And 'finally out this amazing book to "crowfunding project"; or they ask for money in advance for a certain number of copies and when you reach the quota to be able to publish, you bring it to the publisher. Now finally have come out the famous one thousand numbered copies (mine is 343 1000 of course) and is the result of two years of interviews by three speakers of manoscritoo: Mark Baxter, Jason Brummell and Ian Snowball, to many of Mod girl most influential stylistic point of view or a fair amount of participation in events of the scene 60's / Model European. So here you have the interviews and photographic contributions Clelia Lucchitta of Milan, of Mocky Marzan Cabo De Leon, Samantha Messer of London and many other Italian girls, Spanish and English. Are their views on the "Mod scene" and what they perceive a universe that is sometimes taken for granted much closer to the male than to the female side. So here are the photos of the girls of the mod 60's, the 80's, the 90's and why not even the 00's. Excellent book interesting interviews and also recommended for boys of the "scene".
After eight years of this London band comes with their job 4to (or 3zo album if you want to exclude the collection: "The best of ...."). It must be said that former Mebra of Clique and Knave are always at ease when it comes to sound British R'n'B or freakbeat. Are in the Mod scene, as I remember, for about 30 years, was back in 1991 when the first 45 of Clique whose cover aped the other 45s most famous by The Who: ie 4 mods photographed in perspective behind the Big Well. They then go out an EP for Detour Rec. (Who had to go out for Acid Jazz in 1989) in 1995 to jazzy piece R'n'B. So here we have self-produced and rigastrate the prestigious Ranscombe Studios (for the uninitiated a host of 90's band that made 60's Soul / R'n'B / Freakbeat recorded them ..) with 13 pieces (even if the CD contains 12 ) ranging from R'n'B, to psych blues (like the beautiful "Woman") until you reach the blue eye soul (see "So sad"). They are a guarantee of professionalism and taste, are the deans of all the current Mod bands and I recommend it as a disk that has the most beautiful sound 60's Mod of the year !!!
On air since 2006 with the heavy burden and dell'endorsement honor of Paul Weller, The Rifles of the British group returns with a new double album, "Big Life", the fifth studio. A double CD with 18 tracks that surprise you once again a loyal and enthusiastic fan base that follows them now for 12 long years. The disc was produced by Charles Reed in Black Barn Studios in London, under the supervision of collaborator and long-time mentor Paul Weller. Surprisingly, the length of the product made in a period in which abound the EP and the immediate music, the sound is fresh and crisp, a brit-pop classic, easy and quick to taste to win. The good average level reaches the top of the album Number One in the beautiful, charming in its plot, in the sweet Victoria, and Big Big Life is full of shiny guitars and pull. Of great importance is the beautiful Motorway, the best time of the entire CD. The music proposed by the British band is not revolutionary, but good listening, a good average level with greater attention to be given to the pieces already mentioned. If you want a nice and easy listening album that company face, this is a right choice.
Back, one year after the onset, the Spitfires, young English band that many at home spent praise. On the shoulders of these four young Watford weighs, according to many, the fate of the new mod music and uncomfortable comparisons with the Jam. The second album, "A Thousand Times", shows that the quartet does not lack courage. Already the debut, "Response" (number 6 of the UK charts), it was a nice "old news": overall, the first of the Spitfires nothing new was said, but it was something that did not feel long. With the new work, the four appear to have made the leap, without denying mod soul and flawless look. Musically, compared to rougher Response, A Thousand Times is the caesura that breaks the umbilical cord that tied Spitfires and Jam. The new disk will appreciate a more mature sound, less urgent and that gives a nod to Brit pop and 60's, thanks to rare keyboard explosions only 12 months ago. It seems almost a work of Paul Weller of the Jam sunset, which, however, it took a couple of albums stakeholders to come up with a sound so round after "In The City". To want to find fault, notice while listening to Billy Sullivan's voice, too "welleriana". On the other hand, however, the quartet has worked for the estimation of the mod culture through the ability to tap into diverse styles, but well harmonized in the complex, creating a very personal sound. A clear upgrade since the title track, characterized