Sei's drum! Das andere Foto aus dem Jahre zeigt den aktuellen Conti. Das war Mitte der 70er Jahre deutsche Rock-Musik! Wenn man bedenkt, wie sich Rock-Musik seitdem entwickelt hat, klingt das aus heutiger Sicht ziemlich bieder.
Dies liegt daran, dass es sich um Aufnahmen handelt, die mittels eines einfachen Cassetten-Recorders gemacht worden sind. Hier also jedenfalls eine unbekannte Seite Contis. Die Aufnahmen stammen aus dem Jahralso unmittelbar nach seiner Zeit als 'Polytoxikomane' Multidrogistwie Contis Biographie seinen damaligen Zustand beschreibt.
Sein Gitarrespiel war jedenfalls einwandfrei. Poppige Rocksongs - oder umgekehrt? Klingt ein wenig - insbesondere wegen des Gesangs - nach Supertramp.
Das war halt Mitte der 80er Jahre so angesagt! Wesentlich rockiger, teilweise auch Reggae-beeinflusst kommen die Tracks daher. Longtime drummer Dieter Ahrendt left in the meantime and was replaced by Udo Dahmen. In James Hopkins-Harrison died from an overdose of heroin. After having had to withdraw their album, Freedom, due to quarrels with their then singer, Lloyd Anderson, their original singer, Ian Cussick, rejoined the band.
On The Run Glad To Be Here Red Lake Time Bomb Love's A Jailer Hopeless Love Lost By The Wayside Angel In Disguise Crystal Eyes Do I Love You Celebrate Living For Today Jesus Came Down Jamaica High Key To The Rhyme The Sound Of America This is a live album recorded in Vienna before a very appreciative audience who's enthusiasm is infectious - to both the performers and the listeners.
The record features a pleasing collection of songs from their two previous albums 'Delta Time' and 'Visions' and features both men on vocals, guitars and Terry also playing harmonica. Although I have have reservations about Hans' vocals and Terry's harmonica playing I did enjoy this record which is very atmospheric, features some wonderful guitar playing, Terry's great vocals and an interesting selection of songs.
Many of the musicians who sessioned for Sutch on this album had grave misgivings upon its release. They were under the assumption these were demo quality recordings.
As a result the artists disowned the project and the album did poorly saleswise. It also seriously damaged Sutch's reputation with the musicians involved. The whole joke sort of reversed itself and became ugly," Jimmy Page said of the record. A negative review published in Rolling Stone called Sutch "absolutely terrible" and lamented that under the restrictions of the project, the collection of talented musicians on hand were made to sound "like a fouled parody of themselves".
Wailing Sounds Flashing Lights Gutty Guitar Would You Believe Smoke and Fire Thumping Beat Union Jack Car One for You, Baby Brightest Light However, while Sutch had a real genius for acting like a nutter, the truth was his musical talent never quite matched his crazed ambitions, and he was well past his prime when he cut Hands of Jack the Ripper in One of Sutch's more illustrious former employees, Ritchie Blackmore, stopped by to play guitar on these sessions, along with other friends and well-wishers including Keith Moon, Noel Redding and Matthew Fisher.
Sutch's original drummer Carlo Little also plays on these sessions; Little gave Moon drum lessons once upon a time, and was one of the few drummers Moon would admit to idolizing, though Little doesn't get to play at full power here. The title cut is an enjoyably hammy bit of horror rock though it goes on far too longand "Gotta Keep A-Rocking" is a wonderfully shameless rip-off of "Don't You Just Know It," but the rest of Hands of Jack the Ripper is sadly plodding and incoherent; what someone needs to do is release a decent compilation of Sutch's '60s sides in the United States, since albums like this and Lord Sutch and Heavy Friends just don't do the man's weird legacy justice.
Gotta Keep A-Rocking Roll Over Beethoven Country Club Hands Of Jack The Ripper Good Golly Miss Molly Great Balls Of Fire Goode Tutti Futti Medlley: a. Long Tall Sally; b. Jenny Jenny; c. Keep A-Knockin; d. Jenny Jenny; e. The ten songs of this hypnotic album are Cohen rarities recorded on his recent, celebrated "Old Ideas World Tour.
Cohen also treats us to a gripping version of the Quebecois love song "La Manic," performed before a captivated audience in Quebec City, and a moving tribute cover of the late country master George Jones's "Choices. If Blue's second album was not nearly as much of a cultural artifact as his Elektra debut, which went to embarrassing extremes in its Bob Dylan imitation, it was of greater artistic merit.
