Choose your STYLE!!!

domingo, 20 de maio de 2018

Automatic - Alternative Rock (Australia)


The Band:
Bass – Rich Taylor
Drums – Leigh Marlow
Guitar – Alex Jarvis
Producer – Nick Launay
Vocals, Guitar – Matt Fenton


Avishai Cohen - Jazz Soul (Bass)


Having come to prominence playing with legendary jazz pianist Chick Corea in the '90s, Israeli-born bassist Avishai Cohen has developed into a virtuoso performer and bandleader with a stylistically expansive sound. His aptly titled 2017 studio album, 1970, showcases this broad approach with a set of original compositions and traditional songs that harken back to the socially minded folk, pop and world fusion of his birth year. In many ways, 1970 is the amalgamation of several key influences that have shaped Cohen's creative life, including the Jewish folk music, pop, and Sephardic Ladino songs his mother played for him while he was growing up. It's also tangibly apparent that legendary bassist Jaco Pastorius' genre-bending style and collaborations with pop artists like Joni Mitchell were also major touchstones for Cohen. Along with his fluid bass technique, much of the album is built around Cohen's voice. Blessed with a warm, naturally resonant baritone, Cohen isn't so much a virtuoso singer as a soulful presence at the microphone. It's a sound he showcases to pleasant effect throughout much of 1970, and one which brings to mind the organic vibe of artists like Terry Callier and Eric Clapton. Helping to achieve his stylistically integrative sound are many of the musicians who make up his expansive Eastern Unit Project, including vocalist Karen Malka, keyboardist Jonatan Daskal, drummer Tal Kohavi, guitarist Sherrod Barnes, percussionist Itamar Doari, and others. Together, they play a groove-oriented, jam-friendly style that's equal parts '70s soul-funk group, and traditional world music ensemble. There's a passionate, earthy spirituality to many of the songs on 1970 like the opening "Song of Hope," in which Cohen pleads for global unity against a moody R&B beat. He then gets more personal with the funky, wah-wah guitar-inflected "My Lady," singing "Have I told you that I love you, babe/Well, if I haven't then I misbehaved/You're the woman that has gotten me saved/From my loneliness..." Elsewhere, he dives into the roiling traditional number "Se'I Yona," his voice framed in emotive harmony with Malka and Elyasaf Bishari's buoyant instrumentation. Cuts like his yearning, solo vocal and piano take on the Beatles' "For No One," his joyously funky, Latin-tinged cover of Harry T. Burleigh's "Motherless Child," and his kinetically amorous, salsa-infused arrangement of Ismael Quintana's "Vamonos Pa'l Monte" are also delightfully compelling. While it's not a jazz album in any strict sense, there is a freedom and openness to the music on 1970 that feels very much in keeping with Cohen's past efforts. It's that openness, and the balance that comes from taking inspiration from the past while looking toward a brighter future that helps make 1970 such an uplifting experience.




sábado, 19 de maio de 2018

The Silos - Rock (USA)


The Silos is a rock band formed by Walter Salas-Humara and Bob Rupe in New York City in 1985. The Silos' Cuba has become something of a low-flying classic since its release in 1987. The band's brand of rock & roll qualifies as pre-Uncle Tupelo alternative country, highlighted by the addition of Mary Rowell's violin. Despite the album's name, Cuba -- the island from which Walter Salas-Humara's parents fled -- never comes to the forefront. Instead, vocalist/writer Salas-Humara uses it as a symbol, a place in one's mind where everything comes together. While songs like "Tennessee Fire" and "She Lives Up the Street" have given the Silos a reputation for rock & roll, they also excel with gentler ballads. The acoustic "Margaret" is one of the album's best moments, highlighted by an acoustic arrangement and Dave Pearlman's steel guitar. Lyrics like "Margaret goes to bed around eight/I go to bed around one" capture something elusive with small, everyday details. This off-the-cuff quality works wonderfully on "For Always," a love song with the charming refrain, "She knows I'm hers for always/She holds my love for always." These quiet moments offer a nice contrast to slashing guitar and drum tracks, and both styles come together to form a satisfying whole on Cuba.