by a brit pop faster confirmed by the subsequent Last Goodbye, plus a keyboard intro psychedelic tones. Progress exalted in Day To Day, where we see the influence of the Ocean Colour Scene, for a piece that evokes a primal brit pop, acid and direct, with hints of an angry rock-funk. Pure energy the guitar solo and the final crescendo, damped by Open My Eyes, ballatona which attracts more mature brit sounds, enhanced by a string involving the background. The hard top with On My Mind, the first single. It is a real youth anthem: a mix of harmonies and acoustic guitar distortion, combined with a keyboard from the 60's style, à beyond Booker T, the red carpet for the eruption of the winds. Intensity doubled from next piece, solong, manifesto of the versatility of the group: it goes punk dall'incedere of the stanza to more Beatles dell'inciso sounds, until the explosion of the power pop chorus and the gallagheriano to solo guitar. The powerful bass that fills the last verse seems to BruceFoxton, just to remember that the Jam ape the Spitfires if not ever take away from the shoulder. Explosiveness of sounds that launches the mystery I Do not Even Know Myself, intense piece beat (bass, drums and thumping guitar, keyboard from the 60's taste and wind triumph in ska style) that reveals the introspection of Sullivan, one that does not arise unnecessary writing constraints. Confirming the compositional freedom of the group after arriving The Suburbs (We Can not Complain), the album Acid piece. A song that is urban decay and indifference that penetrates the social fabric through a rough sound in which angry guitars mix with the keyboard engaged in melancholy sounds, emphasizing the precariousness of the situation described by the text. The finish is launched by Return To Me: six minutes of ballad wrapped by engaging low and the guitar riffs, to the unusual theme of love. The intermezzo is a fine duet between keyboard and strings, that after the guitar solo conclude blending the best track on the album. It closes with A Better Life, ballad from dark atmospheres. A piece that completes a disc marked by a sound like no other. For those who love brit music is the best output of 2016.
While, in the first half of the 70s, the British rock, led by psychedelia and virtuous guitarists, entered the age of maturity, a slice of the music market, and nightlife, ignoring these developments, remained proudly animated by bands, with the faithful following of fans, stuck in an eternal adolescence made of days at school and afternoon discotheques, pubs and terraces, gangs and individualism, fistfights and innocence, naive and quickies falling in love in the dark alleys. It was the spirit of the rebel without a cause of 50s rock'n'roll that filtered through the experience of the British rhythm and blues of the 60s, he found new life into glam rock: pop art to the nth degree, zero intellectualism. Heirs of this age and this ethic, and one of the best international expressions of the genre, they return the Brianza Faz Waltz with "Callin 'Loud', their sixth studio album. As in the previous "Move Over" and partly in "Back On the World", the trio explores the plus side Streatwear and less arty glam rock: if in the early works was prevalent stylistic and thematic influence of David Bowie and T Rex, in recent works are much more emerging influences of Sweet and Slade, as well as those of smaller formations like Jook and Hammersmith Gorollas. But what characterizes the Faz Waltz and distinguishes them, placing them without exaggerations over the average of the other bands around the world reproduce the genre, is that the songwriting Faz La Rocca welcomes not only a certain power pop approach, but engages all of these influences on a taste and a base typically sixties, both in the way of singing and modulate the voice (often reminds me of Steve Marriott) is, in general, in the solutions melodic Kinks-esque, Yardbirds-ian or Beatles-esque. the album consists of ten songs -less is more- rock'n'roll very compact and tough: square and pounding rhythm section, never a guitar solo but only riff-classic and timeless, ritornelloni, profusely choirs and working class stories told as you could hear told by a seventeen year old who has the world before but has never yet passed the corner of the street of the neighborhood where he was born. This "callin 'Loud' is not, in conclusion, a disc for nostalgic of past eras and never lived, but it is a work fresh, lively, pop in the truest sense of the concept and positive, appreciated by both the fanatic rock'n darkness 'roll that lives for the concert of the weekend, but also by those who make music on the radio or listen distractedly, trivializing, just to dance, drink and fuck on Saturday night.
