Istoric ( 70 )

13.09.1961 - s-a nascut Dave Mustaine ( american guitarist, singer, songwriter, actor and author ) – Megadeth.

Gentle Giant ( B22 )

• Endless Life (2002, recorded at Music Hall, White Plains, NY, 3 October 1975 and at Community Theatre, Berkeley, CA, 28 October 1975)
• The Missing Face (2002, recorded at the Ballroom, Cleveland, OH, November 1977)
• Prologue (2003, recorded at the Munsterlandhalle, Munster, Germany, 5 April 1974 and at the Spectrum, Philadelphia, Pennsylvania, 10 October 1975)
• Playing the Cleveland (2004, recorded at the Agora Ballroom, Cleveland, 27 January 1975 and at Academy of Music, New York City, 5 November 1975)
• Live in New York 1975 (2005, recorded at Music Hall, White Plains NY, 3 October 1975)
• Live in Santa Monica 1975 (2005)
• Live in Stockholm '75 (2009, recorded at Club Kåren (Kårhuset), Stockholm University, 12 November 1975)
• King Alfred's College, Winchester 1971 (2009)
• Live at the Bicentennial (2014, recorded at Calderone Theatre, 3 July 1976; Hempstead, New York)

Compilations

• Giant Steps – The First Five Years (1975)
• Pretentious – For the Sake of It (1977)
• Champions of Rock (1996)
• Edge of Twilight (1996, 2CD)
• Under Construction (1997, 2CD box set of unreleased material, demos, outtakes and odd live recordings)
• Scraping the Barrel (2004, 4CD box set of unreleased material, demos, outtakes and odd live recordings)

continuare

Camel - Camel ( D1 )

click here

10cc ( B7 )

King signed the band to his UK Records label in July 1972 and dubbed them 10cc. By his own account, King chose the name after having a dream in which he was standing in front of the Hammersmith Odeon in London where the boarding read "10cc The Best Band in the World". A widely repeated claim, disputed by King and Godley, but confirmed in a 1988 interview by Creme, and also on the webpage of Gouldman's current line-up, is that the band name represented a volume of semen that was more than the average amount ejaculated by men, thus emphasising their potency or prowess.

"Donna", released as the first 10cc single, was chosen by BBC Radio 1 disc jockey Tony Blackburn as his Record of the Week, helping to launch it into the Top 30. The song peaked at No. 2 in the UK in October 1972.

Although their second single, a similarly 1950s-influenced song called "Johnny Don't Do It", was not a major chart success, "Rubber Bullets", a catchy satirical take on the "Jailhouse Rock" concept, became a hit internationally and gave 10cc their first British No.1 single in June 1973. They consolidated their success a few months later with "The Dean and I", which peaked at No.10 in September. They released two singles, "Headline Hustler" (in the US) and the self-mocking "The Worst Band in the World" (in the UK) and launched a UK tour on 26 August 1973, joined by second drummer Paul Burgess, before returning to Strawberry Studios in November to record the remainder of their second LP, Sheet Music (1974), which included "The Worst Band in the World" along with other hits "The Wall Street Shuffle" (No.10, 1974) and "Silly Love" (No.24, 1974)."Sheet Music" became the band's breakthrough album, remaining on the UK charts for six months and paving the way for a US tour in February 1974. The band also performed live for the BBC In Concert series, with both Burgess and Godley on drums and Burgess also playing moog.

continuare

King Crimson ( B6 )

Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "acquired taste". Lizard was certainly not to the taste of the more rhythm-and-blues-oriented Haskell and McCulloch, both of whom found the music difficult to relate to. As a result, Haskell quit the band acrimoniously after refusing to sing live with distortion and electronic effects. McCulloch also departed, leaving Fripp and Sinfield to recruit new members once more.

1971–1972: the Islands band

After a search for new musicians, Fripp and Sinfield secured a returning Collins and Ian Wallace on drums. Auditions for a singer included those from Bryan Ferry and John Gaydon, the band's manager. The position went to Raymond "Boz" Burrell. Bassist John Wetton was invited to join, but declined (at the time) in order to play with Family. Rick Kemp also declined an offer to join, leaving Fripp and Wallace teaching Burrell to play bass rather than continue auditions. Though he had not played bass before, Burrell had played enough rhythm guitar to assist him in learning the instrument. With the line-up complete, King Crimson toured in 1971 for the first time since 1969. The concerts were well received, but the musical and lifestyle differences of Collins, Wallace, and Burrell began to alienate the drug-free Fripp, who began to withdraw socially from his bandmates, creating further tension.

In 1971, the new King Crimson formation recorded Islands. Loosely influenced by Miles Davis's orchestral collaborations with Gil Evans and Homer's Odyssey, the album also showed signs of a split in styles between Sinfield (who favoured the softer and more textural jazz-folk approach and wanted the band to move in a Miles Davis direction) and Fripp (who was drawn more towards the harsher instrumental style exemplified by the instrumental "Sailor's Tale", with its dramatic Mellotron and banjo-inspired guitar technique). Islands also featured the band's one-and-only experiment with a string ensemble on "Prelude: Song of the Gulls" and the raunchy rhythm-and-blues-inspired "Ladies of the Road". 

continuare

Istoric ( 69 )

30.11.1963 - The Beatles second album '' With The Beatles '' became the first million selling album by a group in the UK. The album stayed at the top of the charts for 21 weeks, displacing Please Please Me, so that The Beatles occupied the top spot for 51 consecutive weeks.

