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Mostrando entradas con la etiqueta Acústica. Mostrar todas las entradas
Mostrando entradas con la etiqueta Acústica. Mostrar todas las entradas

domingo, 10 de octubre de 2010

JAN AKKERMAN, TABERNAKEL

TABERNAKEL (1974) ES UN ÁLBUM BELLÍSIMO, MAGISTRAL, Y NO DEMASIADO CONOCIDO, EN EL QUE JAN AKKERMAN FUSIONA LA DELICADEZA DE LA MÚSICA CLÁSICA CON EL ROCK PROGRESIVO, UN PASO MÁS ALLÁ DEL LEGADO DE FOCUS. PURA ARMONÍA. PERSONALMENTE LO CONSIDERO SU MEJOR TRABAJO EN SOLITARIO.

For Focus devotees this is perhaps Akkermans' finest solo effort as he makes use of many the same characteristics one would find on Focus recordings. There is a nice mix of classical, folk and rock pieces here including some work with small orchestral arrangements that all work splendidly. Akkerman's guitar work is tasteful and passionate throughout. This is a wonderful recording well worth owning (Amazon Review)

Just for testing Purposes:
Listen "Tabernakel" (mp3 320)
The link was found on the net.


More information:
Buy "Tabernakel" here
Jan Akkerman official site here
More information here
Wikipedia page here

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domingo, 20 de junio de 2010

THE STRAWBS, FROM THE WITCHWOOD

STRAWBS ES SIN DUDA ALGUNA UNA DE LAS BANDAS MÁS QUERIDAS Y APRECIADAS DEL FOLK PROGRESIVO BRITÁNICO. CON UNA LARGUÍSIMA DISCOGRAFÍA A SUS ESPALDAS, MUCHOS DE SUS ÁLBUMES SON IMPRESCINDIBLES EN CUALQUIER BUENA COLECCIÓN. "FROM THE WITCHWOOD" Y "HERO & HEROINE" SON DOS OBRAS MAESTRAS.
One of the better British progressive groups, The STRAWBS were a 60's folk and medieval band turned prog-rock with the help of Dave COUSINS (the heart and soul of this group) and Rick WAKEMAN "master of the keyboards". WAKEMAN is featured on the albums "Strawbs", "Dragonfly", "Just A Collection of...", and "From The Witchwood" before he joined YES. The line-up for the group changed markedly over the years. Their sound has been in a state of constant evolution combining English folk and progressive sounds to form their unique style. Critics seem to have a preference for the STRAWBS in the early Seventies when the group consisted of Tony & John HOOPER, John FORD, Richard HUDSON and keyboard virtuoso Rick WAKEMAN. The group ceased to exist at the end of the 1970s, and COUSINS embarked on some solo projects. STRAWBS would appeal to fans of bands like FAIRPORT CONVENTION, STEELEYE SPAN, PENTANGLE, etc. They have recorded over 15 albums through the years, with various lineups around the core of Dave COUSINS who offered beautiful melodic compositions. Every STRAWBS album between "Witchwood" and "Nomadness" has something unique to offer. A perfect introduction to the sound of The STRAWBS is the compilation-CD "A Choice of Strawbs" (16 tracks). It features all their best material from their most creative and "symphonic" period (between '71 and '74). The music of The STRAWBS frequently ranges from folky (acoustic guitars) and classic (piano and harpsichord) to bombastic, symphonic rock (fiery electric guitar and glorious Mellotron in the vein of BARCLAY JAMES HARVEST and The MOODY BLUES). The vocals are powerful with a lot of expression.
Más información:
Página oficial de The Strawbs Página de Strawbs en AMG
Comprar álbumes de Strawbs

Just for Testing Purposes:
Listen "From the Witchwood"
Listen "Hero & Heroine"

All these links belongs to other blogs and music sites. ThatWasMusic don´t host, store or upload any file. We just search the web for you. Remember that you should buy the record if you like what you hear. Support the artists. Todos los links de ThatWasMusic han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre



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domingo, 14 de marzo de 2010

STACKRIDGE, THE BEST OF ENGLAND

TRAS CUARENTA AÑOS GRABANDO DISCOS EXCEPCIONALES, DESDE LA PRIMERA HASTA LA ÚLTIMA NOTA, STACKRIDGE SIGUEN SIENDO UNOS PERFECTOS DESCONOCIDOS PARA EL GRAN PÚBLICO, UN GRUPO DE CULTO DEL QUE ES IMPOSIBLE NO QUEDAR PRENDADO.

