Below you can find 21 album from ex Yugoslavia listed alphabetically in no other particular order. Styles are various and you can find folk, hard rock, prog and even some avantgarde sounds. Together with previously posted (links are alive) albums from Indexi, Time, Korni Grupa, Leb i Sol, Pop Asanovic and Randevu s muzikom... this will give you a broad picture and quality of sounds from once great bands, musicians and authors.
If someone think that I did not include something of importance for this era of ex Yu music please send me an e-mail or just leave a comment...
RockAnthology
Sunday, April 29, 2007
YU GRUPA - Yu grupa
Hard rock from Belgrade....
CUDNA SUMA
Jednog toplog dana usred guste sume
medved ispi med i sok
uhvati za sovu, s njom poce igrati rok
Oko njih se brzo sakupise drugi
druzina je sumska sva
s medvedom i oni zaigrase dva po dva
Tresla se zemlja celi dan
ne zna s kim igra ko
dodje tigar zvani Kan
cudna suma je to
Na pecurki jednoj bubamara igra
partner joj je obad ljut
ona mu se zali kako plese prvi put
slonica je opet uhvatila misa
pa se vrti s njim u krug
misica sa slonom postade sad najbolji drug
Oko jednog panja lija zeca juri
moli ga za igru tu
zec se neda, zeli kozu svoju citavu svu
ljubomorna mecka sto joj muz sa sovom
igra ovaj ljuti rok
hoce da se napije pa ispija medni sok
Current Lineup:
Dragi Jelic (lead vocals ,guitar)
Zika Jelic (bass guitar ,vocals)
Petar Jelic (guitar)
Igor Malesevic (drums)
Past Members:
Miodrag Mive Okrugic (organ)
Velibor Boka Bogdanovic (drums)
Miodrag Bata Kostic (guitar)
Rasa Djelmas (drums)
Dragan Micic (drums)
Nedzat Maculja (guitar)
Dragoljub Djuricic (drums)
Dragan Jankovic (keyboards)
Tracks
1. trka (4:31)
2. noc je moja (5:39)
3. covek i marsovac (3:29)
4. cudna suma (3:38)
5. trenutak sna (4:17)
6. devojko mala podigni glavu (3:49)
7. crni leptir (3:48)
8. more (5:38)
9. sama (bonus) (5:35)
10. nona (bonus) (4:42)
11. zlato (bonus) (4:08)
12. bio jednom jedan pas (bonus) (3:10)
13. zivi pesak (bonus) (4:51)
14. sama (bonus) (4:07)
LINK:
h!!p://www.megaupload.com/?d=5R4KJN0T
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TOMA BEBIC - Oya noya
Toma Bebic (1935 - February 4, 1990) is a Croatian multidisciplinary artist.
During life he worked as a navy officer, teacher, secretary, journalist, court distraint, football coach, mechanic and much more. As an artist he was musician, writer, actor, painter, poet... All because, like he said, he never could became what he wanted to. Or.. in some other episode he liked to describe himself: Through millions occupations, for a crumb of epistemology. But most of all he was a humanist. Love for the people, love for the nature and love for the life. All mixed with his special and original humor.
The book of aphorisms: "Volite se ljudozderi" (Love each other, canibals) was published after his death from his unpublished books, manuscripts and tone records.
And his two very popular albums from 1975. "Volite se ljudozderi" and 1980. "Oya noya" becoming more and more popular, and every respectable Croatian artist finds inspiration in his distinctive lyrics and music. Some songs from those two cult albums are:
A well known song is "Tu tu auto vrag ti piz odni" (honk honk car, may the devil take you away) where he criticizes cars for polluting the air and making so much noise that he cannot hear his mule.
He was an anarchist and died of lung cancer in 1990.
During life he worked as a navy officer, teacher, secretary, journalist, court distraint, football coach, mechanic and much more. As an artist he was musician, writer, actor, painter, poet... All because, like he said, he never could became what he wanted to. Or.. in some other episode he liked to describe himself: Through millions occupations, for a crumb of epistemology. But most of all he was a humanist. Love for the people, love for the nature and love for the life. All mixed with his special and original humor.
The book of aphorisms: "Volite se ljudozderi" (Love each other, canibals) was published after his death from his unpublished books, manuscripts and tone records.
And his two very popular albums from 1975. "Volite se ljudozderi" and 1980. "Oya noya" becoming more and more popular, and every respectable Croatian artist finds inspiration in his distinctive lyrics and music. Some songs from those two cult albums are:
A well known song is "Tu tu auto vrag ti piz odni" (honk honk car, may the devil take you away) where he criticizes cars for polluting the air and making so much noise that he cannot hear his mule.
He was an anarchist and died of lung cancer in 1990.
Tracks
1. smoci svoj... (3:47)
2. nevera (3:38)
3. za moj rad pitajte mene (3:47)
4. oya noya (4:15)
5. leute moj (2:57)
6. devizna balada (4:39)
7. tu-tu auto, vrag ti piz odnija (4:56)
8. ulica puna svijeta (3:39)
9. marcelina (5:06)
10. sjecanje (4:20)
LINK:
h!!p://www.megaupload.com/?d=RKM1Y020
Please leave a comment
TESKA INDUSTRIJA - Ho ruk
TESKA INDUSTRIJA (Eng. Heavy Industry) was formed 1974 in Sarajevo, now Bosnia and Herzegovina, by keyboard player Gabor Lendjel. Original line-up also included guitar player Vedad Hadziabdic, bassist Ivica Propadalo, drummer Senad Begovic and singer Fadil Toskic. Poet Dusko Trifunovic wrote most of the lyrics throughout their career. Seid Memic Vajta soon replaced Toskic as lead vocalist, while Sanin Karic replaced Propadalo on bass. This line-up was to gain most celebrity and they recorded several successful singles and the first album "Ho-ruk" in early 1976. The band developed a sort of "progressive hard rock" with elements of then popular traditional folk themes and "symphonic" arrangements. Lendjel's organ and Vajta's raspy baritone were trademarks of their sound. The end of 1976 saw major changes when new members, vocalist Goran Kovacevic, bassist Aleksandar Kostic, drummer Munib Zoranic and another keyboardist Darko Arkus, recorded the eponymous second album. Lendjel left the band in late 1977 leaving the others to complete their third album in 1978. It failed to attract the public attention, so shortly TESKA INDUSTRIJA disbanded. Kovacevic joined Laza Ristovski and Ipe Ivandic who recorded an interesting simphonic prog album "Stizemo" and in the 1980s tried unsuccessfully to launch a solo career. Vajta, on the other hand, enjoyed enormous popularity throughout 1980s and 1990s as a pop singer and occasional TV actor. Hadziabdic, as the only original member of TESKA INDUSTRIJA, together with drummer Zoranic, made an attempt to revive the band in 1984 with new members, singer Narcis Lalic, bassist Sead Trnka and keyboardist Zoran Krga, but the resulting album "Ponovo s vama" was unsuccessful. The founder Lendjel worked many years as producer and arranger at Radio Novi Sad, Serbia, while during the 1990s moved to Budapest, Hungary. The final comeback of the band so far happened in 1996 when Hadziabdic gathered another line-up, but again without any results worth mentioning, because the album "Ruze u asfaltu" was more pop than rock effort.In terms of prog rock recommendation, first album is worth listening especially if you like "heavy" side of prog (like URIAH HEEP or DEEP PURPLE).
Tracks
1. Od Olova do Trnova
2. Bijeg
3. Ho-ruk
4. Koncert trocinski
5. Dijanin san
6. Zivot
Musicians
Seid Memiæ Vajta - vocal
Gabor Lendjel - keyboard
Vedad Hadziabdic - guitar
Senad Begovic -drums
Sanin Karic - bass
LINK:
h!!p://www.megaupload.com/?d=LO3WWTNO
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TAKO - Tako
TAKO are something as unusual as a Yugoslavian jazz-rock and symphonic progressive rock band. The band was put together in 1975 and the band's name means "this way". Between 1975 and their split up in 1981 they released two classical albums: "Tako" (1975) and "U Vréci Za Spavanje" (1980). This is the great reissue from the Brazilian label Rock Symphony, a label that have reissued many forgotten jewels before such as ALPHA III, FRAGL, MALIBRAN, and new releases with HADDAD and TEMPUS FUGIT.
In my opinion the 70's were the heydays for progressive rock, and TAKO have all the ingredients that makes these releases worth owning. They were a 70's band, their sound is very 70's oriented, the cover is so wonderful 70's and the music is complex with lengthy instrumental passages. TAKO's music is a mix between CAMEL, FOCUS, JETHRO TULL, OZRIC TENTACLES, PONK FLOYD and SOLARIS. I strongly recommend you to hear this album if you're into 70's progressive rock. This is how progressive rock sounded long before today's progressive metal.
In my opinion the 70's were the heydays for progressive rock, and TAKO have all the ingredients that makes these releases worth owning. They were a 70's band, their sound is very 70's oriented, the cover is so wonderful 70's and the music is complex with lengthy instrumental passages. TAKO's music is a mix between CAMEL, FOCUS, JETHRO TULL, OZRIC TENTACLES, PONK FLOYD and SOLARIS. I strongly recommend you to hear this album if you're into 70's progressive rock. This is how progressive rock sounded long before today's progressive metal.
.
Tracks
1. Probudi se ~ Wake up (4:48)
1. Probudi se ~ Wake up (4:48)
2. Sinteza ~ Synthesis (4:55)
3. Utapanje sunceve svetlosti u pescanu memoriju ~ Merging of sunlight into the memory of sand (6:35)
4. Lena (4:43)
5. Minijatura ~ Miniature (2:55)
6. Druga strana mene ~ Second side of me (16:28)
7. Put na jug ~ Journey to the South (3:42)
Line-up/Musicians
- Dusan Cucuz / bass, vocals
- Miroslav Dukic / guitar, vocals
- Slobodan Felekatovic / drums
- Djordje Ilijin / keyboards, flute, harp
LINK:
h!!p://www.megaupload.com/?d=DYLOVHDH
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SEPTEMBER - Zadnja avantura
SEPTEMBER was formed in Ljubljana, Slovenia in 1975 by two veteran mambers of the super-group called JUGOSLAVENSKA POP SELEKCIJA, organist Tihomir Pop Asanovic and vocalist/guitar player Janez Boncina. They gathered excellent instrumentalists of the then Yugoslavian jazz and rock scene, Petar Ugrin-trumpet/violin, Ratko Divjak-drums, Karel Charlie Novak-bass and Braco Doblekar-saxophone/percussion, for the first album "Zadnja avantura". In the late 1977 the line-up changed when Ugrin, Novak and Divjak left to be replaced by Marjan Malikovic-guitar, Jadran Ogrin-bass and Nelfi Depanger-drums, who took part in the recording of the second album during their American visit in early 1978. In this period they enjoyed certain popularity due to a radio-friendly hit-singl with the title track of the second album "Domovina moja" (Eng. "My Homeland"). They broke-up in late 1979 and the final members, along with Asanovic, Boncina and Doblekar, included Ante Mazuran-guitar, Dani Ganchev-bass and Tone Dimnik-drums. Both Asanovic and Boncina led parallel solo careers.
