Δευτέρα, 28 Απριλίου 2008

Laura Nyro - Spread Your Wings and Fly: Live at the Fillmore East May 30, 1971

LAURA NYRO - FILLMORE EAST - JUNE 20, 1970
/ AND WHEN I DIE / SAVE THE COUNTRY


Review
by Richie Unterberger
While a couple of the medleys of soul covers have shown up as bonus tracks on the expanded edition of Laura Nyro's Gonna Take a Miracle, everything else from this 1971 show was previously unreleased. In fact two of the songs, the lengthy Nyro originals "American Dove" and "Mother Earth" (the latter clocking in at eight minutes), appear here for the first time anywhere. It's just Nyro and her piano on this recording, and while the sleeve note apologizes for the sound quality due to deterioration of the tape, actually it sounds pretty good, though not pristine. There are both positive and negative ways of viewing this archival find. On one hand the set list, oddly, contained none of her best-known songs ("Wedding Bell Blues," "Stoned Soul Picnic," "Sweet Blindness," "Blowin' Away," and "And When I Die" are all missing for starters), which might disappoint some fans. Also, the unplugged reliance on nothing but piano backup makes this less varied and, in some ways, less interesting than the full arrangements she used on her early studio releases. On the other hand the emphasis on lesser-known songs and soul covers — as well as, for that matter, the use of solo piano arrangements — means that both the material and the setting provide a glimpse of different sides of the singer/songwriter than are apparent in her more familiar studio albums. Nyro sings in a beautifully high range and her piano accompaniment is sensitive, though whether due to the recording flaws or the way she presented herself in live performance, the words aren't always wholly distinct. It's not on par with her early studio releases, and neither "American Dove" nor "Mother Earth" are great songs; they're okay and certainly in her soulful singer/songwriting vein, but a little meandering. But fans will treasure this as a document of Nyro in a more intimate setting than her early official releases allowed.
Laura Nyro
From Wikipedia, the free encyclopedia

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http://lost-in-tyme.ucoz.com/


Thursday, April 24, 2008


Hallo All !!!Since blogger delete (without warning) the 3 working pages of Lost-In-Tyme plus my account...we're trying to find a better place to host our posts...The first part is the "100 Mirrors project" (we working on it when is possible)...and the second part is to find another host (we working also on some projects)We need from you to have patience and give us some time before we start making new posts regularly...You can send invitations for "Mirror blogs" to the known e-mails...step 1 :create a blog > settings > permissions > add authorsstep 2 :settings > permissions > grand admin privileges*even if you have done this, please check one more time your permissions page....

Thank you all for the Support !the Lost-In-Tyme team
and the new site stronger than ever!

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Σάββατο, 26 Απριλίου 2008

Bert Sommer (The Left Banke) Discography...

bert sommer live in woodstock 69
from the marvellous Blog Time Has Told Me


Presented by Lizardson & Friends
by Anonymous - Saturday, April 26, 2008
Bert Sommer (The Left Banke) Discography...
Bert Sommer (The Left Banke) Discography...Bert Sommer (February 7, 1949 – July 23, 1990) was a folk singer who performed at Woodstock in 1969 and had a hit with the song "We're All Playing In The Same Band." He was briefly a member of baroque-pop group The Left Banke, co-writing and singing lead on the "Ivy Ivy"/"And Suddenly" single. He also played Woof in the original Broadway production of "Hair (musical)" and "Flatbush" of Kaptain Kool and the Kongs on The Krofft Supershow in 1976. He died in Troy, NY after a long battle with respiratory illness. His last performance was in Troy on June 11, 1990 with his friend Johnny Rabb.

The Road To Travel (1969). Capitol.

Inside Bert Sommer (1970). Eleuthera.
Bert Sommer (1970). Buddha.


Bert Sommer (1977). Capitol.

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Πέμπτη, 24 Απριλίου 2008

Stephan Micus - Athos (1994 ECM)

Stephan Micus Athos

Bavarian zither, sattar, shakuhachi, suling, nay, flowerpots, voice

On The Way
The First Night
The First Day
The Second night
The Second Day
The Third Night
The Third Day
On the Way Back

Recorded November 1993-February 1994ECM 1551

ενας πολίτης του κόσμου ,
ενας μοναχικός πολεμιστής,
μικρός προσευχητής
στην Ομορφιά της Μάνας Γής !!
 οσο ακόμα ..

 
Αν η μουσική , που γεννιέται στις γειτονιές του κόσμου,
είχε πρόσωπο, θα μπορούσε να είναι αυτό του Μίκους.
Μελωδίες και απόηχοι του Κόσμου,
φωνές και όργανα από κάθε γωνία του πλανήτη
ενώνονται και μεταμορφώνονται
σε νέες οντότητες μέσα στο έργο του.

