tag:blogger.com,1999:blog-305967092024-03-14T02:36:24.320-07:00TocoSongsGomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.comBlogger156125tag:blogger.com,1999:blog-30596709.post-8467599056545291782008-10-09T07:10:00.000-07:002008-10-09T08:06:07.430-07:00The Cult @ Credicard Hall SP – 08/out/08Sabe aquele dia em que você já se deu por vencido, prepara suas coisas pra ir embora e resolve se despedir de alguém pelo msn após um dia cansativo de trabalho?<br />Um dia em que o The Cult estava em SP com sua turnê <span style="font-style: italic;">Born Into This</span>, onde já tinha desistido de ir ao show, pois não tinha conseguido ingressos, o frio era cortante e o que me restava era enfrentar o trânsito e voltar pra casa.<br />Mas como coisas inesperadas acontecem, fui me despedir de uma amiga via comunicador instantâneo e fui questionado por que eu não iria ao show do The Cult. Grana? Falta de vontade? A resposta foi a primeira, mas como um passe de mágica, ela me diz: - eu tenho um ingresso pra você!<br />Como assim? De onde? Será que o céu ouviu as minhas preces e sabiam da minha vontade de ver essa banda que eu tanto gosto?<br />Sim, sim e sim!<br />Meio aturdido com a notícia, cheguei ao Credicard Hall e o ingresso estava à minha espera. Encontrei meus amigos e entramos para o show.<br />O Cult subiu ao palco e já começou com <span style="font-style: italic;">Nirvana</span>, engatou <span style="font-style: italic;">Rain</span> (ambas do álbum Love, de 1985), inseriu uma nova para a galera ir se habituando ao álbum mais recente <span style="font-style: italic;">Born Into This</span>, mas depois, veio um desfile de hits: <span style="font-style: italic;">The Witch, Fire Woman, Edie (Ciao) Baby, Spiritwalker, Rise, The Phoenix, Dirty Little Rockstar (nova), Wildflower e Sweet Soul Sister</span>.<br />Com uma frieza incalculável, Ian Astbury interagiu pouco com o público e sua voz falhou em muitas músicas.<br />Voltaram para o bis e mandaram ver com <span style="font-style: italic;">She Sells Sanctuary</span> e<span style="font-style: italic;"> Love Removal Machine</span>.<br />Por incrível que pareça, no retorno ao palco, voltaram no maior gás (será que foi alguma substância que eles consumiram? ...).<br />Foi muito bom ver o Cult ao vivo, pois curto muito o som dos caras, mas a pegada já não é mais a mesma, faltou<span style="font-style: italic;"> punch</span>.<br />Billy Duffy comandou bem as guitarras, assim como John Tempesta comandou bem as baquetas, com batidas precisas e fortes.<br />Mas no final, a média geral foi 8,5.<br />Abraços e até o próximo show.waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com2tag:blogger.com,1999:blog-30596709.post-83024668781876508902008-10-08T20:34:00.000-07:002008-10-09T05:10:57.345-07:00A todos os amigos do TocoSongs:<div align="justify">Acabo de chegar em casa depois de um show da turnê <em>Born Into This</em> do The Cult, um ícone do rock dos anos 80 e uma das minhas bandas favoritas. Vou deixar minhas impressões sobre o show depois, bem como dos shows de Ben Harper & The Innocent Criminals e da Dave Matthews Band no <em>Festival About Us</em>, ocorridos no último dia 28/09. Aguardem.</div><div align="justify">Abraços.</div>waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-9620162805563610462008-07-03T11:14:00.000-07:002008-07-03T12:34:00.975-07:00Kiss FM - 07 Anos. Via Funchal (SP) 02/07/2008<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_VEi12qGtnPE/SG0dbPdUS_I/AAAAAAAAAGg/oFJ5CdD9eAE/s1600-h/kiss.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_VEi12qGtnPE/SG0dbPdUS_I/AAAAAAAAAGg/oFJ5CdD9eAE/s320/kiss.png" alt="" id="BLOGGER_PHOTO_ID_5218859897035443186" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_VEi12qGtnPE/SG0dgeiijCI/AAAAAAAAAGo/jH9YHamx8s4/s1600-h/Untitled-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_VEi12qGtnPE/SG0dgeiijCI/AAAAAAAAAGo/jH9YHamx8s4/s320/Untitled-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5218859986983226402" border="0" /></a><br /><div style="text-align: justify;">A <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Kiss</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Fm</span>, a rádio rock do Brasil, promoveu um festival de bandas para comemorar seu aniversário de sete anos, contando com apresentação do <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Nasi</span> ex-integrante da banda Ira!, os ingleses <span class="blsp-spelling-error" id="SPELLING_ERROR_3">Echo</span> & <span class="blsp-spelling-error" id="SPELLING_ERROR_4">The</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Bunnymen</span>, responsáveis pelos “hinos” “<span class="blsp-spelling-error" id="SPELLING_ERROR_6">Killing</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Moon</span>” e “<span class="blsp-spelling-error" id="SPELLING_ERROR_8">Lips</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Like</span> Sugar”, a banda californiana <span class="blsp-spelling-error" id="SPELLING_ERROR_10">TSOL</span> (<span class="blsp-spelling-error" id="SPELLING_ERROR_11">True</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_12">Sounds</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_13">of</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_14">Liberty</span>) do <span class="blsp-spelling-error" id="SPELLING_ERROR_15">hit</span> “<span class="blsp-spelling-error" id="SPELLING_ERROR_16">Flowers</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_17">by</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_18">the</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_19">door</span>” e ainda os londrinos Gene <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Loves</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_21">Jezebel</span>, famosos pelo sucesso “<span class="blsp-spelling-error" id="SPELLING_ERROR_22">Desire</span>”.<br /></div><div style="text-align: justify;"><br />A noite começou com o <span class="blsp-spelling-error" id="SPELLING_ERROR_23">Nasi</span>. Acompanhado de uma banda competente, não empolgou muito a <span class="blsp-spelling-error" id="SPELLING_ERROR_24">platéia</span>, mesmo porque deixou de lado as canções do Ira! e dedicou-se a um repertório voltado a <span class="blsp-spelling-error" id="SPELLING_ERROR_25">covers</span> e algumas fracas composições da carreira solo. Isso sem contar o som, que estava embolado, sem clareza.<br /><br />Na <span class="blsp-spelling-corrected" id="SPELLING_ERROR_26">sequência</span>, os californianos do <span class="blsp-spelling-error" id="SPELLING_ERROR_27">TSOL</span> entraram detonando, com um som <span class="blsp-spelling-error" id="SPELLING_ERROR_28">direto</span> e potente. A <span class="blsp-spelling-error" id="SPELLING_ERROR_29">platéia</span> curtiu o <span class="blsp-spelling-error" id="SPELLING_ERROR_30">show</span>, mas poucos conheciam a maioria das músicas. Todos esperavam impacientemente pelo desfecho com "<span class="blsp-spelling-error" id="SPELLING_ERROR_31">Flowers</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_32">By</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_33">The</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_34">Door</span>”. Quando o grande <span class="blsp-spelling-error" id="SPELLING_ERROR_35">hit</span> foi tocado, a galera foi ao delírio.<br /><br />Quando o Gene <span class="blsp-spelling-error" id="SPELLING_ERROR_36">Loves</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_37">Jezebel</span> subiu ao palco, o vocalista mais parecia uma versão mais renovada do <span class="blsp-spelling-error" id="SPELLING_ERROR_38">Mick</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_39">Jagger</span>, mas aos poucos foi se mostrando um verdadeiro <span class="blsp-spelling-error" id="SPELLING_ERROR_40">showman</span>, entretendo a <span class="blsp-spelling-error" id="SPELLING_ERROR_41">platéia</span>, com o <span class="blsp-spelling-error" id="SPELLING_ERROR_42">respaldo</span> de uma banda <span class="blsp-spelling-error" id="SPELLING_ERROR_43">ótima</span> e precisa. Deixaram para o final a trinca de <span class="blsp-spelling-error" id="SPELLING_ERROR_44">hits</span> "<span class="blsp-spelling-error" id="SPELLING_ERROR_45">Break</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_46">The</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_47">Chain</span>", "<span class="blsp-spelling-error" id="SPELLING_ERROR_48">The</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_49">Motion</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_50">of</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_51">Love</span>" e "<span class="blsp-spelling-error" id="SPELLING_ERROR_52">Desire</span>".<br /><br />A cabeça já estava atordoada e os ouvidos contemplados com uma <span class="blsp-spelling-error" id="SPELLING_ERROR_53">ótima</span> performance do Gene <span class="blsp-spelling-error" id="SPELLING_ERROR_54">Loves</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_55">Jezebel</span> e a impaciência tomava conta com a espera do <span class="blsp-spelling-error" id="SPELLING_ERROR_56">show</span> do <span class="blsp-spelling-error" id="SPELLING_ERROR_57">Echo</span>.<br /><br />Os seis "rapazes" de Liverpool <span class="blsp-spelling-error" id="SPELLING_ERROR_58">embaçaram</span> um pouco e deixaram a pontualidade britânica de lado, mas quando ENTRARAM no palco... Foi sensacional!<br />Detonaram com "<span class="blsp-spelling-error" id="SPELLING_ERROR_59">Going</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_60">Up</span>", "<span class="blsp-spelling-error" id="SPELLING_ERROR_61">Rescue</span>" logo de cara e assim foram destilando seus <span class="blsp-spelling-error" id="SPELLING_ERROR_62">hits</span>. Saíram e voltaram do palco duas vezes, mas tocaram "<span class="blsp-spelling-error" id="SPELLING_ERROR_63">Killing</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_64">Moon</span>" com muito gás e vigor, assim como "<span class="blsp-spelling-error" id="SPELLING_ERROR_65">Lips</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_66">Like</span> Sugar".<br /><br />No geral, o festival foi bem organizado e com poucos contratempos. Tive o prazer de assistir a essa bateria de <span class="blsp-spelling-error" id="SPELLING_ERROR_67">shows</span> com meus dois grandes (os melhores) amigos - <span class="blsp-spelling-error" id="SPELLING_ERROR_68">Eric</span> e <span class="blsp-spelling-error" id="SPELLING_ERROR_69">Bob</span> e nos divertimos muito com as figuras pitorescas presentes nos <span class="blsp-spelling-error" id="SPELLING_ERROR_70">shows</span>... Melhor nem comentar, só quem estava lá pôde conferir...<br /><br />Até o próximo <span class="blsp-spelling-error" id="SPELLING_ERROR_71">show</span>.</div>waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com3tag:blogger.com,1999:blog-30596709.post-60965143580195422232008-05-19T08:28:00.000-07:002008-05-19T08:32:16.208-07:00Bluesbreakers quebram a tristeza e o frio paulistano.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_VEi12qGtnPE/SDGdYNbLBAI/AAAAAAAAAFI/3QTcvt2RG-w/s1600-h/587706.john_mayall_musica_242_239.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_VEi12qGtnPE/SDGdYNbLBAI/AAAAAAAAAFI/3QTcvt2RG-w/s320/587706.john_mayall_musica_242_239.jpg" alt="" id="BLOGGER_PHOTO_ID_5202112083835683842" border="0" /></a><p class="MsoNormal"><o:p> </o:p></p>John Mayall, aos 74 anos de idade, é considerado o pai do blues britânico e sempre esteve bem acompanhado de bons músicos, como Eric Clapton, Mick Taylor, John McVie, Jack Bruce entre outros. <p class="MsoNormal" style="text-align: justify;">Em sua passagem pelo Brasil neste final de semana no Via Funchal, a platéia esperava com uma certa frieza o blueseiro britânico.</p> <p class="MsoNormal" style="text-align: justify;">Às 22 horas, os Bluesbreakers (formado por Buddy Whittington nas guitarras, Joe Yuele na bateria e Hank Van Sickle no baixo) subiram ao palco sem John Mayall, mas com a participação especial do guitarrista brasileiro Big Joe Manfra. Tocaram duas músicas e o simpático Buddy chamou ao palco a atração da noite.</p> <p class="MsoNormal" style="text-align: justify;">Mayall entrou correndo, mostrando grande vigor físico e apresentou, por duas horas, um show espetacular, onde cantou, tocou piano, gaita e guitarra.</p> <p class="MsoNormal" style="text-align: justify;">Impressionante como John Mayall sempre teve apreço por guitarristas carismáticos e sempre procurou os melhores para os Bluesbreakers, formado em 1966.</p> <p class="MsoNormal" style="text-align: justify;">Quando os Bluesbreakers voltaram, Mayall reformulou a banda e convidou Buddy Whittington para o posto; até então, um guitarrista desconhecido e com a árdua tarefa de substituir Coco Montoya.</p> <p class="MsoNormal" style="text-align: justify;">Mas Buddy é um exímio guitarrista, um gordinho bonachão, com um fraseado limpo e impecável. </p> <p class="MsoNormal" style="text-align: justify;">Quando Mayall anunciou <i style="">“Hideaway”,</i> composição de Freddy King presente no álbum de estréia dos Bluesbreakers (com Eric Clapton), Buddy foi à farra... Tocou vários riffs do Led Zeppelin, levando a platéia ao delírio. Não contente com a sua performance, engatou <i style="">“Garota de Ipanema”</i> com sua guitarra poderosa e limpa em homenagem ao Brasil.</p> <p class="MsoNormal" style="text-align: justify;">O show foi uma verdadeira performance de músicos competentes, onde o maestro grisalho honrou o título de <i style="">“Father of the British Blues”</i>, reconhecendo o talento de cada integrante da banda.</p> <p class="MsoNormal" style="text-align: justify;">No bis, chamou Big Joe Manfra, apresentou-o à platéia e deixou-o tocar livremente sua Fender Strato, duelando com Buddy e tornando o show ainda mais atraente.</p> <p class="MsoNormal" style="text-align: justify;">Sejam bem-vindos, John Mayall’s Bluesbreakers, a força do blues sempre estará viva com sua existência.</p>waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com8tag:blogger.com,1999:blog-30596709.post-82221879510154196372008-04-08T07:13:00.000-07:002008-04-08T10:33:19.020-07:00O Rock and Roll da (Des)graça<div align="center"><div style="text-align: justify;">1983. Era dia 27 de outubro, meu aniversário de 06 anos...<br />Vi meu pai chegando em casa, após um longo dia de trabalho no banco, com um embrulho gigantesco... ele me disse que era uma placa, para entregar a um amigo.Como meu pai também é artista plástico, aceitei a justificativa e ficou por isso mesmo.<br />Quando meu pai entrou para tomar banho, fui procurar a tal placa e encontrei-a debaixo da cama, num papel de presente. Estranho, muito estranho...<br />Como de costume, meu pai chegava do trabalho, botava um LP no velho <i style="">Technics</i> e ia tomar banho. Nesse dia, ele colocou um som legal, um LP com um cara de terno e mãos de fios elétricos, <i style="">Powerage – AC/DC</i>.<br />Após tomar banho, meu pai pôs-se a brincar comigo e com o meu irmão, enquanto minha mãe tomava seu merecido banho.<br />Meu pai comprara uma camisa nova e eu, todo Zé Graça, botei o saco da camisa na cabeça, dizendo ser um <i style="">mestre-cuca</i>...<br />Fui puxando o saco cabeça abaixo e os dois (meu pai e irmão), se matando de rir, não se ligaram que eu estava me sufocando...<br />Minha mãe saiu do banheiro e não acreditando no que viu, arrancou de uma vez o saco da minha cabeça para me salvar a vida.<br />O clima pesou. Os dois foram acusados de irresponsáveis, enquanto meu pai tirava o plástico interno do álbum que ouvia<span style=""> </span>- <i style="">Powerage – </i>e recolocava à minha cabeça dizendo: esse você pode colocar na cabeça filho, pois é mais folgado.<br />Minha festa de aniversário começou com os convidados amigos da família, em sua maioria adultos, e recebi como presente a tal <i style="">placa</i> que estava embaixo da cama.<br />Era um quadro de motocross (minha grande paixão de infância – queria ser piloto) que ficou na sala da minha casa por longos anos, dividindo a minha paixão com os discos de rock da estante.