Wet Willie - Rock & Blues (USA)


Originally released in 1977, the second live album from these funky, soulful southerners was reissued in 1999 with five extra cuts, adding a whopping 30 minutes to the original vinyl record's limited playing time. With a completely different track listing than 1973's excellent Drippin' Wet, Left Coast Live captures all that was memorable about Wet Willie. They tear through soul standards, like Jimmy Reed's "Shame, Shame, Shame," Little Milton's "Grits Ain't Groceries," and a shimmering 13 minute slow blues version of Billy Eckstein's "Jelly Jelly" (featuring guest guitarist Toy Caldwell on loan from the Marshall Tucker Band), with obvious passion for not only the songs, but for performing them in front of an enthusiastic audience like the one fortunate to be at this 1976 second set at L.A.'s Roxy club. Lead vocal, sax, and harmonica man Jimmy Hall is in solid form as he hoots, hollers, shouts, moans, and blows like the soul men he obviously idolizes and the band, now tightened through almost a decade of playing one night stands, chugs along like a fine tuned engine pumped with high octane gas. Pianist Mike Duke pounds the ivories with religious fervor and guitarist Ricky Hersh plays with barely controlled passion throughout. Featuring touches of gospel on "Ring You Up," Sly Stone styled funk with "Baby Fat," and southern fried R&B on their show stopping 12 minute version of "Lucy Was in Trouble," it's evident how overlooked this group was as one of the most eclectic, soulful, and talented bands to emerge from the glutted '70s southern rock circuit. Oddly the album's least impressive moment is a rote rendition of their biggest hit, "Keep on Smiling," played without the energy injected into the rest of the show. Wet Willie lost the majority of its original members and direction after this final, contract fulfilling Capricorn release, but Left Coast Live remains a compelling and often exhilarating document of a gifted band in their prime.




White Sister - Pop Rock (USA)


White Sister was an American hard rock and AOR band formed in 1980. Their song "Save Me Tonight" appeared on the soundtrack album for the 1985 Columbia Pictures film, Fright Night.[1] Their song "April" can be heard in the 1986 Metro-Goldwyn Mayer film, Killer Party. The band also performs in the movie. The band recorded the song "Touch the Sky" which can be heard in the 1986 film Thrashin' starring Josh Brolin. Their song "Dancin' on Midnight" appeared on the soundtrack album for the 1989 Magnum Pictures film Halloween 5: The Revenge of Michael Myers. Their song "Fashion by Passion" appeared on the soundtrack album for Touchstone Pictures film Stella (1990) starring Bette Midler.




Sharon Jones - Funk & Soul (USA)


It's hard to believe that Sharon Jones' debut LP is a product of the year 2002, for several reasons. Given the excellent singles she recorded for Desco beginning in the late '90s, it seems like she would have gotten the opportunity for a full-length sooner; plus, her brand of raw, heavy, hard-driving funk is such a throwback to the '70s, and she pulls it off so well, that you wonder how she could have escaped that decade without at least a few rare, classic 45s (in the vein of labelmate Lee Fields). It's not hard to believe she once made her living as a prison guard, based on the tough-as-nails, no-nonsense performances she belts out on Dap Dippin' With Sharon Jones & the Dap-Kings, the first full-length release on Desco's descendant, Dap-Tone. Backed by the Dap-Tone house band (a conglomeration of studio pros with connections reaching back to the Desco orbit), Jones delivers a storming set of tunes that would have sounded perfectly at home on the James Brown's Original Funky Divas compilation. The style and quality are pretty consistent all the way through, but it's hard not to single out the nearly unrecognizable cover of Janet Jackson's "What Have You Done for Me Lately," which is transformed into a churning blast of funk full of biting guitars (and nary a synth or drum machine in sight). Other highlights include the chunky leadoff track, "Got a Thing on My Mind," the would-be dance-craze "The Dap Dip," the slow-burning "Make It Good to Me," and the trials-and-tribulations tale "Ain't It Hard." Plus, label head Gabriel Roth throws in his usual "authentic" trappings -- the fake live introduction running down Jones' "hits," the intentionally dated copy on the back cover -- that make the whole package even more fun. All in all, a terrific debut.

