÓRICO TAMBÉM PARA OS FÃS DE VAN MORRISON, VISTO QUE É O PRIMEIRO ALBUM LANÇADO EM TODA A SUA LONGA CARREIRA QUE SEGUE ATÉ HOJE, ALIÁS SEGUE ATÉ HOJE EM ALTO ESTILO E COM GRANDES ALBUNS!!
01. Mystic Eyes (2:48)
02. If You And I Could Be As Two (2:59)
03. Little Girl (2:31)
04. Just a Little Bit (2:18)
05. I Gave My Love A Diamond (2:53)
06. Gloria (2:43)
07. You Just Can't Win (2:27)
08. Go On Home Baby (2:42)
09. Don't Look Back (3:26)
10. I Like It Like That (3:22)
11. I'm Gonna Dress In Black (3:38)
12. Bright Lights, Big City (2:36)
13. My Little Baby (2:14)
14. Route 66 (2:27)

Night Shadows – The Psychedelic Years (1967-1969 USA Garage Psych)


DISCO EXTREMAMENTE RARO DESTA BOA BANDA GARAGEIRA DE ROCK PSICODÉLICO!! MINHA SUGESTÃO É QUE COMECEM ESCUTANDO A FAIXA Nº 3 "I CAN'T BELIEVE" QUE TEM DURAÇÃO DE 9 MINUTOS E COMECEM A CONHECER A BANDA!! TEM A FAIXA Nº 14 TAMBÉM MAS O MELHOR É VOCÊS MESMO IR DESCOBRINDO O DISCO POR CONTA!! TEM MUITA COISA BOA AÍ NO MEIO!! SE LEVARMOS EM CONTA DE QUE ESTA COLETÂNEA CHAMADA DE "THE PSYCHEDELIC YEARS" É PRATICAMENTE O DISCO ORIGINAL DA DISCOGRAFIA LANÇADO EM 1968 E CHAMADO "THE SQUARE ROOT OF TWO", REFORÇADO APENAS COM MAIS NOVE BÔNUS TRACKS, E QUE ESTE DISCO ORIGINAL DE 1968 É QUASE IMPOSSÍVEL DE SE CONSEGUIR, QUE NÃO SE ENCONTRA EM LUGAR ALGUM, CERTAMENTE ESTE ALBUM AQUI POSTADO É A MELHOR OPÇÃO SE QUISER TER ESSA VERDADEIRA PEÇA RARA DE COLECIONADOR!! VENENO DE ALTA RARIDADE E RECOMENDADO A COLECIONADORES E DE QUEM CURTE UM BOM ROCK DE GARAGEM DOS ANOS 60!!

Info:
The Atlanta-based Night Shadows were one of the earliest and longest-lived garage bands in the U.S., with a career that extended from the formative days of rock & roll to the psychedelic era. Guitarists Ronnie "Goose" Farmer and Johnny "Cha Cha" Pitner and drummer Craig Wemmers formed their first band, the Kavaliers, in 1956 -- the teens soon recruited friend Aleck Janoulis to play bass, followed by the 1958 addition of keyboardist Mike Moore, who also brought to the proceedings a homemade theremin capable of creating cosmic sonic embellishments that foreshadowed the group's later evolution into acid punk.

In mid-1959 drummer Ray Massey signed on in place of Wemmers, and with the inclusion of trumpeter Donald Adams, the Kavaliers' lineup was complete. With a repertoire comprised primarily of R&B covers, the group slowly built a local fan following, although their roster remained in seemingly constant flux -- around the time that Adams left for college in the fall of 1959, Bobby Newell replaced Moore, and singer/harpist Bobby "Bones" Jones was installed as frontman. At this point, Janoulis (the de facto leader) changed their name to the Night Shadows, and the rechristened unit made its public debut in mid-December at the Maid of Athens Annual
Masquerade Ball. The Night Shadows spent the better part of 1960 and 1961 serving as one of two house bands at the Misty Waters skating rink, splitting time with local rivals the Zots. This iteration of the group also was the first to make any official recordings, cutting an acetate of the song "Blindside." Jones and Massey left the Night Shadows in the spring of 1961, with the male/female duo of Ervin Barocas and Helene Kopell (aka Little Erv & Helene) tapped as lead vocalists and Charles Spinks installed on drums; in 1962, the group issued its first commercial single, the risqué frat rock stomper "Garbage Man" -- another early release, "The Elevator," is perhaps more notable for its flip side, "Station Break," a jazz-rock instrumental that is almost certainly one of the very first attempts at fusion.

Upon first hearing the Beatles in late 1963, the Night Shadows immediately shifted gears and adopted a more British Invasion-like sound -- by this point Little Erv & Helene were no longer in the picture, and the remaining members (Janoulis, Newell, Spinks, and guitarist Jimmy Callaway) hired new vocalist "Little Phil" Ross, a high-school freshman equally adept at belting out R&B standards and Beatlesque rockers. The Night Shadows refined their new approach throughout 1964, although collegiate audiences throughout the South still preferred beach music classics to contemporary rock & roll -- in fact, in an ironic twist of reverse discrimination, many white fraternities refused to book the group on the grounds that they preferred African-American R&B acts.

