Tuesday, December 27, 2011

Mike Oldfield-Platinum (1979)

Platinum released in 1979 would be the successor of Incantations and broke with the previous schemes in the works of Mike Oldfield, marked by long and instrumental suites to last until the end of the disc. From now on there will be a long piece directing the work, supplemented by shorter topics.
On this album, Oldfield and begins to experiment with electronic sounds and distortion effects in anticipation of the 80s, terribly marked by abuse of such techniques. However, the use of a healthy, just as mere accompaniments, while the music (the real one) is still that particular seal that Mike Oldfield was only able to print and even shows influenicas pop, funk and jazz in some parts of the disk.
The suite that opens the play is a piece of almost 20 minutes with a high progressive component divided into four parts (one of which is a piece adapted from Philip Glass North Star). The other songs too have their story: The song Woodhenge was replaced in the American version of the album (called Airborn) on the topic Guilty (single included in the previous live album Exposed), Sally, who appears on the back as the subject 3, does not actually appear on the disc, but is replaced by the subject Into Wonderland. Sally is a somewhat innocent ditty dedicated to Sally Cooper, Oldfield girlfriend back then, and only appears in the early editions of the LP (it was later taken by Richard Branson, and replaced by the above issue) is the particular insult Punkadiddle Mike Oldfield to Punk music, and when played live, the musicians were naked from the waist up, and I Got Rhythm is a version of a topic of George and Ira Gershwin.
Taken together, the whole album is very interesting, full of changes, melodic richness and as always the case of Oldfield, a quality hard to match.

Thursday, December 22, 2011

Mike Oldfield-Ommadawn (1975)

Without a doubt, one of the 10 albums that take me to a desert island. Ommadawn is a gem of music composed in 1975, or whatever it is, the best part of Mike Oldfield. My devotion to the music began, not with Tubular Bells if not Ommadawn. And the truth is that even listening first and then his debut as laureate, has never managed to dislodge his third delivery. And is that Ommadawn is sublime as well as a unique and outstanding musical. There is so much beauty offered from the very first notes that it is impossible not to move you. These chords that transport you to an era epic Celtic folklore and do not return to reality until just the last chord of the second face.
Tubular Bells I recognize that it is also great, but I do not know why but will not let Ommadawn option. Too beautiful, too much excellence. And the magnificent photography of David Bailey shows us a Mike Oldfield put on a hippie aura that seems to indicate that what we find inside is not of this world. It is timeless.
Ommadawn belongs to the great era of Mike Oldfield, the period for works like Tubular Bells, Hergest Ridge or Incantations. Time, which for me ended with QE2 in 1980. You never sounded again Celtic Ommadawn those winds.

Wednesday, December 7, 2011

Pink Floyd-Meddle (1971)

Meddle is the seventh album by the British band Pink Floyd, released in 1971. This album marks a change from their previous albums (which were the dominant genera and symphonic psychedelic rock) and predominantly progressive rock, be the basis for their next jobs.
Recorded during the tour of Atom Heart Mother, reflects the desire to find a new sound, the need for radical change. "One of These Days" (the opening temade) is an instrumental song that has bass and a guitar with high distortion. During the event, listening to Nick Mason, unamplificador through guitar effects pedal with, say, One of these days, I'm going to cut you Into little pieces (One of these days, I'll cut you in bits). Originally the issue was more long and was shortened.
In this issue we add the gentle "A Pillow Of Winds" and "Fearless", which can be heard towards the end, recordings of the tribunes of the Liverpool football team, singing You'll Never Walk Alone, anthem.
Continue with the elegant "San Tropez" and "Seamus" (a blues in which you hear the howling of the dog of the same name), this issue was previously called Mademoiselle Nobs, and that name is called the version they recorded for the show Pompeii.
It culminates with "Echoes" vast subject, resulting from the combination of 36 separate fragments, which were being reinterpreted and edited to form the final piece is now known. Among the previous names were: "Nothing: One To Thirty Six Parts," "We Won The Double" and "Return Of The Son Of Nothing".
The album was recorded between January and August 1971 in the studios, Abbey Road, Air Studios and Morgan Sound Studios. The ringing sound engineers were Peter Bown, John Leckie, (Abbey Road and Air Studios) and Rob Black and Roger Quested (Morgan Studios). The reason for these changes resulted from studies that Pink Floyd used to this record 16-channel technology, which was in the Abbey Road. The mixture of the disc was completed in September, the month during which they also completed a quad mix, which is not edited.
The album was released on October 30, 1971 in the United States through the Harvest / Capitol, and on November 5 in the UK through the Harvest / EMI. It peaked at # 3 on the UK list. He was awarded gold in 1973 and double platinum in 1994. A remastered edition was released by MFSL in 1984 on high quality vinyl and cassette. In 1992 he released a digitally remastered version on CD, as part of box set Shine On, was released off the set Shine On in 1994 in Europe, and in 1995 in the United States.

