martes, 31 de agosto de 2010

V.A. - Black Rockers - The Real Pioneers Of Rock'n'Roll

2009. Vamos hoy con otra de las excelentes recopilaciones del sello francés Saga, en concreto de su colección Saga Blues. Ésta, dedicada a pioneros negros del rock'n'roll, supone el quincuagésimo volumen de la colección, ahí es nada, y hay que decir que casi todos ellos son fantásticos, mejores los variados que los de artistas concretos, también es verdad. Desde la misma portada, en la que vemos a Bo Diddley, The Dutchess y Jerome Green, sabemos que estamos ante algo grande, y es que esa foto es la perfecta tarjeta de presentación para lo que encontraremos en el disco, un CD dividido en dos partes, la primera con una selección de temas a caballo entre el rhythm and blues y el r'n'r y la segunda con temas ya plenamente rocanroleros. Es un decir, claro, por que de aquella el estilo no estaba plenamente codificado y muchos de los temas son perfectamente intercambiables de una parte a la otra. Poco más os cuento, volumen 50 de la colección (¡casi nada!) y uno de mis favoritos. Distribuido en España por Karonte, podéis encontrar la colección por un precio más que atractivo en casi cualquier tienda de discos. Busquen, por dios. ¡Salud!

viernes, 20 de agosto de 2010

Cry Of Love - Brother

1993. Vamos a recordar hoy a una de las bandas más interesantes aparecidas a principios de la década de 1990 al calor del éxito de grupos como The Black Crowes. Cry of Love nacen en Carolina del Norte en 1989 comandados por el excelente guitarrista Audley Freed, que curiosamente acabó tocando con los cuervos en disco ("Lions") y giras (la del propio disco, además de grabar la soberbia unión con Jimmy Page para el "Live at the Greek"), además de en el segundo en solitario de Chris Robinson (amén de infinidad de colaboraciones). En los míticos Muscle Shoals Sound Studios y en 20 días escasos de noviembre de 1992 se grabó este esperanzador debut que hacía presagiar una carrera llena de éxitos. Finalmente no fue así y tras la entrada de un nuevo vocalista (Robert Mason, ahora en Warrant, en sustitución de Kelly Holland) y un segundo disco en 1997 ("Diamonds and Debris") la banda se separó. Una pena, ciertamente, y una prometedora carrera que se disolvió como azucarillo en café caliente. Os copio la info del MySpace, que no doy para más... ¡Salud!
The founding members of Cry of Love are all experienced musicians from small rural communities in North Carolina USA. Prior to the formation Cry of Love, Drummer Jason Patterson was playing in a revised line-up of 70’s rockers 'Nantucket' whilst guitarist Audley Freed and Bassist Robert Kearns had played in 'Sidewinder' a legendary cover band in the NC area. In 1989 the three musicians left the cover band circuit and began rehearsing in Raleigh whilst looking for a singer to front the band. Intial singer was Pee Wee Watson, who had played in Nantucket and later, the Nantucket off-shoot band PKM. The band eventually recruited singer Kelly Holland in November 1991. Kelly was actually the bands first choice for vocalist and only became available after making a decision not to follow his band 'The Point' to Los Angeles in October 1991. They began recording a demo with friend/producer John Custer. John, who had produced US Hardcore Metal band Corrosion of Conformity, helped them by working around the studio’s paying customers. Sessions were cheap but might only last a few hours before a two week break. In short, everything was far from finished when a friend of Audley’s, Pepper Keenan of COC, was rehearsing for a tour in the studio right next door to Cry of Love. Pepper, asked for a tape to take with him on the upcoming Corrosion of Conformity tour, under strict instruction from the members of Cry of Love NOT to play it to anybody. Within a short time, Pepper Keenan had played the tape for Corrosion of Conformity’s record label and Cry of Love were invited to set-up a show. Columbia A&R man, Josh Sarubin, later said after hearing the first 10 seconds he had already made up his mind he wanted to sign the band. The video of the show was sent back to the record company president and Cry of Love were told to “Get a lawyer”.... The band had their first rehearsal with Kelly on November 1st 1991, played their first show in January 1992, got offered their deal 1st day of June, signed it on August 10th and were in Muscle Shoals studios on November 1st 1992. The now legendary debut album ‘Brother’ took 20 days to record. Within another year ‘Peace Pipe’, taken from the debut album, was at the top of US magazine Billboard’s Album Rock Chart. Cry of Love's 1993 debut album Brother yielded two other rock radio hits. "Bad Thing" and "Too Cold In The Winter" were the soundtrack for an extensive 18 month tour opening for Lynyrd Skynyrd, Paul Rodgers, Bad Company, ZZ Top and playing in Europe as support for Robert Plant. In addition, they continued their own heavy touring schedule, where they freely jammed on extended versions of album material and preceded their second UK tour with a well received spot at the 1994 Donnington Festival. It therefore came as something of a surprise when Kelly Holland departed later that year. 'Brother' had sold over 220,000 copies in the States alone. After parting ways with their singer the band launched an exhaustive search for a new voice while writing songs and rehearsing for a new album. Former Silent Witness and Lynch Mob vocalist Robert Mason was eventually recruited to replace Holland as the band's new frontman. With a new singer in tow Cry of Love entered Jag Studios in Raleigh with producer/engineer John Custer once again and recorded the second album 'Diamonds & Debris' for release in 1997. Mason had come to the band after Cry of Love had received in the region of 400 demo tapes from singers looking for the job. Unfortunately, the band failed to achieve the level of success that 'Brother' had enjoyed. Columbia pulled back tour support for the album and the band split towards the end of 1997. There was no way the band could afford to continue touring without the help of a label....
Pues eso, fantástico debut de un grupo bastante olvidado pero que no nos cansaremos de reivindicar. 9/10
Escuchar en Spotify.