In 1965 the Night Shadows landed a deal with Dot Records, but the escalating conflict in Vietnam forced Callaway (the only member not attending high school or college) to take a job as a fireman in order to support his pregnant 14-year-old wife. Janoulis lured co-founder Ronnie Farmer back to the lineup after a two-year absence, and thanks to academic commitments and subsequent occupational deferments, all five Night Shadows were able to avoid the military draft, but also severely limited their opportunities to tour outside of the Deep South. Their first Dot single, "So Much," appeared in January 1966, enjoying hit status in seemingly random regions of the U.S. -- a national fan club was even established in Texas. The group then opted to re-record an early crowd favorite, the "Garbage Man" single's equally naughty B-side, "The Hot Dog Man" -- Dot executives blanched, however, and the single instead appeared surreptitiously on the Banned Records label. By mid-1966 the Night Shadows were experimenting with guitar fuzz, vibrato, and reverb -- their sound eventually grew so distorted that Janoulis was forced to use amplifiers during live performances. When Lockheed Aircraft, where he worked as an aerospace engineer, assigned him to a six-month project based in Ohio, Janoulis booked the group a stint as the house band at the Atlanta nightclub the Pigalley, recruiting cousin Danny Stephens and friend Dave Gallagher to play bass in his absence. He did return to Atlanta long enough to record the cult classic "60 Second Swinger," issued on the Gaye label in late 1966. This single represented the first recorded fruits of the Night Shadows' evolving acid punk sound, and by the time of an April 1967 appearance at Emory University, the group had undergone a total psychedelic overhaul, performing with strobe and liquid lights.

While still under contract to Gaye, they next cut the single "Don't Hold Your Breath" for the local Baja label, crediting the record to the Square Root of Two to avoid legal hassles. That summer, Janoulis began work on a full-fledged psychedelic opus, also titled The Square Root of Two -- cobbled together from a variety of tapes recorded on portable cassette machines, the resulting LP appeared in 1968 and remains an underground classic of the era, with original copies fetching upwards of $1,000 on the collectors' market. In August of 1969 Newell left the Night Shadows, bringing to an end the group's heyday -- other members came and went (among them guitarist Barry Bailey, later to resurface in the Atlanta Rhythm Section) before the group finally called it quits in mid-1969. AMG
1. Prologue, The (The Voice of Electric Bob)
2. So Much (1967 Version)
3. I Can't Believe
4. Plenty of Trouble
5. In the Air
6. Anything But Lies (Time After Time)
7. Gimme, Gimme
8. Don't Hold Your Breath
9. Listen to My Heart
10. Fly High
11. 60 Second Swinger
12. Psychedelic Illusion
13. Little Phil Jokes With the Audience
14. Anything But Lies (Lost Live Version)
15. Turned On
16. Hot Dog Man, The (Stoned Version)
17. Epilogue: Fly High Reprise
18. Excerpt From a 1979 Radio Retrospective on Little Phil
19. Garbage Man, The (1961)

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terça-feira, 24 de junho de 2008

Jupiter Maçã (Jupiter Apple) - A Sétima Efervescência (1996 Brazil/RS Psychedelic Rock)


MEUS AMIGOS ENEVENENADOS ME PERMITAM PRESTAR ESTA SINGELA HOMENAGEM A UM CONTERRÂNEO MEU GAÚCHO AQUI DE PORTO ALEGRE QUE CERTAMENTE MERECE ESTAR ENTRE OS VENENOS!! O CARA FAZ UM SOM PRA LÁ DE MALUCO E ALTERNATIVO!! É GENTE DA TERRA FAZENDO MÚSICA PSICODÉLICA E EXPERIMENTALISMOS NESTA ÉPOCA DE COMERCIALISMOS EXACERBADOS E IDIOTAS!! VENENO GAÚCHO E BRASILEIRO!! NÃO SÓ DE CHIMARRÃO VIVE O GAÚCHO!! A HISTÓRIA DISSO TUDO TÁ CONTADA AÍ LOGO ABAIXO!!

Júpiter Maçã ou Jupiter Apple, nome artístico de Flávio Basso (Porto Alegre, Rio Grande do Sul, 26 de janeiro de 1968), é um cantor e compositor gaúcho. É ex-integrante dos Cascavelletes e TNT. Seu primeiro disco solo, A Sétima Efervescência (1997), é calcado nos moldes de The Piper At The Gates Of Dawn, do Pink Floyd, com psicodelia e experimentação (e, por um leve momento, um prenúncio de sua obra ulterior, o final de "Sociedades Humanóides Fantásticas", uma bossa-nova psicodélica). As músicas desse disco são grandes referências do rock gaúcho. Contém algumas fixadas no imaginário underground, como "Um Lugar do Caralho" (regravada por Wander Wildner) e "As Tortas e as Cucas".

