quinta-feira, 17 de outubro de 2024
Jellybread - 65 Parkway 1970
Kris Kristofferson - The Silver Tongued Devil And I 1971
Stoneground - Stoneground 1971
Bert Sommer - The Road To Travel 1968
Street - Street 1968
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Pepeu Gomes - Na Terra A Mais De Mil 1979
Pepeu Gomes is a virtuoso guitarist/mandolinist who had noted participation in the '70s revival of choro in the band Os Novos Baianos. His solo career has been troubled by the hardships that prevent instrumental musicians in Brazil from developing their discoveries, but his recorded material is enough to make clear his uncanny, creative talent.
Coming from a family of musicians, Pepeu Gomes had nine brothers, including the drummer/cavaquinista/guitarist/composer Jorginho Gomes and Carlinhos Gomes. Among his earliest influences figures the pau elétrico -- the seminal Brazilian electric guitar invented by Dodô in 1941, in Salvador, BA. Gomes formed his first group at 11, the Cats, together with a variable number of brothers. Under the name Os Minos, sponsored by a clothing factory, they recorded a single for Copacabana and played in São Paulo, on the TV shows of Eduardo Araújo and Ed Carlos. In 1968, he became strongly influenced by Jimi Hendrix and formed the professional group Os Leifs with brothers Jorginho and Carlinhos and his friend, Lico. In early 1969, Gilberto Gil, just freed from imprisonment, was preparing a farewell show with Caetano Veloso, as they were sentenced to exile, when Gil saw Pepeu Gomes on TV. Immediately taken by Gomes' virtuosic interpretation, Gil invited him, with Os Leifs, to accompany him and Caetano Veloso on their Barra 69 show. Os Novos Baianos, who was until then an unknown group formed by Moraes Moreira, Galvão, Paulinho Boca de Cantor, and Baby Consuelo (today Baby do Brasil), saw Os Leifs at Barra 69 and proposed that they play together due to their strong instrumental background. So, Os Leifs joined Os Novos Baianos in their opening in the Southeast with the show Desembarque Dos Bichos Depois do Dilúvio in 1969, after the presentation of the same show in Salvador, BA, the previous year. This was followed by the first Os Novos Baianos LP, Ferro Na Boneca. Gomes then departed from Os Leifs and joined the Enigmas, accompanying them to Rio for a long underground season with Os Novos Baianos at the Cimento Armado, soon to be the Teatro Tereza Raquel. In 1972, after a stint with João Gilberto the previous year, Os Novos Baianos and Gomes discovered the importance of researching their Brazilian roots, resulting in the recording of the anthological album Acabou Chorare (Som Livre). The solo in "Tinindo Trincando" is a result of that search for a genuine Brazilian guitar solo and the beginning of the elaboration of Gomes' own personal style. The album, mixing the group's heavily countercultural looks and philosophy with a modern synthesis between rock and the traditional choro, contributed to the revival of the Brazilian genre in the '70s, bringing many youngsters into its ranks. Continuing to work with Os Novos Baianos, Gomes led the trio A Cor do Som, formed initially by his brother, Jorginho, on guitar and friend, Dadi Carvalho, on bass. In 1978, Gomes recorded his first solo album, Geração do Som, with a peculiar blend of choro, samba, frevo, and rock. The cover of the album presents his invention, the guibando, a two-fretboard instrument that combined an electric guitar and a mandolin. The instrument amazed John McLaughlin when Gomes accompanied Gilberto Gil at the Montreux Festival (Switzerland). AMG.
listen hereMungo Jerry - In The Summertime 1970
Dave Mason - It's Like You Never Left 1973
The New Colony Six - Breakthrough 1966
Rufus Harley - A Tribute To Courage 1967
segunda-feira, 30 de setembro de 2024
The Paul Butterfield Blues Band - In My Own Dream 1968
Jefferson Airplane - Crown Of Creation 1968
Procol Harum - Grand Hotel 1973
Blues Project - Planned Obsolescence 1968
The eclectic résumés of the musicians, who came from folk, jazz, blues, and rock backgrounds, were reflected in their choice of material. Blues by Muddy Waters and Chuck Berry tunes ran alongside covers of contemporary folk-rock songs by Eric Anderson and Patrick Sky, as well as the group's own originals. These were usually penned by Kooper, who had already built songwriting credentials as the co-writer of Gary Lewis' huge smash "This Diamond Ring," and established a reputation as a major folk-rock shaker with his contributions to Dylan's mid-'60s records. Kooper also provided the band's instrumental highlights with his glowing organ riffs. Though their live debut sounds rather tame and derivative, the group truly hit their stride on Projections (late 1966), which was, disappointingly, their only full-length studio recording. While they went through straight blues numbers with respectable energy, they really shone on folk- and jazz-influenced tracks like "Fly Away," Katz's lilting "Steve's Song," Kooper's jazz instrumental "Flute Thing" (an underground radio standard that's probably their most famous track), and Kooper's fierce adaptation of an old Blind Willie Johnson number, "I Can't Keep from Crying." A non-LP single from this era, the pop-psychedelic "N1o Time Like the Right Time," was their greatest achievement and one of the best "great hit singles that never were" of the decade. The band's very eclecticism didn't augur well for their long-term stability, and in 1967 Kooper left in a dispute over musical direction (he has recalled that Kalb opposed his wishes to add a horn section). Then Kalb mysteriously disappeared for months after a bad acid trip, which effectively ended the original incarnation of the band. A third album, Live at Town Hall, was a particularly half-hearted project given the band's stature, pasted together from live tapes and studio outtakes, some of which were overdubbed with applause to give the impression that they had been recorded in concert.
Kooper got to fulfill his ambitions for soulful horn rock as the leader of the original Blood, Sweat & Tears, although he left that band after their first album; BS&T also included Katz (who stayed onboard for a long time). Blumenfeld and Kulberg kept the Blues Project going for a fourth album before forming Seatrain, and the group re-formed in the early '70s with various lineups, Kooper rejoining for a live 1973 album, Reunion in Central Park. The first three albums from the Kooper days are the only ones that count, though; the best material from these is on Rhino's best-of compilation. Founding member Danny Kalb died on November 19, 2022, in Brooklyn, New York after a long illness; he was 80 years old. AMG.
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