Soft Machine - When I Don't Want You ( L1 )

When I don't want you*
Why do I stay here?
You're not the one
For me

Is it because girl
You know you say that you need me
And you cry when I say
When I say that I'll go?

And I'm tired
Baby, I'm tired by your tears
They don't reach my ears anymore
No, not anymore

Diverse ( 63 )

Gentle Giant ( B21 )

UK singles

• "The Power and the Glory" / "Playing the Game" (1974)
• "I'm Turning Around" / "Just the Same" (1977)
• "Two Weeks in Spain" / "Free Hand" (1977)
• "Thank You" / "Spooky Boogie" (1978)
• "Words from the Wise" / "No Stranger" (1978)

Live recordings

• Playing the Fool - The Official Live (1977) Chrysalis, Capitol; recorded (au naturel) on European tour, September to October 1976 - [US #89]
• In Concert (1994, recorded at the Golders Green Hippodrome, London, 5 January 1978)
• Out of the Woods: The BBC Sessions (1996, re-released in 2000 under the name Totally Out of the Woods with additional tracks)
• The Last Steps (1996, re-released in 2003, recorded at the Roxy Theatre, Los Angeles, 16 June 1980)
• Out of the Fire: The BBC Concerts from 1973 & 1978 (1998)
• King Biscuit Flower Hour Presents Gentle Giant (1998, recorded at the Academy of Music, New York City, 18 January 1975)
• Live Rome 1974 (2000, recorded at the PalaEur in Rome, Italy, 26 November 1974)
• In'terview in Concert (2000, recorded at Hempstead, New York, 7 March 1976)
• In a Palesport House (2001, recorded at Palazzo dello Sport, Rome, 3 January 1973)
• Artistically Cryme (2002, recorded at Olympen, Lund, Sweden, 19 September 1976)

continuare

Elton John ( i1 )

10cc ( B6 )

The experience of working on Solitaire, which became a success for Sedaka, was enough to prompt the band to seek recognition on their own merits. Gouldman—who by 1972 was back at Strawberry Studios—said:

It was Neil Sedaka's success that did it, I think. We'd just been accepting any job we were offered and were getting really frustrated. We knew that we were worth more than that, but it needed something to prod us into facing that. We were a bit choked to think that we'd done the whole of Neil's first album with him just for flat session fees when we could have been recording our own material.

Stewart said the decision was made over a meal in a Chinese restaurant: "We asked ourselves whether we shouldn't pool our creative talents and try to do something with the songs that each of us was working on at the time."

Once again a four-piece, the group recorded a Stewart/Gouldman song, "Waterfall", in early 1972. Stewart offered the acetate to Apple Records. He waited months before receiving a note from the label saying the song was not commercial enough to release as a single.

1972–76: Original line-up

Undeterred by Apple's rejection, the group decided to plug another song which had been written as a possible B-side to "Waterfall", a Godley/Creme composition entitled "Donna". The song was a Frank Zappa-influenced 1950s doo-wop parody, a sharp mix of commercial pop and irony with a chorus sung in falsetto. Stewart said: "We knew it had something. We only knew of one person who was mad enough to release it, and that was Jonathan King." Stewart called King, a flamboyant entrepreneur, producer and recording artist, who drove to Strawberry, listened to the track and "fell about laughing", declaring: "It's fabulous, it's a hit."

continuare

King Crimson ( B5 )

Fripp and Sinfield recorded the second King Crimson album, In the Wake of Poseidon, in 1970 with the Giles brothers hired back as the session rhythm section, and with jazz pianist Keith Tippett and Circus saxophonist Mel Collins as guest musicians. The group considered hiring Elton John to be the singer, but decided against the idea. Lake then agreed to sing on the album in exchange for receiving King Crimson's PA equipment, except on "Cadence and Cascade", which is sung by Fripp's friend Gordon Haskell. Though Tippett was offered band membership, he preferred to remain as a studio collaborator, performing with the band for a single gig. Upon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album. With no musicians to perform material from their new album, Fripp and Sinfield persuaded Haskell to join as singer and bassist and recruited Andy McCulloch as drummer, retaining Collins as saxophonist, flautist and occasional keyboard player.