</div> <p style="text-align: justify;" class="MsoNormal"><o:p></o:p><i style=""><span style="color: red;">Wagner Gomes, 30 anos, é publicitário porque levou um ralo de moto e ficou com medo de pilotar nas pistas. Atualmente, pilota o fogão e a moto da mãe quando vai para o interior, livre de trânsito e das loucuras de São Paulo.</span></i><br /></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0CRFiyx9OUVWGm1kyS8tPy16Y0QuJ7mqJcqfXngUtiQF6TAoWlk6VeU956zOC-Z9sPoHvugCzkbQB5k8aVKoLFr5dlCOPo8XkKv4UsClNMVxaGzmQ_F-PElMXQUXxDqFYGtWT/s1600-h/front.jpg"><img id="BLOGGER_PHOTO_ID_5186878095006902690" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0CRFiyx9OUVWGm1kyS8tPy16Y0QuJ7mqJcqfXngUtiQF6TAoWlk6VeU956zOC-Z9sPoHvugCzkbQB5k8aVKoLFr5dlCOPo8XkKv4UsClNMVxaGzmQ_F-PElMXQUXxDqFYGtWT/s200/front.jpg" border="0" /></a> Phil Rudd - Drums<br />Bon Scott - Vocals<br />Cliff Williams - Bass<br />Angus Young - Guitar<br />Malcolm Young - Guitar </div><div align="center"><br />1 <span style="color: rgb(255, 0, 0);">Rock 'n' Roll Damnation</span> (Scott, Young, Young) 3:37<br />2 Down Payment Blues (Scott, Young, Young) 6:03<br />3 Gimme a Bullet (Scott, Young, Young) 3:21<br />4 Riff Raff (Scott, Young, Young) 5:12<br />5 Sin City (Scott, Young, Young) 4:45<br />6 What's Next to the Moon (Scott, Young, Young) 3:31<br />7 Gone Shootin' (Scott, Young, Young) 5:05<br />8 Up to My Neck in You (Scott, Young, Young) 4:13<br />9 Kicked in the Teeth (Scott, Young, Young) 3:53 </div><div align="center"><a href="http://rapidshare.com/files/105774707/183-ACDC-Pow.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com2tag:blogger.com,1999:blog-30596709.post-28463163107545984462008-03-29T10:02:00.000-07:002008-04-01T11:46:19.259-07:00O Triunfo da Donzela Sobre o Homem Morcego<div style="text-align: justify;">O ano era 1985, ano do maior festival de rock do Brasil - <span style="font-style: italic;">Rock In Rio</span> - que trouxe a maior gama de estilos musicais de uma só vez; Bandas locais, ainda embrionárias, foram postas à prova para dividir os palcos com os experientes Yes, Queen, Scorpions, entre outros.<br />Na ocasião, Janeiro de 1985, período de férias, eu era uma criança de apenas 7 anos e louco de pedra pelo Ozzy. Estava tomado por uma estomatite, que me impedia de comer coisas quentes.<br />Pedi ao meu pai um disco do Ozzy, <span style="font-style: italic;">"Bark At The Moon", </span>pois já conhecia de trás pra frente o <span style="font-style: italic;">début "Blizzard Of Ozz"</span>, emprestado de um amigo.<br />Meus pais foram à loja de discos da cidade e não voltaram com o <span style="font-style: italic;">"Bark At The Moon" -</span> segundo eles, o disco não era tão bom quanto o <span style="font-style: italic;">"Blizzard Of Ozz" - </span>mas com um álbum diferente, com uma capa de desenhos egípcios...<br />Torci o nariz, chorei, pois não havia sido atendido por meus pais mesmo diante de uma estomatite, que me doía todo até para engolir - inclusive as lágrimas.<br />Como poderiam deixar de me dar o disco do Ozzy - meu maior ídolo à época, o comedor de morcegos, o cara soturno que me deixara hipnotizado pela gaita de <span style="font-style: italic;">"The Wizard"</span> do primeiro álbum do Black Sabbath? Não era possível...<br />Me recolhi no canto da sala, botei os fones de ouvido e pus-me a ouvir <span style="font-style: italic;">"Blizzard Of Ozz"</span> a todo volume. <span style="font-style: italic;">Mr Crowley, I Don't Know, Crazy Train...</span><br />Meus pais me deixaram ali, com a minha dor, desfrutando a minha solidão e a minha trilha sonora.<br />À noite, sentei-me no chão (hábito comum até hoje) e comecei a ver o <span style="font-style: italic;">Rock In Rio</span>. Vi o show do Ozzy e não me empolguei tanto. Foi aí que caiu a ficha... Faltava algo, ou melhor, alguém... Faltava Randy Rhoads (morto num acidente), o verdadeiro mago de <span style="font-style: italic;">"Blizzard Of Ozz"</span>. Randy fazia toda a diferença.<br />Por isso, <span style="font-style: italic;">"Bark At The Moon"</span> não chegou às minhas mãos e aos meus ouvidos. Meus pais preferiram <span style="font-style: italic;">"Powerslave" </span>- o disco de capa egípcia - do Iron Maiden.<br />No dia seguinte, botei o LP no velho <span style="font-style: italic;">Technics </span>e entendi definitivamente porque escolheram esse album.<br />- <span style="font-style: italic;">Você não gosta de guitarras poderosas?</span><br />A resposta veio imediatamente com <span style="font-style: italic;">Aces High, </span>seguida de <span style="font-style: italic;">Two Minutes to Midnight</span>. Pra que mais?<br />Silenciosamente, entendi a intenção dos meus pais em me mostrar apenas o que há de melhor...<br />O Ozzy não perdeu seu fã, mas com certeza, o Iron ganhou mais um.<br /><br /><span style="color: rgb(255, 0, 0);">Wagner Gomes, 30 anos, é publicitário e descobriu o <span style="font-style: italic;">Heavy Metal </span>muito cedo, dentro da própria casa, bem antes da propaganda.<br />Se tivesse de escolher apenas dois discos de <span style="font-style: italic;">Heavy Metal </span>para levar a uma ilha deserta, sem hesitação seriam </span><span style="font-style: italic;"><span style="color: rgb(255, 0, 0);">"Blizzard Of Ozz" e "Powerslave", </span></span><span style="color: rgb(255, 0, 0);">pelos excelentes trabalhos de guitarra.<br /><br /></span><div style="text-align: center;"><span style="color: rgb(255, 0, 0);">**************************************<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaKiBDjLduHy02HFRJ-xfo772HWwC9mNJjQxoKWrmsL9Nt-gHZtoOZT_9AvDmlw4ureK8Fb4kYD5-jUYtI01GWZQWDUeOe-AvmTCKgRR7kXtzzOZDWOnYvM2QEB95hPONuXiQO/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5184205272434092338" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaKiBDjLduHy02HFRJ-xfo772HWwC9mNJjQxoKWrmsL9Nt-gHZtoOZT_9AvDmlw4ureK8Fb4kYD5-jUYtI01GWZQWDUeOe-AvmTCKgRR7kXtzzOZDWOnYvM2QEB95hPONuXiQO/s200/front+cover.jpg" border="0" /></a><span style="color: rgb(51, 102, 255);"><span style="color: rgb(255, 0, 0);">RESULTADO</span></span><br />1 I Don't Know (Daisley, Osbourne, Rhoads) 5:14<br />2 Crazy Train (Daisley, Osbourne, Rhoads) 4:50<br />3 Goodbye to Romance (Daisley, Osbourne, Rhoads) 5:36<br />4 Dee [instrumental] (Rhoads) :50<br />5 Suicide Solution (Daisley, Osbourne, Rhoads) 4:16<br />6 Mr. Crowley (Daisley, Osbourne, Rhoads) 4:56<br />7 No Bone Movies (Daisley, Kerslake, Osbourne, Rhoads) 3:58<br />8 Revelation (Mother Earth) (Daisley, Osbourne, Rhoads) 6:09<br />9 Steal Away (The Night) (Daisley, Osbourne, Rhoads) 3:30<br /><br />PRODUÇÃO: Ozzy Osbourne / Max Norman<br />Gravado no Ridge Farm Studios em Surrey, Inglaterra em março de 1980<br /><br /><span style="color: rgb(255, 0, 0);">CULPADOS</span><br />Ozzy Osbourne (Vocais)<br />Bob Daisley (Baixo)<br />Randy Rhoads (Guitarra)<br />Lee Kerslake (Bateria)<br />Don Airey (Teclados) <div align="center"> </div><div align="center"><a href="http://rapidshare.com/files/103986322/177-OzzOsb-BliofOzz.rar">DOWNLOAD</a></div><br /><span style="color: rgb(255, 0, 0);">**************************************</span><span style="color: rgb(255, 0, 0);"><br /><br /></span></div><span style="color: rgb(255, 0, 0);"><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicGnpcdQRTBq2UEoXSHlpXnbkClws4DSvuRuBoRLJGypaSUn6eeH5J8cVObL7lDrYxKHBbLgAZ7yZuWO7umhi6RlZ6isQgQ8IgPr6nE1ikneDuf8tRvYk5Hy_qJtYKxKPa8eBx/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5184206346175916354" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicGnpcdQRTBq2UEoXSHlpXnbkClws4DSvuRuBoRLJGypaSUn6eeH5J8cVObL7lDrYxKHBbLgAZ7yZuWO7umhi6RlZ6isQgQ8IgPr6nE1ikneDuf8tRvYk5Hy_qJtYKxKPa8eBx/s200/front+cover.jpg" border="0" /></a><span style="color: rgb(255, 0, 0);">RESULTADO</span><br /><span style="color: rgb(0, 0, 0);">1 Aces High (Harris) 4:29</span><br /><span style="color: rgb(0, 0, 0);">2 2 Minutes to Midnight (Dickinson, Smith) 6:00</span><br /><span style="color: rgb(0, 0, 0);">3 Losfer Words (Big 'Orra) (Harris) 4:13</span><br /><span style="color: rgb(0, 0, 0);">4 Flash of the Blade (Dickinson) 4:02</span><br /><span style="color: rgb(0, 0, 0);">5 The Duellists (Harris) 6:07</span><br /><span style="color: rgb(0, 0, 0);">6 Back in the Village (Dickinson, Smith) 5:20</span><br /><span style="color: rgb(0, 0, 0);">7 Powerslave (Dickinson) 6:48</span><br /><span style="color: rgb(0, 0, 0);">8 Rime of the Ancient Mariner (Harris) 13:36</span><br /><br /><span style="color: rgb(255, 0, 0);">CULPADOS</span><br /><span style="color: rgb(0, 0, 0);">Bruce Dickinson: voz</span><br /><span style="color: rgb(0, 0, 0);">Dave Murray: guitarra solo e rítmica</span><br /><span style="color: rgb(0, 0, 0);">Adrian Smith: guitarra solo e rítmica</span><br /><span style="color: rgb(0, 0, 0);">Steve Harris: baixo</span><br /><span style="color: rgb(0, 0, 0);">Nicko McBrain: bateria</span></div><div align="center"><a href="http://rapidshare.com/files/103995261/178-IroMai-Pow.rar">DOWNLOAD</a><br /></div></span></div>waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com2tag:blogger.com,1999:blog-30596709.post-74017986566767122092008-03-26T08:14:00.000-07:002016-03-04T13:17:45.589-08:00Era um garoto que, como eu, amava mais os Rolling Stones que os BeatlesDesde criança, o som do rock and roll ecoa nos alto-falantes da minha vida. Lembro-me de ouvir um som e sair correndo perguntar para o meu pai o nome da banda... ficava me deliciando com a capa do lp nas mãos, aqueles vinis grossos de som poderoso...<br />
Um belo dia, por volta dos meus 6 ou 7 anos, ouvi uma música que me chamou a atenção, chamada <span style="font-style: italic;">“<a href="https://open.spotify.com/track/7kT0Z0Y24FxmUnjiFOvUqH" target="_blank">Mother’s Little Helper</a>”</span> de um <span style="font-style: italic;">LP</span> intitulado <span style="font-style: italic;"><a href="https://open.spotify.com/album/20almVDzRVDABTz2cnDjLM" target="_blank">Aftermath</a></span>... aquela guitarrinha martelava minha cabeça e não conseguia parar de ouvi-la...<br />
Minha infância foi marcada por várias descobertas musicais, oriundas dos discos do meu amado pai e do meu tio, mas os Stones foram um marco!<br />
Como um efeito dominó, os Stones foram fazendo parte da minha cultura musical, até mesmo quando descobri minha paixão pelo Blues, no inicio dos anos 90 após assistir ao filme “<a href="https://open.spotify.com/album/77UqIYxZhslPXUTiq4vDrE" target="_blank">A Encruzilhada</a>”. Me apaixonei imediatamente pelo som de <a href="https://open.spotify.com/album/3aQ3x9OIWb3wQzvpZzmzsA" target="_blank">Robert Johnson</a> e comecei a tocar violão apoiado pelo meu bottleneck improvisado com um vidro de remédios.<br />
Foi então que ouvi <span style="font-style: italic;"><a href="https://open.spotify.com/track/3ZdZJ6iwE2o24pv6cGsCFG" target="_blank">Love in Vain</a></span>, regravada pelos Rolling Stones (que foi batizado graças à uma música de Muddy Waters – o pai do blues elétrico) e entendi porque o blues se tornara a minha nova paixão...<br />
Na adolescência, minhas professoras de colégio me incentivaram a escrever sobre as minhas idéias e essas, foram se tornando aquilo que eu queria ser – um cronista musical. A caminho da faculdade, a torcida na cidadezinha do interior do Paraná era para me ver jornalista, mas acabei optando pela publicidade.<br />
Devido a questões financeiras e intelectuais, não pude ver os shows dos Rolling Stones no Brasil (no primeiro, tinha o ingresso – presente de meu irmão – mas não tinha dinheiro para a viagem a SP; no segundo, tinha uma prova importante na faculdade), mas minha profissão de publicitário e as mãos de Deus, brilharam uma luz sobre mim...<br />
Tive a oportunidade de planejar o lançamento do espetacular filme feito por <span style="font-style: italic;">Martin Scorsese</span> para os cinemas…<br />
Ao ouvir do cliente o título em que trabalharia, meus olhos brilharam e agarrei-o como meu <a href="https://open.spotify.com/track/338QVtH8XmacnLshnC0cQ7" target="_blank">filho pródigo</a> para fazer o melhor possível. Era uma questão de realização pessoal.<br />
Lotamos as 3 salas de pré-estréia, fizemos eventos comemorativos e como a canção <span style="font-style: italic;"><a href="https://open.spotify.com/track/7iamWmLLWvYxmbA0tbysUS" target="_blank">As Tears Go By</a></span>, as lágrimas continuam saindo involuntariamente de emoção pela realização desse sonho.<br />
Queria muito que minha família e amigos de infância estivessem ali comigo na sala de cinema, vendo essa obra-prima que é <span style="font-style: italic;"><a href="https://open.spotify.com/album/3CHu7qW160uqPZHW3TMZ1l" target="_blank">Shine a Light</a></span>, mas como a distância é a pior coisa que nos separa, estive muito bem acompanhado pela mulher que amo e pelas mãos de Deus, me agraciando! <span style="font-style: italic;">“May the good Lord shine a light on you”</span>.<br />
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<em><span style="color: rgb(255 , 0 , 0);">Wagner Gomes, 30 anos, é publicitário e louco por rock and roll e propaganda. Agradece a Deus pelo sonho realizado e aos amigos Julio Sant’Anna, Boizão, Ubaldo, Evandro, entre outros tantos, por acreditarem que um dia ele conseguiria fazer algo para conciliar profissão e realização.</span></em><br />
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“Vamos trabalhar que a vida não é só festa. Ainda bem que o meu trabalho é uma festa !” waggom.waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com24tag:blogger.com,1999:blog-30596709.post-45602164832431911412008-03-26T06:09:00.000-07:002008-03-26T02:09:31.541-07:00Whiskeytown - Pneumonia (2001)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPr2OufVBML1Ev5K0YY3BksiONB6Hu0spR3Atu12OgFxvEwsGeHFvZqgDsk88a590yJHJ9fEv3tEin55V4etCwB_dMxUtt4RZ_u7Z9f67JZKnGt80B3hEcnx-195gNrkghHzcv/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5181973578768366434" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPr2OufVBML1Ev5K0YY3BksiONB6Hu0spR3Atu12OgFxvEwsGeHFvZqgDsk88a590yJHJ9fEv3tEin55V4etCwB_dMxUtt4RZ_u7Z9f67JZKnGt80B3hEcnx-195gNrkghHzcv/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">BIOGRAPHY</span><br />by Steve Huey<br />A band with as turbulent an existence as Whiskeytown was bound to implode sooner or later, but by the time they did, they had one of the largest cult followings of any alt-country band. Most accounts traced the source of all the turmoil to bandleader Ryan Adams, a gifted young songwriter whose flashes of brilliance came hand in hand with a volatile temper and an appetite for alcohol. Adams became notorious for his outbursts and erratic performances, and countless disputes with bandmates (some of them on-stage) inevitably led to frequent personnel changes. Yet during their five-year lifespan, Whiskeytown made some undeniably compelling music that only increased the mystique around their enfant terrible leader.Whiskeytown was formed in 1994 in Raleigh, NC, by singer/guitarist/banjoist Adams, a 20-year-old ex-punk rocker who'd discovered the country-rock of Gram Parsons. The band's other charter members were fiddler/occasional lead singer Caitlin Cary, guitarist Phil Wandscher, bassist Steve Grothmann, and drummer Eric "Skillet" Gilmore. They cut a seven-song EP called Angels for the local indie Mood Food in 1995 and quickly followed it with their full-length debut, Faithless Street, in early 1996. Strongly indebted to Parsons, Uncle Tupelo, and the Replacements, the album earned rave reviews from the alt-country press (No Depression magazine in particular), and a performance at that year's South by Southwest music festival helped net them a deal with the Geffen roots affiliate Outpost. Mood Food issued Rural Free Delivery, a compilation of early recordings, in 1997, the same year Whiskeytown completed their major-label debut, Stranger's Almanac. There was already a new rhythm section, in the person of bassist Jeff Rice and drummer Steven Terry, and Wandscher left not long after the album was released that summer.The supporting tour for Stranger's Almanac was a stormy one, doing much to earn Adams his bad-boy reputation, and by the time the dust settled, Adams and Cary were the only members standing. They added multi-instrumentalist Mike Daly, who not only played keyboards, guitar, pedal and lap steel, mandolin, mandocello, and dulcimer, but also co-wrote a great deal of material with Adams for the band's next album. Supporting musicians came and went at a furious pace, including onetime fIREHOSE member Ed Crawford and original drummer Gilmore. Somehow, a semistable studio lineup coalesced long enough to complete Pneumonia, the third official Whiskeytown album, in 1999. However, a series of label mergers shelved the record indefinitely, during which time it was heavily bootlegged and acquired a strong underground reputation. With the album in limbo, Whiskeytown gave up the ghost. Adams released his solo debut, Heartbreaker, in 2000, and Cary issued her own solo EP, Waltzie, that year as well. Pneumonia was finally released in 2001 on the Universal roots subsidiary Lost Highway and earned some of the group's strongest reviews yet for its eclectic approach. Adams' second solo album, Gold, appeared in 2002, and Cary released the solo albums While You Weren't Looking and I'm Staying Out in 2002 and 2003, respectively.