lunes, 16 de agosto de 2010

The Dustaphonics - Burlesque Queen

2010. Vamos hoy con una entrada atípica para una banda atípica. Os copio la info de su myspace, que estoy bastante perezoso.
The Dustaphonics (Healer Selecta's Rockin' Band) es la nueva banda de Healer Selecta (a.k.a Yvan Serrano Fontova), Dj, productor, músico y fundador del legendario colectivo londinenese Raison d'Etre, un colectivo que lleva funcionando en Londres mas de 10 años apadrinado por figuras legendarias del r&b, soul y r'n'r como Bo Diddley, Spanky Wilson, Wanda Jackson o la mismisima Tura Satana, que pone letra a una de las canciones de su primer 45rpm para Dirty Water.
Sobre Yvan Serrano (Healer Selecta) se escribe mucho y bien en la escena londinense, quizá la frase que mejor resuma su enorme talento sea la acuñada por el Times: "The man about who re-invented swinging London again" ...y no le falta razón, bien sea con sus proyectos paralelos (Healer's Selecta Sound System) o como Dj, abriendo shows para Wanda Jackson, Louisiana Red , Bo Diddley, Ike Turner, Eartha Kitt, Chuck Berry, Jazz Cafe, Las Vegas Grind, Wild Weekend, etc... con Healer Selecta la fiesta siempre está asegurada.
The Dustaphonics son una apisonadora de R'n'R con pocas fisuras,mezclan Soul, R&B, Surf, Garage... prácticamente sin despeinarse, con solvencia, clase y una actitud demoledora encarnada en la figura de su cantante Ayna, una auténtica real rockin' singer... pura dinamita para los ojos y oídos.
Extraído de su blog en español en Myspace.
MySpace Oficial.
Pues eso, buenísima banda que ya se estrenaron con el 7" de 2009 "Burlesque Queen/Tornado" y que con este CD dan un pasito más en lo que se aventura como una prometedora carrera. Así sea.
Comprar en Raison d'Etre.

