segunda-feira, 27 de janeiro de 2014

O Terço - Criaturas da Noite (1975, brilliant brazilian progressive folk-rock, 2011 reissue ) WavPack

O Terço foi um dos grandes nomes do rock brasileiro durante os anos setenta, e em minha opinião Criaturas Da Noite é o seu melhor álbum. Há quem ache, levando-se em consideração que O Terço era uma banda de rock progressivo, que a partir desse álbum iniciou-se o declínio da banda. Como eu não sou muito afeito a discussão sobre gosto musical, aceito as considerações! 

Infelizmente esse álbum possui suas melhores edições através da gravadora Vinyl Magic, e uma dessas edições custa muito caro e são difíceis de encontrar. Assim sendo essa edição que aqui eu estou a postar é do ano de 2011, da gravadora Copacabana, e infelizmente resolveram lançar o CD com "tecnologia anti cópia"; e isso lamentavelmente não permiti que programas como o Exact Audio Copy faça uma cópia exata sem acusar vários erros. Logo, infelizmente eu não pude disponibilizar uma cópia com log e .cue; sinto muito! Desfrutem essa maravilha!

One of the most important albums in Brazil's prog music. O Terço was, up till then, considered a good rock band by the critics and the public, but not outstanding. With Criaturas da Noite everything changed. Gone were the primitive recordings and the basic rock format. Now the band has a permanent keyboards player (Flávio Venturini) and a new bassist (Sérgio Magrão). With that line up they'd record their best albums ever and would produce some of the best prog rock songs of the 70's Brazilian scene.
Criaturas da Noite showed the many faces of this talented outfit: straight rock songs (Hey Amigo, Volte na Próxima Semana), Folk rock (Queimada, Jogo Das Pedras), symphonic prog (1974, Pano De Fundo, the title track) and even an interesting instrumental tune (Ponto Final). The musicians were very talented and skilled (everybody in the band wrote songs and all the members sang lead and harmony vocals). With no fillers and done with passion and skill, the album was, deservedly, a massive hit at the time. Even the production was superb for a third world country at that period.
Introducing some new elements like the Brazilian viola (a 10 string acoustic guitar, not the classical instrument) to their sound, it gave a Brazilian country feel on some songs, something quite unusual until then. That feature would be further explored in their next album, Casa Encantada, but that's another story.

-- Tarcísio Moura

quinta-feira, 23 de janeiro de 2014

Mike Vernon - Bring It Back Home (1971, UK blues, CDrip, single wav + cue, log, artwork)

Mike Vernon was the leading producer of the British blues boom in the late '60s, working on discs by John Mayall, Fleetwood Mac, Chicken Shack, Duster Bennett, Savoy Brown, and Ten Years After. Several of these recordings came out on Vernon's own Blue Horizon label, as well as the lesser known Vernon-run labels, Purdah and Outasite, and Vernon also recorded some American artists for his companies. Although he's primarily associated with blues-rock and blues, Vernon has produced significant acts outside of the blues field as well, including David Bowie, Focus, and Bloodstone. After playing for a while in the Mo Jo Men, Vernon started working for Decca Records in 1963, entering production with an album by Texan blues singer and pianist Curtis Jones, and following that up with projects by better known American bluesmen, Champion Jack Dupree and Otis Spann. At a time when John Mayall and Eric Clapton had established their names live with the Bluesbreakers but had made relatively few recordings, Vernon encouraged Mayall to make an album with the Clapton Bluesbreakers lineup for Decca, which Mayall returned to after a brief sojourn at Immediate.

In 1966, Vernon was in the producer's chair for the only album the Bluesbreakers made with Clapton as guitarist, Bluesbreakers, which is roundly recognized as the best British blues album. There had been several other great blues-soaked British recordings prior to this LP by bands such as the Rolling Stones, Yardbirds and Animals, but all of those groups were indebted to R&B, pop, and rock as well as the blues. Bluesbreakers was almost all pure blues, bringing out some of Mayall and Clapton's best performances, sometimes augmented by a horn section. Vernon also produced the Bluesbreakers' only album with Clapton's replacement, Peter Green (A Hard Road). It was while working with the Bluesbreakers that Vernon became familiar with the musicians that were to become the nucleus of the most successful British blues-rock band, Fleetwood Mac, particularly Peter Green and bassist John McVie. Vernon produced Fleetwood Mac's first few albums and singles, including the hit "Albatross," and was on board for much of their most blues-centered work. Blue Horizon made a major mistake, though, and forgot to pick up their option for a second year on Fleetwood Mac's contract, which meant that the group left Blue Horizon in early 1969.