Após experimentar um grande sucesso com o lançamento desse disco, torna-se Jupiter Apple, compõe em inglês, e decide misturar bossa-nova e vanguarda. Muitos fãs não o entenderam, preferindo a psicodelia "simples" d'A Sétima. Essa mistura inusitada está muito bem feita no seu segundo disco, Plastic Soda (1999). Ele começa com uma canção de nove minutos, "A Lad And A Maid In The Bloom", que define o caráter inovador do disco.

Em 2002 é lançado Hisscivilization, o disco mais ambicioso (talvez incompreendido) de Jupiter Apple. Longas experimentações eletrônicas (destaque para "The Homeless And The Jet Boots Boy"), bossas elétricas e lounge, valsa, cítaras e MOOGs, condensados em momentos, ora de leveza, ora de paranóia. É seu disco mais hermético: se, para os que estavam acostumados com o rock and roll dos Cascavelletes, a Sétima Esfervescência já era algo inesperado (psicodelia em doses cavalares), a reação causada pelos dois discos da fase Apple são ainda mais dramáticas.

Em 2006 era esperado o lançamento do disco Uma Tarde Na Fruteira. Nele, o "Apple" volta a ser "Maçã", mas continua explorando o lado brasileiro e experimental, com músicas já eternizadas no subconsciente do underground porto-alegrense, como "A Marchinha Psicótica De Dr. Soup". Esse (ainda) não-lançado disco pode ser considerado o mais acessível do autor. De certa forma, tudo que já foi composto pelo Júpiter está resumido neste disco: desde canções mod sessentistas, levezas jazz, baladas domingueiras e bob-dylanescas, concretismos e timbres eletrônicos.

1 Um lugar do caralho
2 As tortas e as cucas
3 Querida superhist x Mr Frog
4 Pictures and paintings
5 Eu e minha ex
6 Walter Victor
7 As outras que me querem
8 Sociedades humanóides fantásticas
9 O novo namorado
10 Miss lexotan 6 mg garota
11 The freaking Alice (hippie under groove)
12 Essência interior
13 Canção para dormir
14 A sétima efervescência intergaláctica

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Burnin Red Ivanhoe - Burnin Red Ivanhoe + WWW (1971-72 Denmark Prog Rock Jazz Psych)


SÃO DOIS VENENOS NUM FRASCO SÓ!! DOIS DISCOS EM UM DESTA BANDA PROGRESSIVA DINAMARQUESA QUE FAZIA UM SOM COMPETENTE QUE DARIA PRA SER DESCRITO COMO PROGRESSIVO JAZZ ROCK, COM NÍTIDAS INFLUÊNCIAS DE RYTHM BLUES E PSICODELIA!! OS CARAS USAVAM SAX ALTO E SOPRANO, FLAUTA, VIOLINO E HARMONICA!! É SOM DE PRIMEIRA LINHA E UM VENENO ALTAMENTE RECOMENDADO PRA QUEM GOSTA DO ESTILO!!

One of the biggest names of Scandinavian progressive groups that became well-known worldwide. Their music can be described as progressive jazz-rock under influences of beat, R&B, psychedelia... The compositions present often improvisational long passages with Karsten Vogel's (soprano sax, alto sax) musical visions. The other members are: Kim Menzer (flute, violin, trombone, harmonica), Ole Fick (guitars, vocals), Jess Stæhr (bass), Bo Thrige Andersen (drums). Burnin’ Red Ivanhoe 1970: Fick, Andersen (obscured), Menzer, Stæhr, Vogel They started in 1967 but the first album appeared two years later. It was double LP M144. By many considered their best. The comparison to The Who is especially clear in this early period. Most of the compositions have lyrics in native language but this changed with the following records where dominating language was English.

The second, self-titled album presents the same style and similar record structure: after dynamic opening Across The Windowsill (on M144 it is famous Ivanhoe I Brøndbyerne) compositions of various style and atmosphere come: R&B Rotating Irons, dynamic blues-rock Gong-Gong, The Elephant Song, the ballad Near The Sea, etc. The last track is titled Secret Oyster Service - does it remind you of something? The third album WWW is probably their most progressive work. The music is more placid without crazy sax solos and R&B tracks; also over 8-minutes excellent 2nd Floor, Croydon has more progressive character. In the same year the band recorded LP with Danish folk singer Povl Dissing. Although the compositions are more folk oriented and all lyrics are in Danish there are some moments, especially over 10-minutes Tingel-Tangelmanden that could be interesting for progressive rock fans.