Produced once again by an excellent Don Alsterberg (Graveyard, Division Of Laura Lee, José González, Jerry Williams) who works in sharp sounds, warm and enveloping, in classic style, the disc can be seen as a clear step forward from a debut that had fully convinced with his sound, in all respects derivative of the great realities rock / blues from the '70s. Even Lady In Gold has given wide coverage to the vocals of the talented vocalist Elin Larsson, on the shields for energy, the pathos and great intonation that knows to provide to each of the tracks that make up this work. Hear about the ballad voice-piano-synth I Felt A Change, one of the finest rock-bluesy soft and smooth songs listenable in this 2016, which is interpreted as praise from the blonde singer. If they are the rhythmic background and the large groove by Zack Anderson (bass) and André Kvarnström (drums) to lead the way for a sparkling and summer song as Bad Talkers, or in the great rhythm of Rejection and tangible coprosità the final Elements and Things, it is right to pay great attention to the Dorian Sorriaux guitar in several rock songs and ledzeppeliane as excellent Little Boy Preacher or you Gotta Try and will not Go Back, tracks onto which comes out of the creativity of this musician ease in the classic riffing of this release. Well represented by its beautiful title track, Lady In Gold is a key publication for the collections of lovers rock / 70s blues revival. With it, the Blues Pills confirmed one certainty and one of the landmarks of a musical movement that is gathering more and more new followers around the globe, even among new and emerging realities such as this.
Led by the Turin Matteo Bertello aka Matthew Berth, the G91 propose a rough sound debtor primarily to what is arguably the largest of its leader passion: the brit-pop. Four songs plus an intro, with a hand in the process of Alex Lodge of the Statute production (who shares a love for these sounds from the days of The Holy), and training in essential trio but with the right energy. In the foreground, of course, the beautiful voice of Matthew, which seems to give his best in the only episode in Italian - the single "Living and swim"; "Embrace Life", and "A song for you" are presented as two power ballads accentuated predilection melodic (gallagheriana of brand, of course) and the guitar sounds groomed and unusual, while "John L." add a pinch of jangle and an inkling of college rock, coupled with a choir entering nicely in the lead. This is obviously a debut, and the impression is that, once you have chosen a road between English and Italian, the G91 can grow again, especially in melody and arrangiativo; but it is also no doubt that this first test already present a good number of strengths that bode well for the future.
Silvio Bernardi 07/09/2016
Tom has had the good fortune to be one of the photographers who worked for CBS record label, grew up in level and professionalism, has decided to make available its expertise as a freelancer for several companies, becoming in a short time also the photographer for Melody Maker . It 'was one of the photographers who have seen the paul debut with The Jam in London supporting the Clash and still now regrets not having been able to take even a photo, made her hand for the debut of their third album in '78 "All mod cons", what he consecrated them as stars of BritRock of those years and that it would launch a music genre that even today many call mod '79 rock. The book is very nice and also very expensive (about 68 euros with shipping included), it is done in a very professional manner, almost a "testament" of a photographer with other photographers to be clear; or you have a different picture of the artist repeat always with the same look and the same place but for perspective and light take different forms. If you thought it was a book with a thousand pictures of Paul, you are mistaken, there are so many photos, but many sequences are repeated maniacally of the same camera roll. The book 'divided into three periods: 1978/82 1983/1989 and 1996/2015 in order to give us the three key moments in the life of Modfather, the one with the Jam, the one with the Style Council and the solo (which for myself is the best) short I've tried to give you a direction if you want to undertake this large purchase, the rest I leave it to you !!