The style of SEPTEMBER can be desribed as a mellow form of jazz-rock with accessible and relatively short songs, characterized by distinguished vocals of Boncina and excellent instrumental skills of the band. The first album is recommended to fusion fans, while the second was influenced by American AOR sound of the mid-1970s and is more mainstream oriented.
The style of SEPTEMBER can be desribed as a mellow form of jazz-rock with accessible and relatively short songs, characterized by distinguished vocals of Boncina and excellent instrumental skills of the band. The first album is recommended to fusion fans, while the second was influenced by American AOR sound of the mid-1970s and is more mainstream oriented.
Tracks
1. Vrijeme gospodar (4:48)
2. Zivot nema pravila (3:47)
3. Potop (4:15)
4. Noc kradljivaca (4:12)
5. Zadnja avantura (6:37)
6. Ostavi trag (4:05)
7. Kanin (4:10)
Line-up/Musicians
- Janez Boncina / vocals, guitars
- Ratko Divjak / drums
- Tihomir Pop Asanovic / organ
- Petar Ugrin / violin, trumpet, vocals
- Charley Novak / bass, vocals
- Braco Doblekar / drums, percussion
LINK:
h!!p://www.megaupload.com/?d=5RNAPZ2X
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POP MASINA - Kiselina
POP MAŠINA was formed in early 1972 in Belgrade, Serbia by Robert Nemecek (bass, vocal), Zoran Bozinovic (guitar, vocal), Rasa Djelmas (drums) and Sava Bojic (guitar, vocal). By the end of that year, Bojic left while Djelmas was replaced by Mihajlo Popovic, thus forming the best known power trio line-up.
During 1972/73 they built a reputation of a concert attraction, playing extended "progressive heavy rock" jams for free. Debut album "Kiselina" was recorded in 1973. It presented a conceptual work dealing with themes of drugs and psychedelic trips (the title "Kiselina" is a literal translation of English "Acid"). Until the end of 1976 POP MAŠINA released two more albums: studio "Na izvoru svetlosti" and live "Put ka suncu", the latter being the first full-fledged live rock album by a single artist (earlier live albums were usually recorded on festivals, with various artists) issued in Yugoslavia. Prior to this, only KORNI GRUPA had released double LP "Mrtvo more", which was half-live and half-studio singles collection.
In late 1976 the group split-up leaving Zoran Bozinovic as the sole original member, who then re-assembled the band with Dusan Petrovic (bass), Dusan Djukic (drums) and Zoran's brother Vidoja "Ginger" Bozinovic (guitar). They tried to change the style, approaching jazz-rock territory, but after one unsuccessful single the group finally disbanded in late 1977. Robert Nemecek renewed the band under the name ROK MAŠINA in early 1980s but this group also failed to chart, leaving two unnoticed records.
POP MAŠINA was an influential band in ex Yugoslavia and one of the pioneers of heavy, "acid-rock". Their music was similar to classic heavy blues-rock giants such as BLACK SABBATH, CREAM or LED ZEPPELIN, joining early 1970s heavy metal roots with post-hippie psychedelic ballads. Loud solo guitars and wild shouting of Zoran Bozinovic was matched with mellow, acoustic ballads of Robert Nemecek sometimes containing flute and organ. Both studio albums, "Kiselina" and "Na izvoru svetlosti" are favoured rarities among the classic prog rock aficionados.
During 1972/73 they built a reputation of a concert attraction, playing extended "progressive heavy rock" jams for free. Debut album "Kiselina" was recorded in 1973. It presented a conceptual work dealing with themes of drugs and psychedelic trips (the title "Kiselina" is a literal translation of English "Acid"). Until the end of 1976 POP MAŠINA released two more albums: studio "Na izvoru svetlosti" and live "Put ka suncu", the latter being the first full-fledged live rock album by a single artist (earlier live albums were usually recorded on festivals, with various artists) issued in Yugoslavia. Prior to this, only KORNI GRUPA had released double LP "Mrtvo more", which was half-live and half-studio singles collection.
In late 1976 the group split-up leaving Zoran Bozinovic as the sole original member, who then re-assembled the band with Dusan Petrovic (bass), Dusan Djukic (drums) and Zoran's brother Vidoja "Ginger" Bozinovic (guitar). They tried to change the style, approaching jazz-rock territory, but after one unsuccessful single the group finally disbanded in late 1977. Robert Nemecek renewed the band under the name ROK MAŠINA in early 1980s but this group also failed to chart, leaving two unnoticed records.
POP MAŠINA was an influential band in ex Yugoslavia and one of the pioneers of heavy, "acid-rock". Their music was similar to classic heavy blues-rock giants such as BLACK SABBATH, CREAM or LED ZEPPELIN, joining early 1970s heavy metal roots with post-hippie psychedelic ballads. Loud solo guitars and wild shouting of Zoran Bozinovic was matched with mellow, acoustic ballads of Robert Nemecek sometimes containing flute and organ. Both studio albums, "Kiselina" and "Na izvoru svetlosti" are favoured rarities among the classic prog rock aficionados.
Tracks
1. Na drumu za haos / On the Road to Chaos (4:11)
2. Pesma srecne noci / Song of the Happy Night (4:31)
3. Mir / The Peace (2:49)
4. Kiselina / The Acid (5:25)
5. Trazim put / I'm Looking for the Way (3:48)
6. Povratak zvezdama / Return to the Stars (4:31)
7. Svemirska prica / Tale of the Universe (3:10)
8. Slika iz proslih dana / Picture from the Past (4:25)
9. Jark / The dnE (0:54)
10. Put ka suncu / The Way to the Sun (4:53)
11. Sjaj u ocima / Shine in the Eyes (3:32)
12. Promenicemo svet / We'll Change the World (4:47)
13. Svemirska prica / Tale of the Universe (single version) (3:15)
Line-up/Musicians
- Zoran Bozinovic / guitar, voice
- Robert Nemecek / bass guitar, acoustic guitar, voice
- Mihajlo Popovic / drums, percussion
with:
-Drago Mlinarec,
Ljubomir Ninkovic,
Vojislav Djukic,
Trio DAG
Slobodan Markovic
Miroslav Aleksic
Branimir Malkoc
LINK:
h!!p://www.megaupload.com/?d=OTST1UCO
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PARNI VALJAK - Dodjite na show
Parni Valjak was founded in 1975. Unlike many rock bands that would come later, their style was becoming more mainstream, becoming closer to pop, especially compared with the bands like Prljavo Kazalište or Azra.
As years went by, their refusal to change style proved to be the important factor in the band's longevity. They kept a loyal following in 1980s and in 1990s, refusing to allow elements of folk and turbo folk music to become part of their repertoire. Because of that the band enjoys great respect among many Croatian rock critics, being seen as the embodiment of "true" rock and urban culture. Parni valjak kept a relatively small but dedicated following for 30 years, and many people tend to gather at their concerts that feature energetic performances, despite advanced age of the band's members: Aki Rahimovski - vocal, Husein Hasanefendic-Hus - guitars, Marijan Brkic-Brk - guitars, Berislav Blaževic-Bero - keyboards, Zvonimir Bucevic-Buc - bass guitar, Dražen Sholtz-Šolc - drums, Tina Rupcic - vocal, Anita Mlinaric - sax
In December 2005, Parni valjak made a farewell tour of Croatia and Slovenia on their 30th birthday. Their last public performance was an unforgettable concert on New Year's eve in Ban Jelacic Square in Zagreb, though they stated that more concerts may be held in future.
As years went by, their refusal to change style proved to be the important factor in the band's longevity. They kept a loyal following in 1980s and in 1990s, refusing to allow elements of folk and turbo folk music to become part of their repertoire. Because of that the band enjoys great respect among many Croatian rock critics, being seen as the embodiment of "true" rock and urban culture. Parni valjak kept a relatively small but dedicated following for 30 years, and many people tend to gather at their concerts that feature energetic performances, despite advanced age of the band's members: Aki Rahimovski - vocal, Husein Hasanefendic-Hus - guitars, Marijan Brkic-Brk - guitars, Berislav Blaževic-Bero - keyboards, Zvonimir Bucevic-Buc - bass guitar, Dražen Sholtz-Šolc - drums, Tina Rupcic - vocal, Anita Mlinaric - sax
In December 2005, Parni valjak made a farewell tour of Croatia and Slovenia on their 30th birthday. Their last public performance was an unforgettable concert on New Year's eve in Ban Jelacic Square in Zagreb, though they stated that more concerts may be held in future.
