The Hoochie Coochie Men Feat Jon Lord • Danger White Men Dancing Retail

Well a what a surprise this was. I thought it would be good having already heard the live offering from a few years before but honestly never expected it to be as good as this. Right from the very first note of Jon Lord’s swirling hammond organ you get top quality blues played by some highly experienced musicians at the top of their game.

Opening track ‘The Blues Just Got Sadder’ is a perfect start with the swirling Lord organ leading into a peice of solid blues rock. My only complaint is that it is too short. The second cut ‘Gotta Find Me Some Fire’ is almost Deep Purple meets Thunder in a bluesy kind of way and features a great guitar solo from Tim Gaze who also delivers another excellent vocal. (I am now more than a little concerned as to why I have never heard of him before by the way).

‘Twisted System’ sees the first guest vocalist in the shape of Jeff Duff who does not sound unlike David Clayton-Thomas. This and the fact that the song is very reminiscent of ‘Spinning Wheel’ gives it a real ‘Blood Sweat & Tears’ feel. But nonetheless it’s a cracking track. Jon Lord’s old Deep Purple cohort Ian Gillan takes the mike for the next track ‘Over and Over’. This would not have been out of place on one of the more recent Deep Purple albums and Gillan delivers one of his trademark vocals. The track veers between soft acoustic and hard hitting rock with a great explosive guitar before drifting back into a soft piano ending. A song which would surely have been a classic had it been recorded by Purple in their heyday. In fact the early Purple sound is all over this album just with a little more hint of the blues. ‘Let It Go’ sees Tim Gaze, who does not sound unlike Elmer Gantry (Velvet Opera/Stretch etc) at times, return to the mike and deliver another great vocal over a riff not unlike Purple’s early instrumental classic ‘Wring That Neck(Hard Road). The fourth vocalist on the album Jimmy Barnes takes his first song next on the cover of The Rolling Stones ‘Heart of Stone’. More great organ and guitar interplay and a class vocal make this another great track. Gillan is up again next for ‘If This Ain’t The Blues’ and although this is a more standard blues type song, with that Lord organ in the background it is hard not to think of Deep Purple.

The title track is up next and is a nice foot tapping instrumental with the obligatory organ and guitar solos and more great interplay between the soloists. This is as good a time as any to extole the virtues of bass player Bob Daisley, a figure well known to rock fans from his time with Rainbow, Uriah Heep, Ozzy Osbourne etc and drummer Rob Grosser who provide a good solid rhythm section throughout. ‘Dead Presidents’ follows and is a great peice of swingtime blues with a clever lyric and more swirling Lord organ. It is a song I had not previously heard but was co-written by Willie Dixon so there are probably numerous other versions about. Jimmy Barnes is back for the next track a hard hitting version of the Muddy Waters classic ‘Hoochie Coochie Man’. It may have been a predictable choice of cover but is, you have to admit, certainly appropriate and the performance is good if hardly original. ‘Bottle O’Wine has a really great groove to it and the vocal is delivered by Jeff Duff again in his David Clayton-Thomas Blood Sweat & Tears style. It really is uncanny how similar they sound. The best track on the album though is the penultimate one, the Don Nix penned ‘Everybody Wants To Go To Heaven’. It is just perfect blues with a great vocal, great guitar, meaningful lyrics that are easy to identify with …… “everybody wants the truth but everybody wants to tell a lie” …….. “everybody wants to go to heaven but nobody wants to die”…. and of course that classic Lord organ. The final track is actually the weakest on the album but is still pretty good without living up to the quality of earlier tracks. Maybe it suffers from following ‘Everybody Wants To Go To Heaven’ which for me would have been a better closer.

To summarise then this is a great blues album, it’s a great blues rock album and it is probably the best rock style organ playing Jon Lord has come up with since ‘Burn’. Seriously, it is that good. If you are a fan of blues rock and more specifically pre 1975 Deep Purple you simply cannot afford not to hear this album.
Martin Leedham. Originally published on RYM January 2010
https://martinleedham.wordpress.com/2010/11/23/album-review-the-hoochie-coochie-men-featuring-jon-lord-danger-white-men-dancing-2007/

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Bueno, qué sorpresa fue esto. Pensé que sería bueno haber escuchado la oferta en vivo de unos años antes, pero honestamente nunca esperé que fuera tan buena como esta. Desde la primera nota del órgano hammond giratorio de Jon Lord, obtienes blues de alta calidad interpretados por músicos altamente experimentados en la cima de su juego.