Todos los artistas o grupos de este mundo, y poco importa su estilo musical, su atmósfera o su procedencia, tienen imitadores, continuadores de su sonido, o se parecen a otros, o toman prestados logros e ideas de otros, etcétera. Precisamente por eso, cuando alguien quiere explicar rápidamente a un amigo cómo suena, por ejemplo, Starcastle, es normal que termine resolviéndolo por la vía fácil: "son como unos Yes a la americana, bastante buenos". Y punto. Y así con todo. Pero no con Stackridge. Con Stackridge rompieron el molde. De ahí que sea tan difícil explicar qué música componen y tocan y cómo suenan. Voy a intentarlo, y no tengo otro método que tirar de comparaciones. Aunque aviso por adelantado que ellos no tienen nada que ver con ningún artista que yo pueda citar, pues son únicos y formidablemente buenos. Tan buenos que cuesta creer que algo tan bueno no haya triunfado a gran escala. Vamos allá. Stackridge son británicos, y eso marca sus voces y su carácter. Voces británicas, perfectas, amantes de la armonía y de la melodía. Digamos que sus voces son tan buenas como las de los Beatles cuando se ponían sublimes. Stackridge tiene una faceta pop muy marcada. En eso son también como los de Liverpool, pero juro que sus composiciones no tienen nada (NADA) que envidiar a las mejores de Lennon/McCartney, a los que reconocen adorar abiertamente. Punto. Stackridge son también un grupo de rock progresivo (sí, has leído bien), que en ocasiones te recordará a Gentle Giant y en otras al sonido Canterbury de Caravan o Hatfield & the North (piensa en la voz de Richard Sinclair). Stackridge también son un grupo de folk rock; marcadamente acústicos, tradicionales, psicodélicos o medievales. Todo depende del tema y del día. Stackridge son también jazzísticos. También están en deuda con la música clásica (Frederick Delius, Stravinsky), y eso se nota en sus arreglos, en la delicadeza de sus adornos. Stackridge son también amantes de la música de music hall o cabaret, de la broma sonora, de la salida ingeniosa, de la melodía añeja, del ritmo antiguo. Añadamos, por tanto, un toque impredecible a lo Monty Python. Para terminar, baste decir que son instrumentistas extraordinarios. Cuando construyen una pieza instrumental logran dejar a todo el mundo boquiabierto. Ah, sí: las letras son deliciosas, divertidas, llenas de ingenio. Les gusta contar historias. Y lo hacen de maravilla. Termino. Ya termino. Queda la atmósfera: son vitales, optimistas, frescos, románticos, épicos. Buen humor garantizado de principio a fin. Ni una sola de sus canciones, ni una sola, es inferior al resto. Así que debes escucharlos. Y luego, cuando lo hayas hecho, vuelve y contesta a mi maldita pregunta: ¿cómo es posible que el mundo no sepa de la existencia de algo así? Los caminos de Dios son inexcrutables. Seguramente los reservó en vistas a amenizar las largas y perezosas tardes en el paraíso. No te los pierdas, sería el mayor error de tu vida. Empieza, si no sabes por dónde, con "Friendliness". Y compra sus discos. El grupo sigue en activo y se merece todo el apoyo y el afecto del público.

Más información:
Página oficial de Stackridge Página de Stackridge en All Music Página de Stackridge en Prog Archives Comprar discos de Stackridge

For Testing Purposes only
Listen "Stackridge" Listen "The Man In The Bowler Hat" Listen "Friendliness" Listen "Mr. Mick"

All these links belongs to other blogs and music sites (eloidodeantes) (proginblog) ThatWasMusic don´t host, store or upload any file. We just search the web for you. Remember that you should buy the record if you like what you hear. Support the artists. Todos los links de ThatWasMusic han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre

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lunes, 8 de marzo de 2010

MAGNA CARTA, MUSIC FOR ALL SEASONS

BRIEFLY AND IN CAPITAL LETTERS: MAGNA CARTA WAS THE MOST BEAUTIFUL ACOUSTIC BAND OF THE SEVENTIES. PERIOD.