During the writing sessions for the third album, Lizard, Haskell and McCulloch had no say in the direction of the material, since Fripp and Sinfield wrote the album themselves, bringing in Tippett, Mark Charig on cornet, Nick Evans on trombone, and Robin Miller on oboe and cor anglais as additional musicians. Haskell sang and played bass. Jon Anderson of Yes was also brought in to sing the first part of the album's title track, "Prince Rupert Awakes", which Fripp and Sinfield considered to be outside Haskell's range and style. Lizard featured stronger avant-garde jazz and chamber-classical influences than previous albums, as well as Sinfield's upfront experiments with processing and distorting sound through the EMS VCS 3 synthesiser. It also featured complex lyrics from Sinfield, including a coded song about the break-up of the Beatles, with almost the entire second side taken up by a predominantly instrumental chamber suite describing a medieval battle and its outcome. 

continuare

Istoric ( 68 )

03.08.1986 - Modelul Mandy Smith, in varsta de 16 ani, declara intr-un interviu ca are o relatie cu Bill Wyman (Rolling Stones), de mai bine de 2 ani si jumatate.

Bill Wyman - A Quarter To Three Lyrics ( l1 )

Don't you know that I danced, I danced till a quarter to three
With the help, last night, of Daddy G.
He was swingin on the sax like a nobody could
And I was dancin' all over the room.
Oh, don't you know the people were dancin' like they were mad,
it was the swingin'est band they had, ever had.
It was the swingin'est song that could ever be,
It was a night with Daddy G.
Let me tell you now,
I never had it so good
Yeah and I know you never could
Until you get hip with that jive
And take a band like the Church Street Five.
Oh don't you know that I danced,
I danced till a quarter to three
With the help last night of Daddy G.
Everybody was as happy as they could be
And they were swingin with Daddy G.
Blow Daddy!
Let me tell you now,
I never had it so good
Yeah and I know you never could
Until you get hip with that jive
And take a band like the Church Street Five.
Oh don't you know that I danced,
I danced till a quarter to three
With the help last night of Daddy G.
He was swingin on the sax like a nobody could,
and I was dancin all over the room
Oh don't you know the
Dance, do bee wa dah
Dance, do bee wah dah
You can dance, do bee wah dah,
You can dance, dance, dance

Gentle Giant ( B20 )

Personnel

Members

• Gary Green – guitar, mandolin, vocals, recorder, bass, drums, xylophone (1970–80)
• Kerry Minnear – keyboards, lead vocals (on recordings only), cello, vibraphone, xylophone, recorder, guitar, bass, drums (1970–80)
• Derek Shulman – lead vocals, saxophone, recorder, keyboards, bass, drums, percussion, "Shulberry" (3-string custom electric ukulele) (1970–80)
• Phil Shulman – lead vocals, saxophone, trumpet, clarinet, recorder, percussion (1970–73)
• Ray Shulman – bass, trumpet, violin, vocals, viola, drums, percussion, recorder, guitar (1970–80)
• Martin Smith – drums, percussion (1970–71)
• Malcolm Mortimore – drums, percussion (1971–72)
• John "Pugwash" Weathers – drums, percussion, vibraphone, xylophone, vocals, guitar (1972–80)

Discography

Studio albums

• Gentle Giant (1970) Vertigo
• Acquiring the Taste (1971) Vertigo
• Three Friends (1972) Vertigo, Columbia - [US #197]
• Octopus (1972) Vertigo, Columbia - [US #170]
• In a Glass House (1973) Vertigo/WWA
• The Power and the Glory (1974) Vertigo/WWA, Capitol - [US #78]
• Free Hand (1975) Chrysalis, Capitol - [US #48]
• Interview (1976) Chrysalis, Capitol - [US #137]
• The Missing Piece (1977) Chrysalis, Capitol - [US #81]
• Giant for a Day! (1978) Chrysalis, Capitol
• Civilian (1980) Chrysalis, Columbia

continuare

Jimi Hendrix - Fire ( yt1 )

Carlos Santana ( i1 )

10cc ( B5 )

1970–71: Hotlegs; Doctor Father; The New Wave Band

When the three-month production deal with Kasenetz-Katz ended, Gouldman returned to New York to work as a staff songwriter for Super K Productions and the remaining three continued to dabble in the studio.

With Gouldman absent, Godley, Creme and Stewart continued recording singles. The first, "Neanderthal Man", released under the name Hotlegs, began life as a test of drum layering at the new Strawberry Studios mixing desk, but when released as a single by Fontana Records in July 1970, climbed to No. 2 in the UK charts and became a worldwide hit, selling more than two million copies. Around the same time, the trio released "Umbopo" under the name of Doctor Father. The song, a slower, longer and more melancholic version of the track earlier released under the name of Crazy Elephant, failed to chart.

Reverting to the successful band name Hotlegs, in early 1971 Godley, Creme and Stewart recorded the album Thinks: School Stinks, which included "Neanderthal Man". They then recalled Gouldman for a short tour supporting The Moody Blues, before releasing a follow-up single "Lady Sadie" b/w "The Loser". Philips reworked their sole album, removed "Neanderthal Man" and added "Today" and issued it as Song. Stewart, Creme and Godley released another single in February 1971 under yet another name, The New Wave Band, this time with former Herman's Hermits member Derek "Lek" Leckenby on guitar. The song, a cover version of Paul Simon's "Cecilia", was one of the few tracks the band released that they had not written. It also failed to chart.