Saturday, December 3, 2011

Great Legends: Grand Funk Railroad (1969-To the present)

If we were to talk about one of the pioneers of hard rock bands, would certainly be Grand Funk Railroad. In the '70s was his decade, playing in all scenarios seen and seeing, and making a sale that would reach 25 million copies.
In 1969 Terry Knight, would be its principal member, but he chose to become a manager, leaving the instruments to Mark Farner (vocals, guitar), Don Brewer (vocals, drums) and Mel Schacher (bass).
The name comes from a railway line from Michigan Grand Trunk Western Railroad. In the Atlanta Pop Festival festival, achieved a resounding success, with this setting would get Capitol Records to them. This would record his first album Grand Funk, or popularly as the red album.
This would be in 1970, and in 1971 would break the attendance record achieved by the Beatles filling Shea Stadium in 71 hours. Despite having all the critics and the media against Grand Funk Railroad, his early albums were a success.
There is a legend which says that Knight's manager, had to pay about $ 100,000 to New York Times Square (famous group list) to promote Closer to home. The album went multi-platinum, but the criticism is cebaría with them, branding as a total failure.

In 1972, Knight fired his manager, with the result of a judicial campaign for breach of contract. That same year, opened in the heart of the new group.Incorporated into a fourth member Craig Frost on keyboards, and because they filed the lawsuit Knight, had to cut the name to Grand Funk, with the result that would change his musical style, apart from his rock side to side, giving way to the pop sounds. So All the girls arrived in the world beware!, Rescued shortly after its original name but its credibility as a group, was rapidly fading. In 1976, produced by Frank Zappa Good sigin would print ', good playin', but only resulted in the disintegration of the band. Mark Farner start a solo career, while other members of the group, would make a band called Flint.

Grand Funk Railroad would join in 1980, but without the presence of Frost, or Schacher, this being replaced by Dennis Bellinger. Would print two albums for Full Moon, but received a good reception, separate group for the second time. Farner would Christianity and founded a band of Christian music, for his part and his former partner Brewer Frost would join Bob Seger and his Silver Bullet Band.
Grand Funk Railroad, would unite few occasions, even bringing to 260,000 workers in 14 shows, never again as active training.

Wednesday, November 23, 2011

Great Legends: Grateful Dead (1965-1995)

