One of the artists who helped the inception of the style known as Brazilian rock emerged in the '80s. Lobão also has a noted discography with expressive hits recorded by Marina and Nelson Gonçalves, among others, and promoted important discussions on the obscure subject of artistic rights in Brazil.After his stint in the important group Vímana, Lobão began to work as a freelance drummer, appearing on Fagner's LP Ave Noturna. He also worked in that phase for Marina, Luiz Melodia, Walter Franco, Gang 90 & As Absurdettes, Lulu Santos, Ritchie, and Blitz. In 1981, he recorded his first solo LP, the independent Cena de Cinema. Several of its songs became classics of the nascent Brazilian rock, such as "Cena de Cinema," "O Homem-Baile," and "Amor de Retrovisor." One of the founders of Blitz (together with Ricardo Barreto and Evandro Mesquita), the group would be a milestone in the consolidation of the Brazilian rock style. In the huge success of the early times, Blitzrecorded the first album (As Aventuras da Blitz) with Lobão, but he abandoned the group and its success, annoyed with its commercialism. It was then when he finally convinced RCA to release his Cena de Cinema, which was unpublished until that time. Organizing the band Lobão e Seus Ronaldos, he recorded the new wave/techno pop album Ronaldo Foi Pra Guerra (1984) with "Me Chama." But the other members, among diatribes involving a junkie girlfriend of one of them, banned Lobão from his own band in that same year. In the next year, he worked as an actor in the film Areias Escaldantes (Francisco de Paula). In March 1986, after an imprisonment for marijuana and cocaine possession, he released the album O Rock Errou, where the death of Júlio Barroso (Gang 90) inspired a depressed release. Sambista Elza Soares appeared on the album, which pioneered in the rock/samba crossover and the album sold 100,000 copies. In 1987, Lobão recorded his "A Deusa do Amor" (with Bernardo Vilhena) with the old radio days phenomenon Nelson Gonçalves (a rehabilitated addict) and was arrested twice due to drug possession, spending a "season" at Ponto Zero while he recorded Vida Bandida, which sold 300,000 copies. Cuidado! (1988) brought a more explicit approximation with samba via Ivo Meirelles. In November, condemned to imprisonment, he ran from the country until the sentence became void in 1989. In that period, he recorded Sob o Sol de Parador. Vivo, his seventh album, with the participation of the drum section of the Mangueira samba school, was recorded live during the São Paulo and Rio editions of the II Hollywood Rock, where a poll revealed that Lobão had been the best performance in the audience's opinion. In 1995, he released Nostalgia da Modernidade and later became again the polemic epicenter of a discussion involving recording labels and artists, as he distributed his album via newsstands. In 1998, he released Noite, which used techno pop as criticism, and in the year 2000 he promoted more polemics defending the community radios and denouncing the communication system in Brazil as being a politicians' feud. AMG.listen hereBuy @ Amazon:
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Rickie Lee Jones' The Devil You Know is a collection of classic rock cover songs that follows the intimate -- and excellent -- Balm in Gilead. Jones has performed covers since she began singing in dive bars in Los Angeles in the 1970s. They've made steady appearances in her recording career: Girl at Her Volcano(1983), Pop Pop in 1991, and It’s Like This (2000). Jones is a truly gifted interpreter. She takes songs inside herself, pulls them apart, reveals previously hidden meanings, and imbues them with new shades of meaning while transforming them into something of her own. Ben Harper, who collaborated with her on Balm in Gilead, produced the set. He gets it exactly right: the instrumentation is sparse, leaving lots of space for Jones' voice at the forefront. Ultimately, The Devil You Know is about Jones' voice and the journey it takes through these songs. So intimate are these proceedings, the listener may feel she is eavesdropping. In Jones' voice, "Sympathy for the Devil" is no longer a swaggering statement of rebellion, but an exposed view of the heart of the being who boasts. Neil Young's "Only Love Can Break Your Heart" sheds the innocence of the original and imparts experience, wisdom, and scars from love's battlefield without bitterness or cynicism, only tenderness. Her reading of Van Morrison's "Comfort You" is proof. She