The group split in 1972 but before it happened they recorded one more album - it was "live in studio" Miley Smile/Stage Recall. Surprisingly, it contains only three old compositions: Ivanhoe I Brøndbyerne, Rotating Irons and Indre Landskab (however in different versions). The rest presents fresh material like rousing The Monster Song, funny cover version of the old standard Red River Rock or the longest and the most typical for the group, jazzy Bareback Rider. The album ends with R&B Goodbye, which is the musicians' farewell. All in all, Miley Smile/Stage Recall is another excellent position in group discography.

In fact, two years later one more album appeared signed as Burnin' Red Ivanhoe. Its story is pretty interesting. Vogel was a member of Secret Oyster at that time. He found (Ref. 2) that he collected some compositions that were not appropriate for experimental style of this group and decided to release the new album under old band name. Right On appeared in 1974 and is another "mandatory" item for BRI fans (unfortunately, this album is extremely difficult to find and very expensive). As for the members, there were former musicians of BRI: Vogel, Andersen, Fick, Secret Oyster: Knudsen and Day Of Phoenix: Karsten Lyng (vocal), so the band name on the album was used rather for formality. This record has rare moments when you hear the echoes of Burnin' Red Ivanhoe (mainly instrumental parts with sax solos) but more often of Day Of Phoenix' first album. The opening track reminds of Uriah Heep very much! In 1980 the group in old good line-up released Shorts, containing pop-rock compositions, quite enjoyable but it is a different story. Burning Red Ivanhoe was one of the most important and typical Danish rock representatives of that time. Fortunately, its rich discography is the evidence of wonderful musicians' output.

Track Listings
1. Across The Windowsill (6:41)
2. Canaltrip (5:30)
3. Rotating Irons (8:25)
4. Gong-Gong, The Elephant Song (5:50)
5. Near The Sea (4:28)
6. Secret Oyster Service (9:49)
7. 2nd Floor, Croydon
8. W.W.W. (6:07)
9. Avez-vous Kaskelainen? (4:44)
10. Kaske-vous Karsemose (3:46)
11. All About It (4:07)
12. Oblong Serenade (6:25)
13. Cucumber-Porcupine 5:21)

Line-up/Musicians
- Kim Menzer / Harmonica, trombone, trnor sax, flute, violin, percussions
- Ole Flick / vocals, guitars, glasses
- Karsten Vogel / soprano sax, alto sax, organ, piano
- Jess Staer / Bass guitar, percussions
- Bo Thrige Andersen / drums, percussions

segunda-feira, 23 de junho de 2008

Shocking Blue - At Home (1969 Dutch Pop Rock Psych)


A BANDA SHOCKING BLUE FICOU FAMOSA COMERCIALMENTE COM A MÚSICA "VENUS" QUE VIROU UM DOS GRANDES HITS DOS ANOS 70!! ESTE É O SEU SEGUNDO ALBUM E MERECE ESTAR ENTRE OS VENENOS!! NESTE DISCO OS CARAS COMBINARAM MUITO BEM O POP COM ROCK PSICODÉLICO!! FICA EVIDENCIADO O EXPERIMENTALISMO DA BANDA NESTA DISCO COM A PRESENÇA DE INSTRUMENTOS EXÓTICOS COMO A SÍTARA, FUZZ GUITAR E O BELO VOCAL FEMININO DA CANTORA "MARISKA VERES"!! A MAIORIA CONHECE O SOM DA BANDA SHOCKING BLUE ESCUTANDO SUAS COLETANEAS ONDE TINHA APENAS SUAS MÚSICAS MAIS COMERCIAIS, MAS ESTE ALBUM É MUITO BOM, DIFERENTE, COM UM SOM MAIS MADURO, CONSISTENTE E BEM ELABORADO!! O MELHOR DISCO DA BANDA CERTAMENTE!! OBVIAMENTE COMO É O MELHOR É O MENOS CONHECIDO!! A NÃO SER PELA FAIXA 6 "VENUS" O MAIOR HIT DA BANDA!!

The music has a good vibe with a combination of 1960s pop, rock and psychedelia and the presence of sitar, fuzz guitar and the beautiful vocals of Mariska Veres.

History

The group charted a world-wide hit with the song "Venus," which reached #1 on the U.S. Billboard Hot 100 in February 1970. This was an entirely different song than Frankie Avalon's 1959 hit of the same name. Before the breakthrough of "Venus," the group had a minor hit in 1968 with "Lucy Brown Is Back In Town". Once Mariska Veres took over the vocals two bigger hits followed, "Send Me A Postcard" in 1968/69 and "Long and Lonesome Road" (often mistakenly named as Long Lonesome Road) in 1969. "Hot Sand", the flip-side of "Venus" was also heavily plugged on Dutch radio.

Many more Dutch hits followed: "Mighty Joe" in 1969/70. In 1970 "Never Marry a Railroad Man" (flip-side "Roll Engine Roll") and "Hello Darkness". In 1971 "Shocking You", "Blossom Lady" and "Out of Sight Out of Mind". In 1972 "Inkpot" and "Rock in the Sea". "Eve and the Apple" in 1972/73 and finally "Oh Lord" in 1973. None of these songs charted in the US, however.