The Grateful Dead were a band from San Francisco. Born in 1965. First called the Warlocks. They played traditional American music. They say after feeling the Beatles tsunami and its effects (see a live Lovin `Spoonful) decided electrficarse. Blessed. Here was born a 30-year history, a long journey and strange experiences they all shrank and with it a vast discography that continues and will continue forever and ever.
Great music lovers. Convinced quintessential hippies. They were a quintessential jukebox, where everything was possible asimlar to enrich their musical experience. Blues, country, folk, jazz, rock & roll, reggae ...
To me there are two G. Dead. The study of the records and giving concerts. Officially released about 29 albums, of which 10 were live (2 single, two triples and doubles the rest live if habalmos clear vinyl). In addition to all of them have very good editions with bonus tracks par excellence. If we stick to this only see that in their studio albums about anything and everything. They started with the spicodelia (those first amazing lps) and then did everything.
It is true that if you want to start somewhere and perhaps the Workimans Dead American Beauty, 1970 may be a more semcillo begin. Then dive into the pool with something alive and here, that the spirits be with you in such a trip. It can be an amazing experience.
The Grateful Dead were mostly a live band. Among them was a normal rapport outside, which made many times did this magic on stage and kidnap the listener.
Facts that can help us understand their concerts:
Concerts were long. They are legendary for their shows closer to 3 than two hours
They are the group that has given free concerts in history
 They had lots of original songs and repassed the traditional American hymnal, from Johnny Cash and dark folk tunes, the soul, the great Hak Williams or Chuck Berry.
Allowed their fans (deadheads) recorded the concerts, so that after the exchange. They also followed them from concert to concert.
98% of their concerts were professionally recorded.
Perfectionists were sound and were never completely satisfied with their stereos.
Never played two concerts with the same list of songs to play. From one day to another varied what they did.
Never played the same way the same song.
Sometimes a song laced with others, made some jam anthologies, fading into instrumental passages that lead you to explore other states of consciousness.
Consequently, and since their separation have been published at least about 78 live cd (most of them double, triple and some boxes) and several dvd. Most of these editions contain the whole concerts.
Removing played 4 years played all his life with two batteries.
There's nothing like a Grateful Dead concert.
The base of the band consisted of Jerry Garcia (lead guitar, vocals), Bob Weir (rhythm guitar, vocals), Phil Lesh (bass, vocals), Billy Kreutzman and Mickey Hart (drums). The life and ends it took to lose several of their keyboardist, Pig-Pen (Ron), Keith and Brent Mydland Godauchx.
In recent years the band was caught by the road. It was a little monster that eventually swallowed. Many people depended on the machinery around the tours are formed. Declibe years between 1990 and turn 95. Gone were many experiences and travel.
Jerry Garcia died in 1995. Without him there is no band. Years of wildlife.Many substances in the body, too much.
But life goes on and the rest are still making music: Phl & Friends, Ratdog etc ... and from time to time a tour with the remaining members under the abbreviated name of The Dead. It is not the same without Jerry, but there are very worthy and wise ways to reinvent a vast catalog of songs and they know how to do it gracefully.

Wednesday, November 16, 2011

Great Legends: Rory Gallagher (1948-1995)