<br /><br /><span style="color:#3366ff;">REVIEW</span><br />by Mark Deming<br />Whiskeytown had ceased to be a band in the truest sense by the time they recorded their third (and final) full-length album, Pneumonia; the group began to collapse during the touring following Strangers' Almanac, with members coming and going at a remarkable pace, and for the Pneumonia sessions, the only musicians on hand who had appeared on Faithless Street three years earlier were lead vocalist and songwriter Ryan Adams and violinist and backing vocalist Caitlin Cary. Multi-instrumentalist Mike Daly and percussionist/producer Ethan Johns dominated the sessions' sprawling cast of players, with James Iha and Tommy Stinson popping up on some tracks. Ultimately, Pneumonia sounds more like a Ryan Adams solo project than anything else, and it walks a decidedly different path than the Whiskeytown albums that preceded it — there are no charging rockers in the manner of "Drank Like a River" or "Yesterday's News," and the country twang of "Too Drunk to Dream" or "Someone Remembers the Rose" has receded into the background (though Cary's violin and occasional mandolin or steel guitar lines from Daly do add a high-lonesome undertow to several songs, especially the plaintive "Sit and Listen to the Rain" and "My Hometown"). This is easily Whiskeytown's most ambitious and eclectic work, and the sparkling pop of "Don't Be Sad" and "Mirror Mirror," the lovely faux-tropicalia of "Paper Moon," the haunting tape-loop reverie of "What the Devil Wanted," and low-key power balladry of "Crazy About You" all prove that, despite his reckless public persona, Ryan Adams had gained a wealth of maturity and intelligence (at least as a songwriter and recording artist) since the last time he'd entered a recording studio. Pneumonia was recorded in 1999, but the closing of Outpost Records in the wake of that year's Polygram/ Universal merger put the album on the shelf for two years; in the meantime, Pneumonia developed an underground reputation as a lost classic, and while that description is going a bit far to make a point, it is an undeniably striking and beautifully crafted set of songs, and it's interesting to imagine where this music would have taken Whiskeytown if the album had met its original release date — assuming that Whiskeytown was still a band by the time the record was finished.<br /><br /><span style="color:#3366ff;">CREDITS</span><br />Ryan Adams - Guitar, Harmonica, Piano, Vocals, Art Direction<br />Caitlin Cary - Fiddle, Vocals (bckgr)<br />Richard Causon - Keyboards<br />Jennifer Condos - Bass<br />Mike Daly - Dulcimer, Guitar, Mandolin, Pedal Steel, Keyboards, Vocals (bckgr), Mandocello, Lap Steel Guitar<br />James Iha - Guitar, Vocals (bckgr)<br />Ethan Johns - Bass, Guitar, Mandolin, Percussion, Drums, Keyboards, Mandocello<br />Brad Rice - Guitar<br />Tommy Stinson - Dobro, Guitar<br /><br /><span style="color:#3366ff;">TRACKS</span><br />1 Ballad of Carol Lynn (Adams, Daly) 3:03<br />2 Don't Wanna Know Why (Adams, Cary, Daly) 3:56<br />3 Jacksonville Skyline (Adams) 3:00<br />4 Reasons to Lie (Adams, Daly) 3:27<br />5 Don't Be Sad (Adams, Daly, Iha) 3:21<br />6 Sit & Listen to the Rain (Adams) 4:04<br />7 Under Your Breath (Adams, Daly) 3:26<br />8 Mirror, Mirror (Adams, Daly) 3:15<br />9 Paper Moon (Adams) 4:40<br />10 What the Devil Wanted (Adams, Daly) 3:38<br />11 Crazy About You (Adams) 2:44<br />12 My Hometown (Adams) 2:44<br />13 Easy Hearts (Adams, Cary) 5:06<br />14 Bar Lights (Adams) 7:27</div><div align="center"><a href="http://rapidshare.com/files/102444382/175-Whitow-Pneu.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-70621604323362691502008-03-25T10:33:00.000-07:002008-03-29T11:59:25.081-07:00STONES SCORSESE - The Rolling Stones Shine a Light<div style="TEXT-ALIGN: justify"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_VEi12qGtnPE/R-j-ERC5l7I/AAAAAAAAADI/Lf4nEEaZBbM/s1600-h/logo_shine.jpg"><img id="BLOGGER_PHOTO_ID_5181670720538253234" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_VEi12qGtnPE/R-j-ERC5l7I/AAAAAAAAADI/Lf4nEEaZBbM/s320/logo_shine.jpg" border="0" /></a>Hoje é o grande dia...<br />A pré-estréia do Filme Shine a Light, que mira os refletores sobre os Rolling Stones, está agendada para hoje em São Paulo...<br />Estou apreensivo para ver o que o Scorcese nos preparou após The Last Waltz (The Band) e No Direction Home (Bob Dylan)...<br />Dá pra entender que o cara tem Know How sobre o rock and roll, né?<br />Agora visualizar os Stones sob esse ângulo será algo mágico, pois ninguém nunca retratou-os assim...<br />Amanhã eu volto pra deixar minhas impressões. (waggom)<br /></div><br />Mais infos aqui: <a href="http://www.shinealightmovie.com/">Shine a Light - The Movie</a><br />E aqui: <a href="http://www.stonesofilme.com.br/">Stones - O Filme</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_VEi12qGtnPE/R-j-LhC5l8I/AAAAAAAAADQ/_4fJiX9cxKM/s1600-h/stones.jpg"><img id="BLOGGER_PHOTO_ID_5181670845092304834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_VEi12qGtnPE/R-j-LhC5l8I/AAAAAAAAADQ/_4fJiX9cxKM/s320/stones.jpg" border="0" /></a>waggomhttp://www.blogger.com/profile/02658526164978701052noreply@blogger.com1tag:blogger.com,1999:blog-30596709.post-55100884076690853492008-03-25T07:28:00.000-07:002008-03-25T03:28:53.316-07:00John Butler Trio - Grand National (2007)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvsULl9ubRoldI2JUH9hzO98x4JNvqAkDlzgcaOIS58MiLN7DcSpwiAzRHKaQZ8PT7u9WSowPPrQ9PMJTyL8GAIr3dpkKU2CTJrbGWy30xcomVWsEtVxKL9q4C4ZAhxS7hdeo/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5181623856761322322" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvsULl9ubRoldI2JUH9hzO98x4JNvqAkDlzgcaOIS58MiLN7DcSpwiAzRHKaQZ8PT7u9WSowPPrQ9PMJTyL8GAIr3dpkKU2CTJrbGWy30xcomVWsEtVxKL9q4C4ZAhxS7hdeo/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">BIOGRAPHY</span><br />by Marisa Brown<br />Though he was born and spent the first 11 years of his life in California, it was in Australia, his father's native land, that John Butler picked up the instrument that would later be vital to his career. After having shown interest in the guitar, the young Butler was given his late grandfather's Dobro, and he quickly began learning to play different styles of music, including Indian, Celtic, bluegrass, and folk. His self-released cassette tape brought him interest in the city of Perth, where he was living, and soon after, in 1998, his first album, John Butler, with drummer Jason McGann and bassist Gavin Shoesmith, was released, followed in 2000 by the JBT EP and Three — the first of his albums to also eventually came out in the U.S. — in 2001 (Showsmith, at this point, had decided to leave the John Butler Trio, but he was replaced by Rory Quirk and then later by Andrew Fry, who joined the band for its 2002 American tour). By now a bona fide star in Australia, in 2003, shortly after the birth of his daughter Banjo, the guitarist issued the double-disc live set Living 2001-2002 and the EP Zebra, with Sunrise Over Sea (for the latter, the John Butler Trio had become Butler with bassist Shannon Birchall and drummer Michael Barker) in 2004. This album sold well in Australia, debuting at number one on the ARIA charts, and led Butler to an opening spot on Dave Matthews' tour that year. Still with Jarrah, the company that he and fellow Aussies the Waifs had founded in order to distribute their music overseas, and the same band, Butler released Grand National worldwide in March of 2007.<br /><br /><span style="color:#3366ff;">REVIEW</span><br />by Marisa Brown<br />It's been a few years now since John Butler and his trio first cracked the American market, but he's never had quite the same success in the U.S. as he has had in Australia, his father's homeland, and his own residence for the past 20-odd years. Butler, however, should feel confident that he can hold his own against any of the Dave Matthewses, Ben Harpers, or John Mayers (all three of whom he can be easily compared to) out there. He's playing pop music, with all the sentimental, occasionally trite lyrics and clean major chord phrasing that accompany that style, but it's pop music done well, with impressive musicianship from Butler (on banjo, lapsteel, and acoustic and electric guitar), percussionist Michael Barker, and bassist Shannon Birchall. Nearly every song on Grand National features at least one instrumental solo, the kind that rolls and sings and grooves and would make Robert Randolph proud, moving close to jam band territory without immersing itself fully in it (only one song, "Gov Did Nothin'," reaches far past the four- or five-minute mark, much in part thanks to a great New Orleans-styled brass band that plays the piece out to a close, and is worth every second). His willingness to explore other genres besides bluesy folk pop — reggae in "Groovin' Slowly," hip-hop in "Daniella," and modern rock in "Devil Running" — certainly adds a nice diversity to the album, but unfortunately this talent is double-edged, as it also becomes the album's greatest flaw. Butler often tries to encompass too much, to do too much, and because of this, comes off sounding a little corny (in the aforementioned "Daniella," for example, which is more embarrassing than anything else), truncating words in a weird Dave Matthews-meets-Adam Sandler kind of way that's too forced and unnatural to sit well. And though it's nice to hear, in "Funky Tonight," for example, that he doesn't take himself too seriously, his simple rhymes and delivery are a bit too silly when they're about love and dancing. When he uses them in his socially and politically oriented pieces, however ("And with God on both sides/If death is justified/Whatever the name/Then we're all to blame," he sings on "Fire in the Sky"), they ring more truly, or at least more originally. But what Butler does best — writing and performing well-crafted pop songs, and sounding like he's having fun all the while — is good, and though Grand National still may not be his entry up the Billboard charts, it's a welcome entry nonetheless.<br /><br /><span style="color:#3366ff;">CREDITS </span><br />Charlotte Armstrong - Violin<br />Eugene Ball - Trumpet<br />Michael Barker - Bongos, Conga, Drums, Glockenspiel, Marimba, Tambourine, Timbales, Vocals (bckgr), Kalimba, Claves, Producer, Tympani [Timpani], Vibraslap, Vibraphone, Shaker, Cowbell, Beat Box, Tubular Bells, Tongue Drum, Crotale, Cabasa<br />Aaron Barndon - Violin<br />Shannon Birchall - Violin, Guitar (Bass), Vocals (bckgr), Double Bass, String Arrangements<br />Nicky Bomba - Vocals, Chant, Clapping<br />Linda Bull - Vocals (bckgr)<br />Vika Bull - Vocals, Vocals (bckgr), Soloist<br />John Butler - Guitar (Acoustic), Banjo, Guitar, Harmonica, Guitar (Electric), Ukulele, Vocals, Yidaki, Lap Steel Guitar, Guitar (Nylon String), Guitar (Resonator), Weissenborn, Guitar (11 String)<br />Danielle Caruana - Vocals, Vocals (bckgr), Chant, Clapping<br />Michael Caruana - Piano, Organ (Hammond), Wurlitzer<br />Jessie Goninon - Vocals, Chant, Clapping<br />Stacia Goninon - Vocals, Chant, Clapping<br />Andrea Keeble - Violin<br />Janette Mason - Violin<br />Money Mark - Clavicembalo<br />Helen Mountford - Cello<br />Ray Pereira Talking - Drum<br />Jex Saarelaht - Piano, Organ (Hammond)<br />Sue Simpson - Violin<br />Bobby Singh - Tabla<br />Stephanie Thom - Violin<br />Erikki Veltheim - Viola<br /><br /><span style="color:#3366ff;">TRACKS<br /></span>1 Better Than 3:29<br />2 Daniella 4:17<br />3 Funky Tonight 5:28<br />4 Caroline 3:48<br />5 Good Excuse 3:26<br />6 Used to Get High 4:29<br />7 Gov Did Nothin' 8:05<br />8 Groovin' Slowly 4:33<br />9 Devil Running 4:51<br />10 Losing You 3:47<br />11 Nowhere Man 3:22<br />12 Fire in the Sky [Not Final Mix] 5:36<br />13 Gonna Take It 4:43<br />all music by Buttler </div><div align="center"><a href="http://rapidshare.com/files/102195235/174-JoBuTrio-GraNa.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com22tag:blogger.com,1999:blog-30596709.post-24141424903924833332008-03-20T13:41:00.000-07:002008-03-20T09:41:15.209-07:00Steve Stevens - Memory Crash (2008)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipAMQ6S6Lx1uWIwR66vsTrhxrVIFp3kthcp21xpuTzkTMBCUppGpQnHnt6UPt0l77nlE0M1dFabZMV20XRbptdlg1-icvDwViZr_gUTGUzLHY1Pc-mbaTbe7Beg0qcAe_WEc7E/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5179864298854464322" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipAMQ6S6Lx1uWIwR66vsTrhxrVIFp3kthcp21xpuTzkTMBCUppGpQnHnt6UPt0l77nlE0M1dFabZMV20XRbptdlg1-icvDwViZr_gUTGUzLHY1Pc-mbaTbe7Beg0qcAe_WEc7E/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">BIOGRAPHY<br /></span>by Greg Prato<br />One of the flashiest guitarists (both visually and instrumentally) to emerge from the '80s rock scene was Steve Stevens. Born in Brooklyn, New York, on May 5, 1959, Stevens first picked up the guitar when he was only seven years old, and later became an avid prog rock fan, especially the likes of Emerson, Lake & Palmer and Yes. Honing his craft while playing in Manhattan, Stevens recorded an unreleased album with his band, Fine Maribus, and also played as a session guitarist on Peter Criss' best forgotten second post-Kiss solo outing, 1982's Let Me Rock You (although Stevens did earn a songwriting credit for the track "First Day in the Rain").<br />It was also during the early '80s that Stevens hooked up with ex-Generation X singer Billy Idol, who had relocated to New York in hopes of launching a solo career. Idol found the perfect foil in Stevens, and with ex-Kiss manager Bill Aucoin backing them, Idol's career skyrocketed. Combining Idol's punk and Stevens' hard rock backgrounds with dance music, Idol became one of MTV's early video stars, as such albums as 1982's Billy Idol and 1983's Rebel Yell became blockbuster hits — spurred on by Stevens' shredding guitar licks (and outrageous glam rock looks). It took an extended period for Idol and Stevens to offer a third album, 1986's Whiplash Smile, and although it was another big hit, Stevens longed to launch his own solo career, and exited Idol's band by the end of the decade.<br />Stevens also remained an in-demand hired gun, as he guested on recordings by Michael Jackson (Bad), Ric Ocasek (This Side of Paradise), Thompson Twins (Here's to Future Days), and Robert Palmer (Don't Explain), among others. Additionally, Stevens appeared on the mega-selling 1986 soundtrack to the Tom Cruise movie Top Gun, for which he collaborated with keyboardist Harold Faltermeyer on "Top Gun Anthem" (which earned Stevens a Grammy Award for Pop Instrumental Performance that year). In 1989 Stevens formed his own group, Steve Stevens' Atomic Playboys, but despite all the hype, the band only lasted for a single release, Atomic Playboys.