Dani is a Valencian lawyer who for the love of his companion he calls "The Garcia" living in Bogota (Colombia) where she won a teaching post at the local university. He always loved Modernism in all its deepest facets, but especially the music; black or white it is and is a fanatic of the life of the singers and musicians who were the soundtrack of our movement, has painstakingly analyzed the life and death of the most famous. Schools with Sonore (dirge immortal musicians), wanted to pay homage to the incredible death of forty of the greatest musicians of all time, not allowing them to give us more pearls create their music. But we come to the book that makes something like this: "The Otis Redding's plane crashed in a lake, Elvis Presley had a heart attack dint of eating sanwiches with peanut butter, Brian Jones drunk drown in a pool, Robert Johnson was poisoned with a glass of whiskey, Charlie Parker died of an attack of laughter seeing the TV, Marvin Gaye was killed with three shots from his father ..... Schools Sonore is a collection of reflections, stories and dreams over this trip from ' the other part of life and far beyond, protagonizzato by some of those subjects that are part of the greatest icons of the music jungle. With a prologue by Alex Cooper and illustrated by sixteen of the greatest designers of our and other musical worlds, including Max Galli, Tete Navarro, Fernando Mirrors or Alex Barbarroja, we present an exciting journey through the ghettos of Trench Town in Jamaica, these stylish apartments in the Chelsea district of London, the Chicago blue subways and hotels sloppy in front of Birdland the Broadway district in New York !! It 'a book that distills passion for the sounds and devotion for its composers and rejected in a total any connection to a moral judgment; 40 sips of life mean that the music goes out ahead of time ..... "
Fifth album of the versatile multi-instrumentalist angloegiziano Nasser Bouzida produced by Paul Tunkin for its Blow Up Records, now it is the workhorse, with his first project that we all know well Mods: Big Boss Man, basically is what not only makes known around the record label, but also promotes his evening 60's Mod oriented course which is called Blow Up Club in vogue now since 1995 when it was implemented at Laurel Three Pubs in Camden. But back to the product: the album has an ancient style cover art "Roma", but do not be fooled because apart from the song: "Octavius" with the meddling of announcers trumpets that are the open track of the piece, the rest is all a roll of bongos and "cosmic sprayed" Moog like rain. So are eleven songs that trace the atmosphere late 60's early 70's of spy films set on the French Riviera or in our beloved Riviera. There is the Brazilian in latin: "Ritmo do Rio", but then also the psychedelic style "Swingin 'London' in 'Londinium Calling", and then go from "007 style": "Aries and Scorpio" and the song very "cinematic" in John Barry style: "Moog Maximus". I can not tell you more: all disks designed by him in his two "musical projects" are exceptional and are therefore to be taken at face value.
Good things can come from the most unexpected places. This is the idea that blend in the head after listening to the latest effort of the Dandy Warhols, the ninth album by the American band led by Courtney Taylor-Taylor. Yet all predictions were playing against the group: the distance from the spotlight hype (and it is said that this is a bad thing), that meteor fragrance after the boom of that individual that know-all-out more than fifteen years ago ( although the band continued to record a disc, since then), the formula of a pop rock matrix of years Ninety hardly upgradeable. As needed a new disk of the Dandy Warhols, in a context like the present, where pop is increasingly a matter of groove, sexy attitude often darkeggiante, and always less linked to the guitars? Probably shortly. Yet it is not a useless disc, to the extent that we try not among these furrows the sign of the times in which we live. The risk of an unusable disc is in fact passed smoothly: since the attack "apnea" terribly British of "Search Party" will perceive the desire to have fun without, necessarily, seek the fatal blow by ranking. Of course, one thing must be certified: this record will appeal to the most nostalgic of the Nineties (and lovers of quell'indie from rankings that often shows up in brit evenings) to frequent the more modern pop. There is a sense of nihilism light a little 'everywhere, in the lineup, but is mitigated by beautiful insights: the stop with crystalline arpeggios to the tangle of distorted guitars and keyboards Semper Fidelis, pop slightly electro sauce: "Pope Reverend Jim ", the Pulp persuasive of" Catcher in the Rye "(a reference to Salinger?)," STYGGO "with its flavors of Metronomy reinforced, the drunk and caciarona:" All the Girls in London ". Than their previous works, the confusion on the roads to follow is below the critical level, despite a second part of freer and push the program by the desire to prove to be there again. But these intentions do not diminish, if anything, they add, to a disk that does well its job: to be a good collection of songs that never expire in personal playlist.