Los álbumes grabados por Magna Carta durante la década de los setenta merecen estar en la vitrina de los grandes tesoros. Ningún otro grupo acústico puede hacerles la más mínima sombra, pues ellos son la máxima referencia del género. Delicados y exquisitos, sus discos son compañeros de por vida. En ese extraño viaje, se puede prescindir de muchas cosas, pero jamás de Magna Carta.

MAGNA CARTA is an English 'folk' band, formed in 1969 in London by Chris Simpson, Lyell Tranter, and Glen Stuart. They were part of the early progressive wave, but without really fully stepping into the progressive realm. Magna Carta's music is largely inspired and influenced by the folk of Simon & Garfunkel, focussing on soft and gentle acoustic music, often with a traditional feel, augmented with orchestral arangements and good vocal harmonies. Influences and similar artist include the already mentioned Simon & garfunkel, Fairport Convention, Kevin Ayers, Moody Blues, Amazing Blondel, Caravan, Al Stewart, the softer folk/singer songwriter genre and Canterbury genre.
MAGNA CARTA has gone through numerous personel changes over the years, with the only constant factor being Chris Simpson. Most notable members include Glen Stuart, an amazing vocalist with a great range, Lyell Tranter, who soon departed for Australia to be replaced by Davey johnstone on guitars (left Magna Carta to join Elton John as long time band member), and Linda Taylor who would later merry Chris Simpson. Between 1969 and 1975 MAGNA CARTA made some wonderfull albums, with the beautifull "Seasons' and 'Lord Of The Ages' as absolute highlights. Also the live album "In Concert" recorded in 1971 in Amsterdam is not to be missed. With the leaving of Glen Stuart the magical beauty was lost, and for a while the band seemed to fall apart. Chris Simpson however managed to keep the band alive and MAGNA CARTA continoud making nice highly enjoyable music. In 1983 Chris met Linda Taylor and they continued mostly as a duo keeping the MAGNA CARTA name alive. Studio albums became rare, but rereleases of studio albums, and new live recordings kept them performing throughout Europe until today. Text by Prog Archives.

More information:
Página oficial de Magna Carta Página de Magna Carta en All Music Comprar álbumes de Magna Carta
Just for Testing Purposes:
Listen part one and Listen part two "Magna Carta" Listen "Songs from Wasties Orchard" Listen "Seasons" Listen "Lord of the Ages" Listen "Magna Carta Live in Concert" Listen "Martin´s Cafe"

All these links belongs to other blogs and music sites (Oldrock-Dillingerr) (Masterpiece) (Avax) ThatWasMusic don´t host, store or upload any file. We just search the web for you. Remember that you should buy the record if you like what you hear. Support the artists. Todos los links de ThatWasMusic han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre



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martes, 23 de febrero de 2010

JOYAS DE COLECCIÓN (II) FAIRFIELD PARLOUR • FROM HOME TO HOME

A FIN DE EVITAR SER CONFUNDIDOS CON EL GRUPO PSICODÉLICO ESTADOUNIDENSE DE IGUAL NOMBRE, LOS BRITÁNICOS KALEIDOSCOPE SE REBAUTIZARON (TRAS GRABAR DOS MARAVILLAS LLAMADAS "TANGERINE DREAM" Y "FAINTLY BLOWING") COMO FAIRFIELD PARLOUR. EN 1970 EDITARON "FROM HOME TO HOME", Y UN AÑO MÁS TARDE REGISTRARON UN DOBLE ÁLBUM CONCEPTUAL, DENOMINADO "WHITE FACED LADY", QUE TENDRÍA QUE ESPERAR MÁS DE 20 AÑOS ANTES DE VER LA LUZ DEL DÍA. DOS JOYAS ATEMPORALES, ORGULLO DE CUALQUIER COLECCIÓN.

Referencias: Grupo a caballo del folk y la psicodelia, de estructura y planteamientos claramente progresivos, que presta absoluta atención a la melodía y a la instrumentación. Extraordinarios arreglos vocales, preeminencia acústica, tremendamente originales, poéticos, épicos y difíciles de clasificar. Mucho más que un simple cruce entre Beatles, Pink Floyd y Moody Blues. Im-pres-cin-di-bles.