<br />The early '90s saw Stevens keep up his busy schedule, as he attempted to form a new group with ex-Hanoi Rocks singer Michael Monroe, named Jerusalem Slim, which to the dismay of fans never got much further than the planning stages. In a strange twist of fate, Stevens then signed on to back ex-Mötley Crüe singer Vince Neil, the same man responsible for the dissolution of Monroe's previous band, Hanoi Rocks. Stevens hung in for an album, 1993's Exposed, and its supporting tour, before departing for greener pastures.<br />Stevens finally got his chance to show off his lifelong appreciation of prog rock when he united with bassist Tony Levin and drummer Terry Bozzio in the bombastic outfit Bozzio Levin Stevens, issuing a pair of releases thus far — 1997's Black Light Syndrome and 2000's Situation Dangerous. Around the same time, Stevens reunited with Idol, appearing alongside the singer on 2002's VH1 Storytellers, and also found time to issue another solo release, Flamenco A Go-Go. </div><div align="center"><br /><span style="color:#3366ff;">CREDITS</span><br />Michael Parnin - Drums<br />Steve Stevens - Guitar<br />Brian Tichy - Percussion, Drums </div><div align="center"><br /><span style="color:#3366ff;">TRACKS</span></div><div align="center">1 Heavy Horizon (Stevens) 2:04<br />2 Hellcats Take the Highway (Stevens) 5:32<br />3 Memory Crash (Stevens) 5:06<br />4 Water on Ares (Stevens) 5:51<br />5 Day of the Eagle (Trower) 5:46<br />6 Small Arms Fire (Stevens) 7:30<br />7 Cherry Vanilla (Stevens) 7:29<br />8 Joshua Light Show (Stevens) 1:52<br />9 Prime Mover (Stevens) 6:13<br />10 Josephine (Stevens) 6:22 </div><div align="center"><a href="http://rapidshare.com/files/100971906/173-SteSte-MemCra.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-80074787747526340842008-03-19T17:10:00.000-07:002008-03-19T13:10:53.885-07:00Nick Cave & The Bad Seeds - Dig, Lazarus, Dig!!! (2008)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRIKtbibQ1WtXzSLCiKZOs3blu5a95aKXRWA2lu-HUa_gHb-o8yXj6in57xJiuHMh-nKidtIAxilUnFSwBl5OBw91tky8JPAQ9oAbKrGn-gjbEnwyPgjsXsqYhoJUmUFkdjfXI/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5179546754742401842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRIKtbibQ1WtXzSLCiKZOs3blu5a95aKXRWA2lu-HUa_gHb-o8yXj6in57xJiuHMh-nKidtIAxilUnFSwBl5OBw91tky8JPAQ9oAbKrGn-gjbEnwyPgjsXsqYhoJUmUFkdjfXI/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">BIOGRAPHY</span><br />by Stephen Thomas Erlewine & Steve Huey<br />After goth pioneers the Birthday Party called it quits in 1983, singer/songwriter Nick Cave assembled the Bad Seeds, a post-punk supergroup featuring former Birthday Party guitarist Mick Harvey on drums, ex-Magazine bassist Barry Adamson, and Einstürzende Neubauten guitarist Blixa Bargeld. With the Bad Seeds, Cave continued to explore his obsessions with religion, death, love, America, and violence with a bizarre, sometimes self-consciously eclectic hybrid of blues, gospel, rock, and arty post-punk, although in a more subdued fashion than his work with the Birthday Party. Cave also allowed his literary aspirations to come to the forefront; the lyrics are narrative prose, heavy on literary allusions and myth-making, and take some inspiration from Leonard Cohen. Cave's gloomy lyrics, dark musical arrangements, and deep baritone voice recall the albums of Scott Walker, who also obsessed over death and love with a frightening passion. However, Cave brings a hefty amount of post-punk experimentalism to Walker's epic dark pop.<br /><br />Cave released his first album with the Bad Seeds, From Her to Eternity, in 1984, which contained a noteworthy cover of Elvis Presley's "In the Ghetto," foreshadowing much of Cave's style and subject matter on the follow-up The Firstborn Is Dead. Kicking Against the Pricks, an all-covers album, broke the band in England with the help of "The Singer," which hit number one on the U.K. independent charts. The album also strengthened Cave's reputation as an original interpreter and a vocal stylist of note.<br /><br />Following 1986's Your Funeral...My Trial, Cave took a two-year hiatus from recording, partially to appear in Wim Wenders' 1987 film Wings of Desire, and then returned with Tender Prey, which featured Cramps guitarist Kid Congo Powers and Cave's strongest vocal performance up to that point. Cave's productivity picked up immensely over the next two years after he kicked a heroin habit. He had two books (1988's King Ink, a collection of lyrics, plays, and prose, and 1989's And the Ass Saw the Angel, a novel) published; appeared in the 1989 Australian film Ghosts...of the Civil Dead as a prisoner; recorded a soundtrack to the film with Harvey and Bargeld; and released 1990's The Good Son, his most relaxed, quiet album. Cave received his due as one of the leading figures in alternative rock when he was invited to perform on the 1994 edition of the Lollapalooza tour to promote his Let Love In album. Early in 1996, he released Murder Ballads, a collection of songs about murder. Murder Ballads became Cave's most commercially successful album to date, and, with typical perversity, he followed it with the introspective and personal The Boatman's Call in early 1997. A spoken word release, Secret Life of the Love Song, followed in 1999. Two years later, a rejuvenated Cave teamed up with the Bad Seeds once again for the piano-laden No More Shall We Part. Nocturama was released in 2003, and the double-album Abbatoir Blues/The Lyre of Orpheus followed by the end of 2004.<br /><br /><span style="color:#3366ff;">REVIEW</span><br />Limited edition pressing of the 2008 album from Nick and his Bad Seeds. This version not scheduled for release in North America. Produced by Nick Cave & The Bad Seeds and Nick Launay who worked with the band on their last album Abattoir Blues/The Lyre Of Orpheus, this album was recorded over the summer of 2007 at State of the Ark Studios in Richmond and mixed by Nick Launay. Dig Lazarus Dig transports the biblical character of the title to contemporary New York, as well as drawing inspiration from escapologist Harry Houdini. Featuring the majority of his usual personnel in The Bad Seeds (including violinist Warren Ellis and organist/pianist Conway Savage).<br /><br /><span style="color:#3366ff;">DIG, LAZARUS, DIG!!!</span><br />Por Fernando de Albuquerque<br /><br />Nick Cave é artista consagrado. Quase tudo já foi dito ao seu respeito e dentro dessa amálgama de declarações e metáforas já publicadas, suas composições, hoje, são muito mais um mantra a ser entoado pelos fãs do que música propriamente dita. É sobre essa pecha que Nick Cave and The Bad Seeds, banda que o acompanha há duas décadas, lança o 14º álbum intitulado Dig!!! Lazarus Dig!!!, através do selo Mute Records.<br /><br />O trabalho repete a parceria de Cave com o produtor Nick Launay, com quem eles trabalharam no álbum mais recente, Abattoir Blues/The Lyre of Orpheus, disco duplo lançado em 2004, e a arte do encarte (por que todas as minúcias do CD merecem ser detalhadas) está ao cargo dos artistas Tim Noble e Sue Webster.<br /><br />A narratividade do disco parte de um antigo fascínio do artista pela figura bíblica de Lázaro readaptando-o ao contexto Nova Iorquino de hoje e ao mesmo tempo refletindo sobre o próprio ceticismo da personagem. No disco ele volta à sua forma monotemática de contar histórias como se fosse um policial cínico e mafioso com o braço recostado à sua viatura, empostando um cigarro com a mão direita. E nessa mis-én-scene, o australiano Cave (que já morou em São Paulo na década de 1980) mais uma vez levanta a bandeira do sexo, da culpa e da religião como principais nortes de cada compilação. São vários personagens estranhos, escuros e muitas vezes surrealistas que são montados ao longo do disco.<br /><br />O Bad Seeds é uma banda pomposa, com sonoridade inclinada para o gospel e mesmo baladas pesadas, bem diferente de seu último projeto, o Grinderman. E Dig!!! Lazarus, Dig!!! lança mão dessa sofisticação em uma sonoridade (contraditoriamente!) baseada em guitarras sujas com sua tradicional culpa cristã. E aí cabe sua sempre presente influência pós-punk, marca deixada pela Birthday Party, banda que montou nos anos 1970, só que hoje muito mais lapidado, com muito menos heroína (afinal todo mundo envelhece) e pronto para sempre angariar fãs.<br /><br />Ele continua mal-humorado, culpado, mal agradecido e frustrado. Tudo representado por um rock pesado, burro e gestado em bares de quinta categoria que relembra os clássicos dos Stooges. São onze faixas, todas de longa duração, e na primeira, com nome homônimo ao CD, é um nítido regresso aos dias vividos entre From Her To Eternity (1984) e Henry’s Dream (1992). Numa espécie de escavação ao clássico The Velvet Underground & Nico.<br /><br />De novo com bigode, Nick Cave continua enveredando por um rock pesado, burro e gestado em bares de quinta categoria<br /><br />E cavar parece ser mesmo necessário para compreender todos os meandros de Dig!!! Lazarus, Dig!!! que se mostra completamente diferente à cada audição. Tal como outros clássicos de sua carreira e outras notáveis obras como Let Love In (1994) e Murder Ballads (1996). Quanto à imagem, vídeos e clips, o sarcasmo parece ter aumentado em Nick Cave, que ressuscita o bigode. E é possível descobri-los sem muita arqueologia no YouTube ou numa loja da AkiDiscos.<br /><br />Uma dica: se você está prestes a se matar não ouça, por exemplo, “Jesus Of The Moon” ou “Midnight Man”. Além das guitarras extremamente soturnas e sem concessões , o ritmo mais lembra um filme de Tim Burton e a voz do cantor mais se assemelha à de um algoz prestes a decepar, recheado de muita culpa, a cabeça de outrem. É pro sujeito pular varanda abaixo.<br /><br /><span style="color:#3366ff;">TRACKS/CREDITS</span><br />01. <span style="color:#cc0000;">"Dig, Lazarus, Dig!!!"</span> – 4:12 (Cave)<br />Nick Cave - vocals, organ<br />Warren Ellis - viola, loops<br />Mick Harvey - electric guitar<br />Jim Sclavunos - drums, bongos, cowbell<br />Martyn Casey - bass<br />Thomas Wydler - brushed snare<br />02. <span style="color:#cc0000;">"Today's Lesson"</span> – 4:41 (Cave)<br />Nick Cave - vocals, organ<br />Warren Ellis - fender mandocaster<br />Mick Harvey - acoustic guitar<br />Jim Sclavunos - drums<br />Martyn Casey - bass<br />Thomas Wydler - shaker, tambourine<br />James Johnston - organ<br />03. <span style="color:#cc0000;">"Moonland"</span> – 3:54 (Cave/Ellis/Casey/Sclavunos)<br />Nick Cave - vocals, piano, tambourine, sleigh bells<br />Warren Ellis - fender mandocaster, tenor guitar, maracas<br />Jim Sclavunos - drums, cuica, conga<br />Martyn Casey - bass<br />04. <span style="color:#cc0000;">"Night of the Lotus Eaters"</span> – 4:53 (Cave/Ellis)<br />Nick Cave - vocals<br />Warren Ellis - loops, mandocaster<br />Mick Harvey - bass, electric guitar<br />Jim Sclavunos - congas, finger cymbals<br />Thomas Wydler - drums<br />05. <span style="color:#cc0000;">"Albert Goes West"</span> – 3:32 (Cave/Ellis)<br />Nick Cave - vocals, tambourine, toms, harmonica<br />Warren Ellis - 12 string lute, tenor guitar<br />Mick Harvey - bass, electric guitar, acoustic guitar<br />James Johnston - electric guitar, organ<br />Jim Sclavunos - drums, bongos, shaker<br />Thomas Wydler - tambourine<br />06. <span style="color:#cc0000;">"We Call Upon the Author"</span> – 5:12 (Cave/Ellis)<br />Nick Cave - vocals, organ<br />Warren Ellis - viola, loops, drum machine<br />Mick Harvey - electric guitar<br />Jim Sclavunos - drums<br />Martyn Casey - bass<br />07. <span style="color:#cc0000;">"Hold on to Yourself"</span> – 5:51 (Cave/Ellis/Casey/Sclavunos)<br />Nick Cave - vocals, organ<br />Warren Ellis - fender mandocaster, loops<br />Mick Harvey - acoustic guitar<br />Jim Sclavunos - drums, maracas<br />Martyn Casey - bass<br />Thomas Wydler - hand drums<br />08. <span style="color:#cc0000;">"Lie Down Here (& Be My Girl)"</span> – 4:58 (Cave)<br />Nick Cave - vocals, piano<br />Warren Ellis - fender mandocaster, tenor guitar, piano<br />Mick Harvey - acoustic guitar<br />Jim Sclavunos - tambourine<br />Martyn Casey - bass<br />Thomas Wydler - drums<br />09. <span style="color:#cc0000;">"Jesus of the Moon"</span> – 3:22 (Cave)<br />Nick Cave - vocals, piano, electric guitar<br />Warren Ellis - flute, mandolin, fender mandocaster, viola<br />Mick Harvey - acoustic guitar<br />Jim Scalvunos - tambourine, sleigh bells<br />James Johnston - organ<br />Martyn Casey - bass<br />Thomas Wydler - drums<br />10. <span style="color:#cc0000;">"Midnight Man"</span> – 5:07 (Cave)<br />Nick Cave - vocals<br />Warren Ellis - loops, fender mandocaster, tenor guitar<br />Mick Harvey - organ, electric guitar<br />Jim Sclavunos - drums<br />Martyn Casey - bass<br />Thomas Wydler - shaker, tambourine<br />11. <span style="color:#cc0000;">"More News from Nowhere"</span> – 7:58 (Cave/Ellis/Casey/Sclavunos)<br />Nick Cave - vocals, tambourine, sleigh bells, vibra-slap<br />Warren Ellis - viola, loops<br />Mick Harvey - electric guitar<br />Jim Sclavunos - drums<br />Martyn Casey - bass </div><div align="center"><a href="http://rapidshare.com/files/100776455/172-NicCavThe_BadSee-DigLazDig.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-62438212127841034362008-03-19T12:21:00.000-07:002008-03-19T08:21:31.107-07:00Gomez - How We Operate (2006)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNR32WZH4h3w4gIFgYcssxhtrBgj1oSGpZPkc12wnvJKIePuzjki64E-4pcqjjJLKBlHQJIBfNg2uYSPbhTZBuOoPmOOzfEX1-ogttUmScEizjDHHHZpN1dc0Hoq_auAQyTw3P/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5179472684554453618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNR32WZH4h3w4gIFgYcssxhtrBgj1oSGpZPkc12wnvJKIePuzjki64E-4pcqjjJLKBlHQJIBfNg2uYSPbhTZBuOoPmOOzfEX1-ogttUmScEizjDHHHZpN1dc0Hoq_auAQyTw3P/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">BIOGRAPHY</span><br />by Greg Prato<br />The British band Gomez is a five-piece, consisting of Ben Ottewell (vocals, guitar), Tom Gray (vocals, guitar, keyboards), Paul Blackburn (bass, guitar), Olly Peacock (drums), and Ian Ball (vocals, guitar, harmonica). Whereas the majority of up-and-coming British bands are either retro-pop (à la Oasis), trip-hop (Portishead), or space rock (the Verve, Radiohead), Gomez is one of the few to contain bluesy elements in their rock. Their debut for Virgin Records, Bring It On, was praised in the rock press on both sides of the Atlantic. They also received the distinguished Mercury Music Prize for 1998 Album of the Year in England, where they edged out such stiff competition as Massive Attack's Mezzanine and the Verve's Urban Hymns. They completed their inaugural U.S. tour opening for Eagle-Eye Cherry in October 1998, while the press still offered praise — Spin magazine called Bring It On "a damn beautiful album," giving it an eight-out-of-ten rating. Liquid Skin followed in 1999 and the rarities and B-sides compilation Abandoned Shopping Trolley Hotline was issued a year later. A third studio album, In Our Gun, appeared in spring 2002. Another hiatus saw Ian Ball relocating to Los Angeles, while still working with the band at their new studio in Portslade, England. The dozens of tracks recorded during this time were whittled down and fashioned into Split the Difference, released in May of 2004. By that time, Hut, their original label, had gone under, leaving them signed to Virgin (Hut's distributor). Despite all the critical acclaim, sales were never up to what Virgin was expecting from Gomez, and the two sides parted ways later that year. In 2005, they signed with ATO Records and released Out West, Gomez's first live album, in June of that year. How We Operate arrived in May 2006, and the band rounded out the year by assembling a retrospective collection of singles, rarities, and unreleased tracks for Five Men in a Hut: Singles 1998-2004.