Most importantly, Blue sang far better, though he still wasn't a great singer, with far fewer of the glaringly off-key notes that had bedeviled his first LP. As both a singer and songwriter, he was still Dylanesque, but was becoming far more his own man, as a world-weary commentator with a growing country influence. Certainly the title song far outstrips anything on David Blue, sounding something like a combination of Dylan and early Leonard Cohen, its haunting minor melody enhanced by judicious touches of accordion and sitar.
Nothing else on the record is as affecting, and some of it's rather pedestrian, minor Dylanesque stuff, in fact. But it's not obnoxious, and sometimes the music's rather good, as in "Ambitious Anna," which like some of the other tracks have a border feel.
On such tunes, Blue seems like a peer or even slight antecedent to somber cowboys like Townes Van Zandt. The remake of "The Grand Hotel," a highlight of his first album, is sung better here, but has a sparer, less interesting arrangement. These 23 Days In September Ambitious Anna You Need A Change The Grand Hotel The Sailor's Lament You Will Come Back Again Scales For A Window Thief Slow And Easy Their highest charted single, "Let Me Love You Tonight" at number ten inwas where country superstar Vince Gill began singing lead for the band and was their third vocalist.
Sounding slightly more country than rock, Pure Prarie League's music gained popularity by churning out jangly guitar strummed tunes that imitated the Eagles recipe of sturdy country love songs. This collection of their best material is a superb rundown of all their hits, with an extra two bonus tracks at the end.
Other stand-outs on this 14 song compilation include the number 34 hit "I'm Almost Ready" and the sincere sounding "Still Right Here In My Heart," with its timeless chorus and free-range melody. Mike Reilly sings the Buddy Holly classic "That'll Be The Day" with a modest country feel, and even the semi-edgy "Don't Keep Me Hangin" holds up well amidst the other more countrified tracks on this best-of.
Although Pure Prairie League weren't given quite the amount of attention they deserved, the music they produced befriended fans of both country and AOR. Amie That'll Be The Day Two Lane Highway Let Me Love You Tonight I'm Almost Ready I Can't Stop This Feelin' You're Mine Tonight I'll Be Damned Don't Keep Me Hangin' Something In The Night Janny Lou Some other old compilation CDs contain a lot of filler material that you want to skip over, but not this one.
All the tracks are listenable and all of them are redolent of simpler, harder times. Musically, generally very spare backing where the voice is the main ingredient. Great and extensive sleeve notes on the history of the Blues by Deke Leonard, based on his recent book "The Twang Dynasty" The Twang Dynasty about the history of guitar playing. This CD set would make a good accompaniment to the book, something to refer to as he discusses the various great influential blues guitarists featuered here.
Nicely packaged, my only niggle is the apparently random compilation order of the tracks. Yes it mixes up the artists and keeps it varied, but personally I'd have preferred it in either chronological or artist order. But the truth is, they never really went away. Born in Long Island, New York, Vanilla Fudge created an immediate stir with their moody extended covers of popular songs of the day.
Not only did the band fit right in with the Album) climate of the times, but they added something extra and exciting to the enterprising environment. Stately and weighty, Vanilla Fudge threaded their endeavors with improvisational escapades and symphonic measures, leading them to be quite a unique animal. The band definitely invented a style all their own, and are properly regarded godfathers of both progressive rock and heavy metal.
I Heard It Through the Grapevine The Letter I Can See for Miles Break on Through To the Other Side The Tracks of My Tears I'm a Believer Gimme Some Lovin' For What It's Worth Ruby Tuesday Whiter Shade of Pale Found during the effort were a dozen or so professionally recorded concerts from late in the band's career--recordings they began to self-distribute online through their own Bright Lake: Lost By The Wayside - Alex Conti - Retrospective 1974-2010 (CD label. This track from-the-vaults anthology effectively culls together a new Doors live album that chronicles some edgy moments from and ' With singer-provocateur Jim Morrison ever the focus, the band has bravely eschewed sonic revisionism in favor of a largely unvarnished historical snapshot.
Kicking off with an minute-plus take of their signature "Light My Fire," the band quickly shows that its jam-ethos was more about emotionally charged musical consciousness expansion than about showcasing their licks to a perfect groove.
