25.11.2019

Joe Bonamassa - Transilvania - Milano (2007)


Guitar mastermind Joe Bonamassa, a young player with the childhood dream of playing music similar to legends like Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, was 22 when he inked a deal with Epic. Hailing from Utica, New York, Bonamassa could play the blues before he could drive a car. He first heard Stevie Ray Vaughan at age four and was instantly taken by Vaughan's high-powered playing. At age eight, he opened for B.B. King, and at age 12, he was playing regularly around upstate New York. It was soon thereafter that Bonamassa hooked up with the band Bloodline, which featured other musicians' sons: Waylon Krieger (Robby Krieger's son), Erin Davis (Miles Davis' drummer kid), and Berry Oakley, Jr. (son of the Allman Brothers bassist). Bloodline released a self-titled album, but Bonamassa wanted to move on. In summer 2000 he guested for Roger McGuinn on Jethro Tull's summer tour, later releasing his debut solo album, A New Day Yesterday. Produced by longtime fan Tom Dowd, the album marked a move toward a more organic and rock-sounding direction. He put together a power trio with drummer Kenny Kramme and bassist Eric Czar and hit the road to support the album.
Upon returning from the road, he hooked up with Dowd to record the muscular and sweeping studio disc So, It's Like That and released a document of the tour, A New Day Yesterday Live. The following year, Bonamassa put out Blues Deluxe, featuring nine cover versions of blues classics alongside three originals. The muscular You & Me appeared in 2006, followed by the more acoustic-tinged Sloe Gin in 2007. A year later, Bonamassa released the two-disc live album Live from Nowhere in Particular, followed in 2009 by The Ballad of John Henry. Late in 2009 he released the DVD Live from the Royal Albert Hall with guest spots from Eric Clapton and Paul Jones. In 2010, the guitarist released his first disc for the Premier Artists label, Black Rock, featuring a guest appearance by B.B. King. It was followed by the debut album from Black Country Communion, a blues-rock supergroup that put him in the company of bassist/vocalist Glenn Hughes, drummer Jason Bonham, and keyboardist Derek Sherinian. Bonamassa, ever the overachiever, released his earthy Dust Bowl in March of 2011, followed by Black Country Communion's 2 in June and by his unique collaboration with vocalist Beth Hart on a searing collection of soul covers entitled Don't Explain in September.
In May of 2012, Bonamassa released Driving Towards the Daylight. The album reunited the guitarist with producer Kevin Shirley, who brought in Aerosmith's Brad Whitford to play rhythm guitar on the 11 tracks. Driving Towards the Daylight was a significant blues hit -- it topped the Billboard blues chart and debuted at number two on the overall British chart -- and Bonamassa didn't slow down. Early in 2013, he released a live CD/DVD set called An Acoustic Evening at the Vienna Opera House and prepared SeeSaw, a studio album of classic covers with vocalist Beth Hart. SeeSaw was released later in 2013, and Bonamassa and Hart followed it up with Live in Amsterdam in March of 2014. After the release of SeeSaw, Bonamassa returned to the studio once again with producer Shirley to record what would be his 11th solo studio album. As a thank-you to his fans for their continued support, Bonamassa announced that the album would be his first release to feature entirely original material. Different Shades of Blue appeared in the fall of 2014, featuring 11 new songs co-written by Bonamassa with various veteran Nashville songwriters. Another busy year followed in 2015, with Bonamassa playing on Mahalia Barnes' Betty Davis tribute Ooh Yea! The Betty Davis Songbook and releasing two separate live collections: Muddy Wolf at Red Rocks in the spring and Live at Radio City Music Hall in the fall.
Returning to Nashville, he recorded his studio follow-up to Different Shades of Blue, working with many of the same songwriters who'd appeared on that 2014 album. Blues of Desperation appeared in March 2016. Another live recording, Live at the Greek Theatre, which celebrated the work of blues legends such as B.B. King, Freddie King, and Albert King, followed that summer. At the beginning of that year, Bonamassa headed out on an all-acoustic tour that saw him performing some of his best-known material in a new way. The tour included two nights at the legendary Carnegie Hall in New York that were filmed and recorded for prosperity. The performances saw him backed by a full band alongside the likes of guest musicians Chinese cellist and erhuist Tina Guo and Egyptian percussionist and composer Hossam Ramzy. The recording, Live at Carnegie Hall: An Acoustic Evening, was released in mid-2017. Bonamassa re-teamed with Beth Hart for Black Coffee, an album of covers that was released in January 2018. Also that year, he delivered British Blues Explosion, a live album recorded during a five-show run at the Royal Navy College in London, in which he performed covers from his top three British influences: Eric Clapton, Jeff Beck, and Jimmy Page.



Vangelis - 1492 - Conquest Of Paradise (1992)


Vangelis is best known to many music fans for his film soundtracks. His score for Hugh Hudson's "Chariots of Fire" (1981) made quite a splash in its time; nowadays, however, his soundtrack music for Ridley Scott's "Blade Runner" (1982) is probably best-known and most highly regarded. Vangelis worked with Scott again on the 1992 film "1492: Conquest of Paradise," one of two films released that year in commemoration of the 500th anniversary of Christopher Columbus's voyage across the Atlantic. Even if "1492" the soundtrack does not quite reach the heights that Vangelis achieved in "Blade Runner," it still provides tuneful, anthemic music of the kind for which Vangelis is known. If you like Vangelis's work on film scores, or if you are a fan of the film "1492," you should enjoy this soundtrack.


