Música Buena y conocida - Rock'n´Roll

[SUBLIMOTRUST]

Os recomiendo xxxrockrula. En el blog se ponen discos en DD tipo: Neil Young, Cream, Purple...etc...lo mejor es que están todos a 320kbps en mp3.

Vereis que hay una lista bastante extensa para ir picando....y descargando cosillas.

Un saludo rockeros

Como va el tema de las contraseñas en ese blog? Para descomprimir me pide una clave, sabes cuál es?

Salut

Lo pone en el final de cada post padrino .

xxxrockrula.blogspot.com

un saludo

[elPadrino]

Lo pone en el final de cada post padrino .

xxxrockrula.blogspot.com

un saludo

Estoy ciego. Pués a pinchar un disco diario, no? xD xD xD

Salut

[SUBLIMOTRUST]

Bueno si os apetece un "poco" de J.Cash este es vuestro blog:

http://chocoreve.blogspot.com/

Y no sólo de Cash vive el hombre.

Un saludo

[SUBLIMOTRUST]

Bueno si os apetece un "poco" de J.Cash este es vuestro blog:

http://chocoreve.blogspot.com/

Y no sólo de Cash vive el hombre.

Un saludo

[Takeshi_Shimura]

Anti ya le tiene cogido el tranquillo a eso de sacarle discos a soul singers anejos sin necesidad de recurrir a los vergonzosos y empalagosos discos de duetos. Tras Solomon Burke y Bettye Lavette, le llega el turno a la gran Mavis Staples, con la inestimable ayuda de Ry Cooder a las 6 cuerdas y en las labores de producción, resultando un disco de contundente deep soul como los de antes, ¡qué grandes Mavis y Ry!

<table width="500"><tr><td align="justify">AMG Review by Thom Jurek

When Mavis Staples issued Have a Little Faith in 2004 on the Alligator label, there was no doubt she was back. While the recording was subdued in places, it also showcased her ability to get so far down inside a song that it had to bubble up and be completely reinvented by her voice. It wasn't just a soul and contemporary gospel recording; it also touched on her earliest days with her family singing the blues gospel, and there was a bucket of hope in each track. Several of the songs from the recording were used in television and film. Her 2007 follow-up, We'll Never Turn Back, focuses on another kind of hope: the hope that the men and women who engaged in the civil rights struggles of the early '60s brought to a hostile America and changed its laws -- and some of its attitudes, but not nearly enough -- forever. Staples has enlisted the help of the original vocalists of the Student Nonviolent Coordinating Community, who were called the SNCC Freedom Singers, Ladysmith Black Mambazo (no strangers to the struggle for basic human rights) in a couple of places, and Ry Cooder and his roots band to accompany them. Cooder produced the set, but his gift is the ability to retain in their entirety the voices of the performers when he works with them. Mavis may not have the shouting power she once had, but the conviction and expression in her voice have not wavered an inch. She's still got plenty in her pipes, and We'll Never Turn Back is the proof. Cooder's compadres are son Joachim on percussion, drummer Jim Keltner, and bassist Mike Elizando.

The song choices are quite remarkable, as the album kicks off with J.B. Lenoir's "Down in Mississippi," which echoes the spooky, eerie Pops guitar sound as the voices hover all around it. The arrangement Cooder chose for the traditional "Eyes on the Prize" accents his funky, nasty slide guitar as much as it does Mavis' voice. The song is offered not as an anachronism, but as a spiritual with contemporary -- even necessary -- instructions. Ladysmith Black Mambazo's backing vocals fill the refrains with a necessary sound of lineage as if this were the sound of antiquity coming forward to broadcast once more that it is necessary. Keltner and Joachim, with their contrapuntal rhythms, offer an organic take on breakbeats as well. The Freedom Singers begin their contribution on the album's fourth track, "In the Mississippi River," with Charles Neblett offering the call from ages past before the band gets inside it and makes it downright snaky. Mavis soon digs into her low register and the drums and slide guitar pump that backbeat with purpose, mean and slow. The shuffling swamp rock version of "This Little Light of Mine" makes it a new song. Mavis lays out pure Southern soul in her vocal and the band shuffles and soft-shoes it, making the tension rise in the singer's voice. On the popping gospel-funk of "99 1/2 Won't Do," they let her lead it and she goes down into the drum groove for inspiration and finds it there. Cooder's guitar playing asserts itself everywhere, but gradually and gently, preferring to let Mavis lead him. The gorgeous backing vocals by the Freedom Singers kick it.