Σαν τα παιδιά ,
που φέρουν το προγονικό τους γονιδio στο μέλλον,
γεφυρώνοντας το χθες με το αύριο,
έτσι και μια δημιουργική,
άχρονη και οικουμενική τέχνη
έρχεται από παντού πηγαίνοντας παντού.


Athos is a 1994 album produced by Stephan Micus for ECM.
Based on a three-day visit to Mount Athos, in it Micus tries to capture his experiences with the Greek Orthodox liturgy he experienced in the monasteries there, framing it with pieces that evoke his emotions at going to and leaving the isolated peninsula. Between them he recreates the liturgical experience of the services during his stay, in six alternating pieces of night and day.

As in his other works, Micus uses a combination of traditional instruments from various cultures to capture the feel of the monastery. These include the sattar (a bowed 10-string instrument used by the Uyghur), the shakuhachi (a Japanese bamboo flute), the suling (a reed flute from Bali), the ney (a Middle Eastern flute), and even 22 flowerpots, filled with water, which he plays with his hands and with mallets. These instruments are only used in the pieces representing the days on Mount Athos.
To emulate the Greek Orthodox tradition of not using musical instruments in their services, his pieces devoted to the nights are performed by a 22-man choir singing prayers to the Virgin Mary.
Wikipedia, the free encyclopedia



απο τα 18 του με πρώτη στάση το Μαρόκο,

πολύ πριν την τουριστική του «αξιοποίηση»,ταξιδεύει στις πέντε ηπείρους.
Γνώρισε λαούς ,τα έθιμά τους ,τον πολιτισμό τους,από πολύ κοντά.
«Δεν μπορείς να νιώσεις τη μουσική ενός τόπου αν δεν ζήσεις, περπατήσεις, εμβαθύνεις στον πολιτισμό τους ,στην κουλτούρα τους,τραφείς με την ντόπια κουζίνα τους»
λέει και έχει δίκιο.


Σπουδάζει δεκάδες τεχνικές και όργανα
από τους ντόπιους ανά τη Γη πρακτικούς οργανοπαίκτες,
και πάνω απο 40 χρόνια τώρα :
επιχειρεί το αδύνατο:
ένα ταξίδι στο χρόνο με ιδιότυπο στοχασμό και ηχοποιΐα ,
αναφερόμενη στην ελληνόφωνη, χριστιανική, βαλκανική και
ανατολική αυτοκρατορία,
στο υπερχιλιετές μεσαιωνικό έπος των
μυρίων δοξασιών και γρίφων.




video

Η Δεύτερη Μέρα (the Second Day)




καθ'Οδόν (on The Way)


 
πάνω απο 40 χρόνια τώρα επιχειρεί το αδύνατο :
ένα ταξίδι στο χρόνο με ιδιότυπο στοχασμό και ηχοποιΐα ,
αναφερόμενη στην ελληνόφωνη, χριστιανική, βαλκανική και
ανατολική αυτοκρατορία,
στο υπερχιλιετές μεσαιωνικό έπος των μυρίων δοξασιών και γρίφων.



σε κήπους μυστικούς - καλά κρυμμένους απ'τους θεούς,
που για να διαβείς το κατώφλι
αφήνεις για πάντα πίσω σου ,
την κουλτούρα - κοινωνία των σημερινών Νεκρών Πόλεων...
σημείο αναφοράς και ταυτότητα μαζί
για τον κόσμο που χάθηκε στην επιφάνεια των πραγμάτων..
εχουν Επίγνωσιν οι Φύλακες
(Ραψωδία λ )

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Σάββατο, 19 Απριλίου 2008

MAJOR ARCANA - Same (A Major Label ) 1976 Midwest Folk Psych

(A Major Label)
1976 R1
On the same label as Anonymous, an album of West Coast psych folk, with Sigmund Snopek of the Bloomsbury People and Jim Spencer.
Additional participants are thought to have included Jay Borkenhagen (ex-Baroques), Tom Ruppenthal and Rob Fixmer. Jim Spencer, now sadly deceased, had other Milwaukee releases.
(Stephane Rebeschini/Gary Myers) vernon joynson
Artist/publisher Denis Kitchen's brother Jim was in a Milwaukee-based band called Major Arcana with the late Jim Spencer in the mid-70s. This is the only album cover Kitchen ever created, but his psychedlelic image became a minor classic (it also inspired a surrealistic follow-up "story" in the underground comic Mondo Snarfo). He remembers spending "ninety hours" on the intricate cover ("and it wasn't a cash job!"). The music holds up well too. Had Spencer not died at a very early age, he and his group would likely have been commercially successful. But the group achieved only regional and brief fame.