The band also continued outside production work at Strawberry, working with Dave Berry, Wayne Fontana, Peter Cowap and Herman's Hermits, and doing original compositions for various UK football (soccer) teams. In 1971 they produced and played on Space Hymns, an album by New Age musician Ramases; in 1972–73 they co-produced and played on two Neil Sedaka albums, Solitaire and The Tra-La Days Are Over.

continuare

King Crimson ( B4 )

In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity. The band's music drew on a wide range of influences provided by all five group members. These elements included romantic- and modernist-era classical music, the psychedelic rock spearheaded by Jimi Hendrix, folk, jazz, military music (partially inspired by McDonald's stint as an army musician), ambient improvisation, Victoriana and British pop.

After playing shows across England, the band toured the US with various pop and rock acts. Their first show was at Goddard College in Plainfield, Vermont. While their original sound astounded contemporary audiences and critics, creative tensions were already developing within the band. Giles and McDonald, still striving to cope with King Crimson's rapid success and the realities of touring life, became uneasy with the band's direction. Although he was neither the dominant composer in the band nor the frontman, Fripp was very much the band's driving force and spokesman, leading King Crimson into progressively darker and more intense musical areas. McDonald and Giles, now favouring a lighter and more romantic style of music, became increasingly uncomfortable with their position and resigned from the band during the US tour. To salvage what he saw as the most important elements of King Crimson, Fripp offered to resign himself, but McDonald and Giles declared that the band was "more (him) than them" and that they should therefore be the ones to leave. The line-up played their last show at the Fillmore West in San Francisco on 16 December 1969. Live recordings of the tour were released in 1997 on Epitaph.

1970–1971: the "interregnum" – In the Wake of Poseidon and Lizard

After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" – a nickname implying that the "King" (King Crimson) was not properly in place during this time. Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers.

continuare

Gentle Giant ( B19 )

• frequent use of syncopation and non-standard time signatures, including polymeters (two or more time signatures played simultaneously)
• use of complex melodies, frequently contrasting harmonies with dissonance
• extensive use of instrumental and vocal counterpoint
• use of musical structures typically associated with classical music (for example, madrigal form on "Knots", fugal exposition in "On Reflection" and the consistent use of stated, exchanged and recapitulated musical themes exchanged between instruments)
• use of classical and medieval instrumentation not generally associated with rock music

However, it has been noted that in spite of the comparatively complex initial sound, Gentle Giant's music is in fact fairly traditional in terms of harmony and features relatively few complex chords. In common with most 1970s progressive rock, Gentle Giant compositions are closer to early 20th century neoclassicism than to contemporary classical music (some Gentle Giant songs, such as "Black Cat", "Experience" and "So Sincere", do utilise more complicated modernist harmonics). In general, the band relied on sudden and unexpected compositional twists and turns to stimulate their audience, including:

• polyphony
• hocketing
• unusual chord progressions
• breaking up and tonally re-voicing patterns of initially simple chords (with the chords subtly altering from repetition to repetition)
• accelerating and decelerating duration of musical themes
• rapid and frequent key changes (sometimes within a single bar)
• division of vocal lines between different singers (including staggered rhythms)
• clever handling of transitions between sections (such as a hard-rock guitar riff being immediately substituted by a medieval choral)

continuare

Bryan Ferry - A Hard Rain's A-Gonna Fall ( l1 )

(originally by Bob Dylan)


Oh, where have you been, my blue-eyed son?
Oh, where have you been, my darling young one?

I've stumbled on the side of twelve misty mountains
Walked and I've crawled on six crooked highways
Stepped in the middle of seven sad forests
Been out in front of a dozen dead oceans
I've been ten thousand miles in the mouth of a graveyard

And it's a hard (Hard) and it's a hard (Hard)
It's a hard (Hard) and it's a hard (Hard)
And it's a hard rain's a-gonna fall (Fall)

And what did you see, my blue-eyed son?
What did you see, my darling young one?

I saw a new-born baby with wild wolves around it
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin'
I saw a room full of men with their hammers a-bleedin'

A white ladder all covered with water
I saw ten thousand talkers whose tongues were all broken
I saw guns and sharp swords in the hands of young children

And it's a hard (Hard) and it's a hard (Hard)
And it's a hard (Hard), ha-ha-ha-hard (Hard)
And it's a hard rain's a-gonna fall (Fall)

And what did you hear, my blue-eyed son?
What did you hear, my darling young one?

I heard the sound of thunder, that roared out a warnin'
Heard the roar of a wave that could drown the whole world
Heard one hundred drummers whose hands were a-blazin'
Heard ten thousand whisperin' and nobody listenin'

Heard one person starve, I heard many people laughin' (Hahaha)
Heard the song of a poet who died in the gutter
Heard the sound of a clown who cried in the alley

And it's a hard (Hard) and it's a hard (Hard)
And it's a hard (Hard), hard, hard, hard (Hard)
And it's a hard rain's a-gonna fall (Fall)

Oh, who you did meet, my blue eyed son?
Who did you meet, my darling young one?

I met a young child beside a dead pony
I met a white man who walked a black dog
I met a young woman whose body was burning
A young girl, she gave me a rainbow
I met one man who was wounded in love
Another man who was wounded with hatred

Oh, what'll you do now, my blue-eyed son?
What'll you do now, my darling young one?

