Tuesday, January 31, 2012

Black Sabbath-Vol.4 (1972)

Recorded at the Record Plant in mid-summer of 72 and after having been constantly on tour and have recorded the immortal "Masters Of Reality" (1971), the new album of the Sabbath was about to be called "Snowblind" as the cut sixth album where Ozzy shouted "cocaine" after each verse (dedicated to the use and abuse of this drug), which the recording using the aseptic remedied name "vol4" as if at some point had recorded some other album called "Vol", but this was not the only substance that ran through the recording of the album where Ozzy, Iommi, Butler and Ward had more time to try all kinds of arrangements and instrumentation, the subjects divided into several parts and, Still, got to be gold.
Start with the hypnotic and bluesy "Wheels Of Confusion" is great but the bluesy Iommi's influence will soon give way to an insistent riff on which Ozzy pour his words until the 2:30 minutes everything changes and the work of Ward looks alone on an issue that has both metal and blues, classic rock, progressive and some psychedelia. When there are just under four minutes Iommi riff starts again start to finish in rolls and ecstasy of "The Straightener" which, thanks again to Ward, it sounds seventies and blanket the sharp Iommi solo. "Tomorrow's Dream" is more like a single that we can find on this record and it was published, the first single from Black Sabbath from "Paranoid" about the comparisons, without ever detracting from this topic with a riff playful ending overlapping with a guitar, facing down the stretch, looks off into the sky.
The piano of "Changes" is a big surprise with the Mellotron that shelters Ozzy's voice, intensely dramatic, as he sings about the loss of a loved one, "I'm Going Through Changes ...". Emotional, straightforward, and surprisingly for a band like Sabbath, a registry change that is appreciated all the great riffs that make up the disk. It reaches "FX", the "Martian" instrumental album that all of the seventies, in which the most addictive substances have been involved in the process of recording or composition should include. In "Supernaut" Ward warms up with its charles and Iommi is started with a metal riff house brand in which you realize what these current Black Sabbath still sound and the amount of artists that have influenced. Iommi's solo is so muscular and so full of bad milk'm glad to hear it again and again. But we could not ignore the excellent work of Ward, not only at the end of this song that gives us all a lesson after the patches, but throughout the disc. It is truly overwhelming as it comes to sound every second of the album.
"Snowblind" and Ozzy presents "snow blind" in which, rather than warn or instruct, tell us how you live rather the effects of cocaine. It is striking that under a depressing background vocal harmony singing Ozzy sounds so festive and even when they change gears and accelerate precipitously to return to the original riff but this time with new fixes, Iommi just as only he can end a matter of Sabbath .
The groovie and burdensome "Cornucopia" (one that will go down in history as that in which I was to pinpoint Ward being fired tired of repeating again and again) that stretches slow and heavy as a giant just waking to try to move fairly quickly and leave the heavy groove with which it has started listening to the work of Ward and the variety of rhythmic patterns which boasts one is not strange at all that the poor sick of trying it ended Bill again and again.
"Laguna Sunrise" is an acoustic instrumental, beautiful and idyllic, like an oasis after the grim and monolithic "Conucopia", a small haven of peace before the electric "St. Vitus Dance" with a rough distortion Iommi's guitar that plays a couple of riffs that alternates as if they were the change of mind and a sick mind. And the journey ends with "Under The Sun", with an unmistakable sound of the quartet of Birmingham itself brings us back to his first album. After a sprint, an ancestral gong, change gears and just "Everyday Comes & Goes" with Iommi as a real player in a trance and progressive metal. They do not make records like they used to!

Tuesday, January 17, 2012

Rush-Rush (1974)

Rush's debut album released in 1974, with a cover which has remained as one of the classic images associated with the band despite its simplicity.
In this first album had not yet built even Neil Peart on drums logically nor its enigmaticand magical letters.
And it shows that it was the missing piece as it is an album with a sound basic and simple, with a rock that does not include any keyboard, especially loud voice and a clear influence of the music of Led Zeppelin as "What you're doing "and then some.
Yet we leave a couple of songs as classics of their repertoire, in fact still playing themlive and "Finding My Way", "In The Mood" and "Working Man".
Personally I like is "Here again" with a stunning Alex Lifeson on guitar.
Very good album, but it's debut and this has only just begun, but eventually would become a classic of rock.

Tuesday, January 10, 2012

Frank Zappa-Guitar Vol.1 & Vol. 2 (1988)

This double album released in 1988 and nominated for the Grammy for best instrumental album, has the distinction of being nothing more and nothing less than a long compilation of live guitar solos. Independent of the original issues, edited in such a way that look-and-pieces are musical in its own right. Or rather, an almost endless piece of music that starts at the first groove of the first album and ends at the last second, because the solos are engaged and produced enough to force some sort of unity. There are no breaks. There, almost abruptly at the turn of a "theme" to the other. And yet it works, among other things because of the music of Zappa, who improvises as other components. Is a guitarist exemplary virtuous without exhibitionism, never losing idiosyncratic communication skills: their sentences are thoughts, compulsive movements. Many people have to hate this album, with that passion pop and punk (those brothers) have inculcated and ultimately make a stupid prejudice toward long jams and more or less complex (meaning "complex" rather than using more three major chords ...). Too bad, their loss. This album is, after all, true jazz, true art, true chamber music, real music. To think and write and work, or just listen. Accompanying emotional and never bored. Moreover, as is usual Zappa, the titles are quite funny, such as the sensual and delicate blues that opens the album is titled "Sexual Harassment in the Workplace"
In addition Zappa album as usual he surrounds himself with very great musicians like Steve Vai, Vinnie Colaiuta, Chad Wakerman and Peter Wolf among others.