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

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

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)

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

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

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

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

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

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