takes the songwriter's sense of want and expresses it as a pure intention in spite of its cost. The two seeming oddities here -- Harper's original "Masterpiece" and the standard "St. James Infirmary" -- add striking depth and dimension. The former is obviously modeled on Morrison's Astral Weeks period and as such, Jones gives it that anchor. Her take on the latter tune strips away the decades of nostalgia and brings it right back to the blues. Her emotive resonance brings back the depth of emotion the song was meant to convey. Jones' version of Tim Hardin's "Reason to Believe" and Ted Anderson's "Seems Like a Long Time" both appeared on Rod Stewart's Every Picture Tells a Story. Jones adds a different kind of authority to both. Her voice, while less grainy, is more world-weary, more broken, but more convincing in its resolve. Between them is the Rolling Stones' "Play with Fire," its refrain is a warning (once more stripped of its boast), an act of simple, dark truth-telling. With its restrained arrangements and spacious production, The Devil You Know allows Jones' enigmatic voice the room it needs to rise and deliver these songs, not from rock & roll history, but from her heart, marrow, and bones. AMG.listen hereBuy @ Amazon:
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The prospect of a new studio album from the New York Dolls in the year 2006 is a strange and puzzling thing, especially without the presence of Johnny Thunders, Arthur Kane, and Jerry Nolan, all of whom are currently gigging on another astral plane. But after the Dolls made an unexpected and surprisingly convincing return to the concert stage in 2004, David Johansen, Sylvain Sylvain, and their newly appointed partners started writing new material and took the risky step of taking the new band into the studio a mere 32 years after Too Much Too Soon. One Day It Will Please Us to Remember Even This has two major hurdles to clear for anyone who cared about the Dolls: they have to create something akin to the sloppy majesty of their two iconic studio albums without the help of ace guitar mauler Thunders, and they have to write songs with the same gritty blare and strutting attitude that came as second nature when they were twenty-somethings. Musically, this version of the Dolls is much more precise than they ever were back in the day, but the opening track, "We're All in Love," captures a fair share of the rattly subway train rhythm that was the Dolls aural trademark, and most of these tunes don't aim for the same degree of rock action as the group's most famous tunes, there's still an admirable crash-and-bash energy on "Gimme Luv and Turn on the Light" and "Dance Like a Monkey," and there are clear gestures towards the Dolls' other sonic touchstones: vintage girl group sounds ("Rainbow Store"), old-school R&B ("Take a Good Look at My Good Looks"), the blues ("I Ain't Got Nothin'"). Just as importantly, David Johansen hasn't sung rock & roll with this kind of strength, authority, and guts in years, and guitaristsSylvain and Steve Conte crank out the fire without too much audible worry about the weight of the past. (It also helps that the rhythm section is right on the money and Jack Douglas delivers the muscular but unobtrusive production this band always needed and never got.) As for the songs, with their frequent philosophical musings and multisyllabic constructions, this is heady stuff coming from what was once was a band of decadent street punk fashion mavens, but let's face it, one of the reasons Johansen andSylvain survived and their bandmates didn't is they had a vision of the future that went further than the next party and the next fix, and the best songs on this album look at where these guys have been and where they're going with a mixture of intelligence, perception, and street smarts. And if you're just looking for dumb fun, "Dance Like a Monkey" delivers. On One Day It Will Please Us to Remember Even This, the New York Dollsare a far cry from the band that recorded "Personality Crisis" in 1972, but the album offers a reasonable approximation of the Dolls as smart, battle-hardened survivors who've got something to say and have a few laughs while saying it. If it's not quite a triumph, it's challenging and ambitious stuff that rocks on out and doesn't tarnish the memory of what Johansen and Sylvainaccomplished so many years ago. AMG.listen hereBuy @ Amazon:
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Wonderland is a surprisingly commercial work from guitarist/vocalist Nils Lofgren, opening with a very catchy and impressive "Across the Tracks," followed quickly by the beautiful "Into the Night," which has flavors of Bruce Springsteen, though Lofgren's vocal is more precise and radio-friendly than his boss, the Boss. That's the strange thing about the music biz -- when a voice is superior and the music more commercial, it still takes a back seat to personality; listen to any hit song from Neil Young to verify that statement. And take, for example, the only cover here, Bobby Womack's classic "It's All Over Now." Everything's in tune, but the band sounds like it was programmed by a computer and Lofgren's vocal has none of the drive found in his originals. Indeed, he is again sounding like Springsteen on the very next track, "I Wait for You," which has that Springsteen swagger with Lofgren's to-the-point presentation. The excellent production by the singer along with his rhythm section -- bassist Kevin McCormick and drummer Andy Newmark -- is much more exciting than Jeffrey Baxter's thin sound on Night Fades Away or Newmark and Lofgren's co-produced effort, 1977's I Came to Dance, which had none of the snap, crackle, and pop found here. The title track reflects that observation perfectly. Interesting that on both those aforementioned albums the cover tunes are the most successful performances, while here the originals are what work and are among Lofgren's best, with superb sound to bring them to life. The vibes on "Lonesome Ranger" add spice, and having Edgar Winter, Carly Simon, and Louise Goffin adding their voices to the mix on this LP is indicative of the class spread all over these tracks. Even more cohesive than the 1979 classic Bob Ezrin-produced Nils album, Wonderland has tons of great moments, sparkling guitar work, and a groove that is commanding. The key thing that's missing to bring music this good to the masses is an overpowering persona, and it seems Nils Lofgren is just too nice a guy to put that driving arrogance behind the sounds to catapult them onto AM and FM radio. Even more of a pity is that Backstreet/MCA couldn't do it for him, because the artist certainly gave them extraordinary product to work with here. AMG.listen hereBuy @ Amazon:
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For a career that was cut short by illness and a premature death, guitarist, singer, and songwriter Rory Gallagher sure accomplished a lot in the blues music world. Although Gallagher didn't tour the U.S. nearly enough, spending most of his time in Europe, he was known for his no-holds-barred, marathon live shows at clubs and theaters around the United States.Gallagher was born in Ballyshannon, County Donegal, Irish Republic, on March 2, 1948. Shortly after his birth, his family moved to Cork City in the south, and at age nine he became fascinated with American blues and folk singers he heard on the radio. An avid record collector, he had a wide range of influences, including Leadbelly, Buddy Guy, Freddie King, Albert King, Muddy Waters, and John Lee Hooker. Gallagher would always try to mix some simple country blues songs into his recordings.Gallagher began his recording career after moving to London, when he formed a trio called Taste. The group's self-titled debut album was released in 1969 in England and later picked up for U.S. distribution by Atco/Atlantic. Between 1969 and 1971, with producer Tony Coltonbehind the board, Gallagher recorded three albums with Taste before they split up. Gallagher began performing under his own name in 1971, after recording his 1970 debut, Rory Gallagher for Polydor Records in the U.K. The album was picked up for U.S. distribution by Atlantic Records, and later that year he recorded Deuce, also released by Atlantic in the U.S.
His prolific output continued, as he followed up Deuce with Live in Europe (1972) and Blueprint and Tattoo, both in 1973. Irish Tour 1974, like Live in Europe, did a good job of capturing the excitement of his live shows on tape, and he followed that with Calling Card for Chrysalis in 1976, and Photo Finish and Jinx for the same label in 1978 and 1982. By this point Gallagher had made several world tours, and he took a few years rest from the road. He got back into recording and performing live again with the 1987 release (in the U.K.) of Defender. His last album, Fresh Evidence, was released in 1991 on the Capo/I.R.S. label. Capo was his own record and publishing company that he set up in the hopes of eventually exposing other great blues talents.
