Fair enough that Brazil has celebrated the birth centenary of Noel Rosa and Adoniran Barbosa. now in 2010. But the Brazilian music is so rich that these two were not the only great composers of the MPB of this season, we can also remember Custódio Mesquita and Nassar.
Antonio Gabriel Nassar, died in Rio in 1996 was not "only" co-authored with MPB MPB classics as uppercase "Allah-O-La" (with Haroldo Lobo), "World De Zinc" (Wilson Batista) and "Taiwan" (with J. Ruy); Nassar is also one of best cartoonists in the world, and its style, minimal synthetic (it was said that he drew "logo we") graced many publications and record covers the years 1930 to 1990. And his work as an illustrator is well remembered in the exhibition Nassar - 100 Years , the Federal Justice Cultural Center (Avenida Rio Branco 241, Centro, Rio de Janeiro), 3261-2563 55 21 headphones, Tuesday to Sunday until 6 February, from 12 to 19h, with free admission. More details www.ccjf.trf2.gov.br
The yearly Greek psych magazine TimeMazine 88pages (all in English) has a 10 page interview with Sam. It's just come out. TimeMazine is by the Time Lords of Radio Tripolis Greece...a real labour of love. The zine comes with a cd with songs of those interviewed too.. includes Blindman recorded in 2009 in Rubigen Switzerland with Greek references by Peter. There are also interviews with Gary Duncan of Quicksilver, Gary Lee Yoder of Oxford Circle and Kak and Cork Marcheschi of Fifty Foot Hose besides Finchley Boys, United Travel Service and a Greek band the 4 Levels of Existence and others too.
read what this man pulled from the "system" is enough to feel chills every time to listen. We made the price and went through our country in difficult times.
will repeat the text I wrote in my only post for the Elevators for which sincerely regretted.
"...... a long time thinking if I should upload some Lp of a 13th Floor Elevators due Adventure health Roky Erickson. Fortunately fully recover health in accordance with what I've read, regaining all rights reserved. I believe in them will are the rights of the disks.
is reasonable to tell me, well my friend so many discs staged, the "hijacking" of Rocky will hurt; I tell him that although he is right but in the case of Erickson to feel differently after the system has tried everything possible to eliminate the dielyontas most valuable commodity is the man. Health. As it became involved and the huge Arthur Lee of Love years later (his guarded I) only sent to this prison.
Anyway, even the "pirates" have some inhibitions. Consider that this is one of them I for some people who appreciate that "walked" the music much further than others useless enjoying privileges and money with a tail ... "
On this website http://www.mixtape.gr/t.asp?sub=3&sec=1&uid=537 read opinions are filled with pure music feeling and respect. Congratulations to palirati who έγραψε
This was the decade when music wasent really connected with money. Music was to make a point, make a change. But we can all hope that music in the future will be like this.
Με σχετική difficulty gathered from the Net that was available from this small bands that took only three 45ARIA. The famous piece, which is what everyone knows is The really great Naturally Stoned .
I do not know how many have heard Revelation ' s Revelations , which was the cause and to deal further with them to make the ascent in blog . Listen and I think you will like but also moving to a more tranquil atmosphere. I think he was anxious to complete underclass το Fly With Me .
b . The Elkin " Bubba " Fowler playing banjo, bass, guitar on tour of Leonard Cohen which went double Lp entitled Live At The Isle of Wight 1970 and another titled Songs of Love and Hate the tour The Army .
1 Yellow Beads/Honey And Gall (Columbia 4-44388) Dec. 1967 -
2 Naturally Stoned/Honey And Gall (Columbia 4-44590) Jul. 1968 40 (Produced by Billy Sherrill)
3 Fly With Me/Revelations Revelations (Columbia 4-44701) Dec. 1968 130
1. The Avant-Garde was an American psychedelic pop group formed by Chuck Woolery and Elkin "Bubba" Fowler in 1967. They released three singles on Columbia Records in 1967 and 1968, backed by different session musicians on each release: "Yellow Beads", "Naturally Stoned" (which hit #40 on the Billboard Hot 100 charts in mid 1968) [1] , and "Fly With Me". Despite the success of "Naturally Stoned", the group disbanded after "Fly With Me" and never released a full album.