Tracks
Dodjite na show
Slicice iz tramvaja
Pjesma o starosti
Inge
Mi smo rock & roll band
Prevela me mala zednog preko vode
Svim slomljenim srcima
Predstavi je kraj
O sumama , rijekama i pticama (bonus)
Prevela me mala (bonus)
Parni valjak (bonus)
LINK:
h!!p://www.megaupload.com/?d=70FSFGIO
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DRAGO MLINAREC - 4 Albums
Drago Mlinarec was one of the most prolific singer/songwriters in the former Yugoslavia and the leader of the renowned beatsters GRUPA 220, the first ex-YU rock band that managed to record an LP album back in 1968 in Zagreb (present Croatia). Upon the break-up of the group's first line-up in 1970, Mlinarec gathered a new GRUPA 220 band with the musicians: Husein Hasanefendic, Ivan Piko Stancic, Nenad Zubak and Brane Zivkovic. He planned a new GRUPA 220 album, but instead decided to issue it under his solo name, "A ti se ne daj" in 1971. That album marked the beginning of his solo career and the following year saw the release of "Pjesme s planine", critically acclaimed LP with Zubak and Stancic of GRUPA 220 as rhythm section. The third album "Rodjenje" in 1975 introduced keyboard player Neven Franges with whom Mlinarec was about to collaborate until 1978, recording two more albums. During 1970s Mlinarec also appeared at many rock festivals including famous "BOOM" pop festival in Ljubljana 1972 and 1973, and was engaged in composing music for several theatre plays, TV shows, documentary and feature films. From 1979 till 1983 he recorded three albums in Sweden with producer/multiinstrumentalist Tinnie Varga, while during the 1980s he collaborated with Zagreb-based New Wave bands AZRA and LE CINEMA. Around 1987 Mlinarec moved to the Croatian countryside, where he lived away from publicity until 1994 when he recorded an ambient-experimental cassette tape "Analog" with Aldo Ivancic. The CD retrospective "Krhotine" appeared in 1996, which presented a recap of his entire career. In 1997 Mlinarec won Croatian music honorary award "Porin" for life accomplishment in music.
Mlinarec's first four albums ("A ti se ne daj", "Pjesme s planine", "Rodjenje" and "Negdje postoji netko") are usually regarded to be the best; there he explored diverse musical interests, crossing over between acid-tinged jam proto-prog rock with long compositions featuring guitar, organ and flute solos, and more mellow acoustic and electric folk rock with progressive and sometimes psychedelic or "classical" feeling. On one hand it resembles TRAFFIC or CSN&Y, on the other "Meddle"-era PINK FLOYD. Recommended to fans of folk-rock, progressive folk and acoustic guitars with melodic but sometimes extended songs, with psyche moments.
Mlinarec's first four albums ("A ti se ne daj", "Pjesme s planine", "Rodjenje" and "Negdje postoji netko") are usually regarded to be the best; there he explored diverse musical interests, crossing over between acid-tinged jam proto-prog rock with long compositions featuring guitar, organ and flute solos, and more mellow acoustic and electric folk rock with progressive and sometimes psychedelic or "classical" feeling. On one hand it resembles TRAFFIC or CSN&Y, on the other "Meddle"-era PINK FLOYD. Recommended to fans of folk-rock, progressive folk and acoustic guitars with melodic but sometimes extended songs, with psyche moments.
A ti se ne daj
1. Pop pjevac (3:50)
2. Moje ladje (3:42)
3. Srebri se mraz (4:20)
4. Ja sam Feniks (3:58)
5. A ti se ne daj (3:10)
6. Bar dok si tu (2:59)
7. Izgleda ostat ces sam (4:26)
8. Grad (5:39)
9. Posmrtna posveta (6:16)
Line-up/Musicians
- Drago Mlinarec / vocals, guitars
- Husein Hasanefendic / guitars
- Ivan Piko Stancic / drums
- Nenad Zubak / bass
- Brane Zivkovic / keyboards, flute
LINK:
h!!p://www.megaupload.com/?d=C9FV8IRY
Pjesme s planine
1. Nocna ptica (3:22)
2. Pjesma o njenim snovima (3:33)
3. Trebao sam ali nisam (2:41)
4. Pjesme s planine (9:15)
5. Skladiste tisine (4:24)
6. Otac i sin (3:49)
7. Dijete zvijezda (11:34)
Line-up/Musicians
- Drago Mlinarec / vocals, ac. guitar, harmonica
- Nenad Zubak / bass
- Srecko Zubak / keyboards
- Jadranko Budic / el. guitar, back vocals
- Ivan Stancic / drums
LINK:
h!!p://www.megaupload.com/?d=Y9Z70K7T
Rodjeneje
1. Rodjenje/Helena lijepa i ja u kisi (16:46)
2. Pjesma o djetinjstvu (2:39)
3. Kule od rijeci (3:28)
4. Jur nijedna na svit vila (3:18)
5. Pjesma povratnika (4:49)
6. Tema iz 'Pozdrava' (4:27)
Line-up/Musicians
- Drago Mlinarec / vocals, ac. guitar, harmonica
- Neven Franges / piano
- Davor Roko / keyboards
- Dragan Brcic / drums, percussion
- Husein Hasanefendic / el. guitar
- Nenad Zubak / bass
- Jura Padjen / guitars
LINK:
h!!p://www.megaupload.com/?d=DLHE7R40
Negdje postoji netko
1. Negdje postoji netko (4:15)
2. Gdje je istina (6:01)
3. Zelen k'o zelena trava (2:58)
4. Caracas (5:26)
5. Jedrenjak (6:36)
6. Polja (6:25)
7. Cvrkut ptica (10:36)
Line-up/Musicians
- Drago Mlinarec / vocals, acoustic guitar, harmonica
Guest musicians:
- Neven Franges / piano, keyboards
- Davor Rocco / bass, guitars
- Dragan Brcic / drums, percussion
LINK:
h!!p://www.megaupload.com/?d=UA5L2ZTX
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KONGRES ROCK MAJSTORA
Kongres Rock Majstora organised in 1975 by Bijelo Dugme manager Mihaljek was a guitar competition which intention was to promote Bijelo Dugme even more. Behind this competition was Jugoton (record label) and despite the fact that the winner was Radomir Mihaljevic Tocak from Smak, he was no included at this LP as he was not under Jugoton umbrella. Double LP was relesed and 4 guitarists had their own side of the record (Goran Bregovic - ex Bijelo Dugme, Josip Bocek - ex Korni Grupa, Vedran Bozic - ex Time, Miodrag Bata Kostic - ex YU Grupa). Few days ago when I spoke with Bata Kostic he said that he was singing on his tracks but the one who was supposed to sing was great Janez Boncina.
Tracks
01. bregovic - i kad prodje sve pjevat cu i tad (4:40)
02. bregovic - ima neka tajna veza (3:30)
03. bregovic - minijatura za moju majku (1:42)
04. bregovic - znam za jedno tiho mjesto (5:51)
05. bozic - najbolji drug (5:52)
06. bozic - covjek i zena (3:45)
07. bozic - shuffle (2:32)
08. bozic - dali cujes (5:49)
09. bocek - dinamit (3:36)
10. bocek - sve ce biti bolje (4:13)
11. bocek - bez nas, za nas, u sebi (3:15)
12. bocek - zakletva (5:27)
13. kostic - rock & roll (3:53)
14. kostic - teenager (3:06)
15. kostic - tvoj put (4:29)
16. kostic - san (5:17)
LINK:
h!!p://www.megaupload.com/?d=1NKK0MZ1
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JOSIPA LISAC - Dnevnik jedne ljubavi
As an extraordinary musically gifted child, at the age of 10 she became a member of the Croatian National Television choir. While singing the serious musical repertoire, from the old sacral, classical and modern-avangarde, to folk-traditional music, she acquired her first and then more and more richer musical education. In 1961 their choir wins the GRAND PRIX award on the competition in France as the best children’s choir in the world. Although she was brought up on Monteverdi, Bach, Beethoven and Britten, soon she started to take real interest in rock music, and in 1967 she became the lead singer of a popular rock group "O'Hara", and shortly afterwards "Zlatni akordi" (“Golden chords”). Her very first appearance in public provoked a true sensation with the mass audience: her singing sublimes the very best from the variety of the musical genres, and her first festival appearance, on the greatest popular music festival of that time in the Croatian town Opatija, announces the arrival and the appearance of an extraordinary singing personality on then-Yugoslavian music scene. Not only with her fascinating voice and the original interpretations, but also with her unique and intriguing appearance, Josipa Lisac soon becomes a distinctive and unrepeatable star of rock music. Developing and going persistently forward against all of the usual currents, she forms her own inimitable style of musical expression. She chooses a much harder, but also a more thorough and valuable path in her career.
Tracks
O jednoj mladosti
Srela sam se s njim
Sreca
Po prvi put
Placem
Jedna kratka vijest
Lezaj od suza
Ne prepoznajem ga
Vjerujem ti sve
Kao stranac
LINK:
h!!p://www.megaupload.com/?d=TU64E53Y
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HOBO - Hobo
The band HOBO was formed by keyboardist Mato Dosen in Zageb 1972. The line-up also included Sasa Cavric-bass, Josip Belamaric-el. violin, Boris Trubic-percussion, vocal and Mladen Garasic-drums. They appeared at Ljubljana BOOM Festival 1974 and played as a support group at DEEP PURPLE concert in Zagreb 1975. The same year they recorded their only one, eponymous album. Due to lack of commercial success, Dosen soon disbanded the group, and went on to become a successful pop producer and composer.
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Tracks
1. Druzenje
1. Druzenje
2. Prijatelju
3. Dijete
4. Sretan kraj
5. Raskrsce
6. Postajem lud
7. Srebro
8. Ha-re-ho
9. Cuj me
Line-up/Musicians
Line-up/Musicians
- Mato Dosen / piano, moog, synthesizer, electric piano, guitars
- Josip Belamaric / electric violin, vocal
- Sasa Cavric/ bass, vocal
- Boris Trubic / congas, percussion, vocal
- Mladen Garasic / drums, vocal
LINK:
h!!p://www.megaupload.com/?d=CCDH9T5E
.