viernes, 13 de agosto de 2010

Rockpile - Seconds Of Pleasure

1980. Tras varios trabajos conjuntos publicados bajo el nombre de alguno de los dos por fin en 1980 Dave Edmunds y Nick Lowe pueden editar el primer y único disco que saldría al mercado como Rockpile, grupo que a la sazón llevaba funcionando casi cinco años. Con la misma formación que este "Seconds of Pleasure" pero sin utilizar el nombre de Rockpile por temas legales ya habían editado 2 trabajos de Edmunds y otro más de Lowe, aparte de las colaboraciones con otros artistas y entre los dos líderes, colegas desde principios de la década de los '70. Por cierto que el nombre de Rockpile viene del disco que Edmunds publicó en 1972, para cuya gira reclutó al batería Terry Williams, quien también se encarga de los tambores en el disco que nos ocupa. Completa la formación como segundo guitarra Billy Bremer. Os pongo el enlace de la Wikipedia para que se informe el que esté interesado, que la cosa es un poco enrevesada para contarla en condiciones. Sólo añadir que el álbum es una maravilla que auna rhythm and blues, rock and roll, power pop y lo que se os ocurra, todo mezclado con exquisito gusto, grandes melodías y acertadas versiones. Esta edición que os recomiendo es la más completa que conozco, reuniendo los 12 temas originales, los 4 del Ep y 3 tomas en directo, amén de una presentación bastante decente. Pues eso, guapo disco. ¡Salud!

martes, 10 de agosto de 2010

Wild Horses - The First Album

1980. Wild Horses fueron una suerte de super-grupo formado en 1978 por Brian Robertson (guitarra ex-Thin Lizzy y luego en Motörhead) y Jimmy Bain (bajista ex-Rainbow y luego en DIO). Tras una formación inicial que contó con Jimmy McCullough y Kenney Jones la banda se estabilizó con Neil Carter (UFO, Gary Moore) y Clive Edwards (Uli Roth, Pat Travers, UFO) para la grabación de este que sería el primero de los dos discos que llegaron a publicar, una lograda amalgama de hard-rock en la onda Thin Lizzy con retazos nueva oleros comandada por la exquisita guitarra de Robertson y la limitada pero efectiva voz de Jimmy Bain. A ver, no os voy a engañar, no es un disco que os vaya a cambiar la vida pero está más que interesante y merece unas cuantas escuchas. Reedición de 2009 con 3 temas extra en directo con sonido un poco regulero, pero bueno, os hacéis una idea de cómo sonaban en vivo. ¡Salud!

viernes, 6 de agosto de 2010

Jackie Wilson - The Very Best Of Jackie Wilson

1987. En ese año de 1987, casi tres años después de su muerte, se editó este fantástico recopilatorio clave para entender la obra de uno de los más grandes e injustamente olvidados cantantes de R&B y soul de todos los tiempos, insigne figura de enorme influencia en generaciones posteriores pero como digo un tanto olvidado por el gran público en la actualidad. Jackie Wilson fue uno de los primeros en dar el paso del R&B al soul, junto a ilustres como Ray Charles o, por supuesto, Sam Cooke. Pues eso os cuento, la verdad que la vida del tipo es como poco muy entretenida, por decirlo de alguna manera y obviando lo trágico de sus últimos días, pero bueno, os animo a buscar más información al respecto. 24 temas que no tienen desperdicio y que os harán mover la patita a base de bien. ¡Salud!
No seas miserias y cómpratelo, este o alguno de los muchos que hay en el mercado, no te arrepentirás. Palabrita de niño Mondongo.

miércoles, 4 de agosto de 2010

Moreland & Arbuckle - Caney Valley Blues

2005. Álbum debut del que es uno de los grupos de blues más prometedores de la actualidad.
Armónica, cigar box guitar y raices, muchas raices. Keep It Simple, Stupid!

MORELAND & ARBUCKLE
B i o g r a p h y

Guitarist Aaron Moreland and harpist/vocalist Dustin Arbuckle have spent nearly a decade exploring the edges of American roots music. In the process – with help from the driving beat of drummer Brad Horner – Moreland & Arbuckle have forged a relentless and haunting sound that merges Delta blues, folk, rock, traditional country, soul and numerous other echoes and murmurs from an infinitely layered musical narrative that spans more than a century.