2. This band is best known for Naturally Stoned which hit the Billboard chart at No. 40. and is best described as orchestrated 'psychedelic pop' (the lyrics may be psychedelic but the music is pop) with the backing sounding like a James Bond-type movie theme. It is the flip side which has been compiled however: Honey and Gall resurfacing on Psychedelic Unknowns Vol. 8 (LP & CD) and being an unusual and captivating hippie-psychedelic effort.
Yellow Beads is also dreamy acoustic hippie-pop in their unique style. The final 45 reverts to more standard orchestrated pop format effort on Fly With Me but is rescued by the electrified folk-pop flip.
All their material was composed by B. Fowler or C. Woolery, who it turns out is none other than Chuck Woolery, who would later become one of America's top game show hosts-- he was the original emcee of "Wheel of Fortune" before adding his brand of smarminess to the matchmaking "Love Connection".
And because the reason for the Natural Stoned and to quote the lyrics.
It seems the days We spent together All too quickly fade away And even now My lonely mind is full Of thoughts of yesterday
The say grow up Put your mind on What you have to do But I know I can never Make it, baby, without you
[CHORUS] I can feel a good vibration When I put my mind on you alone I can get a real sensation Feel like I'm naturally stoned Naturally stoned
And now they say It's time for me to face The troubled world alone But I know I can never do it While I'm standing on my own
There's just one thing that They do not seem to understand Why can't they get it Through their heads I need a helping hand
UNDERSTAND, BUT (OR THAT'S IT) SHE WANT ME TO DRAW
I had the privilege of knowing Vannucchi Luciana Farias singing and playing country music in the first few sessions of the Netflix Community, and liked it even more when he learned shortly later, she is also a designer, and good. Even now I have chosen to be the cover artist for my next album, The Microsambas , coming out in February. Yes, it's her turn, after I have given the same distinction at other major artists as friends and Drago (author of the cover of my Encyclopedia of Country Music ) and Cassian wheel (which made the cover of the LP The Courage Of Ayrton Mugnaini Jr. ). Well, just get to her blog, Design Luciana, nor have I need to agree with me.
Indeed, even "trees" as I benefit from travel, and this November was "viajandão" the interior of Sao Paulo with a tour of the Archive of Brazilian Rock. A nice surprise was to learn that a member of the Culture of Secretariat, Sao Jose dos Campos is also a lyricist, this is Ares Nilson, who has can tell who has written compositions, thanks to God and local singer and composer Alessandro Zamah, who recorded a CD in 2009 now independent Waterfall Hunter, who well deserves to be discovered by the stations that play smooth pop that since the year of 1970 goes by MPB. I made a
medleyzinho four partnerships and Ares Zamah this record: roquezinho erasmocarleano "Que Tal?" and the ballads "Plastic Heart", "Sublime" and "Music." Yes, my intention is to motivate you to go behind the disc, they can even talk to himself Zamah: alessandrozamah@gmail.com, apart from visiting his My Space page, www.myspace.com / alessandrozamah
(No, nothing to do with Barbie, or a Girl or not, though the person in question is also quite charming. )
On Thursday evening, December 2, had the pleasure of watching a show in Sao Paulo that Edria Barbieri honored Elis Regina. There was a "cover" faithful - it does not Maria Rita (and thankfully, I'm even happy for Maria Rita to be finding their own way and with quality), although it followed the original tone of "Menace" Edria added much of himself same, including imitating percussion with his mouth - and the instrumental accompaniment, only keyboard with piano sound, electric bass and drums, played a large decrease similarities (though I have remembered one of my phases Tracks of Elis, where she worked with the Zimbo Trio).
Ah, yes: while Elis was an artist "vertical", working in a specialty only in the case of the singer (and not just call it the "greatest Brazilian singer of all time" for her to have at least one major "competitor" , Elizeth Cardoso), Edria is "horizontal", ie spreads in a variety of vocations, plus singer - playing popular and classical music! - Is also a guitarist, bassist, percussionist, songwriter and actress theater and cinema. And since this is my blog, I say a mouthful which I am honored to have participated in some of her concerts and recordings and to be her neighbor in the Netflix Community.
A small sample of the versatility of the chick is here, playing "Illusion" of Canadian Julie Brezden; note that all sounds are produced by it - and that only the quality of the footage is homemade.