Kaleidoscope / Fairfield Parlour biography
The English band KALEIDOSCOPE (not to be confused with American band KALEIDOSCOPE which existed at the same time and played basically psychedelic rock too) is an almost forgotten band from the late sixties and early seventies. The band started its recording activities in 1967 as KALEIDOSCOPE, but the band was formed back in 1963 with the name THE SIDEKICKS and changed to THE KEY later. In the beginning, the line-up was Eddie Pumer on guitar, Steve Clark on bass and Danny Bridgman on drums, but they later needed a new vocalist and Peter Daltrey joined (he played keyboards too). They played local venues and released singles, but when they signed a contract with Phillips, they changed the name of the band and started playing their own psychedelic rock compositions instead of the covers they used to play before. The combination of Pumer's musical arrangements and Daltrey's lyrics was the main power of the group.In 1967 was released their first album, 'Tangerine Dream'. The album comprises fine psychedelic songs with experimentations and arrangements like many of the top psychedelic and early progressive bands from that age (THE BEATLES, PINK FLOYD, THE MOODY BLUES). They got lots of airplay and recorded many BBC sessions, but didn´t sell well. They eventually released more singles, like 'Jenny Artichoke', which was a success, but sold poorly, and another album, 'Faintly Blowing'. It was released in 1969, showing a progression of it's predecessor in terms of sound. Although still psychedelic, the compositions were getting more progressive. The album unfortunately failed to chart.They released a final single, 'Balloon', before changing the name to FAIRFIELD PARLOUR and becoming totally progressive oriented. The band didn't achieve success (Fantastic first album: "FROM HOME TO HOME") and they were unlucky at the time, failing to chart and having problems (including some sabotage) in all great gigs they had, including the famous Isle of Wight, which they were the responsibles for the 'Theme Song' of the festival (released under the name of I LUV WIGHT). "WHITE FACED LADY" was their last album, recorded in 1971 partly with the help of Mike Pinder, from THE MOODY BLUES. The album was a conceptual double-album with many orchestral arrangements. The band had a deal with Vertigo at that time, but the responsible quit Vertigo and moved to CBS. So they were to release it on CBS, but CBS refused to release their album and it stayed shelved for twenty years, being released in 1991 by a label they created just to release the album, Kaleidoscope Records, under the name of KALEIDOSCOPE, although recorded under the FAIRFIELD PARLOUR encarnation of the band. The band split in 1972 due to the lack of results and luck (they were offered less than 20 dollars to play the last gigs). So this was the end of this great psychedelic and progressive rock band which had talent to be one of the major progressive rock acts of their age but died prematurely due to bad luck in the crucial moments. It is highly recommended because they were one of the first progressive rock bands that evoluted with the genre and made a fantastic work, mainly their excellent conceptual album 'White Faced Lady' TEXT by PROGARCHIVES
Más información:
Página oficial de Fairfield Parlour Fairfield Parlour / Kaleidoscope en All Music Comprar discos de Fairfield Parlour en Amazon

Just for Testing Purposes
Listen "From Home to Home"Listen Part One and Part Two "White Faced Lady" (CD rip - mp3. bitrate: 256)

All these links belongs to other blogs
and music sites (CONVENTIONAL SOUND and OREXIS OF DEATH) ThatWasMusic don´t host, store or upload any file. We just search the web for you. Remember that you should buy the record if you like what you hear. Support the artists. Todos los links de ThatWasMusic han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre



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JOYAS DE COLECCIÓN (I) LAZARUS • A FOOL´S PARADISE

CON "JOYAS DE COLECCIÓN", THATWASMUSIC INAUGURA UNA LARGA SERIE DE ENTRADAS DEDICADAS A VERDADERAS MARAVILLAS DE LOS SETENTA, PRÁCTICAMENTE DESCONOCIDAS POR EL GRAN PÚBLICO, SELECCIONADAS UNA A UNA SIGUIENDO UN CRITERIO DE ABSOLUTA EXCELENCIA.

Referencias: Grupo de bellísimas armonías vocales y asombroso talento compositivo. Para fans de Magna Carta, Tudor Lodge, Crosby, Stills, Nash & Young, Prelude, Wooden Horse, Peter, Paul & Mary.