La pista de apertura 'The Blues Just Got Sadder' es un comienzo perfecto con el arremolinado órgano Lord que conduce a una pizca de blues rock sólido. Mi única queja es que es demasiado corto. El segundo corte, 'Gotta Find Me Some Fire', es casi Deep Purple se encuentra con Thunder de una manera blues y presenta un gran solo de guitarra de Tim Gaze, quien también ofrece otra excelente voz. (Por cierto, ahora estoy más que un poco preocupado por qué nunca antes había oído hablar de él).

'Twisted System' ve al primer vocalista invitado en la forma de Jeff Duff, que no suena diferente a David Clayton-Thomas. Esto y el hecho de que la canción recuerde mucho a 'Spinning Wheel' le da una sensación real de 'Blood Sweat & Tears'. Pero, sin embargo, es una pista de craqueo. Ian Gillan, antiguo compañero de Deep Purple de Jon Lord, toma el micrófono para la próxima canción 'Over and Over'. Esto no habría estado fuera de lugar en uno de los álbumes más recientes de Deep Purple y Gillan ofrece una de sus voces características. La pista se desvía entre la acústica suave y el rock contundente con una gran guitarra explosiva antes de volver a caer en un final de piano suave. Una canción que seguramente habría sido un clásico si hubiera sido grabada por Purple en su apogeo. De hecho, el sonido púrpura temprano está en todo este álbum solo con un poco más de blues. 'Let It Go' ve a Tim Gaze, que no suena a diferencia de Elmer Gantry (Velvet Opera/Stretch, etc.) a veces, regresar al micrófono y ofrecer otra gran voz sobre un riff no muy diferente al clásico instrumental temprano de Purple 'Wring That Neck(Hard Road). El cuarto vocalista del álbum Jimmy Barnes toma su primera canción a continuación en la portada de The Rolling Stones 'Heart of Stone'. Más excelente interacción de órgano y guitarra y una voz de clase hacen de esta otra gran pista. Gillan vuelve a ser el siguiente en 'If This Ain't The Blues' y aunque se trata de una canción de blues más estándar, con ese órgano de Lord de fondo es difícil no pensar en Deep Purple.

La pista principal es la siguiente y es un buen instrumental de golpeteo de pies con los solos obligatorios de órgano y guitarra y una interacción más grandiosa entre los solistas. Este es un buen momento para ensalzar las virtudes del bajista Bob Daisley, una figura bien conocida por los fanáticos del rock de su época con Rainbow, Uriah Heep, Ozzy Osbourne, etc. y el baterista Rob Grosser, quienes brindan una buena sección rítmica sólida en todo momento. 'Dead Presidents' sigue y es una gran muestra de blues de swingtime con una letra inteligente y un órgano de señor más arremolinado. Es una canción que no había escuchado anteriormente, pero fue coescrita por Willie Dixon, por lo que probablemente haya muchas otras versiones al respecto. Jimmy Barnes está de regreso para la próxima canción, una versión contundente del clásico de Muddy Waters 'Hoochie Coochie Man'. Puede que haya sido una elección predecible de portada, pero es, tienes que admitirlo, ciertamente apropiada y el rendimiento es bueno, aunque apenas original. 'Bottle O'Wine tiene un ritmo realmente genial y Jeff Duff vuelve a interpretar la voz en su estilo David Clayton-Thomas Blood Sweat & Tears. Realmente es extraño lo similares que suenan. Sin embargo, la mejor pista del álbum es la penúltima, The Don Nix escribió 'Everybody Wants To Go To Heaven'. Es un blues perfecto con una gran voz, una gran guitarra, letras significativas con las que es fácil identificarse ""todo el mundo quiere la verdad, pero todo el mundo quiere decir una mentira"". "todo el mundo quiere ir al cielo, pero nadie quiere morir".... y, por supuesto, ese clásico órgano Señor. La pista final es en realidad la más débil del álbum, pero sigue siendo bastante buena sin estar a la altura de la calidad de las pistas anteriores. Tal vez sufre de seguir 'Todo el mundo Quiere Ir Al Cielo', que para mí hubiera sido un mejor cierre.

Para resumir, entonces, este es un gran álbum de blues, es un gran álbum de blues rock y probablemente sea el mejor órgano de estilo rock que Jon Lord ha creado desde 'Burn'. En serio, es así de bueno. Si eres fanático del blues rock y más específicamente de Deep Purple anterior a 1975, simplemente no puedes permitirte no escuchar este álbum.
Martin Leedham. Publicado originalmente en RYM enero de 2010
https://martinleedham.wordpress.com/2010/11/23/album-review-the-hoochie-coochie-men-featuring-jon-lord-danger-white-men-dancing-2007/

Jeff Beck • The Best Of Beck

 