It is a compilation of performances in different U. It was released by Elektra on CD as a limited edition. Light My Fire [Philadelphia] Been Down So Long [Detroit] Back Door Man [Pittsburgh] Love Hides [Pittsburgh] Five To One [Pittsburgh] Touch Me [Hollywood] The Crystal Ship [Hollywood] Bellowing [Boston] Roadhouse Blues [Boston] James Infirmary [Bakersfield] It includes a few major hits most notably Jimmy Forrest's "Night Train" and Tab Smith's ballad feature "Because of You" and six previously unissued alternate takes.
Overall, it gives listeners a fine sampling of the United and Regal catalogs. Fun and occasionally riotous music. Highlights include an astonishing artistic and technical display from alto master Hilton Jefferson on the ballad "Darkness on the Delta" -- one of four tracks from drummer and bandleader Panama Francis; the unidentified baritone sax player with Bobby Smith on "That's for Sure"; and the prototypical yakety sax of King Curtis' "Rush Hour. The compilation's documentation is helpful: Bob Porter's useful liner notes provide context and attempt to identify as many of the key performers as possible, and the track listings include session dates, master numbers, and take numbers.
The remastering is also very good, bringing to life sounds that current players might be able to approximate but never replicate. It is no coincidence that Willis "Gator" Jackson, Wild Bill Moore, Jimmy Forrest, Arnett Cobb, and other honkers of the late '40s and early '50s went on to play soul-jazz in the '60s; honker music, like soul-jazz, swung relentlessly and did so in a very accessible, straightforward, groove-oriented fashion.
Not all of the 22 tracks on this compilation are instrumentals; several are examples of vocal-oriented jump blues. Nonetheless, swing-based instrumentals dominate this minute CD, and ultimately, the spotlight belongs to tenor sax honkers like Eddie Chamblee, Jim Conley, and the abovementioned Wild Bill Moore. Spanningthese recordings came at a time when Charlie Parker, Bud Powell, Thelonious Monk, and other bebop heavyweights were pointing jazz in a more intellectual, less groove-oriented direction.
But the honkers didn't want to be abstract and ultra-complex; their roots were Count Basie, Lionel Hampton, Jimmie Lunceford, and Louis Jordan, and they didn't believe that jazz was strictly for intellectuals in Sweden. Honkers valued accessibility, which is why instrumentals like Conley's "The Cat Creeps," Lake: Lost By The Wayside - Alex Conti - Retrospective 1974-2010 (CD "Dynaflow," and Chamblee's arrangement of Duke Ellington's "Caravan" are as straightforward and uncomplicated as they are.
Honkers -- like Basie, Lunceford, and Hampton back in the '30s -- saw no reason why instrumental jazz couldn't be party music. The overall effect was perhaps the most delicately textured album to close out the s from any major rock act.
Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun.
The public in -- a very unsettled time politically, socially, and culturally -- embraced it; and whatever mood they captured, the songs matched the standard of craftsmanship that had been established on the duo's two prior albums. Between the record's overall quality and its four hits, the album held the number one position for two and a half months and spent years on the charts, racking up sales in excess of five million copies.
The irony was that for all of the record's and the music's appeal, the duo's partnership ended in the course of creating and completing the album. Bridge Over Troubled Water Cecilia Keep The Customer Satisfied So Long, Frank Lloyd Wright The Boxer Baby Driver Why Don't You Write Me Bye Bye Love The band was originally named Faith No Man.
The band underwent several lineup changes early in their career, along with some major changes later on. After releasing six albums, Faith No More officially announced their breakup on April 20, It was released on June 3,June 9, in the UK and Europe and is the first album to feature the band's current guitarist Jon Hudson.
It is the final studio album by the band to be released through Slash Records, as well as their last album for nearly eighteen years after their break-up in Aprilciting the members' interests in pursuing other projects. The album was recorded in Billy Gould's home studio, and is described by Allmusic as being "more straightforward musically than past releases. Collision Stripsearch Last Cup Of Sorrow Helpless Mouth to Mouth Ashes To Ashes She Loves Me Not Got That Feeling Paths Of Glory Home Sick Home It is Faith No More's first studio album since 's Album of the Year, marking the longest gap between two studio albums in their career, and their first release on Reclamation Records.
Sol Invictus is also the band's first album since 's Angel Dust not to feature a lineup change from after one consecutive studio album. The album marks the group's fifth collaboration with longtime producer Matt Wallace, though it also happens to be the third album he did not produce, his involvement being reduced to helping with the final mix. Sol Invictus Superhero Sunny Side Up Separation Anxiety Cone Of Shame Rise Of The Fall Black Friday Motherfucker Matador Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers.