The Moreland & Arbuckle journey began when the two met at an open-mic jam at a club in Wichita, Kansas, in 2001. Moreland had just moved into town a few months earlier from Emporia – a city located some eighty-five miles to the northeast. A guitarist since age 15, his source material was admittedly diverse – Led Zeppelin, Creedence Clearwater Revival, Black Sabbath, Charley Patton, Motley Crue – but he’d settled into traditional blues by the time he’d arrived in Wichita in his mid-20s.

Arbuckle, a native of Wichita, had been playing in a blues rock bar band at the time, but his truest sensibilities ran a couple generations deeper, into the heart of the Mississippi Delta. He counts iconic figures like harpists Little Walter and Sonny Boy Williams and guitarist Son House among his most profound influences.

“It was kind of perfect,” says Arbuckle of the chance encounter between the two musicians. “We had a shared vision, in a place where there really wasn’t much interest in – or support for – country blues.”

Moreland joined Arbuckle’s blues rock band for the last few months before the project dissolved, then the two started a quartet called the Kingsnakes, which Arbuckle describes as “electrified Mississippi blues mixed with a sludgy, jam-oriented rock thing.” The project incorporated a range of sounds: soul, country, funk, jam rock, blues and whatever else worked. Horner joined in 2003, but left after just a few months. A few bass players came and went in the years that followed, until Moreland and Arbuckle discovered they could lay down a solid groove on their own – with the help of Horner, who had returned by the fall of 2006.

Then again, Moreland does his share of work at the bottom end. In addition to the more typical Telecaster and Les Paul guitars, his arsenal also includes a hand-crafted instrument consisting of four strings stretched across a cigar box. One string feeds into a bass amp, and the other three into a guitar amp. It’s a gritty, electrified descendent of the cigar box guitars played by countless Delta bluesmen of the early 1900s who, for all of their innate talents, were too impoverished to afford the real thing.

“There was no real adjustment for me,” Moreland says of his first encounter with the instrument, which was crafted by a friend in Memphis. “I just picked it up and played it. When I play a regular guitar, I hold down those bottom strings with my thumb and pluck those to get a kind of groove going. So when I first started playing the cigar box with the bass string, it just worked perfect with my style of playing.”

Moreland & Arbuckle crafted three self-produced album in rapid-fire succession – Caney Valley Blues in 2005, Floyd’s Market in 2006 and 1861 in 2008. “There have been times in the past when I’ve gone on a rant that we’re not writing enough,” says Moreland. “But then I look at our catalog and say, ‘Well, that’s stupid. We’ve put out all this stuff in a short period of time.’ When I look at it that way, I’d say we’re fairly prolific.”

The band took that hefty catalog to Iraq for nearly two weeks in the fall of 2008 to play for the American troops stationed there. “It was a crazy awesome experience,” says Moreland. “Super-grueling. Twelve days of about four hours of sleep per day. From a physical standpoint, it was pretty tough. But to go into a tattered, war-torn area where tens of thousands of fellow Americans were putting their lives on the line every day, minute by minute, was a very rewarding experience. I’d never experienced anything like it before.”

Moreland & Arbuckle make their debut on Telarc International, a division of Concord Music Group, with the February 2010 release of Flood. The album is the latest step in the trio’s never-ending quest to unearth the rawest and most honest elements of the American music tradition – without getting caught up in definitions and categories that would only serve to limit the vision.

“It’s hard to say exactly what we are and what we do,” says Arbuckle. “Blues is definitely at the core, but we’re huge fans of all sorts of American music, and all of that comes through as well. Obviously, there are elements of traditional country in what we do, elements of vintage rock and roll, soul and all that sort of stuff. We always try to stay grounded in that traditional blues center, and at the same time branch out and do as many different things as we can while still keeping it consistent with the sound we’ve developed.”

Nearly a decade into the journey, Flood represents a turning point in the Moreland & Arbuckle story – a new layer of excavation at that point in the road where powerful forces meet and new secrets are discovered. “The record is very spooky,” says Arbuckle. “We’ve never made a record before that has the earthy, spooky vibe that this one has. It creates an atmosphere that’s ripe for storytelling. There’s something about this music that makes you want to settle in and listen.”

Más información: http://www.myspace.com/morelandandarbuckle#ixzz0vcr7d4QI