There was still plenty of work for Vernon at Blue Horizon and other labels during the late '60s. These included recordings by Ten Years After, Chicken Shack, Savoy Brown, and several other lesser lights of the British blues boom. As a major blues/R&B enthusiast himself, Vernon seems to have allowed the bands to pretty much be as they were in the studio. With the best of his charges, such as Mayall and Fleetwood Mac, this worked very well; they got to make pure blues, or experiment within and without the form if they wished, without the sort of interference that might have been expected from more pop-conscious big labels and producers. There was also a good amount of routine, or even boring, material by artists and players that could not compare to the Americans they idolized. Vernon did champion Americans as well, recording a wide variety of solid talents in both the U.S. and U.K., like Eddie Boyd, Furry Lewis, and Bukka White, as well as leasing sides for U.K. release by greats like B.B. King and Elmore James. Vernon himself made a solo album for Blue Horizon in the early '70s, with Rory Gallagher as one of the guest guitarists.

Vernon's importance to British music went beyond the mixed results he achieved in the studio. In a period of about four years, during which Blue Horizon had distribution from CBS and Polydor, it issued about 60 singles and more than 100 albums, most of them blues records. This was a time when blues records were not too readily available in general, especially in Britain, and Vernon deserves much credit for raising the profile of the music in general in the UK. A good way to get acquainted with Vernon's work and sensibilities is on the double-LP Sire compilation History of British Blues, which covers British blues from the early '60s to the early '70s. Vernon assembled this anthology, which is largely comprised of sides he produced. Vernon has not solely worked on blues or blues-rock recordings. In 1967 he was the producer for David Bowie's self-titled debut album on Decca. Oddly, considering Vernon's own tastes and Bowie's past background (in which he had often sung and recorded R&B), there was no blues or R&B influence on the LP, which found Bowie in the midst of his Anthony Newley phase. Indeed, the arrangements were very much in the orchestrated music hall style, although Vernon was not fond of Bowie's Newleyesque direction. In the early '70s, Vernon produced Dutch progressive rock stars Focus, moving into soul in the mid '70s with the American soul group Bloodstone (including their big hit "Natural High") and the Olympic Runners. Over the next couple of decades, Vernon maintained an active profile as a producer, although he didn't generate discs with the commercial or artistic impact of those he had overseen during the British blues boom. Generally, he kept his hands in the rootsy sector, working at various points with Dr. Feelgood, Chris Farlowe, Freddie King, Frankie Ford, and Jimmy Witherspoon. Outside of R&B there were projects with Level 42, Dexy's Midnight Runners, the Pasadenas, and the Proclaimers. He revived the Blue Horizon label in the late '80s, and in the '90s set up a couple of other blues-oriented labels, Indigo and Code Blue.

        Mike Vernon - Brown Alligator

01.Let`s Try It Again                           04:26
02.Move Away                                   04:16
03.Mississippi Joe                               03:58
04.Brown Alligator                              11:46
05.Come Back Baby                           02:05
06.War Pains                                       03:46
07.Dark Road Blues                            03:25
08.(She Said) She Didn`t Have Time    05:56
09.Ain`t That Lovin` You Baby             03:11
10.My Say Blues                                  05:56

Paul Butler     Guitar
Rory Gallagher     Guitar
Laurence Garman Harmonica
Richie Hayward     Guitar
Paul Kossoff     Guitar
Kenny Lamb     Drums
Dick Parry     Saxophone
Jimmy Reed     Composer
Mike Vernon     Harmonica, Percussion, Primary Artist, Vocals
Pete Wingfield     Keyboards
[Rip and Scans by gigic2255]


terça-feira, 21 de janeiro de 2014

Salty Dog - Salty Dog (1976, Zambian fantastic hard/psychedelic acid fuzz-rock - 2013 reissue) Flac

Eu amo música e adoro compartilhar o que eu gosto e também ajudar alguém a encontrar algum álbum que esteja procurando, e dentro desse processo de pedido e busca eu sempre descubro bandas que muitas vezes eu não fazia a mínima idéia que existiam. Embora eu já conhecesse a banda setentista da Zambia chamada Witch, que é uma excelente banda de garage-rock psicodélico, eu não conhecia Salty Dog, e foi através de uma pesquisa de pedido do álbum dessa banda que eu a descobri. Fantástica descoberta, brillhante álbum; confiram e desfrutem!

Salty Dog, like many other bands from Zambia, was an acid fuzz rock band. Recorded in 1976 at the private dB Studios in Lusaka, the self titled debut release was the eighth album released on the Teal imprint Zambezi.

Having already been together for six years, the band, who at the time were in their mid 20's, took a month to record the effort that contained all original songs.

Influenced by Hendrix, The Rolling Stones, Eric Clapton, The Beatles and locals such as Rikki Ililonga and Alick Nkata, the band relied heavily on their talented guitarists.