Lazarus were a soft rock trio, originally known as Shiloh, who were one of the early signings to the Bearsville label -- and like a lot of that company's early signings, their music came and went without much notice from the public, despite their having the attention of Peter Yarrow as the producer of their two LPs. Legend has it (as also referenced in the notes to their debut LP) that they approached Yarrow backstage following a 1969 Peter, Paul and Mary concert. In short order, they were renamed Lazarus and cutting an album under the auspices of Yarrow and Peter, Paul and Mary producer Phil Ramone, and were signed to Bearsville, a record company newly organized by PPM manager Albert Grossman. They were, in fact, Christian rockers, which was something relatively new in those days -- the back-to-Jesus movement, as an offshoot of the counterculture, had just gotten rolling a couple of years earlier. The members were Bill (Billie) Hughes on guitar, violin, and backing vocals; Carl Keesee on bass and vocals; and Gary Dye on keyboards and vocals. Their sound was basically acoustic rock with minimal amplification and lots of harmony vocals -- think of Crosby, Stills & Nash or a low-wattage answer to the Doobie Brothers from the time of their second or third album. And in a way, it's ironic that Peter Yarrow, of the PPM lineup, ended up producing them, as Noel "Paul" Stookey was the trio's most overtly religious practitioner (and a devout born-again Christian as well), and ended up performing Bill Hughes' "Blessed," a song off of Lazarus' self-titled debut album, at his Carnegie Hall concert, released by Warner Bros. as One Night Stand. In any case, neither of Lazarus' two albums sold in any serious numbers, but the group was still working in the mid-'70s. One report has them doing a Life Savers jingle during this period. Hughes, who passed away in Los Angeles in 1998, went solo in 1978, cutting his first album for Epic that year. He also worked with Keesee in Canada, cutting records into the early '90s. Keesee played a lot of sessions, including recordings with Jane Siberry, and -- with Hughes -- recorded with David Bradstreet. The second Lazarus album, Fool's Paradise, was released by Pony Canyon in Japan on CD, but otherwise the group's main exposure in recent decades was the 2000 reissue of "Ladyfriends 2" from their second album on Bearsville Anthology. Text by BRUCE EDER - ALL MUSIC

Más información:
Página de Lazarus en All Music
Página oficial de Billie Hughes
Comprar discos de Lazarus en Amazon
Comprar discos de Lazarus en iTunes-Apple
Página de "A Fool´s Paradise" en el sello Bearsville

Just for Testing Purposes:
Listen "A Fool´s Paradise" here or here (mp3. bitrate: 192)

All these links belongs to other blogs
and music sites (SAM1957). ThatWasMusic don´t host, store or upload any file. We just search the web for you. Remember that you should buy the record if you like what you hear. Support the artists. Todos los links de ThatWasMusic han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre.

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domingo, 7 de febrero de 2010

AMAZING BLONDEL, BELLEZA BRITÁNICA

DELICADOS Y PRECIOSISTAS, EMPEÑADOS EN LA PERFECCIÓN, DOTADOS DE UNAS VOCES ÚNICAS, INSTRUMENTISTAS CONSUMADOS, AMAZING BLONDEL SON, JUNTO A STEELEYE SPAN, LO MEJOR DEL FOLK TRADICIONAL BRITÁNICO. SU MÚSICA ES COMO UNA ACUARELA DE TURNER O COMO UN PASEO POR LA CAMPIÑA INGLESA CUANDO LA PRIMAVERA ESTRENA VESTIDO NUEVO. SENCILLAMENTE EXCEPCIONALES.

AMAZING BLONDEL existed throughout the early seventies. Originally formed by John David GLADWIN, Terry WINCOTT and Eddie BAIRD after leaving another even more obscure band called METHUSELAH. For these three, the band was essentially a three piece singing and playing krumhorns, recorders, lute, theorbo, guitars, dulcimers, flute, piano, harpsichord, mellotron, organ, tabor, cittern tubular, bells, glockenspiel and percussion. English mostly acoustic 1969-76. Middle-age renaissance guitar, organ and other instruments, multipart harmony vocals, etc., bordering on the prog movement in England at the time. The musicians had earlier played rock and thus the music cannot be termed classical either. Among lots of famous guest musicians can be named Boz Burrell, Eddie Jobson, Steve Winwood and Mel Collins.
"The Amazing Bondel" was a collection of soft acoustic rock numbers that included one medieval-styled song that seemed to go over better than anything else, and that was the direction they aimed for in their future releases. "Evensong" is a folk album that harked back to the Middle Ages and the Renaissance. Madrigals and ballads performed on period instruments became their specialty and the trio's creative ideas led to the concept album "Fantasia Lindum", which belongs more to progressive-rock than to folk-rock. "England" used the same technique to craft elegant, lushly-arranged pop songs. GLADWIN left and the surviving duo veered towards STEELEYE SPAN's hard-folk with "Blondel", entirely composed by BAIRD, "Mulgrave Street", "Inspiration", "Bad Dreams". The band reunited 21 years later for "Restoration" (1997), an album which harkens back to their halcon days.
Their third and fourth albums "Fantasia Lindum" and "England" represent the most musically sophisticated of the material, which any progressive fan without an aversion to folk music should have no trouble enjoying. Most fans of early GRYPHON, JETHRO TULL, FAIRPORT, and other British folk rock will be delighted with this band. TEXT by PROG ARCHIVES