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DRUGI NACIN - Drugi nacin
DRUGI NACIN (Eng. "Another Way") was formed in Zagreb (present Croatia) by members of the band called ZLATNI AKORDI. These included: Branko Pozgajec (vocals, keyboards, flute); Halil Mekic (guitar); Zeljko Mikulcic (bass) and Ismet Kurtovic (vocals, flute, guitar). This line-up released one single in 1973. The following year Boris Turina joined the band as drummer and lyricist and they changed their name to DRUGI NACIN, inspired by a poem of F. G. Lorca "In Another Way". In February 1975 they recorded the eponymous debut album. After being rejected by "Jugoton" and "Suzy" labels, PGP RTB finally agreed to release the album only because their executive liked, the then rare in ex-Yugoslavia, gatefold cover sleeve without even listening to the music! It appeared to be a very succesfull "concept" album and it was regularly re-printed in the following years. At the end of 1976 the band split-up, so Kurtovic and Mekic formed a short-lived off-shoot band NEPOCIN which released only one album. The band re-formed 1978 with Pozgajec, Turina, Mikulcic and new guitarists Branko Bogunovic and Nikola Gecevic. This line-up recorded several succesfull hit-singles and toured across ex-Yugoslavia. After several more personnel changes, the second album "Ponovno na putu" was recorded by Pozgajec, Kurtovic, Bozo Ilic (bass), Miroslav Budanko (drums) and Danijel Velican (guitar). Since this album did not repeat the success of the debut, the band restricted its activity to only occasional concerts during the 1980s and gradually retired from the scene. Pozgajec re-formed the band in 1992 with Bozo Ilic, Davor Sencar (guitar), Drazen Kovac (drums), Ernest Vinkovic (guitar) and Branko Bardun (keyboards). They released the third album with re-recorded old songs from their 1970s singles. Ismet Kurtovic released a solo album "Moje najljepse pjesme" in 1996 which contained several most popular songs he wrote for DRUGI NACIN, thereafter forming a band OKO. In May 2000 DRUGI NACIN appeared as a support group on the JETHRO TULL concert in Zagreb.
The first album "Drugi Nacin" is now a classic of 1970s hard-rock/prog-rock of ex-Yugoslavia. It is a concept album dealing with a theme of love and loneliness, full of somewhat pathetic hippie philosophy. Music is typical hard-rock of the time with some prog improvisations, characterized by the interplay between twin guitars and twin flutes, bearing influence from DEEP PURPLE, WISHBONE ASH or JETHRO TULL. The second album is much weaker with pop-rock and mainstream oriented songs. Since during the end of 1970s and beginning of 1980s DRUGI NACIN mostly concentrated on live concerts, sometimes offering up to 300 dates per year, it is petty that this period was not captured on a live album.
The first album is definitely recommended for all prog fans, especially those who like hard rock with flutes (JETHRO TULL, FOCUS).
The first album "Drugi Nacin" is now a classic of 1970s hard-rock/prog-rock of ex-Yugoslavia. It is a concept album dealing with a theme of love and loneliness, full of somewhat pathetic hippie philosophy. Music is typical hard-rock of the time with some prog improvisations, characterized by the interplay between twin guitars and twin flutes, bearing influence from DEEP PURPLE, WISHBONE ASH or JETHRO TULL. The second album is much weaker with pop-rock and mainstream oriented songs. Since during the end of 1970s and beginning of 1980s DRUGI NACIN mostly concentrated on live concerts, sometimes offering up to 300 dates per year, it is petty that this period was not captured on a live album.
The first album is definitely recommended for all prog fans, especially those who like hard rock with flutes (JETHRO TULL, FOCUS).
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Tracks
1. Opet
1. Opet
2. Carstvo samoce
3. Na mom dlanu
4. Lile su kise
5. Zuti list
6. Stari grad
Line-up/Musicians
- H. Mekic / guitars
- Z. Mikulcic / bass
- B. Turina / drums
- B. Pozgajec / vocals, flute
- I. Kurtovic / vocals, flute, guitars
LINK:
h!!p://www.megaupload.com/?d=L8JO4LWM
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BULDOZER - Pljuni istini u oci
BULDOZER was formed in early 1975 in Ljubljana, present Slovenia, when an avant-garde singer/songwriter Marko Brecelj joined the band SEDEM SVETLOBNIH LET ("Seven Light Years") led by guitarist and lead vocalist Boris Bele. Apart from them, the original line-up included keyboardist/composer Borut Cinc, bassist Andrej Veble, lead guitarist Uros Lovsin and drummer Stefan Jez. They released their debut album "Pljuni istini u oci" in December 1975 to shocking reactions of the public and music business authorities due to its twisted black humor filled with sarcasm, satire and touching "sensitive" issues of drugs or pornography. They also utilized the Zappa-like stage freak-out performances and ridiculed some generally accepted morals of the so-called socialist state of Yugoslavia. The cover sleeve of this album was designed as a magazine sheet (similar to JETHRO TULL's "Thick As A Brick") filled with funny and ridiculous social vignettes and some pornographic cartoons. After the first circulation was sold out, the recording label PGP RTB refused to print more copies. In 1976 they recorded the second album "Zabranjeno plakatirati" but due to their label's policy (the band had to modify their lyrics if they wanted to release the record) it was released only in late 1977, when they joined their hometown label Helidon. In the meantime, the rhythm section changed, so the bassist Vili Bertok and drummer Tone Dimnik participated in studio sessions. Brecelj left the band in 1979 to pursue solo career, while Bele-led BULDOZER embraced then popular punk and new wave aesthetics to gain enormous popularity across ex-Yugoslavia. New members in this period were guitarists Davor Slamnig, Janez Zmazek and drummer Dusan Vran. Highly eclectic studio album "Izlog jeftinih slatkisa", including a radio smash hit "Zene i muskarci", and double live record "Ako ste slobodni veceras" are among the top-sellers of this era. Still, many of their song lyrics and stage theatricals are full of the local meanings and hard to comprehend outside of the scope of the post-titoist Yugoslavia. Along with his band activity Bele also worked as a chief music editor of Helidon label and succeeded in this period to purchase the copyrights of their debut from PGP RTB, so the reissue came up in 1981 to face very affirmative reviews. Their activity slowly diminished in mid-1980s, after the poor album "Nevino srce". Although they never officially broke-up, their "come-back" album "Noc" was released more than 10 years later, in 1995. BULDOZER was the first domestic rock band to release an album in a compact disc format in former Yugoslavia, not counting international imports - it was a compilation album "Nova vremena" in 1989.
First two albums "Pljuni istini u oci" and "Zabranjeno plakatirati" are essential for avant-prog listeners who like slightly psychedelic moments with Hammond organ and "acid" guitar solos. Their lyrics and performance are quite anarchic and close to RIO movement. "Izlog jeftinih slatkisa" is a diverse collection of more accessible songs ranging from punk aggressiveness to pure psychedelic moments, while "Noc" presents a refreshed band of the 1990s that is also worth checking out.
First two albums "Pljuni istini u oci" and "Zabranjeno plakatirati" are essential for avant-prog listeners who like slightly psychedelic moments with Hammond organ and "acid" guitar solos. Their lyrics and performance are quite anarchic and close to RIO movement. "Izlog jeftinih slatkisa" is a diverse collection of more accessible songs ranging from punk aggressiveness to pure psychedelic moments, while "Noc" presents a refreshed band of the 1990s that is also worth checking out.
Tracks
1. Najpogodnije mjesto (0:46)
2. Zivot, to je feferon (7:34)
3. Sta to radis, Buldozeru jedan (8:51)
4. Blues gnjus (7:43)
5. Ljubav na prvi krevet (5:24)
6. Yes My Baby, No (8:39)
Total Time: 38:58
Line-up/Musicians
- Boris Bele / guitars, vocal
- Marko Brecelj / lead vocal
- Borut Cinc / keyboards
- Uros Lovsin / lead guitar
- Stefan Jez / drums
- Andrej Veble / bass
LINK:
h!!p://www.megaupload.com/?d=ECHKCEKC
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BUCO I SRDJAN - Najljepse pjesme
If they can be compared with any of the world famous artists, Buco & Srdjan should be called "Simon & Garfunkel from Dubrovnik"
Tracks
1. Povratak
2. Dobro jutro, Margareta
3. Lula starog kapetana
4. Zelenci
5. Nocas
6. Misli
7. Vecer je nas prijatelj
8. Sjecanja
9. Cvijeta Zuzoric
10. Moja Annabel Lee
11. Kad se jednom rastanemo
12. Dugo u noc, u zimsku bijelu noc
13. Kad pjesma zrikavaca zamre
14. Emili
15. Neusnule noci
LINK:
h!!p://www.megaupload.com/?d=PFSWWXXN
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BIJELO DUGME - Kad bi bio bijelo dugme + Koncert kod hajducke cesme
BIJELO DUGME (translation: "White Button") was founded by Goran Bregoviæ, at the initiative of Ismet "Nuno" Arnautaliæ, formerly the founder of INDEXI. Bregoviæ spent much of his childhood in a Musical School for violin players, from which he was expelled for "lack of talent". Soon after his expulsion, his mother bought him a guitar, and thus, BIJELO DUGME was born. Bregoviæ was the band's sole composer and wrote most of the lyrics, although some of the most popular BIJELO DUGME songs weren't written by Bregoviæ, for example: "Ima neka tajna veza", "Glavni junak jedne knjige", "Šta bi dao da si na mom mjestu", "Pristao sam biæu sve što hoæe" were written by Duško Trifunoviæ, "Da sam pekar", "Selma" were written by Vlado Dijak, "Loše vino" by Arsen Dediæ etc.
After recruiting the band's first line up (Goran Bregoviæ/guitar, Željko Bebek/vocal, Zoran Redžiæ/bass, Ipe Ivandic/drums and Vlado Pravdiæ/keyboards), BIJELO DUGME under the name JUTRO (translation: "Morning") were turned down by Sarajevo based record company Diskoton, but were offered to record a single for another record company, Jugoton in Zagreb. The first single was named "Kad bi' bio bijelo dugme" (translation: "If I were a white button"). After the single was released, Bregoviæ was convinced by the band's manager to change the band's name to BIJELO DUGME, because there was already another band in Ljubljana called JUTRO and due to success of the hit-single, the name was already well-accepted in public.
With charismatic vocalist Željko Bebek, the band soon reached stardom in the former Yugoslavia, as one newspaper put it, they sold more albums than there were record players in Yugoslavia. The pinnacle of the band's career was 1979's "Bitanga i princeza", the album is often heralded as their most mature with vocalist Bebek. They were often referred to as the Yugoslav BEATLES and the phenomenon they created was called "Dugmemanija" (like Beatlemania).
The turn of the decade brought the rise of numerous New Wave artists, and BIJELO DUGME soon found their popularity sinking, to which they reacted by reinventing themselves for their 1980 release "Doživjeti stotu", featuring a much more New Wave and Ska oriented sound.