Rory Gallagher was born in Ballyshannon, County Donegal, Republic of Ireland, on March 2, 1948, but the whole family moved shortly after the port city of Cork, residing in MacCurtain Street. At an early age, nine years, began learning the guitar, because of their great love for the songs on the radio I heard the blues and American musicians mainly from skiffle king, Lonnie Donegan. No teacher, with the help of some books, Rory Gallagher was learning folk themes, rock'n'roll and especially blues. At ten years and participated in competitions for young talent, reaching out his photography at age twelve in the front page of the Evening Echo. At that age he acquired his first electric guitar and the following year he read an ad in The Cork Examiner guitarist was sought for orchestra, thus brightening started playing small parties by Cork, Kerry and Limerick with The Fontana Showband. At fifteen, he bought the Fender Stratocaster crushed with which we have seen in a thousand photos, Strato of 61, second hand, which cost him £ 100 and then the 16 years he was playing four nights a week with Fontana. The formation of Fontana Showband era: Rory Gallagher, lead guitar, John Lehane, sax, Eamon O'Sullivan, battery, Declan O'Keeffe, rhythm guitar, Oliver Tobin, bass and Bernard Tobin, trombone, saxophone and later.
In 1964, Rory saw the Beatles made possible the emergence of bands playing their own music with success, and the Marquee in London opened its doors to these new groups. He went to London to see the Rolling Stones, who had seen the previous year in Cork. It is time for change and Rory and the rest of Fontana faced a turning point in his style, renaming of Impact. They come to the U.S. military airbase of Torrejon and play for several days, from here to Hamburg and go through all the clubs where they can play. At that time, were dressed like the Beatles, and even played several of these issues. There were changes within the band: Michael Lehane, organ and Johnny Campbell on drums. During his visit to Spain Rory began to think about leaving the orchestra to see that the military asked them the songs that he really liked to play, since only took rock'n'roll and blues.
And tested experiments began with peers Johnny Campbell and Oliver Tobin touching as a trio, out of the orchestra, performing several shows in Hamburg. The rest of the orchestra was reorganized and returned to get the name of Fontana.
In 1966, Rory Gallagher decided to form a new trio with Norman Damery on drums and on bass and Eric Kitteringham the name of Taste, playing their own songs as well as customized versions of classic Blues, but they were the majority in their repertoire. Days of risk, as playing their own songs with Taste, was charged much less than with an orchestra versions.At the beginning of Taste, exterlinas charged 30 pounds per night. They performed at countless clubs without success knocked on his door.Bassist Dave Glover Showband of George Jones, who previously played with The Monarchs Showband by Van Morrison, was impressed and talked to them advisable to go to Belfast, and Belfast spoke of them. Van Morrison and Them had converted to public Rythm'n'Blues Belfast fans.Taste This appeared at the Maritime Hotel in Belfast, a former ballroom become Rythm'n'Blues club, playing several nights. That's where he saw Marvyn Solomons, a scout who saw him recommended to the Taste, the revelation of the moment. He was so pleasantly surprised that the next day offered a record in July 1967. This promotional disc, now we know the name of "In The Beginning", an album of very short lived, as a clueless technician of the material deleted by mistake. And that started it all: concerts and more concerts, and in August 1968, there are changes in training: Richard McCracken, bass and John Wilson on drums. Signing by Polydor.
Visiting London, but that does not make them much attention, because at that time is John Mayall and others account for the success and attention among youth who discovered the great blues. Go to Hamburg, where sweep to return back to London, where this time it is wonderful with this fresh new blues band. Perform a North American tour with Blind Faith and then to Europe with John Mayall. The reputation precedes them all the places you go, and although his real debut LP "Taste" fails to shine, his second "On the boards" left critics speechless who qualify and Rory as one of the best guitarists of the time. But when they are raised in the success and shortly after to shine at the Festival of the Isle of Wight, the group disintegrates. On the one hand make off Richard and John to create Stud, and another Rory, who embarks on his solo career.