In 1974 female singer Mariska Veres left the group to start a solo career. Her only solo hit was "Take Me High" in 1975. From the 1990s, Veres toured with a new group under the Shocking Blue banner, with permission of her former bandmates. On December 2, 2006 Dutch news service ANP reported that Mariska Veres had passed away from cancer at 59.

1 Boll Weevil 2:40
2 I'll Write Your Name Through the Fire 2:56
3 Acka Raga 3:07
4 Love Machine 3:19
5 I'm a Woman 3:00
6 Venus 3:06
7 California Here I Come 3:16
8 Poor Boy 4:50
9 Long and Lonesome Road 2:48
10 Love Buzz 3:44
11 The Butterfly and I 4:03
12 Harley Davidson (CD Track)(*) 2:39
13 Fireball of Love (CD Track)(*) 3:00
14 Hot Sand (CD Track)(*) 2:37
15 Wild Wind (CD Track)(*) 2:11

https://www.mediafire.com/?vi63vr8o02krqbd

domingo, 22 de junho de 2008

Harvey Mandel - Cristo Redentor...Plus Selected Sessions (1968 US Blues Jazz Rock


PRIMEIRO DISCO DESTE GRANDE GUITARRISTA DO BLUES/JAZZ!! HARVEY MANDEL É AQUELE GUITARRISTA DA BANDA JOHN MAYALL & THE BLUESBREAKERS E QUE JÁ TOCOU COM CHARLIE MUSSELWHITE EM SEU MELHOR ALBUM "STAND BACK" E AINDA COM CANNED HEAT, ROLLING STONES E MUITOS OUTROS!! O CARA FAZIA UM SOM QUE ERA UMA FUZZION DE BLUES JAZZ ROCK E O QUE É MAIS INOVADOR: TODO O ALBUM É INSTRUMENTAL!! EU SEMPRE TORCI UM POUCO O NARIZ PRA SOM INSTRUMENTAL MAS ESTE AÍ ME REALMENTE ME "PEGOU"!! O CARA SABIA FAZER ISSO, NÃO PRECISAVA MESMO DE VOCALISTA!! VENENO RARO E SEM VOZES PRA ALUCINAR!! SÓ INSTRUMENTOS FALAM!! E COMO FALAM!! NESTE ALBUM, ALÉM DE TODO O SEU PRIMEIRO ALBUM DE 1968, TEM AINDA ALGUNS BONUS TRACKS, E AÍ COM VOCAIS, BEM INTERESSANTES, COMO TRES FAIXAS EM QUE ELE TOCA COM CANNED HEAT EM 1970!! TEM TRES FAIXAS DE 1972 COM A RARÍSSIMA BANDA "PURE FOOD AND DRUG ACT"!! ALÉM DE OUTROS EXTRAS MUITO LEGAIS!!

This is guitarist Harvey Mandel's debut album from 1968 which was released on Philips Records, other players are Pete Drake, Kenny Buttery and Bob Moore, with additional help by Hargus Robbins and Chip Martin.

Mandel grew up in Chicago and his first recording was the album Stand Back! in 1966 with Charlie Musselwhite. He relocated to the San Francisco Bay Area, performing often at a club called The Matrix, where local favorites like Jerry Garcia or Elvin Bishop would sit in and jam. He then met up with Abe 'Voco' Kesh, who produced his first solo album, Cristo Redentor in 1968.

On the night that Henry Vestine quit Canned Heat, Mandel was in their dressing room at the Fillmore West. Mike Bloomfield joined them for the first set, and Mandel came in for the second set. His third gig with the band was the Woodstock Festival in 1969. He stayed with the band for a year, touring and recording material which appeared on three albums. "Let's Work Together", a song by Wilbert Harrison which was included in the album Future Blues became an international hit.

With Canned Heat bass player Larry Taylor, Mandel joined John Mayall for the next two years. He is heard playing on the two albums of that period USA Union and Back to the Roots. In 1972, he teamed up with Don "Sugarcane" Harris (who played violin for Mayall) and Randy Resnick on guitar, Victor Conte on bass, and Paul Lagos on drums, and formed the band Pure Food and Drug Act who released one album, Choice Cuts.

When The Rolling Stones guitarist Mick Taylor (also a former Mayall sideman) left the band, Harvey Mandel was auditioned for a replacement and recorded two tracks for their 1976 album Black and Blue, notably "Hot Stuff".

During the 1970s Mandel released the albums Baby Batter, The Snake and Shangrenade, in the latter employing the technique of two-handed tapping. He has also released an instructional video titled Harvey Mandel: Blues Guitar & Beyond.

Mandel's nickname, "The Snake," was given to him by keyboardist Barry Goldberg and referred to his cracked leather jacket. Mandel acted in the film Chalk, directed by Rob Nilsson, and contributed some original music.