1984 brought the departure of Željko Bebek to pursue a solo career and Mladen Vojièiæ - Tifa was recruited to replace him for their 1984 self-titled release. He left the band because of inner conflicts and was replaced by Alen Islamoviæ, formerly vocalist of the heavy metal band DIVLJE JAGODE for their last two, folk-inspired records.
The band disbanded in 1989 after Alen Islamoviæ checked into a hospital for chest pains during their last tour, without telling anyone he was ill. The real reasons have never been elaborated, but most people suspect the dissolution of Yugoslavia caused the breakup of the band, because the band was often seen as a symbol of unity among the peoples of Yugoslavia.
The band reunited for three concerts in Sarajevo, Zagreb and Belgrade in 2005 with all three vocalists (Bebek, Vojièiæ and Islamoviæ) but without drummer Goran "Ipe" Ivandiæ who died in Belgrade, Serbia in 1994. During their career, occasional members of the group were also Laza Ristovski/keyboards (ex SMAK), Dragan Jankeliæ/drums, Miliæ Vukasinoviæ/drums, Sanin Kariæ/bass and Ljubisa Raciæ/bass.
BIJELO DUGME made a sort of "fusion" between classic rock'n'roll and certain elements of Balkan folk music that some Yugoslavian journalists labelled "pastirski rok" (Eng. "Shepherds' Rock"). On their first four studio albums they occasionally included symphonic ballads and longer tracks with heavy rock sound, filled with Hammond organ and fiery guitar solos, which drew inspiration from "progressive hard rock" in the vein of DEEP PURPLE, URIAH HEEP or ARGENT.
After recruiting the band's first line up (Goran Bregoviæ/guitar, Željko Bebek/vocal, Zoran Redžiæ/bass, Ipe Ivandic/drums and Vlado Pravdiæ/keyboards), BIJELO DUGME under the name JUTRO (translation: "Morning") were turned down by Sarajevo based record company Diskoton, but were offered to record a single for another record company, Jugoton in Zagreb. The first single was named "Kad bi' bio bijelo dugme" (translation: "If I were a white button"). After the single was released, Bregoviæ was convinced by the band's manager to change the band's name to BIJELO DUGME, because there was already another band in Ljubljana called JUTRO and due to success of the hit-single, the name was already well-accepted in public.
With charismatic vocalist Željko Bebek, the band soon reached stardom in the former Yugoslavia, as one newspaper put it, they sold more albums than there were record players in Yugoslavia. The pinnacle of the band's career was 1979's "Bitanga i princeza", the album is often heralded as their most mature with vocalist Bebek. They were often referred to as the Yugoslav BEATLES and the phenomenon they created was called "Dugmemanija" (like Beatlemania).
The turn of the decade brought the rise of numerous New Wave artists, and BIJELO DUGME soon found their popularity sinking, to which they reacted by reinventing themselves for their 1980 release "Doživjeti stotu", featuring a much more New Wave and Ska oriented sound.
1984 brought the departure of Željko Bebek to pursue a solo career and Mladen Vojièiæ - Tifa was recruited to replace him for their 1984 self-titled release. He left the band because of inner conflicts and was replaced by Alen Islamoviæ, formerly vocalist of the heavy metal band DIVLJE JAGODE for their last two, folk-inspired records.
The band disbanded in 1989 after Alen Islamoviæ checked into a hospital for chest pains during their last tour, without telling anyone he was ill. The real reasons have never been elaborated, but most people suspect the dissolution of Yugoslavia caused the breakup of the band, because the band was often seen as a symbol of unity among the peoples of Yugoslavia.
The band reunited for three concerts in Sarajevo, Zagreb and Belgrade in 2005 with all three vocalists (Bebek, Vojièiæ and Islamoviæ) but without drummer Goran "Ipe" Ivandiæ who died in Belgrade, Serbia in 1994. During their career, occasional members of the group were also Laza Ristovski/keyboards (ex SMAK), Dragan Jankeliæ/drums, Miliæ Vukasinoviæ/drums, Sanin Kariæ/bass and Ljubisa Raciæ/bass.
BIJELO DUGME made a sort of "fusion" between classic rock'n'roll and certain elements of Balkan folk music that some Yugoslavian journalists labelled "pastirski rok" (Eng. "Shepherds' Rock"). On their first four studio albums they occasionally included symphonic ballads and longer tracks with heavy rock sound, filled with Hammond organ and fiery guitar solos, which drew inspiration from "progressive hard rock" in the vein of DEEP PURPLE, URIAH HEEP or ARGENT.
Tracks
Kad bi bio bijelo dugme
1. Kad bi' bio bijelo dugme 10:23
2. Blues za moju bivsu dragu 6:23
3. Ne spavaj mala moja muzika dok svira 2:30
4. Sve cu da ti dam samo da zaigram 4:04
5. Selma 6:09
6. Patim evo deset dana (live) 4:51
Total time 34:24
Koncert kod hajducke cesme
1. Kad bi' bio bijelo dugme (8:35)
2. Nista mudro (2:39)
3. Blues za moju bivsu dragu (6:26)
4. Selma (3:28)
5. Ima neka tajna veza (3:18)
6. Sve cu da ti dam, samo da zaigram (4:51)
7. Patim evo deset dana (4:28)
8. Da sam pekar (3:37)
9. Tako ti je mala moja, kad ljubi Bosanac (3:47)
10. Ne spavaj mala moja, muzika dok svira (3:08)
11. Eto! bas hocu! (5:04)
Total time 49:26
LINKS:
Kad bi bio bijelo dugme
h!!p://www.megaupload.com/?d=0JGY1ZLF
Patim evo deset dana (original track from Kad bi bio... album - missing at album link)
h!!p://www.megaupload.com/?d=NOMQRNQK
Koncert kod hajducke cesme
h!!p://www.megaupload.com/?d=WNRKQ7NQ
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ATOMSKO SKLONISTE - Ne cvikaj generacijo + Infarkt
Atomsko sklonište is a Former Yugoslavia's rock band from Pula,Croatia.
The band (whose name means "Atomic Shelter" in Croatian) was founded in 1977. The name comes from the 1968 anti-war play by Boško Obradovic, a poet who would later supply the band with lyrics. The band in the early phase was a rather peculiar combination of what band members described as punk music and hippie lyrics. Due to their peculiar lyrics, the band never gained as much popularity as Prljavo Kazalište or Azra, but it remained a favourite among some critics and had a small but dedicated following.
The band (whose name means "Atomic Shelter" in Croatian) was founded in 1977. The name comes from the 1968 anti-war play by Boško Obradovic, a poet who would later supply the band with lyrics. The band in the early phase was a rather peculiar combination of what band members described as punk music and hippie lyrics. Due to their peculiar lyrics, the band never gained as much popularity as Prljavo Kazalište or Azra, but it remained a favourite among some critics and had a small but dedicated following.
Tracks
Ne cvikaj generacijo
1.Od rata do rata
2. Ne cvikaj generacijo
3. Tko ce tad na zgarištu reci
4. Saznao sam dijagnozu
5. Umro je najveci mrav
6. Pomorac sam majko
7. Posljednji let Boinga 707
8. Otmica naše ljubavi
9. Kinematograf našeg djetinjstva
10. Nek vam je sa srecom
Infarkt
11. Na kraju stoljeca
12. Infarkt
13. Radaju se nova djeca
14. Bez kaputa
15. Djevojka broj 8
16. Pakleni vozaci
17. Zvao sam i miliciju
18. Periferni vremeplov
19. Oni što dolaze za nama
LINK:
h!!p://www.megaupload.com/?d=4TY9RWHV
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Saturday, April 28, 2007
ROCKANTHOLOGY TRIBUTE TO BLOGS Vol. 3 - Najpogodnije Mesto
Here is a special (3 hours & 15 min. long) tribute to blogs covering exclusevly Ex Yu music scene. This compilatin can be a good starting point for you to explore various music styles from my area - the music that myself and many other grow up with. This is just an enterance to next week posts as 20 + albums from former Yu are still to come.
Cheers!!!
Cheers!!!
Part 1
1. Marko Brecelj - Hiskar Rogac (4:14)
2. Teska Industrija - UFO (2:48)
3. Zmajevi Bosne - Nepoznata Pjesma (5:59)
4. Jadranka Stojakovic - Sve smo mogli mi (2:35)
5. Grupa 220 - Negdje postoji netko (5:50)
6. Drago Mlinarec - Rodjenje / Helena lijepa i ja u kisi (16:48)
7. Drugi Nacin - Stari grad (7:33)
8. Josip Bocek - Dinamit (3:30)
9. Srce - Gvendolina (5:13)
10. Tako - Utapanje sunceve svetlosti u pescanu memoriju (6:30)
Part 2
11. Igra staklenih perli - Putovanje u plavo (6:50)
12. Pop Asanovic - Majko zemljo (3:28)
13. Time - Za koji zivot treba da se rodim (10:01)
14. Bijelo Dugme - Kad bih bio bijelo dugme (9:49)
15. Leb i Sol - Aber dojde donke (4:46)
16. Teska Industrija - Koncert trocinski (8:50)
17. Buldozer - Ne brini mama (6:46)
18. Parni Valjak - Pjesma o starosti (7:08)
19. Atomsko Skloniste - Treba imat dusu (4:06)
20. Josipa Lisac - Lezaj od suza (4:26)
Part 3
21. Pop Masina - Kiselina (5:14)
22. YU Grupa - Cudna suma (3:37)
23. Vedran Bozic - Shuffle (2:28)
24. Gresnici - Ideja (4:03)
25. Korni Grupa - Jedna zena (long version with D. Topic) (20:45)
26. September - Zadnja avantura (6:26)
27. Indexi - Dvojnik (10:26)
28. Smak - Blues u parku (7:31)
29. Hobo - Srebro (6:45)
LINKS:
Part 1
h!!p://www.megaupload.com/?d=9S8G5U9P
Part 2
h!!p://www.megaupload.com/?d=1ELWDQA0
Part 3
h!!p://www.megaupload.com/?d=EXKR4B6R
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Friday, April 27, 2007
THE ALLMAN BROTHERS BAND - The Fillmore Concerts
Driving interstates through the Virginias spring 05, with this cd on top volume, it occurred to me that this is quite likely the most incredible American music of any kind for several decades. It transcends its own categories -- rock, jazz-influenced blues, Southern -- whatever. At the Fillmore East, the original Allman lineup in some uncanny way went beyond what even they probably dreamed possible. It became pure inspiration. The music is as darkly majestic and sophisticated, and carefully and perfectly executed as even the best classical music, yet also as rooted and rough, when necessary, as the sparest and spookiest black Delta blues on a scratchy old record. The end result is a sound that embodies the American musical soul in a whole new way, every bit as defining of its moment as Stephen Foster or George Gershwin defined theirs. The only category for this record is great music, in a world class sense.