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John Sebastian - I Want My Roots. (1996 US Jug Folk)



Life and career
His father, also named John Sebastian, was a noted classical harmonica player and his mother was a radio script writer. He is the godson of Vivian Vance (Ethel Mertz of I Love Lucy). He grew up surrounded by music and musicians, including Burl Ives and Woody Guthrie and hearing such players as Leadbelly and Mississippi John Hurt in his own neighborhood.
One of his first recording gigs was playing harmonica for Fred Neil on his Bleecker & MacDougal album in 1965. He came up through the Even Dozen Jug Band and The Mugwumps, which split to form the Lovin' Spoonful and the Mamas and Papas. Sebastian was joined by Zal Yanovsky, Steve Boone and Joe Butler in the Spoonful, which was named after a Mississippi John Hurt song. Sebastian also played autoharp on occasion.
The Lovin' Spoonful became part of the American response to the British Invasion and was noted for such folk-flavored hits as "Jug Band Music," "Do You Believe in Magic", "Summer in the City", "Daydream," "Nashville Cats," "Did You Ever Have to Make Up Your Mind," "Six O'Clock," and "Younger Girl." The band, however, began to implode after a 1967 marijuana bust in San Francisco involving Yanovsky, a Canadian citizen. Facing deportation, he gave up the name of his dealer, which caused a fan backlash and internal strife. Neither John Sebastian nor Joe Butler were involved in the matter - weren't even in San Francisco at the time.
Yanovsky left, replaced by Jerry Yester in 1967. Sebastian remained in the band but departed in 1968. He and the original band reunited to appear in the film One Trick Pony starring Paul Simon and Blair Brown.
Sebastian embarked on a moderately successful solo career after leaving the Lovin' Spoonful in 1968. Sebastian was popular among the rock festival circuits. He had a memorable, albeit unscheduled appearance at Woodstock, appearing after Country Joe McDonald's set, playing songs such as "I Had A Dream," "Rainbows All Over Your Blues" and "Younger Generation" which he dedicated to a newborn baby at the festival. Sebastian also returned for Woodstock '94, playing harmonica for Crosby, Stills and Nash. Sebastian released his eponymous LP John B. Sebastian in 1970, which featured him accompanied by various L.A. musicians.
In 1976, Sebastian had a number one single with, Welcome Back, the theme song to the Welcome Back, Kotter television show, which found new life decades later when a sample from it became the hook for rapper Mase's 2004 hit "Welcome Back". Recently, he has played with John Sebastian and the J-Band, a jug band including Fritz Richmond from the Jim Kweskin Jug Band, Yank Rachell, an original jug-band leader, and Geoff Muldaur. Rory Block Vocals, Guitar, Stompboard
Richard Crooks Drums
Yank Rachell Vocals, Mandolin
Annie RainesHarmonica, Backing Vocals
Fritz RichmondWashtub, Jug
Paul RishellVocals, Steel Guitar, Mandolin
John SebastianVocals, Guitar, Banjos Harmonica
John SimonHarmonium
Jimmy VivinoVocals, Guitar, Steel Guitar Mandolin, Autoharp
James Wormworth Drums, Washboard, Stompboard
Producer John Sebastian, Jimmy Vivino
Several modern musicians cite him as a large influence, including renowned blues harmonica player, Mike Tetrault. As a songwriter, Sebastian's songs have been covered by Elvis Costello ("The Room Nobody Lives In"), Dolly Parton, Del McCoury, Helen Reddy, Brenda Lee, Johnny Cash, Bobby Darin, Slade, Joe Cocker and Jimmy Buffett ("The Stories We Can Tell").
In later years, Sebastian hosted several television programs regarding '60s' music, including infomercials for compilations sets, and a half-hour program called The Golden Age of Rock and Roll, which was usually a video footage of various 1960's bands performing on various variety shows. He also hosted a Spoonful retrospective broadcast over PBS in March 2007, talking about various Spoonful numbers in between vintage video clips of the band up to the time he left.
In 2007, John released a guitar instructional DVD for Homespun Video teaching solo guitar adaptations of eight of his Spoonful hits including "Daydream", "Nashville Cats", and his solo hit "Welcome Back". He has also released an instructional DVD teaching beginning level autoharp. (Sebastian played both harmonica and autoharp on Shanachie's 2002 compilation CD "Man of Constant Sorrow".)
Sebastian and the J Band appear in the documentary about the roots and influence of jug band music, Chasin' Gus' Ghost, which screened in August 2007 at the San Francisco Jug Band Festival and made its film festival debut in October 2007 at the Woodstock Film Festival. In the film, Sebastian humorously explains, with musical accompaniment, how his hit song "Younger Girl" was inspired by Gus Cannon's "Prison Wall Blues." He also performed at the festival with other musicians featured in the film, including Geoff Muldaur, Maria Muldaur, Jim Kweskin and David Grisman.
Sebastian played harmonica with The Doors on the song Roadhouse Blues under the pseudonym G. Puglese to avoid problems with his contract, which was featured on Morrison Hotel album, also played on "Little Red Rooster" on the live album Alive, She Cried and on seven songs on Live In Detroit. He is also credited with playing harmonica on Crosby Stills Nash & Young's "Déjà Vu" from the album of the same name.