Review
by Steve Leggett
Ever restless as a musician and constantly changing directions and trying new things, guitarist Jeff Beck is difficult to reduce to a 14-track overview, although this set probably does as well as one could at sketching in the portrait. Beginning as a guitarist for the Yardbirds in the 1960s, Beck hit his stride with the Jeff Beck Group (which featured a then relatively unknown Rod Stewart as lead singer) later in the decade, and "Shapes of Things" (initially a radio hit for the Yardbirds), "Plynth," and "Beck's Bolero" are represented here from that era. Also here are several of Beck's mid-'70s fusion tracks, including "Freeway Jam" and "Goodbye Pork Pie Hat," as well as his 1980s reunion with Stewart, “People Get Ready.” Again, Beck is a difficult artist to capture in a single-disc drive-by, but for folks curious about this fine guitarist and wanting a quick sampler of his work in several of his various guises, this set works fine as an introduction.

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Reseña
por Steve Leggett
Siempre inquieto como músico y en constante cambio de direcciones y probando cosas nuevas, el guitarrista Jeff Beck es difícil de reducir a una visión general de 14 pistas, aunque este conjunto probablemente lo hace tan bien como uno podría esbozar el retrato. Beck, que empezó como guitarrista de los Yardbirds en los años 60, alcanzó su apogeo con el Jeff Beck Group (que contaba con un entonces relativamente desconocido Rod Stewart como vocalista) a finales de la década, y "Shapes of Things" (inicialmente un éxito radiofónico para los Yardbirds), "Plynth" y "Beck's Bolero" están representados aquí de esa época. También están aquí varios de los temas de fusión de Beck de mediados de los 70, como "Freeway Jam" y "Goodbye Pork Pie Hat", así como su reunión de los 80 con Stewart, "People Get Ready". Una vez más, Beck es un artista difícil de capturar en un solo disco, pero para los curiosos acerca de este buen guitarrista y que deseen una muestra rápida de su trabajo en varias de sus diversas formas, este conjunto funciona bien como una introducción.

www.jeffbeck.com ...

Focus • Moving Waves

 

Review by Paul Co

The album that boosted Focus into at least semi-fame outside of continental Europe, Moving Waves blasts off with their hit single, "Hocus Pocus." Built around a killer guitar hook by Jan Akkerman and a series of solo turns by the band, this instrumental replaced "Wipeout" as a staple of FM radio. The bizarrely hilarious vocal and accordion solos by Thijs van Leer -- one of which absurdly concludes with rousing stadium cheers -- have to be heard to be believed. After this over-the-top performance, the other tracks seem comparatively constrained: the gentle "Le Clochard" features some gorgeous classical guitar over Mellotron strings. The album concludes with "Eruption," which while mimicking the multi-suite nomenclature of Yes and King Crimson, is essentially a side-long jam session. Stop-time Emersonian organ solos alternate with languid sections of jazzy guitar redolent of Santana, while still other sections are flat-out electric blues-rock stomps. It's impressive playing, though it comes off as a bit meandering after the tightly structured solos that began the album.

https://www.allmusic.com/album/moving-waves-mw0000197956

Note by egroj:
Mr. Paul refers to Emerson (ELP) indicating his influence or that he borrowed riiffs from the great progressive organist, being that this Focus album was recorded before the second ELP album, and being that Focus was formed a year before ELP; "Santana" and "Abraxas" are contemporary albums of Carlos Santana and I sincerely don't think they are a strong influence; the same can be said of Yes or King Crimson. While everyone took something from everyone, symphonic or progressive rock was composed and performed by musicians of enormous talent and knowledge, along with experimentation with new horizons and fusion with other genres.

PS: Mr. Paul also forgets "Janis" a beautiful and melancholic ballad that alone is worth the album.

Translated with www.DeepL.com/Translator

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Reseña de Paul Co

El álbum que impulsó a Focus a alcanzar al menos la semifama fuera de la Europa continental, Moving Waves despega con su exitoso sencillo, "Hocus Pocus". Construido alrededor de un gancho de guitarra asesino por Jan Akkerman y una serie de giros en solitario por la banda, este instrumental reemplazó "Wipeout" como un elemento básico de la radio FM. Los extrañamente hilarantes solos vocales y de acordeón de Thijs van Leer -uno de los cuales concluye absurdamente con animadas aclamaciones en el estadio- tienen que ser escuchados para que se les crea. Después de esta actuación exagerada, los otros temas parecen comparativamente limitados: el suave "Le Clochard" presenta una magnífica guitarra clásica sobre cuerdas de Mellotron. El álbum concluye con "Eruption", que si bien imita la nomenclatura multi-suite de Yes y King Crimson, es esencialmente una sesión de improvisación lateral. Los solos de órgano de Stop-time Emersonianos se alternan con secciones lánguidas de la guitarra jazzy redolente de Santana, mientras que otras secciones son zapateados de blues-rock eléctrico. Es una interpretación impresionante, aunque parece un poco serpenteante después de los solos estrechamente estructurados que comenzaron el álbum.