Having heard the original vinyl when first released back in my college years, and then replayed it for decades and heard it over the airwaves from sea to shining sea, Tom Dowd's new mix was hard to get used to. But of course all recorded live concert sound is an artifact of a performance never fully recoverable in its dimensionality. Time has shown what this Fillmore product is and was, and I have to bow to what I believe is a greater authenticity achieved in the mix here, a much fuller and spread out sound where sooner or later each band member comes fully alive and center. At this point of time, such a result can be the only justification of a re-mix and an expansion. Nothing of Duane or Dicky's leads are lost, and indeed with replaying you realize they grow for the greater context revealed around them. Dowd has always been part of the Allman sound, sometimes more visibly, sometimes less. Here he is trying to create one perfect facsimile of the Fillmore concerts. I doubt however that this is the end of his efforts in this regard.
For those who are unfamiliar with the band or this concert, just get this version and listen to it again and again. It is powerful enough on first bite, but like all great world music only grows and deepens with each listening. It will teach you a lot about the country you were born in. The young Greg's unbelievably genuine blues voice is a marvel throughout. The fascinating 2 drummer/2 lead guitar player invention was at its peak here, and the show -- which is itself one great song -- builds to two climaxes like any major symphony: Elizabeth Reed and Whipping Post, the latter of which is unbelievably extended into Mountain Jam which seems like it indeed might go on inventing itself and turning into new shapes forever. Putting those cuts from Eat a Peach into proper context here, at last, was perhaps the most inspired choice of the new release. Also the added closer, of an extra dose of Elmore James, properly grounds the effort back in the band's roots, of which they have elsewhere sang, "Back Where it all Began." - Jack Wildenmut
Having heard the original vinyl when first released back in my college years, and then replayed it for decades and heard it over the airwaves from sea to shining sea, Tom Dowd's new mix was hard to get used to. But of course all recorded live concert sound is an artifact of a performance never fully recoverable in its dimensionality. Time has shown what this Fillmore product is and was, and I have to bow to what I believe is a greater authenticity achieved in the mix here, a much fuller and spread out sound where sooner or later each band member comes fully alive and center. At this point of time, such a result can be the only justification of a re-mix and an expansion. Nothing of Duane or Dicky's leads are lost, and indeed with replaying you realize they grow for the greater context revealed around them. Dowd has always been part of the Allman sound, sometimes more visibly, sometimes less. Here he is trying to create one perfect facsimile of the Fillmore concerts. I doubt however that this is the end of his efforts in this regard.
For those who are unfamiliar with the band or this concert, just get this version and listen to it again and again. It is powerful enough on first bite, but like all great world music only grows and deepens with each listening. It will teach you a lot about the country you were born in. The young Greg's unbelievably genuine blues voice is a marvel throughout. The fascinating 2 drummer/2 lead guitar player invention was at its peak here, and the show -- which is itself one great song -- builds to two climaxes like any major symphony: Elizabeth Reed and Whipping Post, the latter of which is unbelievably extended into Mountain Jam which seems like it indeed might go on inventing itself and turning into new shapes forever. Putting those cuts from Eat a Peach into proper context here, at last, was perhaps the most inspired choice of the new release. Also the added closer, of an extra dose of Elmore James, properly grounds the effort back in the band's roots, of which they have elsewhere sang, "Back Where it all Began." - Jack Wildenmut
Disc 1
1. Statesboro Blues
2. Trouble No More
3. Don't Keep Me Wonderin'
4. In Memory Of Elizabeth Reed
5. One Way Out
6. Done Somebody
7. Stormy Monday
8. You Don't Love Me
Disc 2
1. Hot 'Lanta
2. Whipping Post
3. Mountain Jam
4. Drunken Hearted Boy
LINKS:
Disc 1
h!!p://www.megaupload.com/?d=W4TUI85J
Disc 2
h!!p://www.megaupload.com/?d=X02D3ULV
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THE ROLLING STONES - 5 Albums (Mick Taylor Years)
When The Rolling Stones wanted to tour North America in 1969, a tour which was to be their first in three years, the problem of founding member and lead guitarist Brian Jones could not be ignored. His conviction for illicit drug usage prevented him from obtaining a work visa status that would have allowed him to perform on tour in America; this and his inability to cope in general had alienated him from the rest of the group, and this would have made touring difficult if not impossible. Jones was fired in early June 1969, and died by drowning on 3 July 1969. Jagger reportedly did not want to hold auditions to replace him, and the process by which Taylor became a Stone was significantly different from the way in which Ron Wood would five and a half years later. Jagger simply asked John Mayall from the Bluesbreakers for his advice. Mick Taylor was recommended, and Jagger invited him to a recording session. Taylor arrived at the studio thinking they wanted him to do some session work, but after a while he realized he was in fact being auditioned as a new guitarist for the band. Taylor did overdubs on two tracks, "Country Honk" and "Live With Me" from the 1969 Let It Bleed album. This impressed Richards and Jagger enough to tell him: "See you tomorrow" before he left the studio the first day. Taylor continued rehearsing and recording for the summer of 1969. The Stones were working on Stevie Wonder's "I Don't Know Why (I Love You)" when Jagger answered the telephone informing the band Jones had drowned.
Mick Taylor performing on stageAfter the 1969 tour, Jagger and Taylor developed a way of working together when Richards was "missing in action", mainly because of Richards' growing use of drugs. Jagger and Taylor wrote and recorded together songs like "Sway", "Moonlight Mile", "Winter" and "Time Waits for No One", but Taylor never received proper credits for his writing. This resulted in Taylor becoming more disgruntled the longer he worked with the band, because it became clear he would always be a junior partner. In total Taylor received four songwriting credits. "Ventilator Blues", "Stop Breaking Down" (both from Exile), "I'm Going Down" and "I Don't Know Why" (from Metamorphosis). The original credits to "Stop Breaking Down" were retracted after the Robert Johnson estate filed a lawsuit against the Stones.
Taylor with the Rolling Stones.Just before the release of the It's Only Rock 'n Roll album in October 1974, Taylor was interviewed by Nick Kent, and Taylor was talking proudly about the album, and especially about the two songs he had written with Jagger, namely "Till the next Goodbye" and Time Waits for No One. When Kent confronted Taylor with the record sleeve it was clear that Taylor had not received credits for his part. Taylor responded by saying "we'll see about that". The Stones met for a business meeting in the south of France in November 1974, and according to Bill Wyman Jagger and Taylor had a fall-out on the first day over song writing credits and the lack of recognition for Taylor’s role within the Stones, and Taylor left the meeting angry and emotional. Within a month, Taylor resigned from the Rolling Stones in December 1974, just before the Stones were to start recording a new album in Munich, West Germany. As the story goes, the Stones were at a party in London when Taylor announced he was quitting and walked out. Jagger, took the news professionally, but Richards complained about Taylor's departure as he felt that Taylor left at a very inconvenient moment.
Lack of songwriting credits wasn't the only reason he chose to leave the band. While recording Exile on Main St. in the South of France in 1971 Keith and Mick Jagger would hardly ever turn up on the same night (Jagger did this to punish Keith for not showing up after getting out of it). As a result the others (Bill, Charlie, Mick T and Stu) were forced to spend an endless amount of time waiting around, hoping Mick and Keith would turn up at the same time. This and the general madness surrounding the making of Exile (and later albums, when things got even worse) also added to Mick T's frustration.
Contrary to what Wyman wrote in Rolling with the Stones Taylor never tried heroin in the early 70's. The reason Wyman is not very well-informed when it comes to anyone's recreational habits is that he was the only one that didn't take part in "parties" (Wyman was totally anti drugs). When Richards was taking hard drugs at Nellcôte it was done behind closed doors, never openly. Andy Johns, Jimmy Miller and Bobby Keys decided to move into Bobby's apartment on the ocean where they set up a private casino and started dabbling with acid and heroin. Source: Exile on Main St by Robert Greenfield, DaCapo Press, 2006. While they were in the South of France, even Richards was not seen doing anything more serious than drink Jack Daniels and smoke joints. Source: Exile on Main St, Greenfield, page 112. Taylor divided his time between Tolstoj's house (where he lived with his young family) and Nellcôte. There are no eye-witness reports of Taylor taking heroin because he didn't take any.
After the 1973 European tour, the future for the Stones looked dim. With Keith Richards heavily strung out on drugs while Richards and Jagger at an increasing distance from each other (Jagger expressed to Taylor how he just could not cope anymore with Keith's unreliabe behaviour and the problems he was causing). While musical trends strayed away from the blues, it looked like the Stones would collapse as a band. As Taylor was considered one of the best guitarists in the world, it was expected that he could build a solo career as had Eric Clapton.
After Taylor left, the remaining Stones have always kept quite secretive and withdrawn about Taylor. Mick Jagger, in a 1995 interview with Jann Wenner of Rolling Stone magazine, nearly admits the years Taylor was a member of the band were the best musically. Jagger said Taylor never explained why he had left, and surmised that "he (Taylor) wanted to have a solo career. I think he found it difficult to get on with Keith." Charlie Watts stated "he was such a beautiful musician, far better than any of us. But he thought he could write and produce just like Mick and Keith, but nothing came out of him after he left" and Keith Richards stated that Taylor is "a beautiful guitarist, but unfortunately that's all he is". However, hard feelings dissipated over time: Taylor appears on "I Could Have Stood You Up", a song from Talk is Cheap, Richards' first solo album. On 14 December 1981, Mick Taylor appeared on stage for almost the full show at the Kemper Arena in Kansas City with the Rolling Stones; and at a Mick Taylor show in NYC (Lone Star Cafe) on 28 December 1986, Richards appeared on stage with Taylor, jamming on "Key to the Highway" and "Can't You Hear Me Knocking". The Rock and Roll Hall of Fame inducted the Stones and Mick Taylor in 1989. Brian Jones and Ian Stewart were acknowledged during Mick Jagger's speech (and Brian Jones was posthumously inducted). Taylor also worked with Bill Wyman on Wyman's solo project The Rhythm Kings in the early 90's.