Dap Dippin' with Sharon Jones and the Dap-Kings is the debut album by Sharon Jones & The Dap-Kings, released in 2002. It is also the first full-length release from Daptone Records.




WOBBLER - Symphonic Prog • Norway


Founded in Hønefoss, Norway in 1999 
The line-up consists of Lars Fredrik Froislie (of WHITE WILLOW) on keyboards, Kristian Karl Hultgren on bass guitar, Martin Nordrum Kneppen on drums, Morten Andreas Eriksen on electric and acoustic guitars and mandolin and Tony Johannessen on vocals. This group is strongly evocative of KING CRIMSON, GENESIS, GENTLE GIANT along with newer symphonic prog bands like ANGLAGARD and ANEKDOTEN with a dash of Scandinavian folk and classical influences thrown into the mix.

Their debut CD WOBBLER "Hinterland" contains long and complex tracks featuring lush, vintage keyboard sounds, making extensive use of Mellotron, Mini-Moog, Hammond C-3 and harpsichord, along with beautiful electric and acoustic guitar playing, a complex rhythm section along with flutes, recorder, saxophones, mandolins and various other instruments providing a very full, symphonic sound.

Highly recommended for fans of the early progressive greats and symphonic prog music.




sexta-feira, 18 de maio de 2018

Tosca Tango Orchestra - Waking Life Soundtrack


Waking Life OST is the official soundtrack of the film Waking Life. All tracks except numbers 6 and 9 were composed by Glover Gill and performed by the Tosca Tango Orchestra. Track 6 was originally composed by Fryderyk Chopin and track 9 was composed by Julian Plaza.

Richard Linklater's innovative, digitally animated film Waking Life boasts an equally thought-provoking score written by Glover Gill and performed by the Tosca Tango Orchestra. Instead of trying to compete with the film's intense visuals with a musically busy score or pop songs, the largely tango and classical-inspired score provides a subtle backdrop to Waking Life's beautiful animation. That's not to say, however, that the film's music isn't just as creative in it's own right. Gill's score is fluid and ever-changing; pieces like "Pelo Negro" change from tense to brooding to sensual and back again at a moment's notice, reflecting the film's surreal, dreamlike nature. "La Cosa Pequena"'s winding melody, the lively, mischievous "El Cholulo" and "Super Sport," and dramatic "Ballade 4, Part 1" are a few of the highlights from this creatively imagined and performed score.




JUSTINE - Prog Folk • UK


An odd British psych folk band comprised at their peak of three female vocalists and a couple male guitar players, JUSTINE's music consisted of American West Coast acid pop combined with rather staid English contemporary folk, and blended with plenty of obvious psych influences. The result was an engaging blend of sounds that live on in their lone studio album.

The band was said to have augmented their sound by 'borrowing' local musicians and even small orchestral assemblages for their limited live and studio appearances. The star of the band was American vocalist Laurie Styvers, who would release two solo albums shortly after the group disbanded. Sadly Styvers succumbed to personal demons in the late nineties. John McBurnie would go on to appear with Lee Jackson (the NICE, REFUGEE) and FLAMING YOUTH's Brian Chatton in the short-lived JACKSON HEIGHTS. The whereabouts of the rest of the group remains largely unknown.