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Whistler's Jug Band - Foldin' Bed (1930's)


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Leon Redbone - Live 1981 (Recorded live at the Lone Star Cafe in New York City in 1981


Recorded live at the Lone Star Cafe in New York City in 1981, this captures Redbone in top-notch form. The set list is peppered with Redbone staples like an extended version of Blind Blake's "Diddy Wah Diddy" (here incorrectly credited to Willie Dixon), "Shine on Harvest Moon," "Champagne Charlie," and "If We Never Meet Again This Side of Heaven." A great little document of exactly what Redbone does best: holding an audience spellbound with just his guitar, his enigmatic personality, and songs as old as the hills. Great set of notes from Dave Thompson, but unfortunately, several songs have the wrong writer's credits and two songs are listed in the wrong order on the tray card. Still, with all its packaging flaws, the performance is so first-rate it still comes highly recommended. ~ Cub Koda, All Music Guide

While his gravelly baritone and omnipresent fedora, dark glasses and Groucho Marx moustache made him one of the more distinct and recognizable characters in popular music, little is known about the neo-vaudeville crooner Leon Redbone. Throughout his career, he steadfastly refused to divulge any information about his background or personal life; according to legend, Redbone's desire to protect his privacy was so intense that when he was approached by the famed producer John Hammond, the contact number he gave was not his own phone, but that of a Dial-A-Joke service.
Because Redbone first emerged as a performer in Toronto during the 1970s, he was believed to be Canadian; his work, a revival of pre-World War II ragtime, jazz and blues sounds, recalled the work of performers ranging from Jelly Roll Morton and Bing Crosby to blackface star Emmett Miller. He made his recording debut in 1976 with On the Track, which featured legendary jazz violinist Joe Venuti as well as singer/songwriter Don McLean; his 1977 follow-up Double Time even reached the U.S. Top 40 charts, largely on the strength of his frequent appearances on television's "Saturday Night Live."
After 1978's Champagne Charlie, Redbone began recording only sporadically; following 1981's Branch to Branch, he waited four years before re-entering the studio to cut Red to Blue. Invariably, his albums featured guest appearances from a eclectic cast of luminaries: while 1987's Christmas Island included a cameo by Dr. John, 1994's Whistling in the Wind included duets with Ringo Starr and Merle Haggard. Despite his low profile, Redbone also earned a certain measure of fame as a fixture in various television advertising campaigns. ~ Jason Ankeny, All Music Guide



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Cymande - Cymande - (West Indies Psych Psoul Afro Prog.)

Cymande
From Wikipedia, the free encyclopedia
Cymande (Sah-mahn-day) were an eclectic band who released several albums throughout the early seventies. The group was formed in 1971 in London, England by musicians from Guyana and Jamaica. The name Cymande is derived from a Calypso word for Dove, which symbolizes peace and love. The group developed a subtle and complex, deep funk style influenced by calypso rhythms, jazz, African music, American soul and UK rock of the time. Cymande can now be seen as one of the most sophisticated of the funk acts that evolved in the early 1970s. By the mid-70s the band members were going their separate ways and the group was disbanded in 1974. It wasn't until 20 years later that they reaped any financial rewards, as their music became a popular source for samplers. Cymande's original albums are still widely sought-after by DJ's and funk aficionados. Perhaps the band's best known recording is the soulful dancefloor filler called "Bra", which was later sampled by the American hip-hop group De La Soul and used as a breakbeat record by the godfathers of hip-hop Kool Herc and Grandmaster Flash.
Cymande was accidentally discovered by English producer John Schroeder in a Soho, London club where they were rehearsing. He was there to see a rock band. But the gig had been cancelled and he stumbled upon this unique collection of West Indian musicians. He soon signed the band and recorded their intial single "The Message." The single was released by Janus Records, a division of Chess Records. The track reached number 20 on the US R&B and Pop charts. This set the stage for Cymande's self titled release in 1972.
Cymande traveled to New York after the success of the first LP, and began a tour of the US with Al Green. They also shared a few bills with the latin funk ensemble Mandrill. They played a few important venues, including The Apollo, and played a gig on Soul Train.
The band released three LPs for Janus. However, their final album, "Promised Heights" which shows Cymande developing their distinctive chilled funk/jazz sound was not released in the USA where Cymande had achieved their initial success. Promised Heights included one of their most cherished tracks, "Brothers on the Slide," along with "The Recluse," the downtempo jazz/funk of "Changes," and the slow funk churner "Promised Heights." The tracks "Brothers on the Slide," and "Bra," also were staples of the new Rare Groove/ Deep House scene which developed in London and New York night clubs during the eighties.
Members of the band reunited for a performance in Brighton (UK) on May 19, 2006 during the UK Funk All-Stars night at the Corn Exchange. It formed part of the Brighton Festival 2006.