Taylor's live presence with the Stones is preserved on the Get Yer Ya-Yas Out!, a live album recorded over three concerts at the Madison Square Garden in New York on November 27 and 28, 1969. Sticky Fingers, Exile on Main Street, Goats Head Soup and It's Only Rock 'n Roll were the four studio albums Taylor recorded with the Stones. However, to the many fans of the Rolling Stones, the 1972 American Tour and the 1973 European Tour are the best show cases for Taylor with the Stones. The material recorded on these tours was unfortunately never released officially because the rights were owned by Allen Klein's company ABKCO. It's a tragedy for Taylor's and Stones' fans that his best live work can only be heard on obscure sound and film recordings found on bootlegs of mostly mediocre sound quality, although 21st century re-masters of these bootlegs are now becoming more readily available through internet.
After Taylor's resignation his playing can be heard on the compilation album Metamorphosis, Sucking in the Seventies, Made in the Shade as well as CD's like Rewind, Singles Collection: The London Years, Hot Rocks, More Hot Rocks, Jump Back: The Best of The Rolling Stones and Forty Licks. Two new songs on 1981's Tattoo You also feature Taylor ("Tops" and "Waiting On A Friend"). Taylor is sometimes mistakenly credited as playing on "Worried about You" from Tattoo You, but the solo on that song is performed by Wayne Perkins.
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Let It Bleed
1. Let It Bleed
2. Love In Vain
3. Midnight Rambler
4. Gimmie Shelter
5. You Got The Silver
6. You Can't Always Get What You Want
7. Live With Me
8. Monkey Man
9. Country Honk
LINK:
h!!p://www.megaupload.com/?d=G5GSC5N0
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Sicky Fingers
1. Brown Sugar
2. Sway
3. Wild Horses
4. Can't You Hear Me Knocking
5. You Gotta Move
6. Bitch
7. I Got The Blues
8. Sister Morphine
9. Dead Flowers
10. Moonlight Mile
LINK:
h!!p://www.megaupload.com/?d=71HIRIR7
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Exile On Main Street
1. Rocks Off
2. Rip This Joint
3. Shake Your Hips
4. Casino Boogie
5. Tumbling Dice
6. Sweet Virginia
7. Torn And Frayed
8. Sweet Black Angel
9. Loving Cup
10. Happy
11. Turd On The Run
12. Ventilator Blues
13. I Just Want To See His Face
14. Let It Loose
15. All Down The Line
16. Stop Breaking Down
17. Shine A Light
18. Soul Survivor
LINK:
h!!p://www.megaupload.com/?d=XNFKRWSU
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Goat`s Head Soup
1. Dancing With Mr. D.
2. 100 Years Ago
3. Coming Down Again
4. Doo Doo Doo Doo Doo (Heartbreaker)
5. Angie
6. Silver Train
7. Hide Your Love
8. Winter
9. Can You Hear The Music
10. Star Star
LINK:
h!!p://www.megaupload.com/?d=BKMIZLRP
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It`s Only Rock And Roll
1. If You Can't Rock Me
2. Ain't Too Proud To Beg
3. It's Only Rock 'N Roll (But I Like It)
4. Till The Next Goodbye
5. Time Waits For No One
6. Luxury
7. Dance Little Sister
8. If You Really Want To Be My Friend
9. Short And Curlies
10. Fingerprint File
LINK:
h!!p://www.megaupload.com/?d=I5UN4P0X
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Thursday, April 26, 2007
by request: PEARLS BEFORE SWINE - Balaklava
You had to have been a habitue of the East Village, circa 1965 to have even heard of this group. I can only say that the music they produced is as fresh and as innovative now as it was then. Tom Rapp (he of the cleft palate and lead singer) is one of the most distinctive interpreters in the history of music, absolutely nonpareil. These are some of the most plaintive, poetic recordings you're ever going to come across. I urge you, if you are into discovering little-known masterworks , to hear this disc.
Tracks
1. Trumpeter Landfrey...
2. Translucent Carriages
3. Images Of April
4. There Was A Man
5. I Saw The World
6. Guardian Angels
7. Suzanne
8. Lepers And Roses
9. Florences Nightingale...
10. Ring Thing
LINK: (VBR)
h!!p://www.megaupload.com/?d=7YROC3BY
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FREE - First 3 albums
Free were an English rock band, formed in London in 1968 and best known for their popular song "All Right Now". Lead singer Paul Rodgers went on to become lead singer of the rock band Bad Company along with Simon Kirke on drums, while lead guitarist Paul Kossoff, a much revered blues-rock guitarist, was to die from a drug-induced heart failure at the age of 25 in 1976. The band was famed for their sensational live shows and nonstop touring, although their early studio albums sold slowly until the release of "Fire and Water" which featured the massive hit "All Right Now". This song helped secure them a place at the huge Isle of Wight Festival 1970 where they played to 600,000 people. For a short period, scenes reminiscent of Beatlemania broke out. But as surviving band members ruefully admit, personal problems got in the way and they broke up on the brink of something big, perhaps never realising their true potential. Paul Rodgers has since joined a reformed Queen.
Most remarkable about the birth of Free was the young age of the band members who first came together to rehearse at the Nag's Head pub in Battersea, London, on April 19, 1968. Bass player Andy Fraser (born August 7, 1952), was only 15 years old while lead singer Paul Rodgers (born December 17, 1949), lead guitarist Paul Kossoff (September 14, 1950 - March 19, 1976), and drummer Simon Kirke (born July 28, 1949), were also still teenagers. By November of that year they had recorded their first album Tons Of Sobs for Island Records and, although it was not released until the following year, the album documents their first six months together and contains studio renditions of much of their early live set.
Paul Kossoff and Simon Kirke first became friends in the R&B band Black Cat Bones but they wanted to move on and saw vocalist Paul Rodgers singing with Brown Sugar while visiting the "Fickle Pickle", an R&B club in London's Finsbury Park. They were immediately impressed, and the three were soon jamming, forming Free with the addition of Andy Fraser, who at the tender age of 15 had already been playing with John Mayall & the Bluesbreakers.
Free are still cited as one of the definitive bands of the British blues boom of the late 1960s with the release of Tons of Sobs in 1969, but this is the only album that can strictly be called blues-rock. The next album, Free, released in 1969, has a marked difference in the musicianship of the band as well as Paul Rodgers's voice.
Unlike their previous albums Tons of Sobs and Free, Fire and Water - released in 1970 - was a huge success, largely due to the album containing the hit single "All Right Now" that reached #1 on the UK rock music charts and #4 on the U.S. charts. The album reached #2 in the UK charts and #17 on the U.S charts making it the most successful Free album.
Tracks
Tons Of Sobs
1. Over the Green Hills (Pt. 1)
2. Worry
3. Walk in My Shadow
4. Wild Indian Woman
5. Goin' Down Slow
6. I'm a Mover
7. Hunter
8. Moonshine
9. Sweet Tooth
10. Over the Green Hills (Pt. 2)
Free
1. Ill Be Creepin
2. Songs Of Yesterday
3. Lying In The Sunshine
4. Trouble On Double Time
5. Mouthful Of Grass
6. Woman
7. Free Me
8. Broad Daylight
9. Mourning Sad Morning
Fire And Water
1. Fire And Water
2. Oh How I Wept
3. Remember
4. Heavy Load
5. Mr. Big
6. Don't Say You Love Me
7. All Right Now
LINKS:
Tons Of Sobs
h!!p://www.megaupload.com/?d=0DWQZHV4
Free
h!!p://www.megaupload.com/?d=6OR0BUIC
Fire And Water
h!!p://www.megaupload.com/?d=4J0IIBIM
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Wednesday, April 25, 2007
The Live Adventures Of Mike Bloomfield And Al Kooper
One of the seminal live albums of the late '60s, Live Adventures of Al Kooper & Mike Bloomfield was a natural, organic offshoot of the hugely successful Super Session album from 1968, which contained performances by both of these groundbreaking musicians, as well as Stephen Stills. The idea of musical spontaneity both in live performance and in the recording studio had reached a certain apex in 1968, and spontaneous excursions by musicians such as Jimi Hendrix, Steve Winwood, and the Southern California musical covenant that eventually became Crosby, Stills, Nash & Young, as well as a host of others, were indeed a sign of the times. But it was the union of Bloomfield and Kooper that can truly claim an origination of the phenomenon, and this album takes it to another level entirely.
Utilizing a fine and tight rhythm section of John Kahn and Skip Prokop, the two musicians duel and embrace each other on such cuts as the accurately named "Her Holy Modal Highness" and a great, revamped rock/soul re-working of Paul Simon's "Feelin' Groovy," which is buttressed by a guest studio vocal overdub by the author himself. The album's high point may be Bloomfield's rendering of Albert King's epic "Don't Throw Your Love on Me So Strong," which may indeed also be one of his finest career recordings. Like the Super Session album, history repeated itself, as Bloomfield's chronic insomnia caught up with him by the morning of the second night of the two-night gig, rendering him unavailable. Kooper enlisted the help of Steve Miller and a practically unknown Carlos Santana (himself a Bloomfield devotee) for several tracks, particularly a loose and free version of "Dear Mr. Fantasy," which sort of embodies the whole affair and era. Undoubtedly a necessity from the period, the record has been remastered for CD, and the results are truly glorious, and do this legendary album justice.
Utilizing a fine and tight rhythm section of John Kahn and Skip Prokop, the two musicians duel and embrace each other on such cuts as the accurately named "Her Holy Modal Highness" and a great, revamped rock/soul re-working of Paul Simon's "Feelin' Groovy," which is buttressed by a guest studio vocal overdub by the author himself. The album's high point may be Bloomfield's rendering of Albert King's epic "Don't Throw Your Love on Me So Strong," which may indeed also be one of his finest career recordings. Like the Super Session album, history repeated itself, as Bloomfield's chronic insomnia caught up with him by the morning of the second night of the two-night gig, rendering him unavailable. Kooper enlisted the help of Steve Miller and a practically unknown Carlos Santana (himself a Bloomfield devotee) for several tracks, particularly a loose and free version of "Dear Mr. Fantasy," which sort of embodies the whole affair and era. Undoubtedly a necessity from the period, the record has been remastered for CD, and the results are truly glorious, and do this legendary album justice.