1. Wade in the Water - 7:50
2. Lights Out - 4:53
3. Bradley's Barn - 3:18
4. You Can't Tell Me - 4:20
5. Nashville 1 A.M. - 3:39
6. Cristo Redentor - 3:48
7. Before Six - 6:30
8. The Lark - 4:39
9. Snake - 3:48
10. Long Wait - 2:46

BONUS TRACKS
BARRY GOLDBERG - 1969
11. Spirit of Trane - 4:02
CANNED HEAT - 1970
12. My Time Ain't Long - 2:59
13. Let's Work Together - 2:50
14. That's All Right - 5:31
PURE FOOD AND DRUG - 1972
15. A Little Soul Food - 4:05
16. What Comes Around Goes Around - 4:22
17. My Soul's on Fire - 4:14
LOVE - 1974
18. Which Witch Is Which - 1:56

NEW LINKS REPOST - JUNHO-2013

quinta-feira, 19 de junho de 2008

JULIUS VICTORr - From The Nest (1970 US Heavy Prog Psych)



BANDA AMERICANA SIMILAR A IRON BUTTERFLY!! ORGAN PESADO E VOCAL POTENTE!! ALTAMENTE RECOMENDADO PARA APRECIADORES DE HARD ROCK E HARD PSYCH!! VENENO DO BOM!!

Reissue of a now very rare 1970 album by this hard progressive rockplaying band. Great keyboards and the sound of bands like "Iron Butterfly.


Larry "Zea" Engstrom (drums, vocals)
Jim Cutsinger (bass)
Mark Schneider (guitar)
Kimball Lea (organ)

1 Stubborn Kind of Woman 3:39
2 Legend of the Indian Boy 4:57
3 Black Knife 3:55
4 Circus Lady 4:49
5 Break Song 1:24
6 Judiann 2:59
7 Fall of Days 12:44

sábado, 7 de junho de 2008

David Crosby - If I Could Only Remember My Name (1971 US Folk Rock Psych)

MEUS AMIGOS: ESTE DISCO NÃO É TÃO RARO, MAS VALE ESTAR AQUI NESTE BLOG!! ESTE É O CROSBY DA FAMOSA E ÓTIMA BANDA FOLK ROCK DOS ANOS 60-70 "CROSBY, STILLS, NASH & YOUNG"!! O CARA FEZ UMA CARREIRA SOLO MUITO LOUCA E VÁRIOS DISCOS LEGAIS, MAS ESTE EM PARTICULAR MERECE UM DESTAQUE!! PRESTEM ATENÇÃO E CURTAM A VIAJEM QUE É A FAIXA 2 "COWBOY MOVIES"!! NO MAIS O DISCO É FOLK ROCK PSYCH DE EXCELÊNCIA E QUE, APESAR DE NÃO SER RARO, MERECE SIM ESTAR ENTRE OS BONS VENENOS DO ROCK!! NESTE DISCO DAVID CROSBY ESTAVA ACOMPANHADO DE "FERAS" DO CENÁRIO MUSICA DA ÉPOCA!! O DISCO CONTA COM AS PARTICIPAÇÕES DE JERRY GARCIA (Grateful Dead), GRAHAM NASH (Crosby, Stills, Nash & Young), NEIL YOUNG, JORMA KAUKONEN (Hot Tuna), PAUL KANTNER (Jefferson Airplane), GRACE SLICK (Jefferson Airplane) E JONI MITCHELL!! PRECISA MAIS!! ALBUM EXCELENTE E DE ÓTIMA QUALIDADE MUSICAL!!

The singular odyssey of David Crosby remains one of the more remarkable tales in the annals of music history. As a founding member of the pioneering American groups the Byrds and Crosby, Stills & Nash, he helped create and popularize the highly influential folk-rock sound, forging the richly harmonic, radiantly acoustic approach which defined the West Coast music scene for years to follow; he also sold millions of records and enjoyed a cultural impact equaled by few of his contemporaries. Yet despite his often overwhelming success, Crosby is recognized far less for his artistic achievements than for his larger-than-life off-stage exploits, specifically a long and fantastically excessive battle with drug abuse which seemingly kept him teetering on the brink of death for over a decade; that he not only survived but remained as colorful and newsworthy a character as before is a testament to his continued creativity and unpredictability.

Crosby was born in Los Angeles on August 14, 1941; the son of Academy Award-winning cinematographer Floyd Crosby, he dropped out of drama school to pursue a career in music, touring the folk club circuit and recording as a member of the Les Baxter Balladeers. Under the auspices of producer Jim Dickson, Crosby cut his first solo session in late 1963; early the following year he formed the Jet Set with Jim McGuinn and Gene Clark, and with the additions of bassist Chris Hillman and drummer Michael Clarke, the group was rechristened the Byrds. Although McGuinn chiefly pioneered the Byrds' trademark 12-string guitar sound, Crosby was the architect of their shimmering harmonies; his interests in jazz and Indian music also influenced their subsequent excursions into psychedelic. However, creative differences plagued the group throughout its career, and in 1967 Crosby — reportedly rankled by his bandmates' refusal to release his menage a trois opus "Triad" — left the Byrds in the wake of their appearance at the Monterey Pop Festival.