The Transatlantic Train - You're Bringing Me Down / The Train / She Was A Lady (1967)
Flea at straws. This actually was looking for hours trying to find information on this group. Neither reason a picture of the disc as the only I found is that once the June 1 in 1971 (Hayward Daily Review May 27, 1971), will be playing with two other "popular" group. Even what appear the collection Crystalize Your Mind do not say anything more than what I found.
From then did a "light" that seems to diskakiopos and notes for the group. Stimulus for carving on all the kommatara You're Bringing Me Down, but something which reminds me that I can find. Known sound damn.
started as The Dutch Masters and became The Transatlantic Train.
If there are survivors from the group and we discover, perhaps no two words say.
The Dutch Masters
Bob Buccelli Steve Bayard Tom Mullenix Dennis Brown Tony Costa
A folk-rock band from Monterey, they have one previously unreleased cut from 1966 titled "In My Way" on the Big Beat comp Good Things Are Happening.
The Transatlantic Train
Transatlantic Train were from the Monterey area. The group were originally The Dutch Masters. They changed their name to Transatlantic Train sometime in 1966. The line-up of the group was probably Bob Buccelli, Steve Bayard, Tom Mullenix, Dennis Brown and Tony Costa.
Transatlantic Train recorded at Golden State Recorders in San Francisco in early 1967 and released one single later in that year. The group continued performing with varying personnel until 1969 but did not release any further recordings.
Tracks 1. Transatlantic Train - The Train 2. Transatlantic Train - You're Bringing Me Down 3. Transatlantic Train - She Was A Lady http://sharebee.com/5132dadb
The Bondsmen - Our Time to Try / I See the Light (1967)
Good winter ... finally.
light weekend, pending the cold in 10 days that is possible (well, maybe see literally a bright day), with time to search the known hideouts of any good song.
The Moderator of upload today found three years ago in an endless and highly instructive garagehangover and I liked it. In the meantime I noticed the comments on the suspension where months around popping one of the members of the group giving information, some of them and copied here.
I'm Ken Haywood, the guitarist for the Bondsmen. This site has me thinking about the period between 1964 and 1970. Very interesting times and music.
Some thoughts on The Bondsmen... The 1967-68 lineup was:
Jim Bowen - bass & backup vocals - Jim lives in Charlotte, NC. We keep in touch and see each other on occasion. He played in classic rock bands around Charlotte in the 70's and 80's. I don't know if he's still playing now. Jim had the Hagstrom III bass that matched my guitar...cool.
Tim Hutchinson - trumpet & backup vocals - I haven't seen or heard from Tim since probably 1970. At that time I think he was in school and teaching music in Greensboro, NC.
Phillip Pearson - drums & flugelhorn - We did a version of "Love Is Blue" w/ trumpet and flugelhorn. "Phil Lee" lives in Nashville, TN and has had a successful music career. He has recorded a couple of highly acclaimed CD's in the folk-country-rock genre. It's been several years since we've talked.
Archie Thomas - vocals - I always considered Archie to be the band's main attraction. He was a great singer and everybody loved him. In the mid 70's, I recruited Archie to sing with the Castaways, a local R&B/Beach group. He sang with us for a short time, but work and family had to come first. What a great vocalist and good friend.
Gene Galligan - keyboards and vocals - Probably the one guy in the bunch that I figured would NOT be involved in music later in life. I had to beg him to play!!! I still remember Gene doing "The Ballad of Ira Hayes" one night..cool. Gene was more classically inclined so I can remember trying to get him to simplify and stay out of the guitar's way! Just kidding... We email and keep in touch.
John Santa - Guitarist and songwriter - Although never an "on stage" member, he was a true inspiration and great friend. I knew that the UNC Journalism School gig would do weird things to ya...Bluegrass...did you say Bluegrass? John, if you read this, we really have to get together so you can straighten me out...
Ken Haywood - Guitarist & vocals - I have been playing guitar and bass since 1963. I've done the Garage Rock to Soul/Disco to country Rock back to R&B Dance and currently play in a Society/Wedding band. Can you imagine playing Sinatra's "The Way You Look Tonight" and then 10 seconds later ripping into Jeremiah Was A Bullfrog? Holy crap! Been full circle and enjoyed most of it...
After Jim, Tim, Gene, and John left for college, The Bondsmen regrouped and continued performing for about another year and a half. The band also logged more time in the studio. This time a Raleigh, NC facility called Audiophonics. However, there were no singles released. We did get some local radio play of our "Got To Be Myself" recording written by Hubert Deans.