Tracks
Disc: 1
1. Opening Speech
2. The 59th Street Bridge Song (Feelin' Groovy)
3. I Wonder Who
4. Her Holy Modal Highness
5. The Weight
6. Mary Ann
7. Together 'Til The End Of Time
8. That's All Right
9. Green Onions
Disc: 2
1. Opening Speech
2. Sonny Boy Williamson
3. No More Lonely Nights
4. Dear Mr. Fantasy
5. Don't Throw Your Love On Me So Strong
6. Finale-Refugee
LINK:
h!!p://www.megaupload.com/?d=9YZS59XF
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by request: BLOOMFIELD, COOPER, STILLS - Supersession
A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle", "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me". The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
Tracks
1. Albert's Shuffle
2. Stop Album
3. Man's Temptation
4. His Holy Modal Majesty
5. Really
6. It Takes A Lot To Laugh, It Takes A Train To Cry
7. Season Of The Witch
8. You Don't Love Me
9. Harvey's Tune
LINK:
h!!p://www.megaupload.com/?d=JKR80BVF
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CREAM - Fresh Cream + Disraeli Gears
Cream were a 1960s British rock band, which consisted of guitarist Eric Clapton, bassist Jack Bruce and drummer Ginger Baker. Celebrated as one of the first great power trios and supergroups of rock, their sound was characterised by a melange of blues, pop and psychedelia. Cream combined Clapton's blues guitar playing with the airy voice and intense basslines of Jack Bruce and the jazz-influenced drumming of Ginger Baker.
Cream's music included songs based on traditional blues such as "Crossroads" and "Spoonful", and modern blues such as "Born Under a Bad Sign", as well as more eccentric songs such as "Strange Brew", "Tales of Brave Ulysses" and "Toad". Cream's biggest hits were "I Feel Free", "Sunshine of Your Love", "White Room", "Crossroads" and "Badge".
Cream, together with The Who, made a significant impact upon the popular music of the time providing a heavy yet technically proficient musical theme that foreshadowed the emergence of bands like Led Zeppelin in the late 1960s and Rush in the 1970s. The band's live performances influenced progressive rock acts and other jam bands, including the Grateful Dead, Phish, and even Black Sabbath.
Fresh Cream was Cream's December 1966 debut album. It reached number 6 in the UK and - eventually - number 39 in the US. The British version omitted I Feel Free (then their current single), while the US version contained it, though it dropped Spoonful. The CD re-issue of 2000 preserves both songs in the album's running order.
In 2003, the album was ranked number 101 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Tracks
"I Feel Free" (Bruce, Brown) – 2:51
"N.S.U." (Bruce) – 2:43
"Sleepy Time Time" (Bruce, Godfrey) – 4:20
"Dreaming" (Bruce) – 1:58
"Sweet Wine" (Baker, Godfrey) – 3:17
"Spoonful" (Dixon) – 6:30
"Cat's Squirrel" (Traditional, arr. S. Splurge) – 3:03
"Four Until Late" (Johnson, arr. Clapton) – 2:07
"Rollin' and Tumblin'" (Waters) – 4:42
"I'm So Glad" (James) – 3:57
"Toad" (Baker) – 5:11
Disraeli Gears is the second album by British blues-rock group Cream. It was originally released in November 1967 and went on to reach #5 on the UK album chart. It was also their American breakthrough, becoming a massive seller there in 1968, reaching #4 on American charts. The album features the two singles "Strange Brew" and "Sunshine of Your Love". By this time, the group was veering quite heavily away from their blues roots to indulge in more psychedelic sounds.
The title of the album, Disraeli Gears, was actually a bit of an inside joke. Eric Clapton had been thinking of getting a racing bicycle, and was discussing it with Ginger Baker, when Mick Turner, one of the roadies, commented on the performance of "those Disraeli Gears" meaning to say "derailleur gears". The band thought this was hilarious—Benjamin Disraeli was a prominent 19th Century British politician—and decided that it should be the title of their next album. Had it not been for Mick, the album would simply have been entitled Cream.
Eric Clapton, Jack Bruce and Ginger Baker all contributed songs with the help of lyricist Pete Brown and producer Felix Pappalardi. The track "Blue Condition" was unusual in that Baker, although by any account not a singer, took the lead vocal. The album was recorded in New York by their American label, the Atco division of Atlantic Records during the band's stay in the United States.
The lurid psychedelic cover art was created by Australian artist Martin Sharp, who lived in the same building as Clapton at the time of the Chelsea artists colony The Pheasantry. At their first meeting in a London club, Clapton mentioned that he had some music that needed lyrics, so Sharp wrote out a poem he had composed on a napkin and gave it to Clapton, who recorded it as "Tales of Brave Ulysses".
Tracks
"Strange Brew" (Clapton, Collins, Pappalardi) – 2:46
"Sunshine of Your Love" (Bruce, Brown, Clapton) – 4:10
"World of Pain" (Collins, Pappalardi) – 3:02
"Dance the Night Away" (Bruce, Brown) – 3:34
"Blue Condition" (Baker) – 3:29
"Tales of Brave Ulysses" (Clapton, Sharp) – 2:46
"SWLABR" (Bruce, Brown) – 2:31
"We're Going Wrong" (Bruce) – 3:26
"Outside Woman Blues" (Reynolds, arr. Clapton) – 2:24
"Take It Back" (Bruce, Brown) – 3:05
"Mother's Lament" (Traditional, arr. Bruce, Baker, Clapton) – 1:47
LINKS:
Fresh Cream
h!!p://www.megaupload.com/?d=MKHXUHBT
Disraeli Gears
h!!p://www.megaupload.com/?d=EVVSG7JW
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Tuesday, April 24, 2007
AYERS ROCK - Big Red Rock + Beyond
Inspired by TRAFFIC, SANTANA and WEATHER REPORT, AYERS ROCK were a leading Australian jazz-rock band back in the 70's. The 5-piece set built their reputation on solid musicianship and complex arrangements and were the first Aussies to play to massive crowds on the US touring circuit, predating The LITTLE RIVER BAND, AC/DC, AIR SUPPLY, MEN AT WORK and INXS. They made two albums before splitting up in 1976, then the band's two vocalists and guitar players reformed again in the early 80's, with the help of new musicians, to record a third album.
Taped live in Melbourne over two nights in September 1974, their first album, "Big Red Rock", is made up of rather bluesy, rock-based songs with sax and flute that give it a slight jazzy feel.
Their second album, "Beyond" (1976), however, is a different kind of beast. Here, the band goes for a much more fusion feel, with great drumming and strong vocals.
Tracks
Big Red Rock
1. Lady Montego
2. Talkin` `bout You
3. Goin` Home
4. Crazy Boys
5. Nostalgic Blues
6. Big Red Rock
7. Boogie Woogie Waltz
8. Get Out To The Country
Beyond
1. Moondah (Beyond)
2. A Place To Go
3. Catchanemu
4. Song For Darwin
5. Angel In Disguise
6. Little Kings
LINKS:
Big Red Rock
h!!p://www.megaupload.com/?d=REI4M272
Beyond
h!!p://www.megaupload.com/?d=M53O711J
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BLUES CREATION - Blues Creation + Carmen Maki
The Japanese Hard Rock Blues band known as Blues Creation / Creation was the brainchild of guitarist/singer Kazuo Takeda; not to be confused with the mid-60's British Blues Pop band also known as Creation.
In 1969 Blues Creation made a self-titled album of American blues covers. In August 1971 they released the all original "Demon & Eleven Children". This album was heavily influenced by Cream, Deep Purple and Black Sabbath and oddly enough; released the same day as "Carmen Maki/Blues Creation", which had the band fronted by young female pop star Carmen Maki. Each Blues Creation album other than their debut, features songs written by Takeda and consists of a constantly shifting lineup. In late 1971 Blues Creation released their final album, "Blues Creation Live".
Next was the 1975 self-titled "Creation", featuring a new stable lineup and a cover photo of a dozen nude boys full-frontal peeing. Creation toured Japan with American hard rock band Mountain, consisting of guitarist Leslie West, bassist Felix Pappalardi and drummer Corky Laing. Mountain broke up soon after their Japanese tour, and partly due to hearing loss from playing so loud, Pappalardi focused on producing other bands.
Pappalardi decided to help Creation work on their next album and invited the band to his Nantucket, Massachusetts home for two months of rehearsals. Over that time the project transformed into a musical collaboration with songs being written mostly by Pappalardi, his wife Gail Collins Pappalardi and Takeda. The album recorded at at New York’s Bearsville Studios was released in April 1976 as "Creation with Felix Pappalardi". Creation released a final live album "Pure Electric Soul" in 1977, once again featuring a cover with nude boys at the front of a bus.
Kazuo Takeda has released more than 20 solo albums including 1978's, "Super Rock In The Highest Voltage". He now works as a session guitarist in Los Angeles. Takeda attributes his further musical development to his friendship with Pappalardi who encouraged him to branch out into Jazz and other styles. He occasionally still plays live in Asia with former Creation drummer Masayuki Higuchi, and most recently produced Hong Kong's premier bluesman Tommy Chung's album "Play My Blues" (2006).
Tracks
Blues Creation
1. Checkin Up On My Baby
2. Steppin Out
3. Smoke Stack Lightning
4. Double Crossing Time
5. I Cant Keep From Crying
6. Spoonful
7. Rollin Ans Tumblin
8. All Your Love
Carmen Maki
1. Understand
2. And You
3. Lord, I Can't Be Going No More
4. Empty Heart
5. Motherless Child
6. I Can't Live For Today
7. Mean Old Boogie
8. St. James Infirmary
9. Atomic Bombs Away (live)*
10. Baby Please Dont Go (live)*
11. Empty Heart (live)*
LINKS:
Blues Creation (for heavy rock lovers)
h!!p://www.megaupload.com/?d=D0P11URS
Carmen Maki (for anyone who loves this blog)
h!!p://www.megaupload.com/?d=BQ7Q459S
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