In 1971 he recorded his first LP "Rory Gallagher" with Gerry McAvoy on bass, drums and Vincent Campbell Wilga Crane piano. Collaborated on albums by Muddy Watters "London Sessions" and Mike Vernon "Bring It Back Home" and pulls out a new album, "Deuce". From this last tour LP material is removed for the third, "Live in Europe", which puts you at the top of the charts and popularity. In the Melody Maker is the guitarist chosen as number one among its readers ahead of Eric Clapton and Alvin Lee in 1971 and 1972. Thousands of interviews, TV appearances and a long list of world tour concerts precede new studio sessions, brewing and brought to market the acclaimed album "Blueprint" with new members to enter Wilga will DeAth to Rod battery and the great Lou Martin thereafter have a fixed place in the group for his incredible mastery of all kinds of keyboards.That same year, 1973, in addition to playing non-stop around the globe, working with Jerry Lee Lewis in his "London Sessions", sweeping the Reading Festival and spawned another Top Ten: "Tattoo". 1974 is another year of endless work for Rory, the frenetic pace of concerts, from which comes the double LP and film "Irish Tour '74" masterful work, essential album for any fan of blues-rock, add their collaboration in the disk of Chris Barber and the new request for help to engender the Muddy Watters "London Revisited."
More and more shows, more and more television appearances leading up to the recording of "Against the Grain" (1975), not as honored as those who preceded him, followed in 1976 by the release of "Calling Card", produced by the vinyl Deep Purple bassist Roger Glover, in which there is a sound approach to hard rock, which will introduce a new tour, during which works with Lonnie Donegan in "Puttin 'On The Style" and Joe O'Donnell "Gaodhal's Vision". Located in the Montreux Jazz Festival with Albert King, who invited him to play with him in his show at the Gran Casino de Montreux concert that was published as "Albert King Live." And follow the successful world tours and collaborations, as in 1978 also contributed their bit in the work of arranger Mike Batt ("Tarot Suite"). That same year, in May, returns to be changes in the band, going to the battery Ted McKenna Rod leaving Death. Rory also dispensed with the services of Lou Martin, in composing hard rock material in which there was no room for keyboards. They are at times "Photo Finish", an album crude, strong, full of grit, which is followed by "Top Priority" and a live LP in 1980, "Stage Struck" which summarizes what have been the previous shows , in solid rock, just rock.
In March 1981, Ted McKenna left the band to be made under another guitar hero, Michael Schenker, and is replaced by Brendan O'Neill.Engraved with "Jinx", an album that, while still being hard rock, exudes scents of their old roots everywhere.
Record sales are not as numerous as before, but against what one might think, Rory recitals were always overflowing. He had left the bestseller lists, but still remained unchanged its reputation of being fabulous concerts. His reputation as a guitarist never ceased to be regarded as "more than excellent." The proof is that all artists want their collaboration (Box of Frogs, The Fureys & Davey Arthur, Davy Spillane Band, Phil Coulter, Gary Brooker, etc.) Making arrangements on all your disks, the same with electric guitar sounds.
As early as 1987 published a new blues album with "Defender", accompanied by a video, "Messin'with the Kid", which summarizes the recital he gave at Cork City Hall, to his countrymen, although this did not see the light until 1990, which published its latest vinyl "Fresh Evidence".Experiencing serious problems with alcohol, the band abandons him, and enlist new members: Jim Levaton, keyboards, and David Levy on bass, Richard Neuman, drums. Dedicated exclusively to the live shows, television interventions, to collaborate on the albums of your friends (Samuel Eddy, Energy Orchard, Dubliners, etc.), Rory Gallagher gets sick to 1995. His heavy drinking have taken their toll on your liver, so it is successfully transplanted a new one, but subsequent complications, make Rory dies June 14, 1995.
Lots of tributes in his honor have been performed worldwide, has put his name to streets, libraries, schools, and artists of international fame have recognized its merit and influence, greatly lamenting his loss. Rory Gallagher was one of the few artists of blues-rock, never retreated, never rested in his career, having performed in all corners of this world.
All who witnessed one of his concerts not forget, and those not so lucky, at least they can enjoy their legacy of great songs and countless recordings that were made throughout his career, being able to say that Rory Gallagher left us, but remains and will present in our memories.