The longest cut here is "My Own Eyes," where Mavis performs a tune she wrote -- it's an emotional reverie, recounting her own family's journey through the civil rights movement as inspired by the late Dr. King. Her message is not necessarily poetic, but it's deeply moving and urgent. When she raises her voice to proclaim "I saw it with my own eyes/So I know it's true," there's no doubting. When she indicts politicians on their failure in New Orleans, one can feel the bile rise in her throat. The final track is "Jesus Is on the Main Line," a tune Cooder himself recorded on Paradise and Lunch so long ago. This arrangement is completely different, but it's even more effective. His guitar is a slim, slow-sliding companion to Mavis' voice, full of distant reverb and in-your-face presence even as it pushes her vocal to the front. When the band enters a minute or so later, the tune cracks wide open and begins a kind of mariachi song as it meets gospel. The Freedom Singers egg on the percussion and it responds in the backbeat, and Mavis lets the graininess in her voice shine through. It's a rough-and-ready tune that is not only inspirational but fun. In sum, We'll Never Turn Back is the kind of album we need at the moment, one that doesn't flinch from the tradition but doesn't present it as a museum piece either. Mavis Staples has done it again.</td></tr></table>

Mavis Staples - We'll Never Turn Back (2007).rar

[elPadrino]

Vamos a ver que tal suena el Mavis Staples este...

Salut

[Takeshi_Shimura]

... es una tía

(por cierto, ciruja, gracias por el de Sonny Burguess, que lo bajé hace unos días y aún ni lo he desenrarizado.)

[elPadrino]

... es una tía

Esto me pasa por no leer las reseñas de los discos...

[ciruja]

De nada, Takeshi. A ver si subo algo más de rockabilly guasón uno de estos días.

[elPadrino]

Hoy toca una recomendación mia.
Estoy visitando a diario el bog de rockrula y de los discos que me he bajao que no conocía éste me ha gustado mucho. Creo que os gustará a los que os pasáis por este hilo. Os copio la info del blog

Pat Travers - Heat In The Street(1979)



"Heat in the Streets" is a slightly more metallic effort from Pat and has long been a favorite of mine. This album is just jam packed with some of the most loud 'n proud guitar rock to come out of the 70's, second to only Ted Nugent or possible Van Halen's debut. The guitar harmonies between Travers and new guitarist Pat Thrall are quite compelling. Also, there are plenty of Pat's patented odd time signatures, funky grooves, and jazz interludes. "Go All Night", "Heat In the Street" and "Hammerhead" are all awesome! "Heat in the Street" features Tommy Aldridge on drums, who went on to play with a score of well known artists including Ozzy, Ted Nugent, Whitesnake, Thin Lizzy, House of Lords among others.(nolifetilmetal.com)

1. Heat In The Street (4:30)
2. Killer's Instinct (5:12)
3. I Tried To Believe (5:08)
4. Hammerhead (3:06)
5. Go All Night (3:59)
6. Evie (4:14)
7. Prelude (3:41)
8. Once For Me and One For You (6:18)

Lo podéis bajar del blog o directamente de Gigazise, que lo he subido yo también. Pinchad aquí.


Salut, Rock'n'roll y cervezas para todos!!!

[Takeshi_Shimura]

Betty Davis Is Back, Thanks to Seattle's Light in the Attic

http://www.lightintheattic.net/releases/bettydavis/

[bartleby]

Anti ya le tiene cojido el tranquillo a eso de sacarle discos a soul singers anejos sin necesidad de recurrir a los vergonzosos y empalagosos discos de duetos. Tras Solomon Burke y Bettye Lavette, le llega el turno a la gran Mavis Staples, con la inestimable ayuda de Ry Cooder a las 6 cuerdas y en las labores de producción, resultando un disco de contundente deep soul como los de antes, ¡qué grandes Mavis y Ry!

[Takeshi_Shimura]

cojido

(reescribo la historia un poco más arriba)

[bartleby]

Vale, pero no iba por ahí, me refería al disco

[Takeshi_Shimura]

no pensaba que tu cita fuera por la falta de ortografía

Los tipos de Light in the Attic que han sacado los discos de Betty Davis, la ex de Miles y reina del hard funk calentorro (¡qué buena estaba!), son una pequeña disquera radicada en Seattle. Yo los descubrí con esté disco que recopila grabaciones de músicos jamaicanos emigrados a Toronto en los 60, que hacían música para la comunidad jamaicana trasladad al próspero y frío Canadá para ganarse el pan.



web oficial

Va - Jamaica To Toronto - Soul Funk & Reggae (1967-1974).rar

[elPadrino]

Por si os interesa:

Gov't Mule tocarán en Barcelona en el Poble Espanyol el 5 de Julio. A comprar las entradas ya mismito!!!!!!

