sexta-feira, 26 de dezembro de 2008

Só ano que vem




quarta-feira, 17 de dezembro de 2008

Rob Halford

Discaço. Sou suspeito pra falar da galera do Judas.

Ressurection - 2000

Manfred Mann's

The Good Earth - 1973

The Greatest Show On Earth

The Going's Easy - 1970

Lucifer's Friend

Mind Exploding - 1976


Excelente banda canadense que mistura hard, progressivo, jazz.

One Fine Morning - 1971

Mother's Finest

Another Mother Further -1977

Mother's Finest

Mother Factor -1978

terça-feira, 16 de dezembro de 2008

segunda-feira, 15 de dezembro de 2008


Banda sueca progressiva.

On the debut album "Lonely Land" these guys almost openly recreate the sound of the '70s, actively and effectively using such famous (and popular) keyboard instrument as Mellotron (The Keeper of the string samples). A lot of acoustic piano, and some songs feature even accordion. Cold, Northern music with slow dramatic themes and quite complex arrangements slightly influenced by such bands as Van Der Graaf and PFM. Keyboards play a prominent role here, though often you can hear excellent sad guitar solos.If you haven't heard the T2 "It'll All Work Out In Boomland" version of 'No More White Horses' and want to - check out the post on this blog ! It has blistering guitar work from the (then 17 year old) Keith Cross.


- Andreas Dahlbäck / drums
- Stefan Dimle / bass guitar
- Reine Fiske / lead & acoustic guitar
- Patric Helje / vocals, rhythm guitar
- Simon Nordberg / Mellotron, Hammond organ, piano, accordian

Lonely Land - 1992

Ken Hensley

Free Spirit - 1981


"Fog on the Tyne" was Lindisfarne's second album originally released on Charisma records in 1971. It contains their first single-hit "Meet Me on the Corner", and the album itself spent many weeks in the charts. It's popularity even brought their first album "Nicely out of Tune" back into the charts. Interesting that their second hit single "Lady Eleanor" was taken from their great debut-album.Though "Meet Me on the Corner" was written by Rod Clements, it is still lead singer and guitarist Alan Hull who is the dominating personality with his great songs like "January Song", "Peter Brophy Don't Care", "City Song" and "Passing Ghost".Compared to their debut, the overall feeling on this album is more acoustic and though many songs are up-beat tempo, there is a very relaxed and pleasant feel to the album.

Evermore Blues

Alan Hull (Guitar Keyboards Vocals),
Ray Jackson (Harmonica Mandolin Vocals
Rod Clements (Bass Violin Vocals Slide Guitar),
Simon Cowe (Guitar Mandolin Vocals),
Ray Laidlaw (Drums)

Fog On The Tyne - 1971

Salem Mass

Ken Hensley

Running Blind - 2002


Ken Hesnley

- Ken Hensley / lead and harmony vocals, electric, slide, organ, piano, Minimoog and other synthesizers, tambourine, cowbell
- Andrey Shatunovsky / drums
- Alexey Ostashev / bass guitar
- Vadim Nazarov / acoustic and electric piano
- Igor Kozhin / electric guitar
- Irina Rodilez, Oleg Kozura, Raisa Saed-Shakh, Andrey Kolchugin / backing vocals
- Russia's Presidential Symphony Orchestra

The Wizard's Diary Vol. 1 - 2005

sexta-feira, 12 de dezembro de 2008

Ken Hensley

Blood On The Highway - 2007

American Tears

The third and final release of AMERICAN TEARS is without any doubts their best and most recommended release. First released in 1977 at the start of the Pomp Rock era from 1977-1982. Still an underrated classic. 'Powerhouse' contained some great Pomp Rock, including two songs that were later re-recorded by TOUCH on their only album.

The versions of AMERICAN TEARS of the classic Pomp Rockers "Last chance for love" and "Listen (can you feel it)" are as good as the TOUCH versions. The bonustrack "Born to love" is probably the least interesting song of this rather great album. My favourite songs of the album, beside the already mentioned TOUCH songs, are "Promise to be free" (classy piece of a Pomp Rock Ballad), "Don't give it away" and "Say you'll stay" which all saw the first steps into Pomp Rock.