Tuesday, November 1, 2011

Rush-Exit...Stage Left (1981)

Rush likes to play live. His first steps recorded on CD (in those years, on vinyl) were captured in the album All The World Is A Stage [1976]. It was not his best show, but they proved to be excellent musicians, who can play a modest setlist to expect more of them.
The idea of ​​"Exit" was to create an additional live disc to disk which had been launched, Permanent Waves [1980]. But until then his manager, Cliff Burnstein, virtually forcing them to enter the studio to record their best album, Moving Pictures [1981], which add more songs to the large repertoire of "Exit" (note that the DVD of the concert has other songs not on the CD).
Let's talk show. It was a tour across the United States, where huge stadiums were needed to accommodate so many people. Nearly 50 thousand people and a euphoric atmosphere gives way to one of the best concerts of the band. 3 musicians: Geddy Lee, Neil Peart and Alex Lifeson, 4 instruments: Drums, Bass, Guitar and Synthesizer. The perfect combination to display a live round from beginning to end, where what matters is the sound, not appearance (in the case of other bands of sand, is just the opposite. Example, Kiss).
Now the CD. What is special about this concert that did not possess any other show? First of all, excellent musicians. Playing 2 instruments at once is complicated, but Geddy Lee was on fire, and he did. Neil Peart was inspired by the batteries, playing solos extensive and complicated, in addition to spice up each song with Microsol as complicated as extended solos. And Alex Lifeson playing as in the study, the guitar solos are great, they sound exactly like his entire discography.
"The Spirit Of The Radio" is an excellent introduction to the concert (on CD in the DVD start with Limelight). Geddy's voice plays with the falsetto as he has been doing in all your disks, in tune. The guitar looks sharp in his ear, while Neil applies its expertise in batteries. Then comes "Red Barchetta" and the audience's emotions begin to feel. "YYZ" is the demonstration of why Neil Peart was considered the best drummer of his time. One almost 3 minutes epic that emulated the late John Bonham, the audience exploded in silence when he finished his demonstration of skills. Have been there to witness this gesture is something that is priceless.
After "Passage to Bangkok" is a classic. "Closer To The Heart", and the public Geddy Korea with the beautiful lyrics of this song, while the musicians play the game. Alex Lifeson's entrance and a short one was required to continue with the environment, and give way immediately to "Beneath, Between and Behind". Again, the audience explodes.
"Jacob's Ladder" is the song that has touched more solid so far (if you are playing as you read the review). All the musicians demonstrating their skills in an intricately epic song, which talks about a battle between two great armies.
"Baron's Bane / Trees" sounds great in this version. Aventuresca, a large section with guitar, energetic musicians playing, the audience crazy. Neil fed to the battery Microsol song, giving way to a small synthesizer solo. We ended up extending a note and live experience. Something hard to do if they have the necessary supplies. "Xanadu" starts with a E issued by the synthesizer, guitar playing very softly, while Neil plays the elements of the battery that had been used in other songs, like bells, Chrimes and congos. The song takes shape when the battery goes strong to break the peace of experimentation. Now after almost 6 minutes of the song, you can hear the first words of Geddy, going to something like Led Zeppelin. The perfect falsetto singing "Xanadu!, Xanadu!" and a great performance make it the gem of the disc.
"Freewill", arguably their best song, was played inspirationally, and almost identically to the version of the LP, taking with appropriate applause. "Tom Sawyer" is known worldwide for the brilliant Neil Peart solo in batteries, and emulating the album version, which played perfectly without miss any percussion.
The album ends with the magnificent performance of "La Villa Strangiato", where it looks like Alex Lifeson want. Only after the guitar solo, not tune anywhere, earnest people to the beat of this song instrumental for almost 10 minutes long end applauding with all his might to Rush, who had presented one of the best concerts of his career.

Tuesday, October 25, 2011

Supertramp-Breakfast in America (1979)

A criticism that has always been attributed to this record of being overly commercial and away from the line-progressive symphonic works Great as Crime of the Century (74) or Crisis, What Crisis? (75).
Sometimes when a band does nothing but create masterpieces as rosquilletas, some critics, intolerant of any attempt at renewal, wait lurking to curb the continued good form.
Breakfast in America was a good excuse: some catchy songs (in a good way) and more digestible rhythms could be a perfect target for it. Nevertheless, if we analyze the job would not hurt to ask whether it is usual to make a studio album that can be drawn, at least six singles (sixty percent, in this case).
With bombs caliber "The Logical Song" (clever use of proparoxytone) and the eponymous "Breakfast in America" ​​(great trombone) warns that this is a work that has much to offer. But if we continue to discover great tunes and "Goodbye Stranger", beautiful ballads as "Lord is it mine" (Hodgson) and "Casual Conversations" (Davies).
One of the best songs of Supertramp, in my opinion, is the stunning "Take the long way home", with a moving harmonic inlet and a hypnotic rhythm of the keyboard. A true genius of Roger Hodgson.
But that's not all, if we examine the four remaining songs (which could be defined as less "seductive" before a first hearing), we find the sweetness of 'Oh Darling ", the desperation of" Just another nervous wreck. " Then, too, the emotional expressiveness of his preface "Gone Hollywood" and its fantastic epilogue "Child of vision," make it clear where his progressive side is fully intact because of the improvisation and the extension of the piece.
Beautiful melodies, sounding keyboards and vocal harmonies and lyrical. Commercial and sweetened to some. Others, to enjoy.