The 1969-70 lineup was: Archie Thomas - vocals Phillip Pearson - drums Jim Ward - bass Hubert Deans - keyboards Ken Haywood - guitar
Εδώ ένα άλλο μέλος γράφει:
I am john santa, the writer of Our Time To Try. great to hear from mike hollander as well. gene and i have had some communication and he is still playing music as is ken i believe. archie i haven't seen in years but he was not singing or performing at all the last time i heard from him which is a shame cause boy he was a great vocalist and performer. i have no idea what happened to jim (bass) or tim (trumpet) or if they're even still playing music but i hope so. phil pearson is, in fact, performing under the stage name phil lee and was at one point doing some stuff (i believe) with or around neil young and some of his people. i occasionally hear from phil as he is in town to see his daughter, but it has been years since the last contact. after college i released an album of original material on Moonlight Records called (as mike hollander mentioned) "Rainmaker" by the John Santa Band which consisted of myself, john ballew, steve wyrick, whitney french and shepp wasdell. It did fairly well at the time and can now be found in bargain cut out bins all across this great country. (so much for fame and fortune.) i have remained in the music business and write music for film and TV. i play about 18 instruments now and the book that gene galligan mentions is about my foray into the world of Bluegrass music called "Bluegrass Is My Second Language: A Year In The Life Of An Accidental Bluegrass Musician." it is available at www.bluegrassbook.com and has gotten very good reviews (i am proud to say) and has sold so well there will be a second edition out in mid 2008. in response to it's popularity, we are currently at work putting the book on CD (no release date as yet) AND are at work on a music CD called "The Blessing Of The Strings: Songs From The Book Bluegrass Is My Second Language." it features my original songs as well as originals from the members of the Bluegrass band i play with called EIGHTwentythree. (we took our name from the first day we ever played together: 8/23/01.) jeff wiseman is on banjo and lead vocals, greg eldred on lead vocal and guitar, keith carroll on acoustic (upright) bass and vocals. i play primarily mandolin, guitar, some dobro, harmonica (an instrument i learned to play for the Bondsmen btw) and a little cello on the album and also sing lead. this CD will be out in april or may of 2008. sorry to go on so long (it's why my book is 512 pages long!!) but i am hoping to get some updates on some of the other players on here and find out what paths we all took.plus, without what i just wrote, none of what i say next would make much sense: mike hollander wrote of the day jim bowen came into Northern High School with a box of records to sell and said it was electric.well it WAS but not nearly so much as the morning my clock radio went off and WSSB radio of durham north carolina announced a band called the Bondsmen (the name was suggested by drummer george outlaw another NHS student btw) had released a new record and here is one of the songs on it, Our Time To Try.to lie in bed as a high school senior and be awakened so unexpectedly by a song i had written and recorded with these incredibly talented musicians who happened to be my best friends was electrifying beyond my words to describe. that moment literally changed my life forever and undoubtedly started me down the path i walk today with music so much a HUGE part of my life.
No, I'm back (at least yet) to the almost famous group of rag language (although, yes, I'm back to program staff Radio Matraca since July). I'm is involved with the journal Language , publisher paulistana Segment.
few months ago the magazine interviewed me for an article about country music, and have just become a collaborator in the annual special edition Music & Language , it should have arrived on newsstands. This edition includes, besides myself, as contributors Flavia Perin, Luiz Tatit, Ivan Carlos Lopes and Braulio Tavares, and the result is a very comprehensive study on various types of letters of Brazilian music, the children's song to rap, from rock to hillbilly , tropicalism to Northeastern music, and studies of music and schools (The most timely, given the return of music as a matter of primary Brazilian), errors that work (as a combination "rewards" created by the Samba Cartola "Why Did You What I could - if Houaiss could modify the language as he pleased, why Cartola, with all his talent, it did not?) and the notorious "virunduns.
The "modern" I have not done. This time I bought because I liked the " Can You Feel it - Flowing Free ". Then of course there were no blogs so then manually entering the pocket. At least then I started to work at school so we were 'comfort' αγορών. Πάνε αυτά τώρα.
Λίγα λόγια που βρήκα σε ένα σαιτ
For a short period in the early to mid 1990's, a collective of Swedish musicians decided to relive the past and create improvisational psychedelic rock music similar to the early 70's masters such as International Harvester and Algarnas Tradgard.