The forerunner to Salty Dog was a band called "Way Out Impression". This was a three man band consisting of "Jackie Mumba" on guitar, "Alex Mwilwa" on drums and "Norman Muntemba" on bass guitar. Jackie and Norman had grown up together since 50's, and had learned to play on homemade banjos.

"Way Out Impression" was a hard rock band modelled after The Jimi Hendrix Experience. Their music was a combination of original compositions and covers of rock songs. Prior to "Way Out Impression", Jackie and Norman were also members of a very popular boys school band called "The Invasions". They found local fame as the band was very popular, especialy in Lusaka where they performed at many venues.

During the period in which they formed Salty Dog, the band found themselves debating life. They wanted to give birth to ideas that would develop and change the lives of people... Touch them in a happy and positive way.

Steve Doran (a friend of the band) commented that sperm was such a force, and that Salty Dog was slang for sperm in some hip societies within the U.S. The band members unanimously agreed with excitement that Salty Dog would be the name of the group.

The band consisted of Jackie Mumba on guitar, Norman Muntemba on bass and Alex Mwilwa on drums. They also shared vocal duties and played other instruments on some songs.

The illustration of the dog was done by Trevor Ford, a British artist who came out to work and teach art in Zambia. He was a great friend of the band, and regrettably his work was not acknowledged on the album cover by accident. Norman, the guitarist for the band did the remainder of the design and artwork for the cover, since he was known for having created artwork for albums by Paul Ngozi, Zebby Tembo and Keith Mlevu.

The band found moderate success, but received a lot of airplay, and "Try a Little Harder" still gets spun on Zambian Radio today.

Their lead single, released before the album, was recorded during the album sessions and later extracted to create the 45. "Sunday Morning Sunshine" was left off the album while the flip side "Down In My Shoes" found its way on to the self titled LP.

The band stayed together for over fifteen years and recorded a second album that was released in 1980. There was not enough money in music during that period, and all the band members had daytime jobs that forced them to work in various towns. This resulted in few performances, and death of some of the members finally resulted in the end of the band.

Jackie and Norman continued to play together until Jackie's death in 1988. Norman is the only living member today.

It really is not difficult to appreciate Zambian rock bands like Salty Dog. I just wonder why it took so long for the Western market to discover them.

sábado, 11 de janeiro de 2014

Colonel Bagshot – “Oh ! What A Lovely War” (1971 uk progressive & psychedelic soft-rock, 2012 reissue – Flac)

Eis mais uma pérola setentista vinda do Reino Unido! Desfrutem!

This is another great, but completely underrated album by obscure UK rock band ( from Liverpool ) which wasn’t issued in their homeland ( in contrast to some of their singles ).
The same fate met the other British groups from early 70´s like Light Of Darkness, Diabolus, Ironbridge or Grail. This LP was recorded in London and released in 1971 in USA ( by Cadet Concept ) and in Italy ( by Music Records ).
This highlight is very moving anti-war anthem ´Six Days War` and the beautiful progressive ballad Lord High Human Being. This fascinating, quasi-progressive and very melodic album contained an electric mix of styles, ranging from atmospheric psychedelia, through guitar-based soft-progressive to folky ballads-not far away from late 60´s The Beatles combined with early 70´s The Strawbs and Moody Blues.

quarta-feira, 1 de janeiro de 2014

Head Over Heels - Head Over Heels (1971, us superb hard blues-rock, 2002 Akarma reissue) Flac

Saudações a todos, e então comecemos o ano novo com um fantástico álbum de hard rock. Esse é um desbundante power trio americano e eu não sei porquê cargas d'águas ele têm duas músicas gravadas ao vivo nesse álbum, mas isso não faz diferença pois elas são matadoras tanto quanto o restante do álbum! Desfrutem!

A Michigan power trio whose album is powerful and inventive - one of the best hard rock albums on the label. Showcasing a line up consisting of drummer John Bredeau, singer/guitarst Paul Frank and singer/bassist Michael Urso, the band only managed to release one instantly obscure album, but what an LP! Produced by Dan Moore and Buzz Clifford, 1971's Head Over Heels is simply great. 

Loud, tough, yet surprisingly accessible, material such as Road Runner and In My Woman showcased the trio's knack for melodic, but crunching guitar rock. Frank and Urso had attractive voices and as we said before, they sure could generate some sound. Among the few missteps were some out of kilter harmony vocals (Question) and the bland power ballad Children Of The Mist (which was almost redeemed by Frank's nice guitar solo). 

Elsewhere, recorded at Detroit's Eastowne, an extended cover of Willie Dixon's Red Rooster and the Franks-penned Circles were in-concert efforts that aptly showcased the band's impressive live chops. 

Frank and Urso subsequently reappeared with the band Fresh Start. Urso was also a late-inning member of Detroit's Rare Earth (along with the Scorpion guitarist Ray Monette), playing on several of their albums in the mid-70s.