Ray King - Vocals/Percussion
Steve Scipio - Bass
Derek Gibbs - Soprano/Alto
Pablo Gonsales - Congas
Joey Dee - Vocals/Percussion
Peter Serreo - Tenor
Sam Kelly - Drums
Mike Rose - Alto/Flute/Bongos
Patrick Patterson - Guitar



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Τετάρτη, 16 Απριλίου 2008

ΤΕΛΕΙΟΤΑΤΗ ΕΛΛΗΝΙΚΗ ΕΠΑΡΧΙΑ





Ω τελειότατη ελληνική επαρχία που κάθε φορά «πέφτεις από τα σύννεφα» μόλις αντικρίσεις τα πράγματα πως είναι στην πραγματικότητα. Και μόλις τα δεις για λίγο προσπαθείς και πάλι να βρεις άλλα ψέματα ισχυρότερα για να τα καλύψεις. Και με αυτό σε αυτό το ψέμα που συνήθισες ζεις και εσύ τη ζωή σου.

Μέσα σε μια οικογένεια που σε σφίγγει , με ένα επάγγελμα που δεν θέλεις να κάνεις, με μια ζωή που δεν τη θέλεις και προσπαθείς να την αντιμετωπίσεις με τόνους αλκοόλ κάθε βράδυ μαζί με ένα βουνό αντικαταθλιπτικά, σε απόλυτη μοναξιά, αυτή τη μοναξιά που ξέρουν καλά όσοι βρίσκονται ανάμεσα σε πλήθος, που μοιράζεται τις ίδιες αξίες, ότι δηλαδή τα πράγματα είναι πιο σοβαρά από την ίδια τη ζωή, από τους ίδιους τους ανθρώπους. Κι όλα τα ατομικά ψέματα χτίζουν ένα τεράστιο ψέμα χτισμένο με βλοσυρό βλέμμα, με επικριτική ματιά, με ατσαλάκωτη ηθική, προπάντων η ηθική. Κι από την άλλη μεριά του καθρέφτη η βία, η καταπίεση, ο ραβδισμός, η αιμομιξία που κάνουν τα γραπτά του Ντε Σαντ να είναι μωρολογίες μπρος στην πιο κολασμένη πραγματικότητα. ( Δεν θέλεις να ακούς ότι στην ελληνική οικογένεια έχει αυξηθεί τρομακτικά το ποσοστό των κακοποιημένων γυναικών και των παιδιών που βασανίζονται. Δεν ταιριάζει αυτό με το μύθο που έχεις επιλέξεις να ζεις )

Η ζωή σου ολόκληρη με προκατασκευασμένα υλικά και προπαντός με μια προκατασκευασμένη ηθική που ακυρώνει την μοναδικότητα του ανθρώπου και μεγαλώνει τα χειρότερα τέρατα που θα διαπρέψουν αργότερα στο δημόσιο βίο. Τελειότατη ελληνική επαρχία, που νομίζεις ότι είσαι πρωτεύουσα και είσαι ένα θλιβερό χωριουδάκι, που για αυτά που θα έπρεπε να ήσουν περήφανη τα αγνοείς και προβάλλεις αυτές τις ανοησίες, που εσύ θεωρείς ότι είναι μεγάλες. Γιατί τις χώρες τις κάνουν οι άνθρωποι και οι άνθρωποι επέλεξαν να ζούνε σε αυτό το ψέμα χωρίς τέλος, δημιουργώντας μια κόλαση επί της γης και διακηρύσσοντας στα πέρατα της οικουμένης πως είναι ένας Παράδεισος. Και για να είναι σίγουροι, πως δεν θα ρεζιλευτούνε, αγνοούν επιδεικτικά τον άλλον κόσμο δεν μεταφέρουν καμία είδηση που τον αφορά. Και οι θεατές της αρένας χειροκροτούν, όχι στα σοβαρά αλλά χειροκροτούνε το πέσιμο του άλλου, μόνο που δεν ξέρουν πως και οι άλλοι θα χειροκροτήσουνε το πέσιμο το δικό τους. Γιατί το μόνο που τους ενδιαφέρει είναι το θέαμα. Η ζωή τους αρχίζει με βίντεο και τελειώνει επίσης με βίντεο.