Thursday, October 20, 2011

Supertramp-Crisis? What Crisis? (1975)

Crime of the century set the bar very high in the career of this great group symphonic in the 70's was his decade-but the only-more demanding. Yet the pressure that they could have taken its toll because of the success and quality of his previous work, not the least affection. The band led by Davies & Hodgon made a continuation with a handful of superb songs. 
Conceived in the midst of global crisis due to sharp increases in oil Supertramp would make a great work he undertook his journey to the peaceful entry "Easy does it" which links to the guitar dynamics "Sister Moonshine", two songs with an evocative sound. The rock-blues "Is not nobody but me" is a big issue that touches the hard instrument, "A Soapbox Opera", a beautiful symphony that displays the compositional qualities of Roger Hodgson, leaves the listener in a sort of hypnotic state. In Ecuador we find disc masterpiece "Another woman's man" with a totally inspired Rick in his piano playing and a great instrumental part and highlight the issue. "Lady" and "Poor Boy", based on rates of coronary keyboard and credited its characteristic stamp. One of my favorites is "Just a normal day", especially the sensitivity that follows the melody and vocal play between the tandem of composers. "The meaning", its more risky song, has great quality with hints of jazz (the always persistent Helliwell fundamental contribution of the wind instruments). The legendary "Two of us", which closes every concert is an admirable epilogue to this recommended album. 
By the end, witty and poignant highlight your home where we can see her resting peacefully saxophonist in a deckchair, umbrella and cocktail included, along with a totally desolate landscape (never a staging will be as everlasting as this one).

Saturday, October 15, 2011

Yes-Fragile (1971)

Only a privileged few can today afford to publish more than an album of high quality in less than twelve months. In the seventies it was quite common and most of them were Yes, exponent of the so-called top-level progressive and symphonic rock. 
This album released in November 1971 (the fourth study), participating for the first time keyboardist Rick Wakeman now famous, who added his talents to those of the other musicians, including Steve Howe, the superb guitarist who had joined a year earlier replacing the band's lead guitarist, Peter Banks. 

The album has a magical Roger Dean cover designed by artist specializing in landscape design fantastic and exotic for the covers of numerous musicians. Presents a planet similar to ours, with seas and continents, which is flown by a strange wooden aircraft. In the back is seen almost destroyed the planet and the glider away presumably with the planet's inhabitants inside. 
Entering fully the contents of the disk, you might describe as an interesting combination of five single-compositions (one for each member of Yes) plus four extended tracks that involved all members of the group.
Thus, we are only entitled Cans and Brahms keyboards (Extracts from Brahms' 4th Symphony in E Minor, Third Movement), Rick Wakeman adaptation made especially for this album, the acoustic guitar solo Mood for a Day by Steve Howe, We Have Heaven composition which highlights the Jon Anderson vocal arrangements, the short piece of percussion Five Per Cent for Nothing and finally the hypnotic instrumental with Latin title The Fish (Schindleria Praematurus) to the brilliance of Chris Squire, whose nickname is "Fish".
All aforementioned instrumental compositions are a kind of complement to the four remaining large and extensive compositions:
Roundabout starts the album with its hallmark, the characteristic initial acoustic guitar complements recorded a synthesizer effect backwards. But the climax comes as you join the other instruments, including the melodious voice of Jon Anderson. Probably the most acclaimed song by fans of Yes, in all his discography.
The electric guitar and bass of Steve Howe and Chris Squire respectively, acquire epic proportions in South Side of the Sky, track No. 4 on the disc. Starting with environmental sounds of footsteps and wind blowing horse goes in the same conceptual meaning. Half of the subject there is a nice change of pace where the voice of Anderson and Wakeman's keyboards give way to a new download of Yes heavier than you can imagine. Excellent.
Long Distance Runaround has a nice melody that position as the subject more accessible album in my opinion. Start with a progressive characteristic Wakeman keyboards and, with its 3:33 in length, the shortest of this LP (not counting the aforementioned five solos). It is usually propagated in the radio with The Fish (Schindleria Praematurus), to be united both.
Heart of the Sunrise is the last track and is another example of how hard and heavy progressive rock could sound of the '70s, his change of pace midway through the topic more accessible your listening. At the end return the chorus of We Have Heaven, as a closing song and album.
Four hands high, almost five for this universal classic rock group gave the final boost it needed to consolidate, especially in the U.S., hard to recommend to fans of progressive rock, progressive metal and rock in general.