The Pogues - Yeah, Yeah, Yeah, Yeah, Yeah (1990)


A relentless, Motown-styled raveup, "Yeah Yeah Yeah Yeah Yeah" was one of The Pogues finest moments and one of their hardest rockers. It was a British hit in 1988, yet it took two years for an EP of the same name to appear. The EP is one the group's most rock-oriented efforts -- it even features a version of The Rolling Stones' "Honky Tonk Women" -- but it's not entirely successful, with the noticeable exception of the title track.



Thelonious Monk - Live At Monterey Vol 1 (1963)


For Monk fans, these Mo-Fis are must-haves. Wow! After releasing so many mediocre rock albums, Mobile Fidelity came through with not one but TWO shiny gold CDs by the enigmatic, lovable Thelonious Monk (accompanied in these live recordings by Charlie Rouse on sax, John Ore on bass, and Frank Dunlop on drums). Wow! Volume 1 starts off with "I'm Getting Sentimental Over You" and then offers three Monk originals, "Well You Needn't," "Evidence," and "I Mean You." Wow! Volume 2 brings us one cover, "Sweet and Lovely," plus four Monk tunes, "Light Blue," "Criss Cross," "Epistrophy," and Bright Mississippi." Wow!
Either disk can stand by itself as a jazz treasure, but the real Monk fan will really have to get both. I seldom recommend premium-priced CDs, but here I am, enthusiastically recommending two of them. Wow! Alas, MFSL is gone, so you nay have a devil of a time finding them. Bummer!
ByKarl W. Nehring, amazon


24.11.2019

Paul Revere and The Raiders - A Christmas Past And Present (1967)


A Christmas Present…and Past, by Paul Revere & the Raiders featuring Mark Lindsay, was one of the stranger seasonal albums ever made, which was perhaps appropriate given its release in the midst of the psychedelic '60s/Vietnam War era. Lindsay and producer/co-songwriter Terry Melcher concocted a comic, satirical take on Christmas that included sendups of President Lyndon Johnson, references to current social problems, and "A Heavy Christmas Message," which plaintively asked, "Who took the Christ out of Christmas?" Amazingly, Columbia Records reissued this odd artifact on CD in the 1990s as though it were just another collection of holiday songs. Listeners who buy it unaware are in for a surprise.


Samuel Prody - Samuel Prody (1971)


Samuel Prody foi uma banda inglesa de Heavy Psych Blues formada por Tony Savva (voz), Derek Smallcombe (guitarra), John Boswell (bateria) e Stephen Day (baixo) em Londres, Inglaterra no ano de 1969.

Em 1970 lançaram seu primeiro e unico disco, um álbum caracterizado pela psicodelia pesada sendo comparado com as bandas Ancient Grease e Sir Lord Baltimore.
Uma das caracteristicas da banda são seus solos de blues, por mais que altere a sua sonoridade pesada com um som limpo eles mantem uma estrutura  nativa no blues.
"Excellent heavy psychedelic blues-rock in the being of the Masters Apprentices, Morly Grey, Ancient Grease and Sir Lord Baltimore. Samuel Prody is very much underrated one album miracle, which any addict of proto-metal (or classic hard'n'heavy and psychedelia) will enjoy; it will definitely please and surprise hardcore fans of Led Zeppelin and Deep Purple. The mastermind behind the band was Tony Savva, London-based bass guitarist and singer, who went through various minor bands of the 60s. After over 30 years of various 'unofficial' CD releases of the album Tony has decided to offer a limited edition CD himself and he has signed each one of the first 100 personally."


Peter Hammill - Incoherence (2004)


Unlike anything else Peter Hammill has done before, Incoherence seems to counterbalance the relative simplicity of his previous studio outing, Clutch. A multi-tracked keyboard extravaganza, Incoherence consists of a single 42-minute suite in 14 movements. There are separate songs, but they are segued in ways that make the transitions unnoticeable, especially on first listen. That alone is enough to set the album apart from its neighbors in Hammill's discography, but there is more: a renewed urge to experiment with forms and textures within the song format; a rare level of richness and complexity in the arrangements; and the overarching concept of incoherence, language, and miscommunication that ties all 14 songs into a single, highly convincing whole. Several listeners will have a harder time getting into this album, as it demands some focused listening and requires assessment as a complete work, instead of being absorbed song by song. Some of the keyboard sounds are rather trite, but Hammill's multi-keyboard arrangements are a step or two ahead of his usual self, with some sections sounding surprisingly close to some of Peter Gabriel's work. Hammill also plays acoustic and electric guitars, although keyboards remain the main focus. Stuart Gordon adds violin in several sections, and Van der Graaf Generator alumnus David Jackson contributes saxes and flutes. Highlights include "Babel," the electronic-sounding "Cretans Always Lie," and the poignant ballad "Gone Ahead," which has become a live favorite (see Veracious). Even though Incoherence is a suite, not an epic track, it still feels like Hammill's most ambitious undertaking since "Flight." It also represents a high mark in the man's artistic creativity.