Powerhouse - 1977

quinta-feira, 11 de dezembro de 2008


This band was one of the true Rocky stories of the 70's music scene. Losing a drummer to a car wreck in a very formidable time in their lives, the core of the band went on to both regional and national acclaim. Noting the humble beginnings of this band arising from the small-town backdrop of the eastern NC coast, they barely had the money to afford a decent amp (or beer at a local surfer hangout known as Paradise Pier). Through the years however, they forged a sound that would change rock n' roll music forever meshing a then "heavy-metal" sound with a funk-fusion energy and vocals very few musicians of the day could rival. God bless bands like this...they are the backbone of American rock and roll.

Richard Cole

É muita sonzeira. Vale a pena!!

Nantucket - 1978

Popol Vuh

Affenstunde - 1970


Ken Hensley

Proud Words On A Dusty Shelf - 1973

quarta-feira, 10 de dezembro de 2008

Jeremy Storch

If you've every heard his name, singer/keyboardist Jeremy Storch is probably known to you for his work with The Vagrants. It's doubtful more than a few folks have ever heard any of his early-1970s solo work, or have a clue of where life took him.With the breakup of The Vagrants, Storch found himself signed to a solo career by RCA Victor. Released in 1970, Storch's debut "From a Naked Window" teamed him with producers Gary Illingworth, Ernie Aitschuler and Al Schwartz and a host of New York sessions players. The album was actually very good, though anyone expecting to hear something along the lines of The Vagrants' brand of heavy garage rock was bound to have been surprised to hear Storch-penned originals like 'Dream City' and 'Delia'. I was certainly dumbfounded the first couple of times I played the album. Largely abandoning The Vagrants-styled rock and roll grunge, Storch plunged headlong into anguished singer/songwriter mode, occasionally sprinkled with a lysergenic blanket. While the results weren't exactly the year's most upbeat collection, the material proved well suited for Storch's slightly nasal and strained voice. About half of the album was stark singer/songwriter material - 'Playground' and 'Message In the Wind' simply showcasing Storch and keyboards. The rest of the material featured more elaborate arrangements (courtesy of Illingworth), including a couple with classical influences and a couple of fuzz guitar supported efforts ('Man In the Sky' and 'Lady In the Sand'). Interestingly with the exception of the closing instrumental 'Delia', all of the original songs were bound together by Storch's highly personal and strange lyrics - 'Lynn and Sue Are a Country' appeared to provide a nod of approval to lesbian relationships. Fascinating in a weird, hard to describe fashion, the results probably horrified Vagrants fans.Imagine an American version of Peter Hammill and you'll have a feel for what the set sounded like.



From A Naked Window - 1970

Ken Hensley

Ken Hensley é a própria essência do rock

Eager To Please - 1975


One of the best Hard Rock Prog. items of the late sixties (1969). One of the most world underrated bands. Excellent, amazing, original. You can find in this album Queen hard rock style, Black Sabbath doom Rock style, Symphony Rock, Doom, Prog., ballards. Incredible. A real, real pioneers of last sixties and early seventies Hard Rock.


The Seven Deadly Sins - 1970

Steel Mill

Very great Hard Progressive Blues Rock from these English guys.All the songs on this album are just awesome and there are some focus/tullesque flute and subtle sax here and there.This album got a German release on Bellaphon (BLPS 19105) in 1972 but had to wait three more years for a UK airing, by which time they'd split.


Dave Morris (keyboards, vocals),
Jeff Watts (bass),
Chris Martin (drums),
Terry Williams (guitar)
John Challenger (woodwinds)

Green Eyed God - 1972

terça-feira, 9 de dezembro de 2008


Felt was formed in Alabama in the late '60s around the talents of Myke Jackson (guitars), Mike Neel (drums), Tommy Gilstrap (bass), Stan Lee (guitars), and Allan Dalrymple (keyboards). The band's self-titled album, released on the small Nasco label in 1971, contains half-a-dozen original songs written for the most part by Jackson. The mostly blues-styled songs on this album are full of great guitar work and contain fine Beatles-esque harmony vocals. While most of this album has a blues feeling to it, some of the songs hint of progressive rock with swirling keyboards, intense drumming, and blistering guitar solos. The album has recently been discovered for its musical excellence and has become a very rare collectors' item. Guitarist Lee would later go on to become a member of punk band the Dickies in the late '70s. This welcome re-release by Akarma Records features a reproduction of the original foldout album graphics in the mini-LP-styled Akarmapack.

Felt - 1971