After producing Joni Mitchell's 1968 debut LP, Crosby cut a handful of solo recordings and began jamming with ex-Buffalo Springfield singer/guitarist Stephen Stills. In time the duo was joined by ex-Hollies member Graham Nash; with its exquisitely beautiful three-part harmonies, strong individual songwriting contributions, and graceful folk-rock sound, Crosby, Stills & Nash's 1969 debut LP proved a pop landmark, launching all three members to greater fame than they'd experienced in any of their previous projects. The addition of Stills' former Buffalo Springfield bandmate Neil Young expanded the group to a four-piece, and in August of 1969 Crosby, Stills, Nash & Young (CSNY) made just their second live appearance to date at the Woodstock Festival; 1970's Déjà Vu arrived in stores with advance orders numbering over two million, and through the thought-provoking social and political messages of songs like "Woodstock" and "Ohio," they emerged as generational torchbearers of enormous musical and cultural influence.

Following a sellout CSNY tour, the group went on hiatus, and Crosby resumed work on his long-delayed solo debut, releasing If I Could Only Remember My Name in 1971; the following year, he and Nash issued the first of several duo efforts, and he also took part in a short-lived Byrds reunion. Despite continued creative differences, CSNY reformed for a 1974 tour; Crosby and Nash issued Wind on the Water a year later, and in 1977 Stills returned to the fold for the multi-platinum CSN. However, as Crosby's longstanding drug problem continued to worsen, he eventually fell out with both Stills and Nash, and a planned second solo album, Might as Well Have a Good Time, was rejected by Capitol in 1980.

A series of arrests for cocaine possession and illegal weapons charges hampered him throughout the years to follow, even as he reunited with Stills and Nash in 1982 for the Top Ten hit Daylight Again. After completing the follow-up, 1983's Allies, the trio did not record together for another seven years. In late 1985 Crosby was sentenced to prison after fleeing the drug rehabilitation clinic he'd entered in lieu of serving out a previous jail term; upon his release the following August, he'd finally conquered his demons, later chronicling the ugly details of his addiction in the fine autobiography Long Time Gone. In 1988 — a full 18 years after the release of Déjà Vu — Crosby reunited with Stills, Nash, and also Young for American Dream; his second solo effort, Oh Yes I Can, finally appeared the following year as well. After the 1990 release of CSN's Live It Up, Crosby continued to suffer personal misfortunes — first he was severely injured in a motorcycle accident, and then in 1994 he lost his L.A. home as a result of massive earthquake damage. Months later, he returned to the headlines when it was announced he was diagnosed with hepatitis C and dying of liver failure, undergoing a successful organ transplant in 1995.

During the recovery period which followed, Crosby met James Raymond, the son he'd given up for adoption over three decades earlier and a professional musician as well; the two soon began writing songs together, and with guitarist Jeff Pevar they formed CPR, releasing a series of albums and touring regularly. In early 1997, Crosby, Stills & Nash were inducted into the Rock and Roll Hall of Hame; six years earlier, Crosby had first entered the Hall as a member of the Byrds. Young returned to the fold for 1999's Looking Forward, with the resulting millennial tour — dubbed "CSNY2K" — heralding the foursome's first joint road venture in a quarter century. Crosby was again the subject of tabloid headlines when in early 2000 it was revealed that he fathered the children of singer Melissa Etheridge and her life partner, Julie Cypher; that same year, he also published a second book, Stand and Be Counted, which assembled interviews with actors and musicians to explore the intersection of celebrity and social activism.

01. Music Is Love**
02. Cowboy Movie
03. Tamalpais High (At About 3)**
04. Laughing
05. What Are Their Names**
06. Traction In The Rain
07. Song With No Words (Tree With No Leaves)
08. Orleans Listen
09. I'd Swear There Was Somebody Here

David Crosby (vocals, guitar);
Jerry Garcia (guitar, pedal steel guitar);
Graham Nash (guitar, piano, background vocals);
Neil Young (guitar, vibraphone, bass instrument, congas, background vocals);
Jorma Kaukonen, Paul Kantner (guitar);
Laura Allen (autoharp);
Gregg Rolie (piano);
Jack Casady, Phil Lesh (bass instrument);
Michael Shrieve, Mickey Hart, Bill Kreutzmann (drums, percussion);
David Frieberg, Grace Slick, Joni Mitchell (background vocals).