https://www.allmusic.com/album/moving-waves-mw0000197956

Nota por egroj:

El señor Paul se remite a Emerson (ELP) indicando su influencia o que haya tomado prestado riiffs del gran organista progresivo, siendo que este disco de Focus fue grabado antes del segundo disco de ELP, y siendo que Focus se formó una año antes que ELP;  "Santana" y "Abraxas" son discos contemporáneos de Carlos Santana y sinceramente no creo que sean una influencia fuerte; lo mismo puede decirse de Yes o  King Crimson. Si bien todos tomaban algo de todos, el rock sinfónico o progresivo era compuesto e interpretado por músicos de enorme talento y conocimiento, junto a la experimentación de nuevos horizontes y fusión con otros géneros. 

PD.:  El señor Paul olvida también  a "Janis" una preciosa y melancólica balada que por sí sola vale el álbum.

Jump • Jump!

Cuando en Inglaterra grupos como Led Zeppelin o Deep Purple afianzaban el hard rock, del otro lado del atlántico esta efímera banda de un único álbum metía respeto. Mark Spiwak (bajo - voces), Don Gorman (batería - voces), Dennis Tracy (voz principal - guitarra), and Scott Thurston (voz principal - órgano), graban este disco en San Francisco alternando rock con temas más duros y un par de baladas. En sí la banda suena fresca y con mucha energía. No hubo segundo disco, cada miembro buscó su rumbo y sólo quedó este registro que los invito a disfrutar.

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When in England bands like Led Zeppelin or Deep Purple afianzaban hard rock, the other side of the Atlantic this ephemeral band of a single album he got respect. Mark Spiwak (bass - vocals), Don Gorman (drums - vocals), Dennis Tracy (lead vocals - guitar) and Scott Thurston (lead vocals - organ), recorded this album in San Francisco alternating rock with harder tracks and a couple ballads. The band itself sounds fresh and energetic. There was no second album, each member sought its course and only was this record that I invite you to enjoy.

 

The Cult • Ceremony

 

www.the-cult.com ...

 

Focus • Hamburger Concerto

 

Review by Ben Davies

Focus had well proven their ability to write rocking instrumentals by the time of this release. Their catalog, although consisting of four albums, rarely had a dull moment between them. Hamburger Concerto is equally consistent, much of it being prime Focus material. The Akkerman-written "Birth" and "Early Birth" are examples of Focus fully flexing their muscles, featuring superb guitar work and amazing all-round musicianship, as well as sporting some superb riffs. The usual lengthy instrumentals are present also, as well as some manic vocals from the manic but genius Thijs Van Leer. Although Hamburger Concerto is not as unerring as Moving Waves or Focus III, anyone who enjoyed the previous releases would undoubtedly find great satisfaction from this album.

 Artist Biography by Jason Ankeny

Best remembered for their bizarre chart smash "Hocus Pocus," Dutch progressive rock band Focus was formed in Amsterdam in 1969 by vocalist/keyboardist/flutist Thijs van Leer, bassist Martin Dresden, and drummer Hans Cleuver. With the subsequent addition of guitarist Jan Akkerman, the group issued its debut LP, In and Out of Focus, in 1970, earning a European cult following thanks to the single "House of the King." Dresden and Cleuver were replaced by bassist Cyril Havermanns and drummer Pierre Van der Linden for the English-language follow-up, Moving Waves; the record generated the hit "Hocus Pocus," a hallucinatory epic distinguished by Akkerman's guitar pyrotechnics and van Leer's demented yodeling. Easily one of the flat-out strangest songs ever to crack the American pop charts, the single peaked at number nine in the spring of 1973, by which time Focus had already exchanged Havermanns for bassist Bert Ruiter and issued their third album, Focus III, which yielded the minor hit "Sylvia." In the wake of 1974's Hamburger Concert, the band streamlined the classical aspirations of earlier efforts to pursue a more pop-oriented approach on records like Ship of Memories and Mother Focus; though roster changes regularly plagued Focus throughout the period, none was more pivotal than the 1976 exit of Akkerman, who was replaced by guitarist Philip Catherine for 1978's Focus con Proby, cut with British pop singer P.J. Proby. Focus then disbanded, with the original lineup reuniting in 1990 for a Dutch television special. After splitting again, they reunited for one-offs in 1995 and in 1999. In 2002, Van Leer reformed Focus with a new line-up releasing the albums Focus 8 (2002), Focus 9 / New Skin (2006), and Focus X (2012). In 2010, Nike used "Hocus Pocus" in its Word Cup commerical, Write The Future, renewing global interest in the band. In 2016, Van Leer shifted personnel again to include drummer Pierre van der Linden, guitarist Menno Gootjes, and bassist Udo Pannekeet and released the studio album Focus 8.5 / Beyond the Horizon and Live In England. A year later, Cherry Red issued The Focus Family Album compilation.