Since the dawn of modernism clubs have sought the best of black American music. Here are 24 tracks that would fill the dance floor at any time in the history of the mod. For some the iconography of the original mod scene was like the call of the sirens. From circa 1978, inspired by the first wave of success of the Jam and the publicity around the film Quadrophenia, the first of what appears to be a continuous series of mod revival began to take shape. It was a look back at the popular mod images of 1965 and 1966, when the best of the first British mod groups had broken through. Within a year, when the Jam arrived in Top 10, there was an army of children in parka who attended, not only their concerts but also those of a slew of new Mod bands. Overall, this generation was simply too young for punk, and more projected to one glimpse into the past ready to give life to a series of further new mod bands !!! Some, of course, they wanted to go deeper. They have had the opportunity to learn about soul collectors, and they wanted to revive the sound of the original mod clubs. Among them, my fellow DJ Tony Rounce and co-compiler Ady Croasdell, who with Randy Cozens put discs all'Influence 6TS Rhythm 'n' Soul Club with a music policy that included a mixture of soul, R & B and quant 'else it could work. Especially Randy who having been in the original mod clubs in the 60's was evangelical in compiling a list of 99 discs Mod who played in clubs. Immediately this list did not seem to sortie the desired effect, but there was a 16-year-old boy, a fan of the Jam, that Eddie Piller, who wrote these words: "I just saw the list of Randy everything possible to recover those records", creating so his own Mod club. Eddie, how many like him, had begun to look beyond the mod revival bands, going to track down the original sounds and when the mod revival began to fade, there was a rush to discover all that was original Mod. Then began to nescere clubs with young boys sartorially clothes, clubs like "the Snickers". Few can implement some sort of connection with the mod scene and songs that have been discovered they would nursed back the nascent stage of 90's mod. Today, clubs like Pow Wow with his DJ Mik Parry and Gav Arno take all this with its logical extreme, ie reproduction of everything from soul, 50 R & B, jazz and latin to proto-funk. It 'almost certainly the music that the original mods would have danced, if they could get hold of 45 at a time when imports were almost impossible to find in the UK. In this CD we want to propose what you danced in the best and most eclusivo Mod clubs of the 80's and you will see that these songs are still relevant and have not lost the enamel and the original determination.
The history of rock is full of important collaborations. This is the case of the Last Shadow Puppets, a duo, a band, or whatever you want to call, which brings together two heavy names of the British scene, and that, for those miracles that sometimes happen but more often than not, lead to a exponential increase of their potential, giving rise to a real bomb. The names are Alex Turner, frontman of the Arctic Monkeys and Miles Kane of The Rascals a leading time and before guitarist Little Flames, assisted for the occasion by Zach Dawes of Mini Manions on bass and producer James Ford on drums. The result is that technically can be called a super indie rock band. After being born in the mid-twenty-first century, with a collaboration that led to the release of their debut The Age of Understatement, a jewel of the sixties pop, halfway between Serge Gainsbourg and Scott Walker, and after getting lost several times and find you for nearly ten years, Alex and Miles have joined in a more concrete manner at the turn of 2015 with the new album Everything you've Come to Expect, hot off the press. An album that, say it now, is one that not only do you listen with pleasure, but are likely to end right now in the rankings of the best releases of the year. This at the expense of a kind of deja vu that, inattentive ears, it might sound like something unoriginal. The fact is that Turner and Kane playing cards face up, declaring references and noble fathers, going to compose a tracklist that claims, failing that, to come out of 2016 to finish directly in the classic area, while remaining fully present. Turner grew up with Teenage Fanclub in the head, is not a surprise. They did it in so many, in England, for that matter, and this gave the band to Glasgow aura of mythology little known here. Consequently, with the music that comes from the west coast of the United States, laws to voice California: Beach Boys, Brian Wilson read the item. Not enough, of course, because Turner and Associates, also typically hit hard, then put us a hint, even more than a pinch, Television's Tom Verlaine. And as a little 'croonerismo today as the debut, not denied to anyone, that's still the dark and melancholy shadow of a Scott Walker, already celebrated by the Last Shadow Puppets as David Bowie, throughout his career and particularly in the last Blackstar. Here, with these names in mind and with more freshness and boldness (especially in the texts, often quite foul-mouthed) typically British, the tracks on Everything You've Come to Expect applicants to pass a long time in our car stereo. On all, but only because some do title uses, in the reviews, the song which is responsible for the opening, Aviation, The Dream Synopsis Bad Habits and again, but there is really spoiled for choice. Clear, the expectations created from the onset, dated 2008, were very high and the long wait could be hoped for something more, but this time Turner and Kane decided that the baroque pop of the sixties was not the only leitmotif of this work, even moving to the next decade look.