I'm a-goin' back out 'fore the rain starts a-fallin'
Walk to the depths of the deepest black forest
Where the people are many and their hands are all empty
Where the pellets of poison are flooding their waters

Where the home in the valley meets the damp dirty prison
Where the executioner's face is always well hidden
Where hunger is ugly, where souls are forgotten
Where black is the colour and none is the number

And I'll tell it and think it and speak it and breathe it
And reflect it from the mountains so all souls can see it
Then I'll stand in the ocean until I start sinkin'
But I'll know my song well before I start singin'

And it's a hard (Hard), it's a hard (Hard)
And it's a hard (Hard), ha-ha-ha-ha-hard (Hard)
And it's a hard rain's a-gonna fall (Fall)

And it's a hard (Hard) and it's a hard (Hard)
And it's a hard (Hard) (Hard)
And it's a hard rain's a-gonna fall (Fall)

Diverse ( 62 )

Gentle Giant ( B18 )

In 2017, "Three Piece Suite" was released. It contained tracks from the first three albums: "Gentle Giant" 1970 "Acquiring the Taste" 1971 "Three Friends" 1972. These tracks were re-mixed by Steven Wilson from the available multi-track tapes. Some songs from the first three albums were not included in the set as the multi-tracks for those specific songs have been lost. The set was available as a CD of the re-mixed songs and a Blu-Ray disk. The BluRay disk had 96/24 Stereo LPCM and DTS-HD 5.1 Surround Sound versions of the re-mixed tracks, additional bonus tracks, instrumental versions of some tracks, and Original Album Mixes from Flat Transfers of Mint Condition Original LPs. There were also new video animations included on the 5.1 Surround tracks. This release came packaged as a single Digipack with the two disks, a 16 page booklet, new artwork and was approved by the band for release.

Musical style

Gentle Giant's music was mostly composed by Kerry Minnear and Ray Shulman, with additional musical ideas contributed by Derek Shulman (who was also known to contribute entire songs). Lyrics were mostly written by Phil Shulman and Derek Shulman (Kerry Minnear wrote some lyrics) up until Phil's departure following the release of Octopus (1972) – subsequent lyrics were mostly written by Derek Shulman, with help from Kerry Minnear. By the standards of progressive rock, Gentle Giant's music is generally considered to be particularly complex and demanding. It shares several aspects with that of other progressive rock bands, including:

• multi-part vocal harmonies
• complex lyrics
• organisation into concept album form (on occasion)
• frequent changes in tempo

continuare

10cc ( B4 )

Among the recordings from this period was "Sausalito", a No. 86 US hit credited to Ohio Express and released in July 1969. In fact the song featured Gouldman on lead vocal, and vocal and instrumental backing by the other three future 10cc members.

In December 1969, Kasenetz and Katz agreed to a proposal by Gouldman that he work solely at Strawberry, rather than move constantly between Stockport, London and New York. Gouldman convinced the pair that these throwaway two-minute songs could all be written, performed and produced by him and his three colleagues, Stewart, Godley and Creme, at a fraction of the cost of hiring outside session musicians. Kasenetz and Katz booked the studio for three months.

Kevin Godley recalled:

We did a lot of tracks in a very short time – it was really like a machine. Twenty tracks in about two weeks – a lot of crap really – really shit. We used to do the voices, everything – it saved 'em money. We even did the female backing vocals.

The three-month project resulted in a number of tracks that appeared under various band names owned by Kasenetz-Katz, including "There Ain't No Umbopo" by Crazy Elephant, "When He Comes" by Fighter Squadron and "Come on Plane" by Silver Fleet (all three with lead vocals by Godley), and "Susan's Tuba" by Freddie and the Dreamers (which was a monster hit in France and featured lead vocals by Freddie Garrity, despite claims by some that it was Gouldman).

Lol Creme remembered: "Singles kept coming out under strange names that had really been recorded by us. I've no idea how many there were, or what happened to them all."

But Stewart described the Kasenetz-Katz deal as a breakthrough: "That allowed us to get the extra equipment to turn it into a real studio. To begin with they were interested in Graham's songwriting and when they heard that he was involved in a studio I think they thought the most economical thing for them to do would be to book his studio and then put him to work there – but they ended up recording Graham's songs and then some of Kevin and Lol's songs, and we were all working together."

continuare

King Crimson ( B3 )

1968–1969: In the Court of the Crimson King

The first incarnation of King Crimson was formed in London on 30 November 1968 and first rehearsed on 13 January 1969. The band's name was coined by Sinfield, though it is not meant to be a synonym for Beelzebub, prince of demons. (According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase "B'il Sabab", meaning "the man with an aim".) Historically and etymologically, a "crimson king" was any monarch during whose reign there was civil unrest and copious bloodshed; the album debuted at the height of worldwide opposition to the military involvement of the United States in Southeast Asia. At this point, McDonald was the group's main composer, albeit with contributions from Lake and Fripp, while Sinfield wrote the lyrics, designed and operated the band's stage lighting, being credited with "sounds and visions." McDonald suggested the band purchase a Mellotron, and they began using it to create an orchestral rock sound, inspired by the Moody Blues. Sinfield described Crimson thus: "If it sounded at all popular, it was out. So it had to be complicated, it had to be more expansive chords, it had to have strange influences. If it sounded, like, too simple, we'd make it more complicated, we'd play it in 7/8 or 5/8, just to show off".