Some of Gallagher's best work on record wasn't under his own name; it's stuff he recorded with Muddy Waters on The London Sessions (Chess, 1972) and with Albert King on Live (RCA/Utopia). Gallaghermade his last U.S. tours in 1985 and 1991, and admitted in interviews that he'd always been a guitarist who fed off the instant reaction and feedback a live audience can provide. In a 1991 interview, he told this writer: "I try to sit down and write a Rory Gallagher song, which generally happens to be quite bluesy. I try to find different issues, different themes and different topics that haven't been covered before...I've done songs in all the different styles...train blues, drinking blues, economic blues. But I try to find a slightly different angle on all these things. The music can be very traditional, but you can sort of creep into the future with the lyrics."Gallagher passed away from complications owing to liver transplant surgery on June 14, 1995, at age 47. For a good introduction to his unparalleled prowess as a guitarist, singer, and songwriter, pick up Irish Tour 1974, Calling Card, or Fresh Evidence, all available on compact disc.
Etched in Blue is a solid, if not exactly definitive, retrospective of Rory Gallagher's career that offers a fine introduction to the Irish blues star. AMG.listen hereBuy @ Amazon:
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A transitional album from the word go, Hendryx plays synthesizer and works with producer and formerTangerine Dream member Peter Baumann, and the result is this lush (at times too lush) pop record that sounds unlike anything else Hendryx recorded. Fans of her previous work may be taken aback by this record, but the dense, almost ambient, soundscapes she constructs and her always great singing make this a satisfying foray into uncharted territory. AMG.listen hereBuy @ Amazon:
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Lucinda Williams took eight years to write and record her second album of original songs. While some producers and record executives have said that she is difficult to work with, one can never argue with the finished product. She crafts each song meticulously and deftly blends country, blues, and folk to create a unique sound that cannot be pigeonholed into any particular format. Her voice contains a heartache comparable to Emmylou Harris, but she has a darker side and a toughness that allows her to live inside the blues or rock with abandon. Re-released with bonus tracks after receiving long overdue commercial acclaim for Car Wheels on a Gravel Road, Lucinda Williams is an album that has been long been recognized as a classic. It has been mined for hit songs over the years by such artists as Mary Chapin Carpenter, who turned "Passionate Kisses" into a country hit, and Tom Petty, who included "Changed the Locks" on his soundtrack album She's the One. In addition to writing strong melodies, Williams is an amazing songwriter with a knack for writing a lyric that acknowledges the complicated nature of relationships while cutting right to the heart of the matter. Every song packs an emotional punch line and rewards the listener each time with something new. A must-own for country and blues fans who appreciate great songwriting. AMG.listen hereBuy @ Amazon:
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Miles Davis's final Columbia recording (other than Aura which was released several years later) includes his straightforward ballad interpretations of Cyndy Lauper's "Time After Time" and the Michael Jackson-associated "Human Nature," two songs he would play in most of his concerts for the remainder of his life. Other tunes (including "You're Under Arrest," "One Phone Call" and "Ms. Morrisine") were quickly discarded. In addition to Davis (who had regained his earlier chops) tenor-saxophonist Bob Berg, guitarist John Scofield and guest John McLaughlin get in a few decent solos on this competent but not overly memorable effort. AMG.listen here or
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One more year is gone, and more to come yes!!! Thanks to Bertrand (the MFP), B. (thanks your kindness for sharing), Mauro Felipe, Adriana ( mi gorda de Buenos Aires), Psegpp, Vasily, Gkapageridis, Bill (24hrDejaVu), Bob (bamabob), Lawrence David, João (La Réunion), Roldo, Chuntao (RareMP3), Mr. JJ, Baby GrandPa, Justin Thyme, Jason, Frank, Steve, Miles and so many more, and all this blog followers,....thanks for sharing life around!!! Happy New Year 2013 full of Joy! :)
Without Keith Moon, the Who may have lacked the restless firepower that distinguished their earlier albums, but Face Dances had some of Pete Townshend's best, most incisive compositions sinceQuadrophenia. "Don't Let Go the Coat" was one of his better odes to Meher Baba, "You Better You Bet" was a driving rocker, as was the rueful "Cache Cache," while "How Can You Do It Alone" was a solid ballad. While Townshend's songs were graceful and introspective, Roger Daltrey delivered them without any subtlety, rendering their power impotent. AMG.link removedBuy @ Amazon:
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