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Revisión por Ben Davies

En el momento de este lanzamiento, Focus había demostrado su capacidad para escribir instrumentales de rock. Su catálogo, aunque consta de cuatro álbumes, rara vez tuvo un momento aburrido entre ellos. El Concierto para hamburguesas es igualmente consistente, y gran parte de él es el material principal de Focus. El "nacimiento" y el "nacimiento prematuro", escritos por Akkerman, son ejemplos de Focus que flexiona completamente sus músculos, con un excelente trabajo de guitarra y una sorprendente maestría musical, además de lucir excelentes riffs. También están presentes los largos instrumentos habituales, así como algunas voces maníacas del genio pero genio Thijs Van Leer. Aunque Hamburger Concerto no es tan infalible como Moving Waves o Focus III, cualquiera que haya disfrutado de los lanzamientos anteriores sin duda encontraría una gran satisfacción con este álbum.

 Biografía del artista por Jason Ankeny

Mejor recordado por su estrafalario gráfico "Hocus Pocus", la banda holandesa de rock progresivo Focus se formó en Amsterdam en 1969 por el vocalista / teclista / flautista Thijs van Leer, el bajista Martin Dresden y el baterista Hans Cleuver. Con la incorporación posterior del guitarrista Jan Akkerman, el grupo lanzó su primer LP, In and Out of Focus, en 1970, ganando un culto europeo gracias al sencillo "House of the King". Dresden y Cleuver fueron reemplazados por el bajista Cyril Havermanns y el baterista Pierre Van der Linden para el seguimiento en inglés, Moving Waves; el disco generó el éxito "Hocus Pocus", una epopeya alucinatoria que se distingue por la pirotecnia de la guitarra de Akkerman y el yodeling demente de van Leer. Fácilmente una de las canciones más extrañas de todos los tiempos para romper las listas de éxitos estadounidenses, el sencillo llegó al número nueve en la primavera de 1973, momento en el que Focus ya había cambiado Havermanns por el bajista Bert Ruiter y lanzó su tercer álbum, Focus III. Lo que produjo el éxito menor "Sylvia". A raíz del Hamburger Concert de 1974, la banda racionalizó las aspiraciones clásicas de los esfuerzos anteriores para buscar un enfoque más orientado al pop en discos como Ship of Memories y Mother Focus; aunque los cambios en la lista regularmente afectaron a Focus durante todo el período, ninguno fue más crucial que la salida de Akkerman en 1976, quien fue reemplazado por el guitarrista Philip Catherine para el Focus con Proby de 1978, cortado con el cantante pop británico P.J. Proby. Focus luego se disolvió, con la formación original reunida en 1990 para un especial de televisión holandés. Después de dividirse de nuevo, se reunieron por una sola vez en 1995 y en 1999. En 2002, Van Leer reformó Focus con una nueva formación que lanzó los álbumes Focus 8 (2002), Focus 9 / New Skin (2006) y Focus X (2012). En 2010, Nike usó "Hocus Pocus" en su comercial Word Cup, Write The Future, que renueva el interés global en la banda. En 2016, Van Leer cambió de personal nuevamente para incluir al baterista Pierre van der Linden, al guitarrista Menno Gootjes y al bajista Udo Pannekeet y lanzó el álbum de estudio Focus 8.5 / Beyond the Horizon y Live In England. Un año más tarde, Cherry Red lanzó la compilación del álbum de la familia Focus.

Grand Funk Railroad • We're An American Band

 

Review
by William Ruhlmann  
Having made several changes in their business and musical efforts in 1972, Grand Funk Railroad made even more extensive ones in 1973, beginning with their name, which was officially truncated to "Grand Funk." And keyboardist Craig Frost, credited as a sideman on Phoenix, the previous album, was now a full-fledged bandmember, filling out the musical arrangements. The most notable change, however, came with the hiring of Todd Rundgren to produce the band's eighth album. Rundgren, a pop/rock artist in his own right, was also known for his producing abilities, and he gave Grand Funk exactly what they were looking for: We're an American Band sounded nothing like its muddy, plodding predecessors. Sonically, the record was sharp and detailed and the band's playing was far tighter and more accomplished. Most important, someone, whether the band or Rundgren, decided that gruff-voiced drummer Don Brewer should be employed as a lead singer as often as guitarist Mark Farner. Brewer also contributed more as a songwriter, and the results were immediate.
The album's title song, an autobiographical account of life on the road written and sung by Brewer, was released in advance of the album and became a gold-selling number one hit, Grand Funk's first really successful single. Despite the band's previous popularity, for many, it must have been the first Grand Funk record they either heard or bought. Elsewhere on the album, Farner contributed his usual wailing vocals and guitar, singing of his heartfelt, if simpleminded, political concerns. But We're an American Band really belonged to Brewer and Rundgren, and its success constituted a redefinition of Grand Funk that came just in time.
https://www.allmusic.com/album/were-an-american-band-mw0000233142