King Crimson made their breakthrough live debut on 5 July 1969 by playing the Rolling Stones free concert at Hyde Park, London in July 1969 before an estimated 500,000 people. The debut album, In the Court of the Crimson King, was released in October 1969 on Island Records. Fripp would later describe it as having been "an instant smash" and "New York's acid album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs). The album received public compliments from Pete Townshend, the Who's guitarist, who called the album "an uncanny masterpiece." The album's sound, including its opening track "21st Century Schizoid Man", was described as setting the precedent for alternative rock and grunge, whilst the softer tracks are described as having an "ethereal" and "almost sacred" feel.

continuare

Sex Pistols - Anarchy in the U.K. ( S1 )

"Anarchy in the U.K." is a song by the English punk rock band the Sex Pistols. It was released as the band's debut single on 26 November 1976 and was later featured on their album, Never Mind the Bollocks, Here's the Sex Pistols. "Anarchy in the U.K." is number 56 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time and is included in the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

Information

Originally issued in a plain black sleeve, the single was the only Sex Pistols recording released by EMI, and reached number 38 on the UK Singles Chart before EMI dropped the group on 6 January 1977, a month after members of the band used profanity during a live television broadcast. (Although the EMI version was recorded on 17 October 1976, an earlier demo version was recorded between 10 and 12 October at Lansdowne/Wessex Studios, London. This version later surfaced on the Sex Pistols bootleg album Spunk.)

In the documentary The Filth and the Fury, John Lydon described the composition of the song's opening lyrics, explaining that the best rhyme he could devise for the first line, "I am an Antichrist", was the second line, "I am an anarchiste". (Lydon confirmed that he is not an anarchist in a 2012 interview.)

A limited edition 7" inch picture disc of the single was released on 21 April 2012 for that year's Record Store Day.

Lyrics

Abbreviations

The abbreviations used in the lyrics are a selection of civil war references from 1970s headlines, a suggestion of what could happen in the United Kingdom. The IRA and the UDA were the largest paramilitary armies in the conflict in Northern Ireland: the heavily armed IRA (Irish Republican Army) were on the Republican (anti-British, pro-unification) side, while the thousands-strong UDA (Ulster Defence Association) were on the Loyalist (pro-British, anti-unification) side. The MPLA (Movimento Popular de Libertação de Angola, or the Popular Movement for the Liberation of Angola) were the political group that took control of Angola, formerly one of Portugal's African colonies, in a 1975-76 civil war, and still run the country today. When Rotten sings, “I use the enemy,” it’s a deliberate homonym for “I use the NME,” or New Musical Express, the British weekly music newspaper.

Critic

The lyrics endorse a particularly sensational, violent concept of anarchy that reflected the pervasive sense of embittered anger, confusion, restlessness, economic frustration and social alienation which was being felt by a generation of disenfranchised youth amidst the declining economic situation and bland music scene of the mid-1970s. Sex Pistols manager Malcolm McLaren considered the song "a call to arms to the kids who believe that rock and roll was taken away from them. It's a statement of self rule, of ultimate independence." In 2007, the surviving members (not including original Pistols bassist Glen Matlock) re-recorded "Anarchy in the U.K." for the video game Guitar Hero III: Legends of Rock because the multi-track master could not be found. The Guitar Hero version also appears in the film adaption of the A-Team. The song was also featured in the video game Tony Hawk's Pro Skater 4 as part of the soundtrack. The song also appears in the Constantine TV series during the episode "The Devil's Vinyl".

Charts

Chart (1976)	Peak position
UK Singles (Official Charts Company)	38

The Who - My Generation ( D1 )

Click here

Three Dog Night - One ( L1 )

One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one

No is the saddest experience you'll ever know
Yes, it's the saddest experience you'll ever know

'Cause one is the loneliest number that you'll ever do
One is the loneliest number, whoa-oh, worse than two

It's just no good anymore since you went away
Now I spend my time just making rhymes of yesterday

One is the loneliest number
One is the loneliest number
One is the loneliest number that you'll ever do
One is the loneliest
One is the loneliest
One is the loneliest number that you'll ever do

It's just no good anymore since you went away (number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you'll ever do (number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you'll ever do (number)
One (one is the loneliest number that you'll ever do)(number)
One is the loneliest number that you'll ever do (number)
One is the loneliest number that you'll ever do

Gentle Giant ( B17 )

In 2005, to celebrate the band's 35th anniversary, a series of digitally remastered and specially packaged CDs of their later albums were released by Derek Shulman's company, DRT Entertainment. They all featured unreleased live tracks (of varying quality) as bonuses. Many of these albums (most notably, In a Glass House) were previously difficult to purchase in North America without resorting to imports. The re-released albums are: In a Glass House (1973), The Power and the Glory (1974), Free Hand (1975), Interview (1976), The Missing Piece (1977), Playing the Fool (1977, live), and Giant for a Day (1978).