Στο ενδιάμεσο τα κορυφαία γεγονότα της ζωής του πρέπει οπωσδήποτε να βιντεοσκοπηθούν γιατί δεν είναι πραγματικά κορυφαία γεγονότα αλλά μια σκηνοθετημένη προσπάθεια ζωής σε ένα φαινομενικό περιβάλλον. Το τέλος είναι αργό και ανατριχιαστικό καθώς λίγο πριν φύγουν από την ζωή θα πρέπει να αναρωτηθούν: αν έχουν ζήσει πράγματι τη ζωή τους ή την έχουν δει στην τηλεόραση. Μόνο σε αυτή την περίπτωση θα πεθάνουν βασανιστικά γιατί δεν έχει διάλλειμα για διαφημίσεις και εκεί δεν ξαναρχίζει το έργο.
Τελειότατη επαρχία, που κάνεις τα πάντα σύμφωνα με την εικόνα σου. Βάζεις ανθρώπους, που σου μοιάζουν, που σκέφτονται όπως εσύ τις μικροκλοπές, τις μεγάλες κλοπές την επιθυμία σου μόνο για νίκες που μόλις τις πάρουν χαίρεσαι αλλά χαίρεσαι ιδιαίτερα όταν ξεσκεπάσουν αυτούς που πρώτα χειροκρότησες.

Πρέπει να καταλάβεις μια και καλή ότι δεν φταίνε αυτοί, εσύ φταις γιατί τα δικά σου όνειρα εκπληρώνουν, γιατί είναι ανεστραμμένη εικόνα σου, μια ψεύτικη εικόνα που εσύ τόσο επιμελώς, έχεις δημιουργήσει. Το ίδιο ατσαλάκωτοι όπως και συ, το ίδιο «πολιτικά ορθοί», όπως και συ και προσπαθούν κι αυτοί να βρεθούν πιο γρήγορα, πιο ψηλά, πιο δυνατοί. (citius, altius, fortius) Εσύ τους έκανες «μεγάλα ονόματα», όπως κάνεις ονόματα σε κάθε χώρο, ανθρώπους που το μόνο προσόν τους είναι η ανικανότητα να σκέφτονται, για να είσαι σίγουρος ότι εφ’ όσον γίνονται αυτοί μπορείς να γίνεις και συ, γιατί τελικά μέτρο όλων είναι μόνο η ύπαρξή σου.
Για αυτό και χαίρεσαι άμα κάποιος ξεσκεπάσει τους άλλους. Όπως γίνεται στην τραγωδία. επειδή έχεις ταυτιστεί μαζί τους χαίρεσαι, που δεν ανακαλύψανε εσένα και που αυτοί γίνανε οι αποδιοπομπαίοι τράγοι της πόλης που πάνω τους ρίχνονται όλα τα κακά.

Απόλαυσε τώρα το ποτό σου ώστε να μπορείς να κοιμηθείς το βράδυ και να μην σε ταράζουν τα όνειρά σου. Συνέχισε να βλέπεις την κατάντια σου στην τηλεόραση.

Μέτρα τα θύματα σου που κάθε μέρα είναι πέντε στους δρόμους, από τα αυτοκίνητα που εσύ πληρώνεις και ένας στις πλατείες από τα ναρκωτικά, που επιδεικτικά αγνοείς. Μην ανησυχείς θα τα σκοτώσεις τα νέα παιδιά. Όπως σκοτώνεις κάθε τι νέο . Κάθε τι όμορφο. Κοιμήσου εν ειρήνη, αύριο η τέλεια ύπαρξή σου θα είναι ξανά πιο γρήγορη, πιο ψηλή και προπαντός πιο δυνατή…..
Αναρτήθηκε από VARALIS

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Κυριακή, 13 Απριλίου 2008

Malo - Malo's debut album (1972 US Psych Latin Rock)

Malo was a Latin tinged rock and roll group. The San Francisco, California based ensemble was led by Jorge Santana, the brother of famed Latin-Rock guitarist, Carlos Santana.
Four of the original members (Santana, Garcia, Tellez, and Bean) were previously in a band called the Malibu's. The other three founding members (Zarate, Roy Murray, and Richard Spremich) were in a band called Naked Lunch together.
Malo had a huge Top 20 hit single with the song "Suavecito" in 1972 that was written by timbale player Richard Bean, who initially wrote it as a poem for a girl in his high school algebra class. The song has been called "The Chicano National Anthem" and was arranged for Malo by Richard Bean, bassist Pablo Tellez, and Abel Zarate. Tellez and Zarate also received co-author credits on Suavecito. In addition, guitarist Abel Zarate gave Malo a distinctive two-guitar sound, with intricate harmony and dual solos the norm. The band featured full horn and percussion sections, in the style of contemporary bands Blood, Sweat & Tears, Chicago and others. Some of the best musicians in the bay area played in Malo, including Forrest Buchtel, Jr., Luis Gasca, and Tom Harrell in the trumpet section. Malo's music also had a huge following in Central and South America, especially the songs "Chevere", "Nena", "Pana", "Cafe" and "Oye Mama".
After the release of its first album, Malo had a well-documented rift that saw the group eliminate many of its band members. Buchtel went on to play with Blood, Sweat and Tears, Jaco Pastorius and Woody Herman - Harrell has become one of the most lyrical trumpet soloists of all-time, working often with saxophonist Phil Woods. Abel Zarate went on to play with Latin-jazz legend Willie Bobo and continues to play Latin/Brazilian Global jazz in San Francisco with his group Zarate Pollace Project. Richard Bean formed the group "Sapo" with his brother Joe, and is still touring throughout Northern California. Jorge Santana has embarked on a solo career, and still plays frequently with the current Malo band. Malo is also still touring, with only two of the original members, including Arcelio Garcia Jr., who took over the band in the late 70's.
The 1972 "Suavecito" release was sung by Richard Bean with Abel Zarate, and Arcelio Garcia on background vocals, and Zarate playing the signature guitar riffs. Richard Bean continues to perform the hit single with his band Sapo and recently shared his story about "Suavecito" on CalMagazine.co