Acts such as S.T. Mikael, Adam, Stefan and the Entheogens all recorded for the low budget label Xotic Mind. The primary difference between the modern day copiers and the 1970's masters is the one-dimensional nature of the recordings.
This trait can be attributed to most of the albums being solo projects with only guest musicians.
One of the better bands on the label were The Word of Life, a band lead by Mans P. Mansson, a multi-instrumentalist who plays guitar, sitar, synthesizers, percussion and sings. He is joined by many guests, though most important is the fine flute work provided by Anna Nystom. On the debut, Further Ahead, Mansson manages a varied improvisational psychedelic album.
Long burning jams such as "Space Fu?king" and "Can You Feel it - Flowing Free" are offset by calm flute and hand percussion ragas like "The Devil". What one notices in repeated listens is the need for an editor (a problem for many of these kind of solo ventures). Most of the jams meander on for too long and the inclusion of a couple of Earthy country-bumpkin vocal tracks with Louisiana-front-porch harmonica are in complete contrast to the hazy heady cosmic aspirations the album pretends to be.
Still, the album works on many levels, most notably the trance-like jams, which can get quite intense. The guitar tone is super fuzz loud and the percussion is particularly active. Recommended for all Krautrock, space rock and early Swedish pioneer groups. The original LP contained a paste-on cover and is now quite rare. Better to find the CD on Satori.
The sophomore effort, Dust, is quite a bit different from the predecessor. More variety and less jam oriented, this album tries to please on a number of fronts. "When I Was in Space" opens promisingly enough with oscillator-emulated synth runs and heavy percussion. But, alas, this goes on too long and becomes redundant, and one wishes for the sage advice of a wily producer.
The songs on this album have a sort of "retro lounge" naïve melody line motif which I find oddly appealing. No doubt there are plenty of sizzling guitar jams to bang your head to, just less of them than the ambitious debut. I find both of their albums to be good fun if you don't take them too seriously. And a few tracks are just devastating, especially on the debut.
good month ... let's say before the end and he and I have not uploaded anything .
I uploaded this album for three reasons.
A) Because the period we live in Greece, we have a deficit in musical level Zappa , to come to be buried and bad ass pimple on many and various panilithion to eat again in yob. It proved once again that the bucket of shit we do not have the bottom fall for it and we're going fraud.
B) Because Freak Out ! with what I see once again
C) To say my mother's passing dedicating the « Motherly Love ».
cap is a card that plugs a hole between the rear of the back seat and trunk. This piece was full of paint and torn, so I decided to make a new one. The hardest part was getting the card with the same thickness, until I remembered to use a file folder, which has a perfect card for the desired one. It was cut, tested on site, stripped and painted the screws and springs and painted cardboard cover with black enamel.
Then it was sanded glass fiber, primary and mass applied to correct imperfections, everything was sanded again with fine sandpaper and apply acrylic in black ink.
The cover of the steering column is a composite plastic part of two parts. My, how almost everything in this car was broken. As it is relatively expensive and a number following the dictum that all you can is to be restored, I tried to restore more than this. Was broken and was missing a bit. Pasted with glue two components and then was applied fiberglass to reinforce and fill the missing part. Were applied to each fitting a party because they were also parties.
obligations increased, the hours dwindled, and generally keeps running well.
One of the few to have time when I'm home, I put it to play something for hours. One of these is the collection of 10 pieces from the 'Psychedelic Archaeology. There stood a Moderator of The Mission , unfortunately unknown other components. Bring to Americans with some singklaki BET records without being confirmed.
Talk about a 45ariopou on one side there is Calmilly and the other Gailing Made It .
The information contained in the report Sinti:
The Mission - Calmilly
(2:21) No label or date info.
Flip side is "Gailing Made It" (also on this CD). A quirky progressive / psych outfit... don't have any info on this band. Sounds like this cut was recorded anywhere from 1968 to 1970.
και
The Mission - Gailing Made It
(2:18) No label or date info.
Flip side is "Calmilly," which is (also on this CD). This bizarre tune sounds like some monks got into the electric Kool-Aid! They are singing in English... aren't they? Sounds circa 68/70.
Το «κόλλημά» μου είναι με το δεύτερο κομμάτι όπου indeed the English seem strange, understanding minimum sentences. A "Gregorian" kalogeristiki "I dare say I think the situation is το κάτι διαφορετικό.