Monday, October 10, 2011

Elvis Presley-Elvis Presley (1956)

It was the first great album of Elvis, and the first work for RCA, he never edit lps with Sun Records, although five of the songs included here belong to the Memphis label, the disc is essential to place the rock'n'roll as a future basis of the so-called music of the twentieth century, besides himself confirmed as a legend Elvis world, that white sang like a black.
The album is a perfect balance of music between the two styles, the technique of whites and blacks in the spirit of the Blue Suede shoes rockabilly, rock-gospel of Tutti Frutti, rhythm blues I got a woman or ballads I'm counting on country as you make him unquestionably the king of rock in the following decades.

Tuesday, October 4, 2011

Blood Sweat and Tears-Blood Sweat and Tears (1969)

If Child is father was the man to his first album a work of genius, that before us was the confirmation of the band, their sound closer to jazz-rock to other styles, will find this album a commercial formula that puts you in weeks as number one in the charts and even voted best album of the year for this album and did not have Al Kooper, but had recruited the mighty David Clayton-Thomas, and other members including Steve Katz and Jim detacan Felder had made ​​an album with legendary subjects and others such as You've made ​​me so very happy (a Motown classic version), Spinning Wheel, and When I Die ... the truth is that the experienced rock fused with blues and arrangements jazz supergroup made ​​of this key in the seventies with sales topping 35 million albums in total.

Thursday, September 29, 2011

Crosby, Stills, Nash and Young-Deja Vu (1970)

Perhaps the greatest folk-rock supergroup that has ever existed, were never aware of the impact would form even 30 years later, David Crosby proceeded from one of the pioneering groups of country folk-rock flavored with the Byrds, Stephen Stills came from another influential groups of the Buffalo Springfield folk rock by Graham Nash was part English and the Hollies came from a group beat with touches of British rhythm & blues, and Neil Young also came from the Buffalo Springfield, but this was Canadian, his music was a solid style with four guitars playing at once and any of the four solo voices to be followed by three others, the album itself contained themes composed caliber Woodstock Joni Mitchell, Almost Cut My Hair matter content anti-police, Our House or the fantastic Teach Your Children, the band became a perfect machine to make live music where these or other topics of their first album (this even without Young) were really impressive with themes that stretched in suites due to the endless guitar solos of the four components, special mention to their double live album Four Way Street considered a classic.

Monday, September 26, 2011

Creedence Clearwater Revival-Cosmo´s Factory (1970)

If Europe were the Beatles in the marking pattern in the sixties at both the popularity and sales, was not so in America, there was a band that made ​​them not only shade, but also literally swept them all, not refer to the Creedence Clearwater Revival
In 1970 he posted his fifth album Cosmo's Factory, the last of the great albums of the band, shortly after Tom Fogerty edited leave the formation, the album itself, was really great, since the subject of Marvin Gaye I heard it through the grapevine, through the country rock of my back door and Lookin'out Up around the bend, or the fantastic to the impressive Travellin'band Who'll stop the rain, an issue about the Vietnam War, its swampy rock concert southern taste influences and blues-exempt not heard since the late fifties, in short, a masterpiece essential in the rock of the seventies.

Tuesday, September 20, 2011

Wishbone Ash-Argus (1972)

Will be remembered for being a twin guitar band, and perhaps the first to use two lead guitars, but also by the progressive blues-rock experiment, their album Live Dates is legendary, but we are concerned is perhaps his masterpiece, issues such as Blowin 'free or Warrior or the King will Come enigmatic made ​​them even a little inspired by science fiction, but it was the Turner brothers with ease and inspiration for the guitars that made ​​them distinctive and a truly amazing band.