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Revisión
por William Ruhlmann  
Después de haber hecho varios cambios en sus esfuerzos comerciales y musicales en 1972, Grand Funk Railroad hizo otros aún más extensos en 1973, comenzando con su nombre, que se truncó oficialmente a "Grand Funk"."Y el tecladista Craig Frost, acreditado como acompañante en Phoenix, el álbum anterior, ahora era un miembro de la banda de pleno derecho, completando los arreglos musicales. El cambio más notable, sin embargo, llegó con la contratación de Todd Rundgren para producir el octavo álbum de la banda. Rundgren, un artista de pop / rock por derecho propio, también era conocido por sus habilidades de producción, y le dio al Grand Funk exactamente lo que estaban buscando: Somos una banda estadounidense que no sonaba como sus predecesores fangosos y pesados. Sonoramente, el disco fue nítido y detallado y la interpretación de la banda fue mucho más ajustada y lograda. Lo más importante es que alguien, ya sea la banda o Rundgren, decidió que el baterista de voz ronca Don Brewer debería ser empleado como cantante principal con la misma frecuencia que el guitarrista Mark Farner. Brewer también contribuyó más como compositor, y los resultados fueron inmediatos.
La canción que da título al álbum, un relato autobiográfico de la vida en la carretera escrito y cantado por Brewer, fue lanzado antes del álbum y se convirtió en un éxito número uno en ventas de oro, el primer sencillo realmente exitoso de Grand Funk. A pesar de la popularidad anterior de la banda, para muchos, debe haber sido el primer disco de Grand Funk que escucharon o compraron. En otras partes del álbum, Farner contribuyó con su habitual voz y guitarra, cantando sus sinceras, aunque ingenuas, preocupaciones políticas. Pero somos una Banda Estadounidense que realmente pertenecía a Brewer y Rundgren, y su éxito constituyó una redefinición del Gran Funk que llegó justo a tiempo.
https://www.allmusic.com/album/were-an-american-band-mw0000233142


 

 

www.grandfunkrailroad.com ...

Beck, Bogert & Appice • Beck, Bogert & Appice

 

Easy Riders, Rolling Stones On the Road in America, from Delta Blues to 70s Rock

 

Easy Riders, Rolling Stones delves into the history of twentieth century American popular music to explore the emergence of 60s “road music.” This music—which includes styles like blues and R&B——­­took shape at pivotal moments in history and was made by artists and performers who were, in various ways, seekers after freedom. Whether journeying across the country, breaking free from real or imaginary confines, or in the throes of self-invention, these artists incorporated their experiences into scores of songs about travel and movement, as well as creating a new kind of road culture. 

Starting in the Mississippi Delta and tracking the emblematic routes and highways of road music, John Scanlan explores the music and the life of movement it so often represented, identifying  “the road” as the key to an existence that was uncompromising. He shows how the road became an inspiration for musicians like Jim Morrison and Bob Dylan and how these musicians also drew stimulus from a Beat movement that was equally enthralled with the possibilities of travel. He also shows how the quintessential American concepts of freedom and travel influenced English bands such as the Rolling Stones and Led Zeppelin. These bands may have been foreigners in the US, but they also found their spiritual home there—of blues and rock ‘n’ roll––and glimpsed the possibility of a new kind of existence, on the road.
 
Easy Riders, Rolling Stones is an entertaining, rich account of a key strand of American music history, and will appeal to both road music fans and music scholars who want to “head out on the highway.”

 

Lachy Doley Group • Lovelight

Dubbed the Jimi Hendrix of the Hammond Organ, Lachy Doley is Australia’s most celebrated Blues Soul Rock Organ Player in the world today. A player who can pump, pamper and occasionally pound the most unbelievable sounds from a keyboard: sounds that are intense, ferocious and sometimes transcendent. Alongside powerhouse drummer Jackie Barnes and Bassist Joel Burton, The Lachy Doley Group are a super energetic soul/blues force like no other

“Makes u feel good the way he plays that clavinet” – BOOTSY COLLINS

“The greatest living keyboard player in the world today” – GLENN HUGHES (Deep Purple)

www.lachydoley.com

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Lachy Doley, apodado Jimi Hendrix de Hammond Organ, es un músico de órgano de Blues Soul Rock más famoso de Australia en el mundo de hoy. Un músico que puede bombear, mimar y ocasionalmente golpear los sonidos más increíbles de un teclado: sonidos que son intensos, feroces y, a veces, trascendentes. Junto al poderoso baterista Jackie Barnes y el bajista Joel Burton, The Lachy Doley Group es una fuerza de super blues / alma súper enérgica como ninguna otra.