Born in Staines in 1965 Paul J Hallam discovered the Mod scene in 1980. Later he discovered an old camera Olympus Trip of his parents who allowed him to take pictures in black and white in the various clubs of the capital. Well, the result was 100 photographs documenting the Mod scene until the end of 1985. In the 80 Paul was the DJ Soul and R'n'B, in 1990 he was resident DJ at Club 100 right when it emerged the Britpop Mod It was and now works at BBC Radio London with Robert Elms. Here is some words of the author of the book which we describe in general terms its point of view: "I was really a boy of the suburbs, definitely not one of the stars of" Scene ", not one of the ones that stand out immediately. I just think that for those years I was the youngest and I'm pretty sure about that, maybe there were other boys of about the same age as me, but no one completely obsessed by the "scene" like me. my brother was a Mod, was one of the classic "Revival's Mod" taking a look not like that of the elegant Mods of the mid 60's but rather by immersing himself in punkpop of bands such as: Jam, Secret Affar or Purple Hearts. If you listen to something 60's music at the most were the classics of soul, northern or blue ska bit, but nothing more, there were too many concerts and events in those years and he moved with his group of Paddington's Mods from one pub. I took around the center of London: Soho, Carnaby Street, Wardour Street and several afternoon events Mod. I and other kids like me who had a brother or sister in the scene were "small" Paddington Mod Crew !! Living in the suburbs in those years was very turbulent because of race riots by immigrants and their difficult insertion in neighborhoods and even for the harsh economic crisis that was emerging in those years, the boys were violent at times they felt alienated in disarray with a big sense of unease, but I loved everything. To have more confidence in myself became a frequenter of central London a "Londoneer Central" and I began to many friends of the nascent Scene Mod. I was in several concerts in those years at the Electric Ballroom in Camden or Clarendon Hammersmith or Market Tavern on York Way, and I saw bands like Long Tall Shorty, Fast Eddie or Small World, this book tells the story of those years and how I vivetti the Mod scene; with a young Paul Newman (former Clique, Knave and current Blues Flames) and an equally young Eddie Piller !! "
In the film The Commitments, directed by Alan Parker, there is a famous phrase with which Jimmy Rabbitte (the manager of the group that gives the title to the book / film) tries to convince the musicians he collected in various ways, to become fervent followers of the cult of soul music: "the Irish are the blacks of Europe, the Dubliners are the blacks of Ireland and we at the periphery we are the blacks of Dublin, so repeat after me loudly:" i am a black man and I'm proud! "and if someone then it could seem strange, but not that much actually, to find (even on the shelves of a library or the movies) a group in Dublin that he wanted to spread the word to the masses of soul , you can think of a group formed by 7 elements, led by a girl came directly from the 60, Koko Jean Davis, (impressive his resemblance to a young Tina Turner), and that comes from Catalonia ... ??? Everything here suggests the 60s: the graphics vintage cover, registration strictly in mono, and even the label name which is based in Barcelona: Penniman, that is the real name of that little genius of rock and black music which is was Little Richard. This group is called The excitements: two guitars, two saxophones, bass and drums with piano and trumpet to do often peeping and willingly. They formed in 2010 thanks to the meeting of two lovers of soul and rhythm 'n' blues, Adrià Gual (rhythm guitar) and Daniel Segura (bass), who raccologono other adherents to the cause of the soul and can make bingo thanks to the meeting with the incredible voice talent and devastating presence on stage of the small but relentless Koko Jean Davis, born in Mozambique, he grew up in the States and lived in Brazil before the fortunate arrival in Catalonia. Their debut six years ago was remarkable for the black music fans, not only for the remarkable instrumental skill of the Catalan (not even the biggest soul music expert would never have bet a penny on the Catalan origins of the band by simply listening to their sound), but because it was going to tease the encyclopedic knowledge of the soul going to fish out little known songs and wonderfully hidden as the sweet Never gonna Let You Go of the aforementioned Little Richard or Let's Kiss and Make Up Falcons and r'n'b of from Now On by Nathaniel Mayer. Now they release their third album almost entirely written by the singer and their guitarist, who has a soul with strong funk flavored grain here and there by massive doses of R'n'Blues. Are 12 songs that will remain in the brain and it is endlessly characters hammer, so it I tell you to buy it because of all the soul reality, this band is the one who has worked more and it has suffered and loved the growth both in value their compositions of their professionalism !!