<br /><br /><span style="color:#3366ff;">REVIEW</span><br />by Thom Jurek<br />How We Operate is Gomez's first studio offering on the ATO imprint, and it's a (mostly) quiet stunner. Produced by Gil Norton and recorded in London, the album is a deft collection of well-molded pop songs that sound of a piece. They're full of ingenious little hooks, fine singing, poetics and to-the-point lyrics, and cool guitars. After popping this disc into the deck and hitting "play," it may be tempting to do a double-take at the cover for a moment, given the music the band has released in the past. But that sound — with Tom Gray's evocative voice at the front — is unmistakable. This is the sound of a band sitting around facing one another and concentrating on writing and executing songs that stand the test of time, using multiple songwriters of equal gift and merit. In five or ten years, How We Operate will not sound any more dated than, say, Ronnie Lane's Anymore for Anymore; in other words, not at all. The world doesn't shatter with this set, the vision of rock's future salvation (a load of crap they were shouldered with by the manic, next-big-thing-of-the-week of Brit music tabloids with their debut Bring It On) from its current dregs — how else could a record by Wolfmother actually get released and promoted? — doesn't occur. But what does is that this quintet, who has so gradually come into its own via a stubborn insistence on sticking to its own principles, has grown immeasurably and become a unit of utter confidence and consistent vision that insists on excellence and will settle for nothing less. Gomez's adherence to the principles of good songwriting craft — melody, harmony, rhythm, and lyrical economy — serves them, and ultimately the listener, in spades. This is not some weepy, introspective sheaf of tunes that are full of overburdened metaphors stretched to the breaking point. The opener, "Notice," begins quietly and unhurriedly, with an acoustic guitar, a whispering bassline, and a brushed snare, as the vocalist tells an expressionistic story about opportunity, wasted, grasped, reckoned with in both life and love, with lies told, ignored in denial, and forgotten. The electric guitars kick in on the chorus, and the drums begin to pop. The verse is repeated and eventually comes to a ringing series of crescendos that are restrained yet powerful enough to hold the listener in its grip. "See the World" could have been written by R.E.M. before they started bullsh*tting and thinking they were more than they were. One can also hear an optimistic Jay Farrar in here. The bright, down-home acoustic guitars, the "sha-la-la" chorus, the exhortation to go out and get more from life, and the gorgeous meld of electric guitars and backing vocals are simply a joy to listen to. This doesn't mean there aren't rockers here. Far from it. Tracks such as "Hamoa Beach" that start out acoustically develop into sonically overdriven forays into margin-challenging guitar pyrotechnics. "Girlshapedlovedrug" has a hook to die for in its intro, and the volume level continues to rise from there without the harmonically taut, bright, sparkling Ottwell vocals and ramped-up six-strings. "Cry on Demand" has a knotty, angular lyric line, but rounds itself in the rollicking chorus and between verse fills. "Charley Patton Song," doesn't deal with the blues whatsoever, despite its title. Instead, there is an atmospheric, floating, dreamy quality to its sophisticated verse structure that never leaves out the end-of-line hook. There are strange sounds in its background that sound like a cembalom or hammered dulcimer chiming above the rest of the instruments, and a simple organ line that shimmers underneath it all. The bridge changes the nature of the entire track, Gomez pretends to let the tension out of the bag for a short bit and enters into dissonant interplay between drums and detuned guitars. The album almost whispers to a close on "Don't Make Me Laugh," where a gentle country groove unhurriedly glides in and offers the singer a breezy window to observe his unwillingness to compromise himself for another opportunity with a lost love. There are rock overtones that begin to bleed in the instrumental bridge, tension once more rises before being given the air to breathe and float away as the cut comes to a leisurely close amid almost jaunty strings and a slide playing in the high register. How We Operate is strong, focused, and a complete pleasure to engage; its maturity and confidence is beyond anything they've released thus far, and the experimentalism brought into play on their other albums is here, though the textures, tempos, and frameworks are significantly other. Above all, this is most certainly a Gomez record, one they couldn't possibly have created earlier; its maturity and confidence offer a new dimension to a sound that's already full of complexity, paradox, and a pronounced, now intractable, identity.<br /><br /><span style="color:#3366ff;">CREDITS </span><br />Ian Ball - Group Member<br />Paul Blackburn - Group Member<br />Katherine Bottenill - Vocals<br />Tom Gray - Guitar, Vocals, Group Member<br />Fil Krohnengold - Accordion, String Arrangements<br />Ben Ottewell - Guitar, Vocals, Group Member<br />Olly Peacock - Group Member<br /><br /><span style="color:#3366ff;">TRACKS</span><br />1 Notice (Gomez) 4:01<br />2 See the World (Gomez) 4:03<br />3 How We Operate (Gomez) 5:26<br />4 Hamoa Beach (Gomez) 3:34<br />5 Girlshapedlovedrug (Gomez) 4:00<br />6 Chasing Ghosts with Alcohol (Gomez) 3:42<br />7 Tear Your Love Apart (Gomez) 4:06<br />8 Charley Patton Songs (Gomez) 5:13<br />9 Woman! Man! (Gomez) 4:04<br />10 All Too Much (Gomez) 4:33<br />11 Cry on Demand (Gomez) 4:22<br />12 Don't Make Me Laugh (Gomez) 4:34 </div><div align="center"><a href="http://rapidshare.com/files/100682465/171_-_Gomez-How_We_Operate.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com26tag:blogger.com,1999:blog-30596709.post-27466531798530295212008-03-18T07:53:00.000-07:002008-03-18T03:54:02.746-07:00Paul Weller - Studio 150 (2004)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_wvUqAUreDCOhXeMtx0DVh_-qm8dn7oudi8-mISOr7zTbo0apwMAOvLZ5nUl93UU0e8SFv1q8MpwOZoshweWHaTyy8P6dA7miB0Kk8Lc31wojHXsjL1YyWLJMyKs9Q3ffwFR0/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5179032652270076514" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_wvUqAUreDCOhXeMtx0DVh_-qm8dn7oudi8-mISOr7zTbo0apwMAOvLZ5nUl93UU0e8SFv1q8MpwOZoshweWHaTyy8P6dA7miB0Kk8Lc31wojHXsjL1YyWLJMyKs9Q3ffwFR0/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">BIOGRAPHY<br /></span>by Stephen Thomas Erlewine<br />As the leader of the Jam, Paul Weller fronted the most popular British band of the punk era, influencing legions of English rockers that ranged from his mod revival contemporaries to the Smiths in the '80s and Oasis in the '90s. During the final days of the Jam, he developed a fascination with Motown and soul, which led him to form the sophisti-pop group the Style Council in 1983. As the Style Council's career progressed, Weller's interest in soul developed into an infatuation with jazz-pop and house music, which eventually led to gradual erosion of his audience — by 1990, he couldn't get a record contract in the U.K., where he had previously been worshipped as a demigod. As a solo artist, Weller returned to soul music as an inspiration, cutting it with the progressive, hippie tendencies of Traffic. Weller's solo records were more organic and rootsier than the Style Council's, which helped him regain his popularity within Britain. By the mid-'90s, he had released three successful albums that were both critically acclaimed and massively popular in England, where contemporary bands like Ocean Colour Scene were citing him as an influence. Just as importantly, many observers, while occasionally criticizing the trad rock nature of his music, acknowledged that Weller was one of the few rock veterans who had managed to stay vital within the second decade of his career.<br /><br />Weller's climb back to the top of the charts was not easy. After Polydor rejected the Style Council's fifth, house-influenced album in 1989, Weller broke up the group and lost both his record contract and his publishing deal. Over the next two years, he was in seclusion as he revamped his music. In 1991, he formed the Paul Weller Movement and released "Into Tomorrow" on his own independent label, Freedom High Records. A soulful, gritty neo-psychedelic song that represented a clear break from the Style Council, "Into Tomorrow" reached the U.K. Top 40 that spring, and he supported the single with an international tour, where he worked out the material that comprised his eponymous 1992 solo debut. Recorded with producer Brendan Lynch, Paul Weller was a joyous, soulful return to form that was recorded with several members of the Young Disciples, former Blow Monkey Dr. Robert, and Weller's then-wife, Dee C. Lee. The album debuted at number eight on the U.K. charts, and was received with positive reviews.<br /><br />Wild Wood, Weller's second solo album, confirmed that the success of his solo debut was no fluke. Recorded with Ocean Colour Scene guitarist Steve Cradock, Wild Wood was a more eclectic and ambitious effort than its predecessor, and it was greeted with enthusiastic reviews, and entered the charts at number two upon its fall 1993 release. The album would win the Ivor Novello Award for Outstanding Contemporary Song Collection the following year. Weller supported the album with an extensive tour that featured Cradock as the group's leader; the guitarist's exposure on Wild Wood helped him successfully relaunch Ocean Colour Scene in 1995. At the end of the tour, Weller released the live album Live Wood late in 1994. Preceded by "The Changingman," which became his 17th Top Ten hit, 1995's Stanley Road was his most successful album since the Jam, entering the charts at number one and eventually selling nearly a million copies in the U.K.<br /><br />By this point, Weller decided to stop attempting to break the United States and canceled his North American tour. Of course, he was doing so well in the England he didn't need to set his sights outside of the U.K.. Stanley Road may have been greeted with mixed reviews, but Weller had been re-elevated to his status as an idol, with the press claiming that he was the father of the thriving Britpop movement, and artists like Noel Gallagher of Oasis singing his praises. In fact, while neither artist released a new album in 1996, Weller's and Gallagher's influence was felt throughout the British music scene, as roots-oriented, '60s bands like Ocean Colour Scene, Cast, and Kula Shaker became the most popular groups in the U.K.<br /><br />Weller returned in the summer of 1997 with Heavy Soul. Modern Classics: Greatest Hits followed a year later. Heliocentric — which at the time of its release he claimed was his final studio effort — appeared in the spring of 2000. The live record Days of Speed followed in 2001, and he released his sixth studio album, Illumination, in 2002. The covers record Studio 150 appeared in 2004. As Is Now arrived in October of 2005 on Yep Roc. The live album Catch-Flame! followed in 2006.<br /><br /><span style="color:#3366ff;">REVIEW</span><br />by Stephen Thomas Erlewine<br />For Studio 150, his seventh solo studio album, Paul Weller delivers his first official covers album. Not that he's been reluctant to cover other songwriters, of course. Throughout his career, he's made covers a staple of his records and concerts. In fact, he cut so many as B-sides in the '90s that his 2003 B-sides and rarities compilation Fly on the Wall had a whole disc devoted to material from other songwriters. Studio 150 feels like a sister album to that disc, and not just because it shares a similar sensibility and has songs by both Tim Hardin and Neil Young. Musically, Studio 150 sounds as if it could have been recorded in 1995 as the missing link between Stanley Road and Heavy Soul, containing the swinging mod vibe of the former with the tough, muscular punch of the latter. While it could be argued that Weller is treading water, or even retreating after the subtle shifts forward on Illumination, it's almost a moot point since the band sounds terrific and he's in fine voice. Plus, this is a covers album and innovation isn't exactly expected on covers albums. What is expected is that the artist puts his own signature on songs from another writer, and Weller does that. True, as a whole Studio 150 doesn't sound all that different from other records in his catalog, but he's managed to find new spins on perennials like "Close to You" and "All Along the Watchtower," interpretations that fit within his signature blend of '70s soul, mod pop, and singer/songwriter introspection. Not surprisingly, the bulk of the album consists of songs from the late '60s and '70s, with selections from singer/songwriters like Tim Hardin, Gil Scott-Heron, Gordon Lightfoot, and Neil Young sitting comfortably next to relatively obscure soul and disco singles (with a previously unrecorded song from Weller disciple Noel Gallagher blending into the surroundings nicely). Some of these songs are familiar, but these arrangements are distinctly Weller's own, and it makes for an effective listen — maybe not a major effort from the Modfather, but an enjoyable one all the same.<br /><br /><span style="color:#3366ff;">CREDITS</span><br />Carleen Anderson - Vocals (bckgr)<br />Louk Boudesteijn - Trombone, Horn<br />Sam Leigh Brown - Vocals (bckgr)<br />Ray Bruinsma - Flugelhorn, Horn<br />Eliza Carthy - Violin, Soloist<br />Frans Cornelissen - Tuba, Horn<br />Steve Cradock - Guitar (Acoustic), Guitar (Electric)<br />Martin de Ruiter - Strings, Violin<br />Joeri DeVente - Horn, French Horn<br />Claudia Fontaine - Vocals (bckgr)<br />Williem Friede - Strings, Horn, Horn Arrangements, String Arrangements<br />Benjamin Herman - Flute, Horn, Sax (Alto), Sax (Baritone), Sax (Tenor), Horn Arrangements<br />Mieke Honingh - Strings, Cello<br />Anne Knapstein - Strings, String Arrangements<br />Sarah Koch - Strings, Viola<br />David Kweksilber - Clarinet, Horn<br />Damon Minchella - Guitar (Bass)<br />Bill Nusinger - Mandolin<br />Dalbir Singh Rattan - Tabla<br />Petra Rosa - Harp<br />Stefan Schmid - Moog Synthesizer, Korg Synthesizer<br />The Stands - Vocals (bckgr)<br />Seya Teeuwen - Strings, Viola<br />Pauline Terlow - Strings, Viola<br />Danny Thompson - Double Bass<br />Lorre Trytten - Strings, Viola<br />Bastiaan Van Der Werf - Strings, String Arrangements<br />Jan Van Duikeren - Trumpet, Flugelhorn, Horn<br />Herman Van Haaren- Strings, Viola<br />Aimee Versloot - Strings, Cello , Producer, Cover Design<br />Steve "Supe" White - Percussion, Drums, Producer<br /><br /><span style="color:#3366ff;">TRACKS</span><br />1 If I Could Only Be Sure (Mekler, Porter) 3:41<br />2 Wishing on a Star (Calvin) 5:09<br />3 Don't Make Promises (Hardin) 3:20<br />4 The Bottle (Scott-Heron) 3:04<br />5 Black Is the Colour (Traditional) 3:30<br />6 Close to You (Bacharach, David) 3:07<br />7 Early Morning Rain (Lightfoot) 3:47<br />8 One Way Road (Gallagher) 3:20<br />9 Hercules (Toussaint) 3:29<br />10 Thinking of You (Edwards, Rodger) 3:51<br />11 All Along the Watchtower (Dylan) 5:57<br />12 Birds (Young) 3:29 </div><div align="center"><a href="http://rapidshare.com/files/100433155/170-PauWel-Stu150.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-59631835664091830502008-03-17T01:26:00.000-07:002008-03-16T21:26:58.704-07:00Tonky Blues Band con Mick Taylor - Piedra Rodante (1992)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRI1LU0WJrTwEgmu4DWPxGMb0ACiPb2BXdLk8bIu9oQh2ZSx0e4T21EtCFLe_BibKc5bjrLhKSD8O9lApcGRfbd5MYl1THkVlR3BTAhK9ajnQt8VoBfkVNAPL0gdpBTGp2iFHf/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5178561773530579538" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRI1LU0WJrTwEgmu4DWPxGMb0ACiPb2BXdLk8bIu9oQh2ZSx0e4T21EtCFLe_BibKc5bjrLhKSD8O9lApcGRfbd5MYl1THkVlR3BTAhK9ajnQt8VoBfkVNAPL0gdpBTGp2iFHf/s200/front+cover.jpg" border="0" /></a> <div align="center"><span style="color:#3366ff;">TONKY BLUES BAND</span><br />El guitarrista de blues madrileño Tonky de la Peña no necesita una gran presentación, después de haberse dedicado durante dos décadas al grupo que lleva su nombre. Su currículum es bastante especial, habiendo tocado con gente de la talla de Albert Collins, Jerry Lee Lewis, Charlie Musselwhite o Mick Taylor (Rolling Stones, John Mayall).