A reissue series on CD and, with bonus tracks, as digital downloads was begun in 2009/2010. In a 2009 interview Derek Shulman also indicated that plans were in the works to put out an animated film based on The Power and the Glory (this has yet to come to fruition). In 2011 the original mastertapes for Three Friends (1972) and Octopus (1972) were located and Alucard Music reissued each album with a bonus live performance of material from each respective album. Each album was remastered by Ray Shulman and Francis Kervorkian (both of whom worked on the 2009 remasters).

Free Hand (1975) and Interview (1976) both get re-issued in 2012 on CD/DVD & Vinyl. The CD/DVD features a previously unreleased lost quadraphonic mix. The special 4.1 Surround Sound mix (audiophiles note it's DTS 96/24 and Dolby Digital 48 kHz/24bit) has been adapted from the original Quad mixes. The band members have written new sleevenotes for both albums.

2012's I Lost My Head - The Chrysalis Years is a 4-CD set rounding up all of Gentle Giant's Chrysalis albums with bonus tracks including John Peel sessions, 7" mixes, live tracks & 'b' sides etc.

In 2014, The Power and the Glory (1974) was re-released as a CD/DVD set with new mixes by Steven Wilson (of Porcupine Tree) from the multitrack masters. The DVD contains new 48 kHz/24-bit Stereo LPCM, DTS 96 kHz/24-bit 5.1, and Dolby AC3 5.1 mixes, as well as a 96 kHz/24-bit LPCM transfer of the original 1974 studio mix.

continuare

Diverse ( 61 )

10cc ( B3 )

1965–68: The Mindbenders

Meanwhile, the fourth future member of 10cc was also tasting significant pop music success: guitarist Eric Stewart was a member of Wayne Fontana and the Mindbenders, a group that hit No.1 with "The Game of Love", and scored a number of other mid-1960s hits. When Fontana left the band in October 1965, the group became known simply as The Mindbenders, with Stewart as their lead vocalist. The band scored a hit with "A Groovy Kind of Love" (released December 1965) and made an appearance in the 1967 film To Sir, with Love with "It's Getting Harder All the Time" and "Off and Running."

In March 1968, Gouldman joined Stewart in The Mindbenders, replacing bassist Bob Lang and playing on some tour dates. Gouldman wrote two of the band's last three singles, "Schoolgirl" (released November 1967) and "Uncle Joe the Ice Cream Man" (August 1968). Those singles did not chart and The Mindbenders broke up after a short tour of England in November.

1968–70: Birth of Strawberry Studios; the bubblegum era

In the dying days of The Mindbenders, Stewart began recording demos of new material at Inner City Studios, a Stockport studio then owned by Peter Tattersall, a former road manager for Billy J. Kramer and the Dakotas. In July 1968, Stewart joined Tattersall as a partner in the studio, where he could further hone his skills as a recording engineer. In October 1968, the studio was moved to bigger premises and renamed Strawberry Studios, after The Beatles' "Strawberry Fields Forever".

In 1969, Gouldman also began using Strawberry to record demos of songs he was writing for Marmalade. He had become much more in demand as a songwriter than as a performer. By the end of the year, he too was a financial partner in the studios.

By 1969, all four members of the original 10cc line-up were working together regularly at Strawberry Studios. Around the same time, noted American bubblegum pop writer-producers Jerry Kasenetz and Jeff Katz of Super K Productions came to England and commissioned Gouldman to write and produce formula bubblegum songs, many of which were recorded at Strawberry Studios, and were either augmented or performed entirely by varying combinations of the future 10cc line-up.

continuare

Golden Earring - Nobody But You ( L1 )

Nobody but you
Nobody but you
Nobody but you
You are the one I'm always thinking of
What can I do
You treat me cruel
Why don't you come and try to
When I looked at you
The night we met
I could have known
You were so sad
But now I see
Oh yeah I see
He is the one who keeps my love away
That's all
I'm telling you
Girl if you wait
You'll be as lonely as can be
But if you go
My love is strong
You forget him
And be glad
Nobody but you
Nobody but you
Nobody but you
You are the one I'm always thinking of
Nobody but you
Nobody but you
Nobody but you
Nobody but you

King Crimson ( B2 )

In 1981, King Crimson reformed with a change in musical direction which lasted for three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984). Following a decade-long hiatus, Fripp revived the group in 1994 and released Thrak (1995). Since 1997, several musicians have pursued aspects of the band's work and approaches through a series of related bands collectively referred to as ProjeKcts. In 2000, the band reunited once more and released The Construkction of Light (2000). The band's most recent album is The Power to Believe (2003). In 2008 the band undertook a tour to celebrate their 40th Anniversary and continue to perform live in various capacities. The band remained inactive after 2009 until 2013, when the band revived under a new lineup.