Más información
Página oficial de Amazing Blondel Página Fantasia Lindum de Amazing Blondel Más información en All Music Comprar álbumes de Amazing Blondel

Just for Testing Purposes
Listen "Evensong" (1971) Listen "Fantasia Lindum (1972) Listen "England" (1972) Listen "Blondel" (1973) Listen "A Foreign Field That Is Forever England (Live Abroad 1972-73)" (1996) Listen "Restoration" (1997)

All these links belongs to other blogs and music sites (velhorockeiro.blogspot.com • diariopocometodico.blogspot.com • ramblersplace.blogspot.com). ThatWasMusic don´t host, store or upload any file. We just search the web for you. Remember that you should buy the record if you like what you hear. Support the artists.

Todos los links de ThatWasMusic han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre.



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sábado, 16 de enero de 2010

THE OZARK MOUNTAIN DAREDEVILS

PROBABLY THE BEST COUNTRY ROCK BAND OF USA. IF YOU LIKE THE EAGLES, POCO, OR AMERICA, THE MUSIC OF THE OZARK MOUNTAIN DAREDEVILS IS A MUST FOR YOU. A PRICELESS JEWEL.

The Ozark Mountain Daredevils –tradúzcase como Los Temerarios del Monte Ozark– son una banda de country rock formada en Springfield, Missouri, en 1972. Pero que nadie se lleve a engaño, no son la típica banda de country que a base de arpa de boca, banjo y violín anima veladas de whisky y bailes a la usanza de los que se montaban los pioneros del Far West en las largas y gélidas noches de viaje. En absoluto. Su sonido es una exquisita mezcla de country, rock y pop, tan perfectamente equilibrada, tan sutil, tan armoniosa y delicada, y tan sofisticada a un tiempo, que ha llevado a muchos críticos a considerarles nada más y nada menos que los Steely Dan del country. Es cierto. Sus discos son de una belleza aplastante. Cuando los Ozark Mountain se proponen componer una balada, un tema intimista, plácido, evocativo –y sus discos están llenos de ellas–, dejan muy atrás las mejores marcas obtenidas por bandas como The Eagles, America, Poco o Jackson Browne. Una afirmación de este calibre puede parecer gratuita, pura exageración, pero no lo es. Su juego vocal provoca asombro, es perfecto; su destreza y finura instrumental es de sacarse el sombrero; su talento como arreglistas, sencillamente portentoso. Poseen una abultada discografía, que llega prácticamente hasta la actualidad. A día de hoy, los Ozark Mountain Daredevils viven semi retirados. Varias veces al año se reunen, dan algún concierto que atrae a gente desde las cuatro esquinas de Estados Unidos, graban algún disco, y viven de la aureola mágica que han creado a lo largo de más de treinta años de actividad. No son en absoluto conocidos por el gran público, al menos no lo son más allá de los círculos de aficionados al country y a la buena música americana. Y es una pena. Confieso que de todas las bandas y artistas que he conocido a lo largo de cuarenta años dedicado plenamente a coleccionar discos, los Ozark están en el Top Ten de mis preferencias. Acompañan a estas líneas sus cuatro primeros álbumes. Que nadie se pierda la oportunidad de descubrir esta maravilla de maravillas. Vuestra deuda con ThatWasMusic será eterna. Lo sé.