<br />En sus conciertos en directo presenta una potente banda que interpreta sus propios temas así como versiones de clásicos del Blues.<br /><br /><span style="color:#3366ff;">LA DENSIDAD DE UN GUITARRA DE BLUES</span><br />Tonky de La Peña crea la Tonky Blues Band en Madrid a principios de los años 80. Pronto se hizo famoso tocando en los clubs nocturnos de blues. También colaborando con los grandes vivos del blues como Carey Bell, Louisiana Red, Charlie Musselwhite, recibiendo más de una vez la invitación de Albert Collins para tocar con sus Icebreakers Durante la dira que realizó por el estado Español Jerry Lee Lewis en 1990 le incorporó a su banda y la Tonky Blues Band será la banda que acompañará en sus giras al mítico guitarrista Mick Taylor -antiguo componente de los Bluesbreaker de John Mayall primero y componente de los Rolling Stones depués-. Con él grabará el disco que lleva por título Piedra rodante.<br />Hoy en día la Tonky Blues Band figura entre las grandes bandas de blues europeas participando en importantes festivales, sin abandonar los clubs de donde surgió, circuito en el que desarrollan el nivel de improvisación propio del género.<br />Durante dos décadas ha supuesto una importante escuela de blues y continúa...<br />La última gira de la banda ha sido acompañando al veterano músico americano Buddy Miles, batería y cantante junto a gente como Jimi Hendrix o Santana.<br /><br /><span style="color:#3366ff;">TRACKS<br /></span>01. Killing floor<br />02. Blues runs down my leg<br />03. Tronco de Madrid<br />04. Sky is crying<br />05. Steady rolling man<br />06. I can't be satisfied<br />07. Jam de 4<br />08. Good morning little school girl<br />09. I'll play the blues for you<br />10. Look watcha done<br />11. Steepin out<br />12. Tributo a los viejos<br /><a href="http://rapidshare.com/files/100122005/169-TonBluBanconMicTay-PieRod.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-61839913300319730752008-03-17T01:22:00.000-07:002008-03-16T21:22:59.955-07:00Mick Jagger - Very Best Of (2007)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJPLc8OsL_dqpRiNFQkjVlIAPkSCjYp-gYqof1gseAG3sSfmK49VvVa_nlsQ8HFAroakDQ7WUso-jAwgVCSiaX5WHRPJekXuV52Rwdwy-nCapIThCEdjpw4G36tXFzKrl04nYO/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5178560450680652354" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJPLc8OsL_dqpRiNFQkjVlIAPkSCjYp-gYqof1gseAG3sSfmK49VvVa_nlsQ8HFAroakDQ7WUso-jAwgVCSiaX5WHRPJekXuV52Rwdwy-nCapIThCEdjpw4G36tXFzKrl04nYO/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">CREDITS</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZbp3V84f3fVcDRWNK-tRqo1SMiZbplAOy6tC7kh09IriyWMW4VFCy_-Cmyr5wAIeshOPNZ_rsXBwSjHVGmaK9b6BCx0Aqtue_RFAEbmJY-7dCFfN56XBwC_8JaHcGxjXJLo1/s1600-h/credits.jpg"><img id="BLOGGER_PHOTO_ID_5178560261702091314" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZbp3V84f3fVcDRWNK-tRqo1SMiZbplAOy6tC7kh09IriyWMW4VFCy_-Cmyr5wAIeshOPNZ_rsXBwSjHVGmaK9b6BCx0Aqtue_RFAEbmJY-7dCFfN56XBwC_8JaHcGxjXJLo1/s200/credits.jpg" border="0" /></a><span style="color:#3366ff;">REVIEW<br /></span>by Stephen Thomas Erlewine<br />There is no rock star greater than Mick Jagger. There are plenty other as great, but nobody eclipses Mick in terms of art and influence, as he virtually created the modern-day rock & roll rebel. Given that, why is it that almost nobody takes his solo recordings seriously? Even his longtime partner Keith Richards is quoted on record calling Jagger's 2001 album Goddess in the Doorway "Dogsh*t in the doorway," a tacit signal that all the dismissive reviews of Jagger's solo stuff were not only justified, but appropriate — a judgment that may be a bit extreme, but in a way it's understandable, because Jagger's solo recordings showcased his least lovable aspects, particularly his relentless social climbing and obsession with style. In the Rolling Stones, this trend-chasing clashed with Richards' stubborn traditionalism, a creative tension that often resulted in tremendous music, but on his own Jagger was able to indulge his taste for fleeting fashion, which gave his solo albums a brittle, dated sound that also accentuated his cold, mercenary edge, which, in turn, made them feel a bit desperate. The Very Best of Mick Jagger, the first-ever compilation of his solo career, doesn't erase that impression, but it does illustrate some merit in it. By not relying strictly on hit singles and mixing in solo cuts from the '70s, when Jagger had yet to start his solo career in earnest, this 17-track set paints a better picture of what Jagger was attempting to achieve outside the Stones, capturing a rocker desperate to leave his status as the leader of the greatest rock & roll band ever far behind. Only "Memo from Turner," his contribution to the 1970 film Performance, truly treads close to the Stones, a cover of Sonny Boy Williamson's "Checkin' Up on My Baby," an unreleased track from his 1993 session with the L.A. blues band the Red Devils, coming in a close second. Jagger's solo career was all about running away from the Stones, but it's nice to have that reminder of his strengths here, since so much of his solo career is so carefully competent, playing to the sounds of the time, whether it's the stiff Nile Rodgers dance-rock of "Just Another Night," the tasteful classicism of the Rick Rubin-produced Wandering Spirit, or the featureless studio sheen of Goddess in the Doorway. More than anything, it's the productions that hurt the Jagger solo albums, as they lack the heart and muscle of the Stones, substituting it for careful craft. At least that sense of craft could still be heard in many of the songs, and many of the best are here, including his first solo hits "Lucky in Love" and "Just Another Night," but also latter-day songs like the lively "Put Me the Trash" and the terrific country tune "Evening Gown." These are solid songs; they're only weighed down by the professional polish, so determined to fit into the mainstream that it winds up being too bland. And that's why all the odd detours that are sprinkled through the album stand out so much: not just "Memo from Turner" and "Checkin' Up on My Baby," but his duet with Peter Tosh on "(You Got to Walk And) Don't Look Back," his goofy duet with David Bowie on "Dancing in the Street," and especially, the John Lennon-produced disco of "Too Many Cooks (Spoil the Soup)," heavily bootlegged but unreleased until now and easily the highlight of this collection. These are times where the music is alive and unpredictable, a perfect contrast to Mick's meticulousness — which, of course, means they feel like the Stones, which is why Jagger never followed their path on his actual solo albums.<br /><br /><span style="color:#3366ff;">TRACKS</span><br />1 God Gave Me Everything (Jagger, Kravitz) 3:32<br />2 Put Me in the Trash (Jagger, Rip) 3:34<br />3 Just Another Night (Jagger) 5:15<br />4 Don't Tear Me Up (Jagger) 4:12<br />5 Charmed Life [#] (Jagger) 3:35<br />6 Sweet Thing (Jagger) 4:18<br />7 Old Habits Die Hard (Jagger, Stewart) 4:24<br />Performed by: (Jagger, Dave Stewart)<br />8 Dancing in the Street (Gaye, Hunter, Stevenson) 3:18<br />Performed by: Jagger, David Bowie<br />9 Too Many Cooks (Spoil the Soup) (Bond, Dunbar, Wayne) 4:04<br />10 Memo from Turner (Jagger, Richards) 4:03<br />11 Lucky in Love (Alomar, Jagger) 5:02<br />12 Let's Work (Jagger, Stewart) 4:44<br />13 Joy (Jagger) 4:40<br />14 Don't Call Me Up (Jagger) 5:13<br />15 Checkin' Up on My Baby (Williamson) 3:21<br />Performed by: Jagger, Red Devils<br />16 (You Got to Walk And) Don't Look Back (Robinson, White) 5:17<br />Performed by: Jagger, Peter Tosh<br />17 Evening Gown (Jagger) 3:32 </div><div align="center"><a href="http://rapidshare.com/files/100114399/168-MicJag-VerBe.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-40423893656410161632008-03-17T01:16:00.000-07:002008-03-16T21:16:34.346-07:00Keith Richards - Main Offender (1992)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZ8VpPZjvbXIShPhyphenhyphenhM9yedGb5SUwapuE6Fdd6YwytJ49Qyu3v7u6v0vNu_jXXZNNTNj9OpTorz-Mz9vkaEJe9o3i1yQItb7rr5A7PNmU7eh9FpKw71RcV2ItQf81JmctKcXn/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5178559342579089954" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZ8VpPZjvbXIShPhyphenhyphenhM9yedGb5SUwapuE6Fdd6YwytJ49Qyu3v7u6v0vNu_jXXZNNTNj9OpTorz-Mz9vkaEJe9o3i1yQItb7rr5A7PNmU7eh9FpKw71RcV2ItQf81JmctKcXn/s200/front+cover.jpg" border="0" /></a><span style="color:#3366ff;">CREDITS</span><br />Jack Bashkow - Wind<br />Crispin Cioe - Wind<br />Sarah Dash - Vocals (bckgr)<br />Charley Drayton - Bass, Guitar, Piano, Organ (Hammond), Vocals (bckgr)<br />Babi Flody - Vocals (bckgr)<br />Bernard Fowler - Vocals (bckgr)<br />Arno Hecht - Wind<br />Steve Jordan - Organ, Percussion, Castanets, Conga, Drums, Vocals (bckgr)<br />Ivan Neville - Organ, Bass, Piano, Harpsichord, Clavinet, Vibraphone<br />Keith Richards - Bass, Guitar, Percussion, Keyboards, Vocals, Vocals (bckgr)<br />Richard Wachtel - Guitar, Piano, Celeste, Vocals (bckgr)<br /><br /><span style="color:#3366ff;">TRACKS </span><br />1 999 (Jordan, Richards, Wachtel) 5:50<br />2 Wicked as It Seems (Drayton, Jordan, Richards) 4:45<br />3 Eileen (Jordan, Richards) 4:26<br />4 Words of Wonder (Jordan, Richards, Wachtel) 6:35<br />5 Yap Yap (Jordan, Richards, Wachtel) 4:42<br />6 Bodytalks (Dash, Drayton, Jordan, Richards) 5:18<br />7 Hate It When You Leave (Jordan, Richards, Wachtel) 4:59<br />8 Runnin' Too Deep (Jordan, Richards) 3:25<br />9 Will But You Won't (Jordan, Richards) 5:04<br />10 Demon (Jordan, Richards) 4:43 </div><div align="center"><a href="http://rapidshare.com/files/100102354/167-KeiRic-MaiOff.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com1tag:blogger.com,1999:blog-30596709.post-54329955230260044192008-03-14T13:16:00.000-07:002008-03-14T09:16:34.618-07:00Keith Richards - Talk Is Cheap (1988)<div align="center"><img id="BLOGGER_PHOTO_ID_5177630603145970194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfb8wMdU9SZzt-gOgn85vbsT3_Re3_pNlAYbRsRga7RxSjtis2PDEcGuHUA2ARPTuU1KuUwc-46BSq0BQIiMV9N8ccVZ-zVjwSPSRehMtJ0ry3YkTQKGztyFExGN8t2wKbeWiO/s200/front+cover.jpg" border="0" /><span style="color:#3366ff;">BIOGRAPHY<br /></span>by Steve Huey<br />He's acknowledged as perhaps the greatest rhythm guitarist in rock & roll, but Keith Richards is even more legendary for his near-miraculous ability to survive the most debauched excesses of the rock & roll lifestyle. His prodigious consumption of drugs and alcohol has been well documented, and would likely have destroyed anyone with a less amazing endurance level. On-stage with the Rolling Stones, he epitomized guitar-hero cool as the quiet, stoic alter ego to Mick Jagger's extroverted frontman, a widely imitated image made all the more fascinating by his tightrope-walking hedonism. Yet that part of Richards' mystique often overshadows his considerable musical legacy. Arguably the finest blues-based rhythm guitarist to hit rock & roll since his idol Chuck Berry, Richards knocked out some of the most indelible guitar riffs in rock history, and he did it so often and with such apparent effortlessness that it was easy to take his songwriting skills for granted. His lean, punchy, muscular sound was the result of his unerring sense of groove and intuitive use of space within songs, all of which played a major part in laying the groundwork for hard rock. Never intensely interested in soloing, Richards preferred to work the groove using open-chord tunings drawn from Delta blues, and his guitars were often strung with only five strings for cleaner fingering, which made it difficult for cover bands to duplicate his distinctive sound precisely. For all his rock-star notoriety, Richards was perfectly happy in the confines of a group, and thus was the last Rolling Stone to release a side-project solo album; his 1988 solo debut appeared more than a quarter century after he co-founded the band that earned him the nickname "Mr. Rock and Roll."<br /><br />Richards was born December 18, 1943, in Dartford, Kent, on the southern outskirts of London. When he was just an infant, his family had to be temporarily evacuated from their home during the Nazi bombing campaign of 1944. In 1951, while attending primary school, Richards first met and befriended Jagger, although they would be split up three years later when they moved on to different schools. By this age, Richards had already become interested in music, and was an especially big fan of Roy Rogers; in his very early adolescence, he sang in a choir that performed for the Queen herself, although he was forced to quit when his voice changed. Around that time, he became interested in American rock & roll and began playing guitar, with initial guidance from his grandfather. Behavior problems at school led to Richards' expulsion in 1959, but the headmaster thought he might find a niche as an artist, and Richards was sent to Sidcup Art School. There he met future Pretty Things guitarist Dick Taylor, who at the time was playing in a blues band with Jagger. Discovering their new mutual interest, Richards and Jagger struck up their friendship all over again, and Richards joined their band not long after. Over the next couple of years, that band evolved into the Rolling Stones, who officially debuted on-stage in the summer of 1962 (by which time Richards had left school).<br /><br />The rest was history — initially a blues and R&B cover band, the Stones branched out into original material penned by Jagger and Richards. The duo took some time and practice to develop into professional-quality songwriters, but by 1965 they'd hit their stride. "(I Can't Get No) Satisfaction" made them superstars in the States as well as the U.K., boasting one of rock's all-time great guitar riffs, which Richards played into a tape recorder in the middle of the night and didn't recall writing when he heard the tape the next morning. With their menacing, aggressively sexual image, the Stones became targets for British police bent on quelling this new threat to public decency, and Richards suffered his first drug bust in 1967 when police raided his residence and found amphetamines in the coat pocket of Jagger's girlfriend, singer Marianne Faithfull. Richards was convicted of allowing the activity on his premises and sentenced to a year in prison, but public furor over the trumped-up nature of the charges and the purely circumstantial evidence prompted a hasty reversal of the decision. The same year, Richards hooked up with bandmate Brian Jones' former girlfriend, model/actress Anita Pallenberg; although the two never officially married, they remained together (more or less) for the next 12 years, and had two children (Marlon, in 1968, and Angela, in 1972).<br /><br />After the death of Brian Jones in 1969, the Stones became a more straightforward, hard-rocking outfit, and Richards' guitar took center stage more than ever before. By this era, he'd taken to calling himself Keith Richard, simply because he thought it sounded better without the s. Privately, the band was sinking further into decadence, clearly audible on its early-'70s masterpieces Sticky Fingers and Exile on Main Street. However, Richards' burgeoning heroin addiction began to affect the consistency of the band's recordings for the next few years. Additionally, he ran into more legal troubles; his French villa was the subject of a drug raid in 1972, as was his British residence the following year. (Rumors dating from this era that Richards had all of his blood replaced in a cleanup effort, while entertaining, were not true.) Over 1976-1977, Richards entered the studio for a few solo sessions, but the only result to see the light of day was the Christmas single "Run Rudolph Run" (issued in 1978). Perhaps the lack of productivity was due to the fact that Richards was in the middle of the most difficult period of his life.