Juicy Groove - Psych Acid Rock (USA)


A short-lived supergroup that included former members of Steppenwolf (guitarist Mars Bonfire, aka Dennis Edmonton) and Captain Beefheart's Magic Band (guitarist Elliot Ingber aka Mercury Flyer and bassist Gary Magic) Marker, as well as several drummers, among which: Thundercloud - the nickname of Mike Cassidy, the son of the drummer "Spirit" Ed Cassidy and Ron Bushy of "Iron Butterfly". The vocalist and rhythm guitarist was a character named Michael "Rainbow" Neal from Sky Saxon's "World Peace Band". The album was recorded in the style of "psychedelic-garage" in the early 70's and was issued by the label "Payola Records" only in 1978.




Le Super Borgou De Parakou - Afrobeat (Benin)


Le Super Borgou de Parakou was the brainchild of Moussa Mama, who, having worked as a goldsmith in neighbouring Accra and Ghana in the 1950s, returned to Benin with a wealth of musical ideas, and a progressive vision to meld these sounds into his collective troupe. Various incarnations of these are found over The Bariba Sound's 15 tracks, which cover the period 1970-76, a period of political change in the country. After the abolition of slavery in 1960, Benin (at that time known as French Dahomey) gained full independence from France, with a democratic government in place until a Marxist-Leninist dictatorship, the People’s Republic of Benin, came into being in 1972 (and lasted until 1990, following years of repression and the eventual collapse of the economy).

Mama and Menou Roch, Orchestre Super Bourgou (as they are also known) co-founder and guitarist, found themselves with a platform to provide cutting social commentary on the socio-economic ills and rampant inequalities they saw around them. The group became regulars at the Congolaise bar, where they caught the attention of the founders of Benin’s most influential record label, Albarika Store (Orchestre Super Bourgou were the label’s first EP release) and this is the first widely circulated document of this chapter in Northern Benin’s rich musical history.




quinta-feira, 17 de maio de 2018

Norman Connors - Jazz (Drums)


Norman Connors' first album as a leader is a beautiful collision where the post-Bitches Brew crew meet up with post-Pharoah Sanders spiritual jazz across the rhythms and harmonies of latin america. Check the personnel on the cover, all you could want really!

While almost all of these people would end up in jazz-influenced RnB/disco within a few years of this album - in particular Connors himself - their work in the 1972-75 period is fascinating in its search for, and creation of, new hybrid forms. There are several albums that contain a large crossover of the musicians that are on this one, and taken together they make a wonderful journey. 

Recorded with a who's who of fusion titans including trumpeter Eddie Henderson, bassist Stanley Clarke, and keyboardist Herbie Hancock, Dance of Magic channels the lessons drummer Norman Connors learned in the employ of Pharoah Sanders, Sam Rivers, and Sun Ra, marshaling Latin rhythms, electronic textures, and cosmic mysticism to create nondenominational yet deeply spiritual funk-jazz. The sprawling 21-minute title cut spans the entirety of the record's first half, capturing a monumental jam session that explores the outer edges of free improvisation but never steps past the point of no return. Connors' furious drumming is like a trail of bread crumbs that leads his collaborators back home. The remaining three tracks are smaller in scale but no less epic in scope, culminating with the blistering "Give the Drummer Some."




Randy Johnson - Folk Psychedelic Rock (USA)


Rare 1969 original of psych weirdo probably from LA or SF (Sidewalk Productions and Larry Goldberg are among the minimal back cover credits). Features the killer psych cut "Fly Superman Fly" which was comped awhile back. The wonderful thing here, aside from some truly cracked DIY-outsider lyrics sounding a few years too early, is the fact that Johnson's singing voice sounds exactly like Devendra...



JOHANNES LULEY - Crossover Prog • United States


US composer and musician Johannes LULEY is probably best known as the driving force of US band Moth Vellum, who released a highly heralded debut album in 2008 and then more or less disappeared. The band formally disbanded in 2010, and since then Johannes has been hard at work contuning his musical escapades as a solo artist. His first solo album "Tales From Sheepfather's Grove" appeared in January 2013.




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