Más información sobre The Ozark Mountain Daredevils
Página oficial del grupo Más información en All Music Comprar los discos de The Ozark Mountain Daredevils

Just For Testing Purposes
Listen The ozark Mountain Daredevils (1973) Listen "It´ll Shine when it Shines" (1975) Listen "The Car Over the Lake Album" (1975) Listen "Men From Earth" (1976)

All these links, found on the Net, belongs to other blogs and music sites (Visit the excellent site The Turntable and the page with the original links of the Ozark Mountain Daredevils if you want to download more records) ThatWasMusic don´t host, store or upload any file. We just look for you. Remember that you should buy the records if you like what you hear. Support the artists.

Todos estos links han sido encontrados en Internet y pertenecen a otros blogs y webs de tema musical. ThatWasMusic no hospeda, almacena ni sube ficheros a la red. Simplemente busca por ti. Recuerda que debes comprar los discos originales si lo que escuchas te gusta. Apoya a los artistas siempre.

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viernes, 9 de octubre de 2009

DAN FOGELBERG, EL LÍDER DE LA BANDA
















THE INNOCENT AGE, A CYCLE OF SONGS ABOUT LIFE, IS A TIMELESS MASTERPIECE, THE LEGACY OF THE UNFORGETTABLE DAN FOGELBERG

Si James Taylor puede ser considerado la perfecta encarnación del songwriter americano de los sesenta, Dan Fogelberg ocupa con todos los honores ese puesto en la década de los setenta. Dotado de una voz portentosa, y de un talento innato para la composición, su legado es inmenso y de un valor incalculable. La práctica totalidad de su larga discografía merece cinco estrellas sobre un máximo de cinco. Y su música es el mejor paliativo ante la tristeza que supuso su pérdida en 2007, tras tres años de lucha contra el cáncer. Canciones como "Longer" o "Listen to the Rhythm of The Falling Rain", entre otras muchas, son joyas atemporales que nos sobrevivirán a todos. "The Innocent Age" es un doble álbum que Dan grabó en 1981; un ciclo de canciones, una obra conceptual de belleza aplastante. Desde la maravillosa carga acústica de "Nexus", hasta el catártico final de "Ghost", canciones como "Leader of the Band", "The Sand and the Foam" o "Run for the Roses", te sumirán en un estado afásico, en el que las palabras no pueden articularse y pierden todo su valor. "The Innocent Age", en el que colaboran buena parte de The Eagles, además de Emmylou Harris y un elenco de excelentes músicos, es una maravilla que nadie debe dejar de oir antes de abandonar este mundo, uno de los mejores discos que podrás escuchar en toda tu vida. Te lo aseguro. No dejes de comprarlo.

Dan Fogelberg Official Site
Más información en All Music
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Cortesía de El Blog de Archie

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lunes, 5 de octubre de 2009

SIN NOTICIAS DE JOE EGAN


JOE EGAN, THE HALF OF STEALERS WHEEL, CUT A COUPLE OF EXCELLENT ALBUMS AFTER THE SPLIT AND VANISHED INTO THIN AIR

Entre 1972 y 1975 existió un grupo de rock y folk llamado Stealers Wheel. Grabaron tres álbumes, vendieron más de un millón de copias de su single "Stuck in the Middle" y se disolvieron tras inscribir su nombre en el libro de oro de la década. Los dos músicos que lo integraban, Gerry Rafferty y Joe Egan, siguieron caminos separados. Todos sabemos qué fue de Gerry. Alcanzó el éxito con "City to City", y su radiofónico "Baker Street", y desde entonces se ha mantenido con mayor o menor fortuna en el panorama del soft rock o AOR (adult oriented rock). Joe Egan, por su parte, grabó dos sensacionales discos, "Out of Nowhere" y "Map", en 1979 y 1981 respectivamente, en una línea muy similar a la de Rafferty, y desapareció como si se lo hubiera tragado la tierra. La escasa información disponible dice que en los últimos años ha trabajado en publicidad, desde su casa en Renfrewshire. Incluso corrió el rumor de que podría involucrarse en un hipotético regreso de Stealers Wheel. Más bien poco, o nada. Sus dos LP´s nunca han visto la luz en CD. Y es incomprensible, pues son dos joyas acústicas, repletas de magníficas baladas, canciones de carretera, blues noctámbulo y soft rock; formatos y géneros en los que la voz envolvente y pausada de Egan se mueve de forma natural. No dejes de escuchar este par de discos. Merecen estar en toda buena colección. Te aseguro que te acompañarán infinidad de días y noches. Son atemporales, una delicia. ¡Maldita sea, Joe!, ¿dónde te has metido?









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