However, the two guitarists obviously have big ears, and they complement each other's solos with percussive, driving rhythm parts. Before the farce is completed, they have played a blues and quoted the Pink Panther theme. It is funny stuff, and it serves to dispel the image of the trio, especially di Meola, as super-serious clinicians more concerned with technique than music.
The other great piece of evidence against such a narrow-minded claim can be found in both the quality of the compositions featured on Friday Night in San Francisco as well as the sensitivity and dynamic variation brought to the performances. A perfect example of this is the sole studio track, a McLaughlin composition entitled "Guardian Angel" the opening theme of which is taken straight from "Guardian Angels," a song that appears on McLaughlin's Electric Dreams album.
It is a fine piece, and one that features a haunting melody as well as some of the best solos on the record. All in all, Friday Night in San Francisco is a fantastic album and one of the best entries in all of these guitarists' fine discographies. Mediterranean Sundance - Rio Ancho Frevo Rasgado Fantasia Suite So these five chaps have a "family tree" of sorts and take the stage on the opening night of the July, Montreux Jazz Festival, nestled on Lake Geneva in the resort town in the Canton of Vaud, Switzerland.
One would thing the majesty of the country and the moment would inspire. And on. Keep in mind, Clapton was deified when his guitar exploded into "Sunshine of Your Love" or "White Room" on radios around the world.
There are no such explosions here. In fact, this entire performance could've been your favorite bar band down the street with Sanborn sitting in. Close to 12 minutes of "Snakes" is repetitive -- do you really want to hear Marcus Miller and Album) give a bass and drum clinic? Want to watch it as well? The crowd loves it, and with the excitement of these giants performing in front of them, that's understandable, Album).
This just won't go down as their classic stuff. Clapton sings "Going Down Slow," but there are no revelations. No sweat, no crumbs from heaven. It's not that there are any embarrassing moments -- and maybe that's part of the problem, as the music is machine-like, consistent, and very laid-back. One really needs Michael Heatley's liner notes to put things into perspective, and when you find yourself reading liner notes and not looking up at the TV, you begin to realize that entertainment is an art.
With Joe Sample, Gadd, Miller, Sanborn, and Clapton exercising their chops and playing for themselves, one keeps hoping someone in the audience will have the good sense to jump up and scream "Stop going through the motions and entertain, dammit. That's a moment you won't find here. Inevitably, Legends: Live at Montreux is a nice souvenir for those who attended, and another DVD that collectors will want to own but not play very often.
A brief reunion between Lawton and Hesslein resulted in the Sumo Grip album, a throwback to their original sound, and then the band went quiet for another 20 years, Album). Lawton, Hesslein, and Horns are reuniting to play the Swedish Rock Festival in June, and are currently putting together a full tour.
Sadly, original band drummer Joachim Rietenbach passed away a few years ago, so newcomer Stephan Eggart will occupy that position, with Yogi Wichman, who played on Sumo Grip, on keyboards. CD1 includes a re-mastered selection of the "most popular" Lucifer's Friend songs.
Formed by Sumner and Hook right after they attended a Sex Pistols gig, Joy Division transcended their punk roots to develop a sound and style that made them one of the pioneers of the post-punk movement. The sleeve's Germanic imagery drew criticism and speculation on their politics, not helped by later name changes.
Aided by Martin Hannett's sparse production, it was a critical success with the British music press. Despite this early acclaim, Curtis suffered from severe depression and personal difficulties, including a broken marriage and epilepsy. In particular he found it increasingly difficult to perform at live concerts, during which he often suffered seizures. In Mayon the eve of the band's debut American tour, Curtis, aged 23, committed suicide. Closer, Joy Division's second and final album was released two months later; the album and preceding single "Love Will Tear Us Apart" became the band's highest charting release.
Tumbling Dice - The Rolling Stones - Philadelphia (Dress Reheasal) Special 1 (CD), Suddenly Last Summer - The Motels - Little Robbers (Vinyl, LP, Album), Jaguar - Mavis Staples - Time Waits For No One (CD, Album), Whip Song (Remix By End) - Ambassador 21 - Akcija V1.1 (CDr, Album), Sleep On It - Tinsley Ellis - Moment Of Truth (CD, Album), Green Eyes - Mr. Blank - On The Ground (Vinyl, LP), No Love Lost - Severed Head Of State - Severed Head Of State (CD), CD 5 Track 6 - Paul Auster - Unsichtbar (CD)