"Te hace sentir bien la forma en que toca ese clavinet" - BOOTSY COLLINS

“El mejor teclista vivo del mundo hoy en día” - GLENN HUGHES (Deep Purple)

www.lachydoley.com

lachydoley.com

Lachy Doley • Make Or Break

 

lachydoley.com

Encyclopedia of Heavy Metal Music

 

 

It has been reviled, dismissed, attacked, and occasionally been the subject of Congressional hearings, but still, the genre of music known as heavy metal maintains not only its market share in the recording and downloading industry, but also as a cultural force that has united millions of young and old fans across the globe. Characterized by blaring distorted guitars, drum solos, and dramatic vibrato, the heavy metal movement headbanged its way to the popular culture landscape with bands like Led Zeppelin and Black Sabbath the 1970s. Motley Crue and Metallica made metal a music phenomenon in the 1980s. Heavy metal continues to evolve today with bands like Mastodon and Lamb of God.

Providing an extensive overview of the music, fashion, films, and philosophies behind the movement, this inclusive encyclopedia chronicles the history and development of heavy metal, including sub-movements such as death metal, speed metal, grindcore, and hair metal.

Essential and highly entertaining reading for high school and undergraduate courses in popular music studies, communications, media studies, and cultural studies, the Encyclopedia of Heavy Metal Music and Culture offers a guide to the ultimate underground music, exploring its rich cultural diversity, resilience, and adaptability. Entries for musicians include a discography for those wanting to start or develop their music collections.

William Phillips, Brian Cogan Ph.D. (Authors) 

 

Deep Purple: Historia de la saga

 Leyendas con un pasado turbulento, Deep Purple está considerada una de las bandas fundamentales del Hard Rock. Han vendido más de 100 millones de discos en todo el mundo, pero la ambición de algunos miembros -que se fueron por su cuenta o formaron nuevos grupos- ha hecho que Deep Purple sufra numerosos cambios. A pesar de ello, la máquina púrpura aún no se ha detenido, y este libro relata su carrera desde la formación original hasta los numerosos actos creados por antiguos miembros.

José Luis Martín (Autor)

Lachy Doley • Studios 301 Sessions

 

Dubbed the Jimi Hendrix of the Hammond Organ, Lachy Doley is Australia’s most celebrated Blues Soul Rock Organ Player in the world today. A player who can pump, pamper and occasionally pound the most unbelievable sounds from a keyboard: sounds that are intense, ferocious and sometimes transcendent. Alongside powerhouse drummer Jackie Barnes and Bassist Joel Burton, The Lachy Doley Group are a super energetic soul/blues force like no other

“Makes u feel good the way he plays that clavinet” – BOOTSY COLLINS

“The greatest living keyboard player in the world today” – GLENN HUGHES (Deep Purple)

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Lachy Doley, apodado Jimi Hendrix de Hammond Organ, es un músico de órgano de Blues Soul Rock más famosa de Australia en el mundo de hoy. Un jugador que puede bombear, mimar y ocasionalmente golpear los sonidos más increíbles de un teclado: sonidos que son intensos, feroces y, a veces, trascendentes. Junto al poderoso baterista Jackie Barnes y el bajista Joel Burton, The Lachy Doley Group es una fuerza de super blues / alma súper enérgica como ninguna otra.

"Te hace sentir bien la forma en que toca ese clavinet" - BOOTSY COLLINS

“El mejor teclista vivo del mundo hoy en día” - GLENN HUGHES (Deep Purple)
 

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AC/DC: The Encyclopaedia

 

Focusing on key elements surrounding a group that stands alongside legends such as Black Sabbath, Deep Purple, and Led Zeppelin, this book reveals the phenomenon that is AC/DC. Covering past and present members, songs, gigs, events, albums, bootlegs, producers, and numerous other subjects, this exhaustive overview spans an extraordinary 35-year musical career—from the very earliest incarnations of the band prior to Bon Scott’s arrival, through the era in which he fronted the band and his untimely death, to the wildly successful landmark record Back in Black, all the way to their 2003 induction into the Rock and Roll Hall of Fame and beyond. Detailing a group that has sold an estimated 150 million albums worldwide, this is the definitive reference of one of music history’s most notable pioneers of hard rock. 