<br /><br />In 1976, Richards' infant son Tara, his third child by Pallenberg, died suddenly; the official cause was SIDS, although unsubstantiated rumors about the couple's drug abuse playing a factor circulated as well. In early 1977, Richards was busted for coke, and faced the most serious charges of his life when, in Toronto, he was caught in possession of heroin. He narrowly escaped serving jail time, agreeing to perform a charity concert for the blind and enter drug rehabilitation in the United States. The scare convinced him to clean up, and when the Stones returned in 1978 with Some Girls, it was acclaimed as their strongest, most focused work in years, and helped rejuvenate their popularity as an arena rock attraction. Things went sailing along smoothly for the next few years, and Richards even officially married for the first time in 1983, wedding Patti Hansen, who would bear him two more daughters, Theodora and Alexandra (he and Pallenberg had finally split in 1979). However, around the same time, Jagger decided the Stones should take a new direction more in line with contemporary pop; Richards refused, and Jagger embarked on a solo career that began to take priority over the Stones. It ignited a very public feud between the two, and rumors of the Stones' imminent demise swirled over the next few years. When Jagger refused to tour behind 1986's Dirty Work in order to record his second solo album, Richards retaliated by going out on his own, forming a backing band he dubbed the Xpensive Winos.<br /><br />Richards released his first solo album, Talk Is Cheap, in 1988. Both critically and commercially, it was a far greater success than Jagger's Primitive Cool. Reviews were generally quite complimentary, calling it a solid rock & roll record; plus, buoyed by the minor hit single and MTV favorite "Take It So Hard," Talk Is Cheap went gold. Richards embarked on a supporting tour which produced the concert album Live at the Hollywood Palladium, released three years later, and his success convinced Jagger to return to the fold (of course, the relative failure of his own solo venture helped). Their future thus seemingly assured, the Stones had their biggest success in some time with the 1989 album Steel Wheels and its blockbuster supporting tour. In the early '90s, Richards and Jagger once again began working on solo projects, but this time with the understanding that nothing took precedence over the Stones; Richards' second studio album, Main Offender, was issued in 1992, and again received fairly solid notices, although it didn't get quite the same commercial exposure. Since then, Richards has concentrated on recording and touring with the Stones.<br /><br /><span style="color:#3366ff;">REVIEW</span><br />by Chris True<br />In 1987, it was anyone's guess if the Stones would ever get back together. Sure, Mick Jagger and Keith Richards were well known for their public disagreements, but when Jagger decided to tour in support of his second solo album, Primitive Cool, Richards was disheartened and finally succumbed to the idea of recording without the Rolling Stones. Taking the band he had assembled to back up Chuck Berry for the Hail! Hail! Rock 'n' Roll documentary (along with longtime session player Waddy Wachtel), Richards put together an album that was straightforward, musical, and better than a good portion of the Stones' output in the first half of the '80s. The lead single "Take It So Hard," "Whip It Up," and "Struggle" are classic Richards riffology, and tracks like "Locked Away" are emotional without being maudlin and worldly but not sounding adult contemporary. The main point of Talk Is Cheap is the music, nothing more; Richards obviously didn't want to fret about anything but the groove. While Jagger's solo work sounded like Mick with some studio musicians, Keith had assembled a band, found a productive songwriting partner in Steve Jordan, and created a record that was free of frills. Simply put, Richards sounded like he was playing for himself, and playing with a certain sense of enjoyment. The new band, the X-pensive Winos, had a different work ethic than the Stones, forcing Richards to focus on the music. What resulted was a solid album built on fundamentals rather than style. It's hard not to see who the real musical force was in the Stones after hearing Talk Is Cheap.<br /><br /><span style="color:#3366ff;">CREDITS</span><br />Sam Butler - Vocals (bckgr)<br />Ben Cauley - Horn<br />Bootsy Collins - Bass<br />Sarah Dash - Vocals, Vocals (bckgr)<br />Michael Doucet - Violin<br />Charley Drayton - Bass, Drums, Vocals (bckgr)<br />Stanley Dural - Accordion<br />Jack Hale - Horn<br />Johnnie Johnson - Piano<br />Steve Jordan - Bass, Percussion, Composer, Conga, Drums, Guitar (Bass), Vocals (bckgr)<br />Bobby Keys - Sax (Baritone), Sax (Tenor)<br />Jimmi Kinnard - Horn<br />Chuck Leavell - Organ<br />Andrew Love - Horn<br />The Memphis - Horns Percussion, Horn<br />James Mitchell - Horn<br />Willie Mitchell - Horn, Horn Arrangements<br />Ivan Neville - Piano, Keyboards<br />Maceo Parker - Sax (Alto)<br />Keith Richards - Guitar (Acoustic), Guitar, Percussion, Composer, Guitar (Electric), Vocals, Vocals (bckgr), Producer<br />Patti Scialfa - Vocals (bckgr)<br />Joey Spampinato - Bass<br />Mick Taylor - Guitar<br />Gary Topper - Horn<br />Richard Wachtel - Guitar, Slide Guitar<br />Waddy Wachtel - Guitar (Acoustic), Guitar, Guitar (Electric), Slide Guitar<br />Bernie Worrell - Organ, Clavinet<br /><br /><span style="color:#3366ff;">TRACKS</span><br />1 Big Enough (Jordan, Richards) 3:16<br />2 Take It So Hard (Jordan, Richards) 3:14<br />3 Struggle (Jordan, Richards) 4:09<br />4 I Could Have Stood You Up (Jordan, Richards) 3:11<br />5 Make No Mistake (Jordan, Richards) 4:52<br />6 You Don't Move Me (Jordan, Richards) 4:47<br />7 How I Wish (Jordan, Richards) 3:31<br />8 Rockawhile (Jordan, Richards) 4:38<br />9 Whip It Up (Jordan, Richards) 4:00<br />10 Locked Away (Jordan, Richards) 5:48<br />11 It Means a Lot (Jordan, Richards) 5:22 </div><div align="center"><a href="http://rapidshare.com/files/99436469/165-KeRi-TaIsCh.rar">DOWNLOAD </a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-23351880552683399662008-03-12T16:38:00.000-07:002008-03-13T11:32:34.373-07:00Eric Sardinas and Big Motor (2008)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvEIP8EKKUU8hURALOoBnIjEMdfEp1T3DAj0sr4re09z-x27eZW25IQmQbzb9soSBFK9jmN4JlmG3b2FpMYIII7hG6ZDSAJgNqNr2YHNJ39ffdNACD0C9R23C3fzFBOZQAhFAw/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5176941510003065330" style="margin: 0px auto 10px; display: block; text-align: center; width: 200px; height: 202px;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvEIP8EKKUU8hURALOoBnIjEMdfEp1T3DAj0sr4re09z-x27eZW25IQmQbzb9soSBFK9jmN4JlmG3b2FpMYIII7hG6ZDSAJgNqNr2YHNJ39ffdNACD0C9R23C3fzFBOZQAhFAw/s320/front+cover.jpg" border="0" /></a><span style="color: rgb(51, 102, 255);">BIOGRAPHY</span><br />by Char Ham<br />The term "blues-rock" brings with it a connotation of a blues artist "selling out" in order to make more money or a rock band blaring heavy riffs with a thinly veiled strain of blues. A worse offense is that many of these rock artists have little or no knowledge of the blues in its historical context or its mythological roots.<br /><br />That is certainly not true in the case of Eric Sardinas. At six, his first love was Delta blues, as it "was the thrill of hearing one person playing the guitar and generating the energy of five - I loved the sheer strength and heart of a single player." Just as unusual was citing his first influences as Barbecue Bob, Charley Patton, and Bukka White, then Elmore James, Muddy Waters, and Big Bill Broonzy. He exclusively concentrates on slide guitar, employing his cherished Dobros, some that are customized to play by Edison's power. Sardinas listens to 78s, then couples these influences with modern sounds.<br /><br />He moved around the country, landing in Los Angeles in 1990. Like the early blues folk, he played acoustic for a living on the street, then formed the Eric Sardinas Project (ESP) by hooking up with bassist Paul Loranger at a jam session. Loranger had the ideal sound that Sardinas wanted, a bassist who had exceptional playing ability on upright and electric and could work the upright in a blues-rock context. Two years later, drummer Scott Palacios joined them. It took ESP six years of experience of performing nearly 300 shows annually, playing from acoustic gigs in coffeehouses to sharing the bill with rock bands at Hollywood clubs. Musical-instrument companies sent them gigging at showcase concerts, which led the band to a gig as the opening act for a West Coast swing of a Johnny Winter's tour. Word got around, receiving the attention of Evidence Records. Blues discoverer Dick Shurman produced Sardinas' 1999 debut, Treat Me Right. In 2000, Sardinas released a three-song single spotlighting his burning take on J.B. Hutto's "Angel Face." Devil's Train, his second full-length album, followed in 2001 and featured more of Sardinas' trademark blues-rock.<br /><br /><span style="color: rgb(51, 102, 255);">CREDITS</span><br />Gia Ciambotti - Vocals (bckgr)<br />Levell Price - Guitar (Bass), Vocals (bckgr)<br />Eric Sardinas - Vocals, Slide Guitar<br />Dave Schulz - Organ, Piano<br /><br /><span style="color: rgb(51, 102, 255);">TRACKS<br /></span>1 All I Need (Sardinas) 4:33<br />2 Ride (Sardinas) 4:38<br />3 Find My Heart (Sardinas) 4:07<br />4 Gone to Memphis (Sardinas) 3:46<br />5 It's Nothin' New (Sardinas) 4:32<br />6 This Time (Sardinas) 4:13<br />7 Just Like That (Sardinas) 5:01<br />8 Burning Love (Linde) 3:03<br />9 Wonderin' Blues (Sardinas) 3:59<br />10 Door to Diamonds (Sardinas) 3:50<br />11 As the Crow Flies (White) 6:25 </div><div align="center"></div><div align="center"><a href="http://rapidshare.com/files/98945495/163_-_ErSaandBiMo.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-62818629753365445782008-03-12T16:31:00.000-07:002008-03-13T11:33:00.071-07:00Philip Sayce Group - Philip Sayce Group (1997)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB54zEv-akKxCzMOV_Xd5830X3Cv-zWNywhiMldLwN5-D-2rxoZViUOthDzhb6QL3NbpYZWM7UMcG8BqbsZF3blLIvJOBCr2XdWE88nA2Er4rWShHS_YCJMiiCCBv_a8hpl2TR/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5176939525728174562" style="margin: 0px auto 10px; display: block; text-align: center; width: 201px; height: 202px;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB54zEv-akKxCzMOV_Xd5830X3Cv-zWNywhiMldLwN5-D-2rxoZViUOthDzhb6QL3NbpYZWM7UMcG8BqbsZF3blLIvJOBCr2XdWE88nA2Er4rWShHS_YCJMiiCCBv_a8hpl2TR/s320/front+cover.jpg" border="0" /></a><span style="color: rgb(51, 102, 255);">BIOGRAPHY</span><br />Sayce was born in Wales, but family moved to Canada when he was two years old, and he grew up in Toronto. His parents, Kenneth and Sheila, listened to music by Eric Clapton, Ry Cooder and Dire Straits, among many other artists. His parents’ love of music inspired his love for the guitar, and he also learned to play the piano and other instruments. Sayce was fifteen years old when he played in his first band. Sayce and his best friend, drummer Cassius Pereira, played in bands together throughout high school, holding band practice in their basements. Sayce's style is strongly influenced by Jimi Hendrix and Stevie Ray Vaughan, whose untimely death in August 1990 greatly affected the young guitarist.<br /><br />Sayce began playing in Toronto clubs at the age of sixteen. He quickly became a regular fixture on Toronto’s bar-scene. One of the clubs Sayce frequented was Grossman's Tavern in Toronto, known for its famous jam sessions with artists such as Robbie Robertson, Stevie Ray Vaughan, Bob Dylan and Jeff Healey. His other musical influences include B. B. King, Albert King, Albert Collins, Buddy Guy, and Robert Cray. With Healey, Sayce toured the world and played in such places as Ohne Filter, Germany, Finland and the Montreux Jazz Festival in Switzerland.<br /><br />Sayce quickly gained notoriety as an axe-slinger through his regular gigs at Toronto clubs from 1992 to 2001, and he gradually developed a solid fan base. In 1996, he released his first CD, the self-titled, Philip Sayce Group, which has since become a rare disc.<br /><br />Looking to further expand his musical horizons, Sayce moved to Los Angeles in September of 2001. He soon landed a gig with Uncle Kracker and toured with him for eighteen months. With Uncle Kracker, Philip appeared on New Year’s Rockin’ Eve, Regis and Kelly, The Tonight Show with Jay Leno, and The CBS Early Show.<br /><br />Sayce also starred in and wrote the music for the 2002 short film, Cockroach Blue, produced and directed by award-winning Robert Crossman. The film was shown at the 2003 Woodstock Film Festival and received popular acclaim.<br /><br />In the fall of 2003, Sayce unexpectedly met John Shanks at an impromptu jam session in the amp department at Westwood Music in Los Angeles. Coincidentally, just a week before, two-time Grammy award winner Melissa Etheridge had mentioned to Shanks that she was looking for a guitar player and was thinking of trying somebody different. Shanks referred Sayce to her and in December 2003, Sayce joined Etheridge and her band for The Lucky Tour. Sayce also appears on Etheridge's Lucky CD and the Lucky Live DVD, released in September, 2004.<br /><br />Sayce released his second solo effort, Peace Machine, in September 2005.<br /><br /><span style="color: rgb(51, 102, 255);">CREDITS</span></div><div align="center">Philip Sayce - Guitars, Lap Steep, Vocals<br />Joel Sacks - Bass<br />Al Cross - Drums<br />Bruce Longman - Background Vocals<br />Alfio Annibalini - Background Vocals, Keyboards, Percussion<br />Cory Turnbull - Bass<br />Marty Cordrey - Drums<br />Etric Lyons - Bass<br />Jorn Andersen - Drums<br /><br /><span style="color: rgb(51, 102, 255);">TRACKS</span><br />1. Grey CIty Storm<br />2. Morning Star<br />3. Backwater Blues<br />4. You Can Run But You Can't Hide<br />5. Were You There<br />6. Already Gone<br />7. Walk A Mile<br />8. Wrong Place, Wrong Time<br />9. Brown Sugar<br />10.Propaganda </div><div align="center"> </div><div align="center"><a href="http://rapidshare.com/files/98934764/162_-_PhSaGr.