This is the sixth volume of the series dedicated to deep R'n'B , with a third of single unpublished here ' we tried to find a very New Orleans vein. With as many as 24 tracks of pure rockin ' and soulful R & B , this promises to be the trend followed by most contemporary London Mod scene and not . I must say that I was impressed is all very danceable R'n'B and great rhythm . It Started With Danny White and his : "The twitch" to move to the powerful " My baby 's gone " Pee Wee Foster and the Roosevelt Powers deep blues : " Cruel World " and the classic soul of Big Charley & The Domans with " I can not even enjoy my home . " In short, a variety of sounds for blues enthusiasts and scholars of the genre . I would highly recommend to all young Mods because it is a must have as all CDs of this ACE Records necklace !!
also it came out this 6ta edition of Rare Mod, where basically trying to flush out now (and sometimes I have to say with little success), or hidden goodies left in the "back burner" of "music archives" of some London-based record producer or house. In this case are 17 songs ranging from the musically freakbeat the British R'n'B also passing by some soulful pieces and one of ska, famous or semi-known bands that were part of the wave Mod created by the pop phenomenon of Carnaby Street. Let's say that the sounds are not too bad, although you can not expect great excellence both in terms of sound (some are acetates stored improperly by their respective owners), both from the compositional point of view. Practically, to honor Eddie Piller and "his boys", who still work hard in mmaniera considerable describe this product of Acid Jazz, as "compensation" for those who like myself has almost all human knowledge from the viewpoint of the discography 60's Mod essential and non !!! In short a good compilation for those who want to have everything and is bored in this lean period in terms of releases that are part of our musical landscape !!
After six years of silence returns to the historic English team at the scene of Kula Shaker with the new "K 2.0." They were in full brit-pop rediscovered the mystical psychedelia. "The Kula Shaker are the last great heresy of the British rock band". And 'so that Paul Moody, British journalist of The Guardian, describes the historical band led by Crispian Mills. The mix of psychedelic riffs, Eastern mysticism and esoteric ideas of Kula Shaker was one real slap in the face to orthodoxy of Britpop in the 90s. Twenty years after the release of the multiplatinum disc "K", the new album has a sound revisited, with a new charge and full of energy. "K 2.0" - recorded in London (State Of The Ark) and the Belgian studio bassist Alonza Bevan - crushes the eye to everything ranging from voodoo gospel ( "Let Love B (with U)") Ennio Morricone ( "High Noon"), through the freak folk ( "33 Crows"). And 'as if the new album closing a circle, throwing a look to the past: the opening track "Infinite Sun", for example, is the adaptation of an old mantra that the band she used to propose when Crispian and partners had nineteen years and they exhibited at the street festival. The new album consists of 11 songs that exude irresistible vitality and strength photographing an electrified band to play together again. "When we are playing together in a room, it's an unbeatable feeling," he says in this regard drummer Paul Winter-Hart. Well what to say more, their fifth album speaks for them ......
This you have in your hands is a fitting tribute to Alex Diez Garin; who was the leader of "Los Flechazos" and fifteen years ago us dream with his project pop / mod called "Cooper." Probably one of the most representative leaders of the Spanish Mod scene. His sound, his songs and his images are part of law in the history of pop scene of that land. Now begins a new project; a double vinyl that throws a look on the past, but that does not dwell nostalgically and pulls right with as many new sounds, like Alex Cooper (precisely). direct heiresses of great bands like "The Kinks" or the "The Jam"; with the energy of his guitars and the brightness of its melody that always rocked the pop spirit of the 60s, together with his form of singing and personality with which addresses the composition of the songs, they have made him one of the greatest reformers of those immortal sounds ranging from beat to soul; it is truly a pioneer full of classicism. Now Alex passes through 15 themes emblematic of Flechazos and 7 Cooper plus two new songs. You have then its 30 years of musical trajectory with songs like: "Suzette, Viviendo en la era pop, La reina del muelle, En el club, or" La chica de Mel ", without forgetting the best of his repertoire of ' last decade as: "Buzo, Rabia and Entre Sunflowers" and two new songs such as: "El asiento de atrás" and "No quiero recordarte." in the CD booklet or in double-LP gatefold pages printed in the whole history of his life artist and why he wanted to include in his work exactly those songs and not others; you also have new photos for a fitting tribute to one of the greatest artists of the Spanish pop scene.