 

 

by Malcolm Dome (Author), Jerry Ewing (Author)  

 

 

Beer Drinkers and Hell Raisers: The Rise of Motörhead

 

“Motörhead, remember me now, Motörhead, alright!” Beer Drinkers and Hell Raisers is the first book to celebrate the classic-era Motörhead lineup of Lemmy Kilmister, “Fast” Eddie Clarke, and Phil “Philthy Animal” Taylor. Through interviews with all of the principal troublemakers, Martin Popoff celebrates the formation of the band and the records that made them legends: Motörhead, Overkill, Bomber, Ace of Spades, No Sleep ’til Hammersmith, and Iron Fist. An in-depth coda brings the story up to date with the shocking recent deaths of Taylor and Kilmister. Motörhead comes to life in this book as bad-luck bad boys ― doused in drink and drugs, most notably speed ― incapable of running their lives right, save for Fast Eddie, who is charged with holding things together. Popoff also examines the heady climate of music through the band’s rise to prominence during the New Wave of British Heavy Metal, with detailed reflection on Motörhead’s unique position in the scene as both originators and embattled survivors who carried on the renegade spirit of those times.

 

Deep Purple • BBC Archives Paris Theatre 1972

 

British rockers Deep Purple live at the Paris Theatre in London in 1972. Recorded and broadcast on BBC Radio in the UK. Deep Purple was on tour to promote their latest album at that time, Machine Head.

Note: The first 8 tracks are from this venue in March 1972, the last 2 songs were from another BBC broadcast.

Cover art derived from a 1972 Machine Head tour poster.

The Lachy Doley Group • Conviction

 

Lachy Doley's 3rd studio album CONVICTION. Recorded in Jan 2015 at Freight Train studios in Botany took the group to new heights and new places in the world. Touring the album in Australia, Germany, Holland, United States and the United Kingdom. 
It features more Hammond coolness, the addition of some very bluesy Whammy Clavinet as well as Lachy's signature vocal style.
credits

Dubbed the Jimi Hendrix of the Hammond Organ, a player who can pump, pamper and pound unbelievable, intense, ferocious and sometimes transcendent sounds from his organ and clavinet, only to fire powerful bluesy vocals that rip straight from the heart screaming as they pass the vocal chords to produce one mesmerising and unforgettable show.

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El tercer álbum de estudio de Lachy Doley, CONVICTION. Grabado en enero de 2015 en los estudios Freight Train de Botany, llevó al grupo a nuevas cotas y nuevos lugares del mundo. La gira del álbum les llevó por Australia, Alemania, Holanda, Estados Unidos y el Reino Unido. 
Destaca por el toque cool del Hammond, la incorporación de un Whammy Clavinet muy bluesero y el característico estilo vocal de Lachy.
Créditos

Apodado el Jimi Hendrix del órgano Hammond, es un intérprete capaz de sacar de su órgano y clavinet sonidos increíbles, intensos, feroces y, a veces, trascendentes, para luego lanzar potentes voces blueseras que brotan directamente del corazón y atraviesan las cuerdas vocales para producir un espectáculo hipnótico e inolvidable.


 

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Essential Hard Rock and Heavy Metal Volume I

 

Known as a leading expert on all things hard rock and heavy metal, Eddie Trunk has updated and expanded this book with even more on the subject. Eddie discusses his most essential bands, his unique personal experiences with them, his favorite “Stump the Trunk” anecdotes and trivia, as well as his favorite playlists. Whether you’re a classic Metallic and Megadeath metalhead or prefer the hair metal of old-school bands like Bon Jovi or Poison, this book salutes those who rock.

 

Essential Hard Rock and Heavy Metal Volume II

 

“Eddie Trunk is one of the greatest true rock-and-roll fans I’ve ever met. He hears it, sees it from all angles, with an unusually unbiased point of view.” —Slash

“Eddie’s a true flag-waving defender of all things rock.” —Bret Michaels

“Eddie’s name should be spelled M-E-T-A-L. All of us should be thanking him because he has kept this scene alive for everyone.” —Ronnie James Dio

In the much-anticipated sequel to the bestselling Eddie Trunk’s Essential Hard Rock and Heavy Metal, Trunk picks up where he left off by featuring 35 new bands, both legendary and forgotten, and sharing his passion for all things metal. Complete with his favorite playlists, band discographies, memorabilia, trivia, and more than 200 color photographs, this new book combines brief band histories with Trunk’s unique personal experiences and anecdotes in a must-read for all fans of rock and roll. Featuring a diverse lineup, from Marilyn Manson and Ace Frehley to Lita Ford and Whitesnake, Volume 2 salutes all those who are ready to rock!