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Τετάρτη, 9 Απριλίου 2008

Santana 1969-10-21 Ludlow Garage, Cincinnati, OH, US



Ludlow Garage
From Wikipedia, the free encyclopedia
The Ludlow Garage was a famed music venue located in the eclectic Ludlow neighborhood of Cincinnati, Ohio. Before being converted into a concert venue, the club was a city auto repair garage.
In the 1970s the venue hosted concerts by many prominent touring acts including The Allman Brothers Band, The Grateful Dead, and Santana. The Allman Brother's 1970 live album Live at Ludlow Garage: 1970 was recorded at the club.
Cincinnati city council member Jim Tarbell was proprietor of the garage from the late 1960s until its closing in 1971. Although no longer a concert venue, the garage still stands and currently houses a restaurant and bicycle shop

Santana : Ludlow Garage Cincinnati, OH10.21.69 Source:SBD > MR > CDR > EAC > FLAC EAC'd/FLAC'd by Doug Nawrocki

CD 1/Early Show:01. Waiting02. Evil Ways03. Treat/Shades Of Time04. Savor/Jingo05. Persuasion

CD 2/Late Show:01. Conquistador Rides Again02. You Just Don't Care03. Fried Neckbones04. Persuasion05. Soul Sacrifice06. Gumbo

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Κυριακή, 6 Απριλίου 2008

Mandrill - "Mandrill" 1970 (Psych/Latin/funk/jazz-rock)



Mandrill's first album, recorded on Polydor records in 1971 at New York City's Electric Lady Studios, features the electrifying instrumental "Mandrill". This song captures the feel called "Bush" a term coined by the Wilson brothers

Mandrill: Louis Wilson, Richard Wilson, Carlos Wilson, Omar Mesa, Claude "Coffee" Cave, Fudgie Kaem, Neftali Santiago.



Mandrill's first record is one of the truly unique opuses of the late '60s hippie scene. They have a sound of their own but if you like early Santana, War, Sly, and the more high-energy late '60s-to-early-'70s hippie music in general, there's very little chance of not enjoying this. And how many rock bands have a horn section and a vibraphone player anyway outside the Zappa Universe? Excellent guitar player named Omar and a great singing voice on whoever the singer is in the band too (one of the Wilson Brothers?) two notches above Greg Rollie for sure. "Mandrill" would rate 4 stars but I automatically take one star off any record that mentions the words "Peace" and "Love" more than ten times in 2 minutes.(H.Tuco)



Mandrill - Mandrill (1970)
The 1970 debut from New York City-based Psych/Latin/funk/jazz-rock group Mandrill is perhaps the best of the Latin rock "bandwagon" albums to emerge in the wake of Santana's massively successful 1969 Woodstock appearance. The eponymous first cut is a furiously grooving mix of driving Santana-esque rhythms and blaring Tower of Power/early Chicago-style horns. From there, however, the group for the most part leaves behind the "Soul Sacrifice" fixation and flirts with a wide variety of styles. Although the band generally lacks the virtuosity of its West Coast counterparts, Mandrill manages to forge a distinctive sound with loads of energy and creativity. The album's first side explores hard-edged San Francisco/Texas psychedelic blues (guitarist Omar Mesa at times sounding like a combination of Jorma Kaukonen and Fever Tree's Michael Knust), Motown (on "Symphonic Revolution"), and Cream-style jazz-rock improvisation. Side two contains "Peace and Love," the requisite multi-movement "piece," which thankfully emphasizes real composition over noodly jamming. Although the work basically consists of several different tunes glued together, it comes off fairly seamlessly, in the end tackling everything from faux salsa to gospel with equal aplomb. Overall, Mandrill is one of the great, underrated hippie records, complete with one of the coolest album covers of the period. Recorded at the then brand new Electric Lady studios, it is highly recommended for fans of Jimi Hendrix, Santana, Jefferson Airplane, Steppenwolf, and the like. — Pemberton Roach




mandrill today





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Σάββατο, 5 Απριλίου 2008

El Chicano - Viva Tirado - US 1970 (Psychedelic Soul- Jazz Rock KAPP REC. KS-3632)