After the debut album Enough Is Enough, comes the second chapter in the house Jane J's Clan, Step Into the Groove, released November 20 perAmmonia Records. Eleven tracks for the band driven by charismatic Jane Jeresa, including new songs and reinterpretations of soul and funk they see Di Stefano Niglio, Geno De Angelis and Gabriel Bernardi with the addition of the horn section of SoulRockets Olly Riva struggling with a sparkling disco . To make our way in the world of Jane J's Clan instrumental La Banda Paradise, immediately following the title track, the direction taken by the band is crystal clear, funk, soul and R & B are the disk array. The album runs like a dream, played divinely and smudge, black music is its mistress and Jane, his spokesman, conThinkin 'of Yo, or with Rock'n'Roll Stuff, has its roots in the 60's 'and 70'. Simply Divine is Back in Your Arms, the skill of the four is indisputable; the style is unique in It's Not Right and the hammond, drums and bass are at the service of the deep voice of Jane who engages in the cover of In The Basement by Etta James and scimmiottarla no convincing big with Do Your Thing. They close the season with a covers tris: Baby Do not You Weep, Let's Wade in the Water, Just Dropped in (To See What Condition My Condition Was In) before leaving with a lot of nostalgia for those magical years for the black music and soul. Very high quality of this album, training of international level the Jane J's Clan, churning out a record of the past, promoted with flying colors, even directly elected masters of the genre, from them that you can only learn.
Looking at the recent tamarrissimo double denim that slams you in the face on stage Lorenzo Moretti, but also guitarist (second) voice, producer and author of all the pieces of Judah, fires immediately connect with another tamarrissimo, and almost iconic, double denim rock'n'roll history: that of the status quo. I introduce this detail with the certainty that it is not insignificant: the look, for Lorenzo and Judah, has never been nor secondary or, on the contrary, an end in itself, but, in the same way the compressed sound of drums, and the chitarrone texts, for them has always been the essence of who they are and they want to express, the imaginary part of which are fans, researchers and performers. And the quote aesthetics of the 70 Status Quo With the third, highly anticipated album, what we might call "Judas sound" takes a step forward, detaching himself permanently from the (proto-) punk beginnings and deepening elements boogie and basically hard that already They were present, in light, in "Let's do it again." Pieces like the single "Roll The Balls", "Bad Days Are Back," "Watch Your Step" and "You Can Do Everything" touch perfection compared to a certain type of rock and roll, raw but well produced, which emerged from pubs, clubs, up to Top Of The Pops in the mid-70s between Britain and Australia: listening we can not help but envision the ugly faces of Phil Lynott of Thin Lizzy, Brian Johnson of AC / DC with his Geordie, the Gang of Ted Mulry. But also "My Lu", "It Is not Easy" and "Joolz" (the latter both singer entirely Lorenzo), while it is actually difficult immaginarcele within their earlier work, they would certainly shot up high in ranking forty years ago, with their polished pop approach but pissed off, with their melodies that draw liberally from the Beatles, the Small Faces and the myriad of so-called bubblegum rock band almost unknown. And if at the level of sound the evolution leaps to the ear, "Speak Evil" differs from its two predecessors also from another point of view, and here you look at the real progress of the band, that of content. "Speak Evil" is a mature album that, while not losing the effrontery now trademark quintet's capitol, no longer tells the raids a "Teenage Rebel": no more references to football and nothing more arrogant ritornelloni to Gary Glitter. No more of that setting "Ramones-ian" of the disc consists of ten tracks ten hit. "Speak Evil" is, on the contrary, a single block, granite, compact and consistent in itself, which tells a story read by proletarian eyes of five young men. And the pieces that, conceptually, they are the heart speak, in fact, a "Working Class Man" spitting blood all day for the sake of his family and a "Mama" and "Got the Blues", because it his best to hold it together, that family. Special mention for the song that closes the album, the glam by a marked accents of funky "Bonehead Waltz": those who do not appreciate it would call rambling, almost scary, while those who can grasp the spirit there is inside, pureed, madness and genius Black Sabbath and T Rex, but also the dark jooks, which they pointed out, fleetingly, in the seventies for a number of singles between glam and disco themed casual. Little else to say about one of the best not only domestically, but European album of rock'n'roll: pop is clean, what I'll dance to the great but, at the same time is bad and overbearing, than you They make you feel proud to have in Italy a band so.