History

Formation

In August 1967, brothers Michael Giles (drums) and Peter Giles (bass), who had been professional musicians in various jobbing bands since their mid-teens in Dorset, England, advertised for a singing organist to join their new group. Fellow Dorset musician Robert Fripp – a guitarist who did not sing – responded and the trio formed the band Giles, Giles and Fripp. Based on a format of eccentric pop songs and complex instrumentals, the band recorded several unsuccessful singles and one album, The Cheerful Insanity of Giles, Giles and Fripp. The band hovered on the edge of success, with several radio sessions and a television appearance, but never scored the hit that would have been crucial for a commercial breakthrough. The album was no more of a success than the singles and was even disparaged by Keith Moon of the Who in a magazine review.

Attempting to expand their sound, the three recruited Ian McDonald on keyboards, reeds and woodwinds. McDonald brought along his then-girlfriend, former Fairport Convention singer Judy Dyble, whose brief tenure with the group ended when the two split. McDonald brought in lyricist, roadie, and art strategist Peter Sinfield, with whom he had been writing songs – a partnership initiated when McDonald had said to Sinfield, regarding his 1968 band Creation, "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?" Fripp, meanwhile, saw Clouds perform at the Marquee Club in London which inspired him to incorporate classical melodies and jazz-like improvisation in his song writing. No longer interested in pursuing Peter Giles' more whimsical pop style, Fripp recommended his friend, singer and guitarist Greg Lake, join and replace either Peter Giles or Fripp himself. Peter Giles later called it one of Fripp's "cute political moves". But he had become disillusioned with the band's lack of success and departed, leaving Lake to become bassist and singer.

continuare

Istoric ( 67 )

13.06.1975 - Apare albumul Uriah Heep - Return to Fantasy.

Istoric ( 66 )

04.06.1975 - Apare albumul Rainbow - Ritchie Blackmore's Rainbow 

Gentle Giant ( B16 )

Minnear later revealed that the split was amicable and that he had left for reasons of respect (as the Shulman brothers had "not been particularly enthusiastic" about the existence of Three Friends). Carey, Williams and Donaldson have subsequently left the band and been replaced by Lee Pomeroy (bass), Gary Sanctuary (keyboards) and Charlotte Glasson (violin, baritone sax, alto sax, recorder).

Minnear has also recently announced plans for him to collaborate with Ray Shulman on a new writing project.

Reissues

There has been renewed interest in Gentle Giant since 1990, with new fan clubs, new releases of live concerts and previously unreleased material, and several tribute albums. Sadly for fans, the rights of the band's catalogue are scattered among many companies, not all of which are keen on re-releasing the albums properly. In particular, the first four albums have yet to receive definitive CD releases. For example, the title track on Acquiring the Taste (1971) begins with an obvious defect, possibly from a damaged master tape, on all current CD and vinyl releases. The 1996 compilation Edge of Twilight includes a corrected version of the song. Conflicting evidence sometimes reports that this defect exists on the original 1971 vinyl release of the album, with the opening note bending up as the tape comes up to speed - probably an engineering error.

In July 2004, the first eponymous album was re-released by Repertoire; in December, 2005, they released Acquiring the Taste (1971); in December, 2006, Octopus (1972) in a mini-sleeve with the original design of Roger Dean was released, and in December, 2007, German label Repertoire released Three Friends (1972) in a mini-sleeve with the original British release design. Although not widely distributed, these re-issues have been praised for their production quality and remastering. Before that, all first four albums have been re-released on Universal Japan label.

continuare

David Coverdale ( b8 )

Discography

Solo

• 1977 White Snake
• 1978 Northwinds

The first two solo albums were also released as one 2-disc album The Early Years in 2003

• 1990 "The Last Note of Freedom" – song featured on the Days of Thunder soundtrack
• 1993 Coverdale and Page (with Jimmy Page)
• 2000 Into the Light

Guest performance

• 1974 Roger Glover – The Butterfly Ball and the Grasshopper's Feast ("Behind the Smile")
• 1974 Jon Lord – Windows – 2nd Movement, Gemini
• 1976 Eddie Hardin – Wizard's Convention ("Money To Burn")
• 1978 Barbi Benton – Ain't That Just The Way (co-writer of "Up in the Air")
• 1990 Steve Vai – Passion and Warfare ("For the Love of God")
• 1992 Bernie Marsden – The Friday Rock Show Sessions (four live recordings from 1981: "Who’s Fooling Who?", "Shakey Ground", "Look At Me Now", "Byblos Shack")
• 2000 Bernie Marsden – And About Time Too ("Who's Fooling Who", live recording from '81, only on reissue of the album)
• 2003 Tony Franklin – Wonderland ("Sunshine Lady")
• 2014 Adrian Vandenberg – Moonkings ("Sailing Ships")
• 2014 Bernie Marsden – Shine ("Trouble")
• 2015 Phil Collen's Delta Deep – Delta Deep ("Private Number")

Film & TV appearances

• 1977 The Butterfly Ball
• 1990 Days of Thunder
• 2011 Metal Evolution
• 2012 A Passion for the Vine
• 2013 Behind The Music Remastered, ep. Deep Purple
• 2016 Here I Go Again: David Coverdale