quinta-feira, 5 de junho de 2008

ERROS DE ARQUIVO

Eventualmente recebo a informação de que algum arquivo está dando problema na hora de descompactar, por isso, dou uma dica que na maioria da vezes dá certo. É que as vezes o nome do arquivo é muito extenso e o windows não aceita e dá erro no momento de descompactar. Façam o seguinte: baixem o arquivo e passem ele para a raiz do drive, ou seja, na maioria dos casos, o drive c: Descompacte o arquivo ali mesmo, dentro do drive c: livre, sem nenhuma pasta, e só depois de descompactado transfiram a pasta descompactada pra onde quiser dentro do computador!! Então é isso, arraste o arquivo compactado para o drive c: e descompacte ele lá! Se tudo isso não resolver, por favor, me avisem que o erro deve ser outro e aí reposto o arquivo novamente!!

segunda-feira, 2 de junho de 2008

Fever Tree - Another Time, Another Place (1968 US Psychedelic Rock)


TERCEIRO DISCO DESTA ÓTIMA BANDA TEXANA E QUE TINHA UM ESTILO COMPARADO A 13TH FLOOR ELEVATOR, MOVING SIDEWALKS E OUTRAS BANDAS "WEST COAST ACID ROCK"!! UM ÓTIMO E RARO VENENO ALTAMENTE RECOMENDADO A TODOS OS AMANTES DO GÊNERO!!

The second (and arguably most fully realized) album from Texas psychedelic band Fever Tree, Another Time, Another Place owes less to the sound of roots-based contemporaries like the 13th Floor Elevators, Moving Sidewalks, or the Sir Douglas Quintet and more to heavier West Coast acid rock. One of the most underrated '60s psych bands, Fever Tree comes off like a coincidental midnight meeting of Jim Morrison, Steppenwolf, Jefferson Airplane, Iron Butterfly, and Jimi Hendrix at the tail end of a drug and whiskey binge. Luckily, however, the group transcends its influences by sheer force of attitude.
The material here (mostly written by producers Scott Holtzman and Vivian Holtzman) is of generally pretty high quality, wisely avoiding too much of the drippy "ice cream cones and cosmic smiles" type stuff that bogged down the work of pretenders like Ultimate Spinach and Tricycle. Fever Tree was always a real, down and dirty rock band, and this record is no exception. Although in the liner notes the group stops just short of apologizing for including the oft-covered song "Fever," this version actually kicks some serious ass. Other highlights include the bawdy, roadhouse-style rocker "What Time Did You Say It Is in Salt Lake City," "Grand Candy Young Sweet" (a frightening, tuned-down plodder that sounds like Soundgarden's Kim Thayil jamming with Jandek), and the excellent chamber pop tune "Death Is a Dancer."
The album's only questionable moment comes with "I've Never Seen an Evergreen," a sullen, hazy drug song that might have fit perfectly on a Roky Erikson album, but just sounds out of place here. Also of note is the over seven-minute instrumental "Jokes Are for Sad People," which fulfills the unwritten psychedelic statute requiring one long trippy jam per album, but thankfully does so with a minimum of pointless noodling and a generous helping of compositional flair. ~ Pemberton Roach, All Music Guide

Rob Landes (Keyboards)
Rob Landes (Wind)
Dennis Keller (Vocals)
John Tuttle (Percussion)
E.E. Wolfe (Bass)
Michael Knust (Guitar)

1- Man Who Paints The Pictures (Part2)
2- What Time Did You Say It Is In Salt Lake City
3- Don't Come Crying To Me Girl
4- Fever
5- Grand Candy Young Sweet
6- Jokes Are For Sad People
7- I've Never Seen Evergreen
8- Peace Of Mind
9- Death Is The Dancer

domingo, 1 de junho de 2008

The Ill Wind - Flashes ( 1968 UK Psychedelic Hippie Rock)


GRUPO QUE, APESAR DE INGLÊS, ERA ALTAMENTE INFLUENCIADO POR GRUPOS AMERICANOS CHAMADOS "WEST COAST"!! O SOM DARIA PRA DIZER QUE SOAVA ENTRE UM HIPPIE FOLK ROCK PSICODÉLICO, E QUE TINHA NO VOCAL FEMININO DE CONNY DEVANEY UM DE SEUS MELHORES INGREDIENTES!! BOM DISCO PRA QUEM GOSTA DE JEFFERSON AIRPLANE, GRATEFUL DEAD OU COUNTRY JOE & THE FISH!!

The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-'60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn't make the most of the bandmembers' assets, though there was some instrumental and vocal talent in the group.
Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn't do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970. ~ Richie Unterberger, All Music Guide

01 - walkin´ and singin´
02 - sleep
03 - little man
04 - dark world
05 - l.a.p.d.
06 - high flying bird
07 - hung up chick
08 - people of the night
09 - full cycle
10 - illwind
11 - you´re all i see now
12 - it´s your life
13 - people of the night
14 - r.u. write
15 - tomorrow you´ll come back