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com31tag:blogger.com,1999:blog-30596709.post-70805822519589311812008-03-12T16:26:00.000-07:002008-03-13T11:33:24.258-07:00Innes Sibun - Tail Dragger (2007)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKo8Oc0Wg0-NFcHAqLy6dxtFa52FXMzQz4l4YhLa6hXFuoz7AZK8QqhXncuMl2YNXNsfHRFIfKBjBxTt4pdUuq8ApH84kUufVFHMddBEWleQU_-56V2zS_oL2chCVHKy1Gzhu4/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5176937906525503954" style="margin: 0px auto 10px; display: block; text-align: center; width: 201px; height: 202px;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKo8Oc0Wg0-NFcHAqLy6dxtFa52FXMzQz4l4YhLa6hXFuoz7AZK8QqhXncuMl2YNXNsfHRFIfKBjBxTt4pdUuq8ApH84kUufVFHMddBEWleQU_-56V2zS_oL2chCVHKy1Gzhu4/s320/front+cover.jpg" border="0" /></a> <div align="center"><span style="color: rgb(51, 102, 255);">BIOGRAPHY</span><br />High energy blues played with passion !! Innes Sibun made his first album with legendary producer Mike Vernon who produced the John Mayall/Eric Clapton Beano album as well as all the Peter Green era Fleetwood Mac albums. In 1997 Innes met his hero when he opened up for Peter Green at a show in New York, he also played on "Rattlesnake guitar" a tribute cd dedicated to Peter Green which also featured Rory Gallagher, Ian Anderson, Harvey Mandell, Billy Sheehan & Snowy White. He played guitar for Robert Plant on his "Fate of nations" tour throughout America, Europe & South America & can be heard on Robert's "Sixty six to Timbuktu" album as well as on a track on his box set "Nine lives". He has made 5 albums with various independent blues labels such as Viceroy, Provogue & Ulftone. He has toured with Blues legends Johnny Adams, Wild child Butler, Jay Owens & Jesse "guitar" Taylor & opened up for Joe Louis Walker, Ronnie Earl, the fabulous thunderbirds, Roger Chapman, Chris Farlowe,Jools Holland, Walter Trout, Boy George, Dr.Feelgood, the Levellers, Nine below zero, the Bluesband, Kevin Coyne, & Moody Marsden to name but a few. He has also recorded or played live with the following......Wilbur Bascombe (Jeff Beck, aretha Franklin), Rob Stoner (Bob Dylan), Bobby Chouinard (Gary Moore), Jeff Simon (George Thorogood), Jimmy Kunes (Cactus), Leo Lyons, Ric Lee & Chick Churchill of Ten years after,Robert Hart (Bad company), Hamish Stewart (Average white band), Tony Remy, Dick Heckstall-Smith, Chris Youlsden (Savoy Brown), Stackridge, the Korgis, James Cotton, Sherman Robertson & more. His current band fuses blues with rock, jazz & more modern influences. Drummer Robbie Brian has played with Peter Gabriel, Hugh Cornwell & presently plays with Siouixie siouix & has been described as summoning the dark arts when he takes a drum solo (you have to be there !!!) Bassist Steve Hall & Hammond/Rhodes player Tim Blackmore are much in demand session players due to their soulful playing & high level of skill on their instruments. In 2006 the band played shows in Germany, belgium, Austria, Slovenia, Holland, Bosnia & the UK including Colne, Gloucester & Bristol international blues festivals. In 2007 with the release of the critically lauded album "Tail dragger" on ZYX records, Innes & band embarked on shows through Europe as well as taking in dates in Africa & the U.S.A. 2008 so far promises festivals in the UK & Canada as well as shows opening for Johnny Winter & Al Kooper. "The best blues you will hear this year" - Total guitar magazine. "Powerhouse guitarist who plays electric blues. Hugely popular on the continent, Innes is one of the many unsung heroes that populate a British music scene dominated by TV-promoted nonentities" - Venue magazine.<br /><br /><span style="color: rgb(51, 102, 255);">CREDITS </span><br />Tim Blackmore - Hammond organ, Piano.<br />Robbie Brian - drums.<br />Steve Hall - bass guitar.<br />Innes Sibun - Guitar, vocals, mandolin, dobro.<br /><br /><span style="color: rgb(51, 102, 255);">TRACKS<br /></span>1 It Takes Time (Rush) 3:07<br />2 I Don't Get Fooled by Tears (Sibun) 2:54<br />3 I'll Never Love Again (Sibun) 2:31<br />4 I Want You Back (Sibun) 3:46<br />5 As the Years Go Passing By (Malone) 6:29<br />6 Don't Stop Believing (Sibun) 5:18<br />7 I Miss You (Daisy's Song) (Sibun) 3:28<br />8 Someone Like You (Sibun) 4:23<br />9 Southbound Train (Sibun) 2:50<br />10 Sweet Disposition (Sibun) 5:37<br />11 300 Miles Away (Sibun) 7:56<br /><a href="http://rapidshare.com/files/98924183/161_-_InSi-Tail_Dragge.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-23458646567955226952008-03-12T05:29:00.000-07:002008-03-12T06:22:24.840-07:00Interpol - 11/03 - Via Funchal (SP)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTTO8rCqTpkoDStaVFfhuFqOV-5rkpFUinfPSmRAo-ayt5Vh5bdwZcZUUYj2A-h7RG07Ucc13uicMsQ5rt1dGva2UkePG6ogBygtKPpi1Tw5Pqbc_rMEeMtFa8Fhr_0uH9bHDM/s1600-h/f_interpol01.jpg"><img id="BLOGGER_PHOTO_ID_5176832645467013538" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTTO8rCqTpkoDStaVFfhuFqOV-5rkpFUinfPSmRAo-ayt5Vh5bdwZcZUUYj2A-h7RG07Ucc13uicMsQ5rt1dGva2UkePG6ogBygtKPpi1Tw5Pqbc_rMEeMtFa8Fhr_0uH9bHDM/s320/f_interpol01.jpg" border="0" /></a>A noite começou tipicamente paulistana, com uma garoa ácida e uma surpresa muito grande... Muitas pessoas se aglomeravam nas imediações do local e logo, a casa estaria cheia...<br />A noite começou com os gaúchos do Cachorro Grande, com um instrumental surpreendente. Uma bateria poderosa e uma guitarra incendiária, lembrando muito a sonoridade do saudoso Dr. Feelgood.<br />Mas o rock poderoso e gritado da banda parecia não conseguir quebrar o gelo com a platéia, que esperava a grande atração – o Interpol.<br />De início, não acreditava que tanta gente lotava o local para cantar a plenos pulmões todas as músicas da banda. A cada acorde da guitarra do performático Daniel Kessler (um show à parte, pois o cara tocava e dançava, deslizando pelo palco) a galera ia ao delírio, emocionando até mesmo meu coração gelado, pois estava preparado para um show frio, de pouca empatia entre banda e público; porém, a cada nova música, fui percebendo o quanto os caras são competentes.<br />O show durou um pouco mais de uma hora e meia, mas foi a certeza de que ao vivo, uma banda pode ser muito superior aos discos de estúdio. <span style="color: rgb(255, 0, 0);">Wagner Gomes (waggom)</span><br /></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com1tag:blogger.com,1999:blog-30596709.post-33544995508454064292008-03-03T17:28:00.000-08:002008-03-03T12:28:30.213-08:00Stevie Ray Vaughan and Jeff Healey - Look at Little Sister<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzI-Is12fp0OmKsYAFjv2-jr4Ftx19pizSKDxoKTMof4ar37IUAsoNSd__qlLLQBG-C2zHCYhdeSeY' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-81487488808901901892008-02-17T03:38:00.000-08:002008-02-18T04:09:12.962-08:00Dave Matthews Band - The Best of What's Around, Vol. 1 (2006)<div align="center"><span style="color:#3366ff;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO5VbDJZ5w6RJfo0flLysZ3Su8W8QRm7ddOSGnBhubePMGoRbxUTvNRkaBKnHsB44TNVGwWFc-JHMSV0swE_M6Sb8pqPqnJ_GdHA-WokzwVbMPYn7uVIvzo6BGCrSjcTfIRpA2/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5167833737960338706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO5VbDJZ5w6RJfo0flLysZ3Su8W8QRm7ddOSGnBhubePMGoRbxUTvNRkaBKnHsB44TNVGwWFc-JHMSV0swE_M6Sb8pqPqnJ_GdHA-WokzwVbMPYn7uVIvzo6BGCrSjcTfIRpA2/s200/front+cover.jpg" border="0" /></a><strong> <span style="color:#3366ff;">REVIEW</span><br /></strong>Dave Matthews Band - The Best of What's Around, Vol. 1<br />Written by Jared Wright<br />Published November 09, 2006</div><div align="justify">Putting together a greatest hits package for Dave Matthews Band is no job to scoff at. Three innate problems come bundled with the task. Firstly, the band’s discography is downright massive. The second problem comes with the fact that this huge discography features the same material over and over again, at least in name. The band’s six studio albums are respectable bodies of work, to be sure, but they don’t hold a candle to the goods brought by live release after live release. Not only must the right songs be chosen, but the right versions of the right songs have to be included. The third problem is that just throwing on the band’s handful of radio singles will do nothing but alienate the avid DMB fan base, which in DMB’s case is a pretty big chunk of their overall support. Even still, RCA, Dave and Co.’s label, wants to introduce some newcomers into the fold, and this package was the best way they thought to do it.<br />And really, the final product isn’t horrendous. In fact, it’s quite impressive. The offering is a double disc compilation, with one disc featuring twelve studio cuts. Two tunes each come from the group’s six studio albums, from 1994’s Under the Table and Dreaming to last year’s inventive and somewhat debated Stand Up. Thankfully, the most radio friendly songs weren’t necessarily the songs that made the cut. Oh, sure, “What Would You Say", “Gray Street”, and last year’s hit “American Baby” are here in full force, but so are “So Right”, “Crush”, and the compilation’s namesake, “The Best of What’s Around”.<br />These songs are certainly fan favorites, but they became that way through their continuous stunning live renditions and not through extensive radio play. The real cult classics such as “Dreaming Tree” aren’t present, of course, but this is, after all, a greatest hits collection. At least they didn’t by default include “Stay” or “I Did It”, which both received significant radio play but have never quite been the peak of the mountain in the hearts of most devoted Dave Matthews Band fans.<br />The reason for DMB devotees to pick up this package is the second disc, which is comprised of eight live samplings selecting by the Dave Matthews Band fan association. The choices seem to come more from recent concerts rather than the material from the mid to late '90s, but as this information is fresh in the minds of people, (I certainly remember this past year’s tour a little more vividly than 2000’s), this is understandable.<br />The only complaint is that the selected songs are songs which have already frequently been placed on other live releases. Sure, these versions of “Ants Marching”, “Don’t Drink the Water”, and “Stay” are as brilliant as ever, and like all live DMB, they do bring a little something new that hasn’t been demonstrated before. Nonetheless, there are rarities in the Dave Matthews Band setlists that only come out to play on special nights, and a few more of these wouldn’t have been unwelcome. Perhaps a performance of the aforementioned “The Dreaming Tree”? Or maybe the superb “You Never Know?” or one of the truly hair-raising performances of “The Stone”?<br />The great thing though about Dave Matthews and his companions is that they can make the same songs sound fresh over and over. So don’t be misled into thinking that just because “Two Step”, “Warehouse”, or “Ants Marching” are yet again included on this release that it’s not worth hearing. This “Two Step”, in fact, was the closer from a 2001 show at Giants Stadium, one that occurred in the middle of a downpour that could be described as torrential if any downpour can. Dave even references the rain within his improvised lyrics close to the song’s beginning, and even someone who hasn’t read numerous accounts of this landmark performance will get the impression they’ve heard something special as the ten minute masterpiece reaches its conclusion.<br />It’s a fair assumption to think that most of DMB’s loyalist would have just preferred another three-disc live show from some fantastic tour or other. Even better if it was one they attended. But if you really haven’t heard Dave at some point, the twelve studio samplings will give you an idea of what you’re in for, and the live cuts should illustrate just why this group’s live show is so widely respected.<br />The Best of What’s Around, Vol. 1 should by no means be considered a definitive compilation, but as an introduction for the newbie and just another addition for the veteran it will serve nicely. I will offer my sympathy, however, to those who didn’t preorder the collection, since preorders shipped with an additional disc of live material which surpasses the official second disc by quite a significant margin, thanks mostly to jaw dropping versions of “#41” and “The Last Stop”. Hey, there’s always eBay, right?</div><div align="center"></div><div align="center"><strong><span style="color:#3366ff;">TRACKS </span><br /><span style="color:#ff0000;">CD 1</span><br /></strong>1. The Best Of What's Around<br />2. What Would You Say<br />3. Crash Into Me<br />4. Too Much<br />5. Rapunzel<br />6. Crush<br />7. So Right<br />8. The Space Between<br />9. Grey Street<br />10. Grace Is Gone<br />11. Hunger For The Great Light<br />12. American Baby<br /><strong><span style="color:#ff0000;">CD 2</span><br /></strong>1. Don't Drink The Water - West Palm Beach, FL 2005<br />2. Warehouse - Alpine Valley, WI 2006<br />3. Say Goodbye - Denver, CO 2000<br />4. Stay (Wasting Time) - Selma, TX 2003<br />5. Everyday - Saratoga Springs, NY 2006 (Featuring Vusi Mahlasela)<br />6. Louisiana Bayou - Selma, TX 2005 (Featuring Robert Randolph)<br />7. Ants Marching - Sydney, AUS 2005<br />8. Two Step - East Rutherford, NJ 2001 </div><div align="center"><a href="http://rapidshare.com/files/92501560/Dave_Matthews_Band_-_The_Best_of_What_s_Around__Vol._1__2006__-_CD_1.rar">DOWNLOAD CD 1</a></div><div align="center"><a href="http://rapidshare.com/files/92511478/Dave_Matthews_Band_-_The_Best_of_What_s_Around__Vol._1__2006__-_CD_2.rar">DOWNLOAD CD 2</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0tag:blogger.com,1999:blog-30596709.post-5765409068499481842008-02-16T12:31:00.000-08:002008-02-18T04:09:45.152-08:00Robin Trower - Living Out Of Time (Live!) (2006)<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTdje2xqiE6Qqwps0sK0hU9jmaY2gu_KKpf_Uekg7P8bFXF6ej57-6iXSPsHsnmq632jMFWcqEDMlypHpGheyfdyW3RSE0DDGTtVjXAQcEuXXly4zUnbK6daKUK-_XGE5s7KXb/s1600-h/front+cover.jpg"><img id="BLOGGER_PHOTO_ID_5167585037879063810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTdje2xqiE6Qqwps0sK0hU9jmaY2gu_KKpf_Uekg7P8bFXF6ej57-6iXSPsHsnmq632jMFWcqEDMlypHpGheyfdyW3RSE0DDGTtVjXAQcEuXXly4zUnbK6daKUK-_XGE5s7KXb/s200/front+cover.jpg" border="0" /></a><strong> <span style="color:#3366ff;">REVIEW</span><br /></strong>(by Lindsay Planer)</div><div align="justify">Guitarist extraordinaire Robin Trower has reassembled the core of his late-'80s band, once again joining forces with Dave Bronze (bass), Davey Pattison (vocals), and Pete Thompson (drums). On 2004's Living Out of Time, they equal (if not best) their work on 1987's Passion and 1988's Take What You Need with 11 sides that reconfirm Trower's breathtaking instrumental capacity, as well as his knack for writing heavy rockers that don't come off as trite or excessive. Selections such as the soulful "Please Tell Me" and the straight-ahead title track, "Living Out of Time," reiterate the decades of comparison between Trower and Jimi Hendrix, especially in the case of the former track, which oozes with the same primordial urgency that drove Trower's earliest solo affairs. The bluesy and languid "I Want to Take You With Me," the introspective "One Less Victory," and the power balladry of "Another Time, Another Place" allow his expressions to contrast directly with the ballsy and exceedingly heavier driving riffs on "You Still Come Back" and the pulsating opener, "What's Your Name." Pattison is in good voice throughout, yet lacks the aggression that informed his earlier collaborations with Trower. In fact, there are several spots — primarily "The Past Untied" — where Pattison seems somewhat uncertain as to the tack he should take with the song. Conversely, "You Still Came Back" and the slightly sinister "Ain't Gonna Wait" sound custom-built for him. Granted, Trower may never regain the power and majesty of 1973's Twice Removed from Yesterday or the following year'sBridge of Sighs; however, this is a solid outing, more so than much of the fodder that his contemporaries (Jimmy Page, anyone?) have lent their names to for years. Enthusiasts are encouraged to give the platter a spin, as Trower Power is definitely the rule, rather than the exception, on Living Out of Time. </div><div align="justify"> </div><div align="center"><span style="color:#3366ff;"><strong>CREDITS </strong><br /></span>Dave Bronze / Bass<br />Davey Pattison / Vocals<br />Pete Thompson / Drums<br />Robin Trower / Guitar </div><div align="center"><br /><strong><span style="color:#3366ff;">TRACKS</span><br /></strong>1 What's Your Name (Trower) 2:59<br />2 Step into the Sun (Trower, Watts) 4:24<br />3 Another Time, Another Place (Trower) 4:38<br />4 Sweet Angel (Trower) 3:35<br />5 Please Tell Me (Trower) 4:04<br />6 One Less Victory (Trower) 5:32<br />7 Ain't Gonna Wait (Trower) 4:42<br />8 Living Out of Time (Trower, Watts) 3:24<br />9 The Past Untied (Trower, Watts) 3:24<br />10 You Still Came Back (Trower) 3:42<br />11 I Want to Take You With Me (Trower) 10:39 </div><div align="center"><a href="http://rapidshare.com/files/92266205/137_-_Robin_Trower_-_Living_Out_Of_Time_Live___2006_.rar">DOWNLOAD</a></div>Gomes Brothers & Sons (Velhorockeiro, Zé Gomes, Eric e Wagner)http://www.blogger.com/profile/05006544919278523695noreply@blogger.com0