Guitar - Little Mickey Lespron
Bass - Freddie Sanchez
Organ - Bobby Espinosa
Drums - John DeLuna
Congas - Andre Baeza
Percussion - Ersi Arvizu



Over the years, El Chicano has often been compared to Santana and, to be sure, there are a lot of parallels. Both are from California (although different parts of the state), both are led by Mexican-Americans, both have recorded in English as well as in Spanish, and both have favored a very eclectic and unpredictable mixture of rock, soul, funk, jazz, blues, and Afro-Cuban salsa. Further, there is no getting around the fact that El Chicano (whose Spanish name means "the Chicano" or "the Mexican-American") has been heavily influenced by Carlos Santana's outfit. Nonetheless, El Chicano has a style of its own and Santana isn't the band's only influence. Over the years, El Chicano has been affected by everyone from Chicano soulsters like Cannibal & the Headhunters and Thee Midniters to Latin soul-jazz favorite Pucho to salsa heavyweights such as Tito Puente, Ray Barretto, and Mongo Santamaria. El Chicano's members were not only affected by the Mexican-American experience, they were also well aware of what Cuban and Puerto Rican musicians were doing on the East Coast and in the Caribbean. El Chicano, which was originally called the V.I.P.'s, was founded in East Los Angeles (a heavily Mexican-American area) in the late '60s. The band's original members included co-founder/leader Bobby Espinosa (organ, electric keyboards, acoustic piano, vocals), Freddie Sanchez (bass, vocals), Mickey Lespron (lead guitar, vocals), Andre Baeza (congas), and John De Luna (drums). Along the way, El Chicano had more than its share of personnel changes; members who didn't join until the '70s included Ersi Arvizu (lead vocals), Hector "Rudy" Regalado (timbales, vocals), Max Garduno (congas), Danny Lamonte (drums), Brian Magness (bass), Joe Perreira (bass), Jerry Salas (lead vocals, guitar), Rudy Salas (guitar), and Steve Salas (lead vocals), among others. (The Salas brothers went on to join another East L.A. band, Tierra, which was an El Chicano spinoff and is best-known for its hit 1980 cover of the Intruders' Philadelphia soul ballad "Together"). After creating a buzz in East L.A. in the late '60s, El Chicano signed with MCA in 1970 and recorded its debut album, Viva Tirado. The instrumental title song, which was written by jazz pianist Gerald Wilson, was released as a single and became El Chicano's biggest hit; the recording reached number 28 on Billboard's pop singles chart and number 20 on its R&B singles chart. On regional L.A. charts, "Viva Tirado" spent about 12 weeks at number one. "Viva Tirado" (which was inspired by Mexican bullfighter Jose Ramon Tirado) was a rarity; in the '60s and '70s, one rarely saw any type of jazz instrumental -- straight-ahead, fusion, soul-jazz, or otherwise -- climbing that high up the national Billboard charts. When a jazz instrumental became a hit single in the pop or R&B markets, it was the exception instead of the rule. While the "Viva Tirado" single didn't make El Chicano national superstars -- they were never as big as Santana -- the band did acquire a loyal cult following and was especially popular in the Mexican-American neighborhoods of the southwestern United States. After the Viva Tirado LP, El Chicano went on to record several more albums for MCA, including 1971's Revolucion, 1972's Celebration, 1973's El Chicano, 1974's Cinco, 1975's The Best of Everything, and 1976's Pyramid of Love & Friends. El Chicano's second biggest hit came in 1973 when MCA released the brown-eyed soul classic "Tell Her She's Lovely" as a single. Nationally, the tune (which features Jerry Salas on lead vocals) wasn't a major hit; "Tell Her She's Lovely" only reached number 40 on Billboard's pop singles chart and number 98 on the magazine's R&B singles chart. But in Mexican-American neighborhoods, the song was huge -- among Chicano Baby Boomers, "Tell Her She's Lovely" was as popular as War's big '70s hits. El Chicano's contract with MCA ended in 1976; that year, the band recorded its first post-MCA album, This Is...El Chicano, for the independent Shady Brooke label (where the L.A. residents enjoyed more creative control than they had during their six years at MCA). The band's next LP, Look of Love, was released on Musidisc in 1977; then in the early '80s, El Chicano briefly recorded for Columbia, which released the romantic blue-eyed soul tune "Do You Want Me" as a single in 1983. Although not a national chart-buster, the song became a minor hit (primarily in Mexican-American areas). El Chicano didn't do a lot of recording in the '80s or '90s, but the band made a long overdue return to the studio with 1998's Painting the Moment. Released on Thump, that CD marked the return of original lead guitarist Mickey Lespron, who had not recorded with El Chicano since the '70s. ~ Alex Henderson, All Music Guide

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