July 5th, 2007
Poble Espanyol Festival
Poble Espanyol de Montjuic
Av. Marques de Comillas, 13
Barcelona, Spain
www.poble-espanyol.com

Ticket Availability: On-Sale May 3rd
Seating: General Admission
Ages: All ages

[Takeshi_Shimura]

Acabo de pinchar esto en HQshare:

[QUOTE=Huddel;106575]

Artist: Joe Ely
Album: Dig All Night
Released: 1988
Source: Demon recors FiendCD130
Genre: County/Country-Rock
read more: http://www.allmusic.com/cg/amg.dll?p=am ... qe5ldhe~T1
Format: EAC,Ape, Cue, Log, Scanns -> 324 MB
Hash:[ED2K]Joe Ely - dig all night(EAC-ape-cue-log-scanns).rar [/ED2k]

Review by Thom Owens

Dig All Night follows in the direction of Lord of the Highway, finding Joe Ely concentrating on hard-kicking roots-rock and rockabilly. The country influences are now just flavoring, not the focal point, and that's not a bad thing, since Dig All Night is a lean, mean record that rocks harder than nearly any roots record of its era.


Tracklist:
1 Settle for Love - Ely 4:31
2 For Your Love - Ely 4:33
3 My Eyes Got Lucky - Ely 4:06
4 Maybe She'll Find Me - Ely 5:20
5 Drivin' Man - Ely 4:11
6 Dig All Night - Ely, Watkins 4:35
7 Grandfather Blues - Ely 4:00
8 Jazz Street - Ely 4:01
9 Rich Man, Poor Boy - Ely 4:00
10 Behind the Bamboo Shade - Ely 5:37
11 I Didn't Even Do It - Ely 4:27

Never heard a bad album of Joe Ely

Enjoy and share [/QUOTE]

[el_salmonete]

Neil Young - American Stars 'n Bars (Reprise, 1977) (EAC APE salmonete's backUp).rar

Neil Young made a point of listing the recording dates of the songs on American Stars 'n Bars; the dates even appeared on the LP labels. They revealed that the songs had been cut at four different sessions dating back to 1974. But even without such documentation, it would have been easy to tell that the album was a stylistic hodgepodge, its first side consisting of country-tinged material featuring steel guitar and fiddle, plus backup vocals from Linda Ronstadt and the then-unknown Nicolette Larson, while the four songs on the second side varied from acoustic solo numbers like "Will to Love" to raging rockers such as "Like a Hurricane." Just as apparent was the album's unevenness: side one consisted of lightweight compositions, while side two had more ambitious ones, with "Will to Love," for example, extending the romantic metaphor of a salmon swimming upstream across seven minutes. The album's saving grace was "Like a Hurricane," one of Young's classic hard rock songs and guitar workouts, and a perennial concert favorite. Without it, American Stars 'n Bars would have been one of Young's least memorable albums, and since it turned up the following year on the compilation Decade, the LP was rendered inessential.

Sin embargo dos de sus nueve temas fueron incluidos en la antología, y un par más no hubiese desentonado. Aún así, es cierto que el disco suena a veces algo deslavazado: en "Will to Love" se oye el crepitar de la leña en un hogar mientras Young rasguea la guitarra acústica, "Like a Hurricane" podría ser el epitome del sonido Crazy Horse. El disco es de hecho una colección de canciones grabadas en condiciones muy distintas las unas de las otras, incluso alguna rescatada del pasado, más que el verdadero documento de unas sesiones; algo común en los discos del canadiense de la época. Yo diría que es un buen disco y que tiene dos o tres temas que lo hacen imprescindible, junto o sin la antología "Decade".

Salud

[elPadrino]

Yo no me llevo el disco de Neil Young, nooooooooooooooo Gracias.

Salut

[ciruja]

Pincho a Neil Young y tiro porque me toca,

SLY STONE - SEVENTH SON (1963-66)



Qué queréis que os diga... el disco recoge 19 temas de Sly Stone, inéditos y previos a su primer disco con Sly & sus plasos.
Ya lo he dicho todo.

On this album you can hear Sly & The Family Stone in their early developmental years. Although the dates are fairly unknown, these previously unreleased tracks were recorded by Sly Stone at Autumn Records. These are songs recorded from 1963 to 1966, some never even seeing the light of day until now. Liner notes by Sly "connoisseur" Mick Collins (The Dirtbombs, The Gories...).

Vampisoul

El disco va sin portadas pero me comprometo a subirlas en unos días, justo el tiempo que tarde en topar a algún incauto que tenga escaner.

Sly Stone - Seventh Son (1963-66).EAC APE.rar