среда, 18 октября 2017 г.

Jordsjo - Jord

Bitrate: 320K/s
Year: 2017
Time: 37:45
Size: 87,7 MB
Label: Self Released
Styles: Progressive Rock/Progressive Folk
Art: Front

Tracks Listing:
 1. Over Vidda - 1:47
 2. Abstraksjoner Fra Et Dunkelt Kammer - 6:49
 3. Finske Skoger - 2:56
 4. Jord I - 6:24
 5. Jord II - 8:26
 6. La Meg Forsvinne! - 6:37
 7. Postludium - 4:41

Jordsjo are a relatively new band out of Norway and this is studio album number three for these guys although they also have a split album with another band which is apparently more in the Electronic realm of things. The Anglagard influence is obvious with a symphonic Prog/Folk Rock style. The songs are well crafted with gorgeous melodies displayed around the flute, the delicate guitar lines, and the keyboards.
While the self-entitled double LP collected almost everything from their first three cassettes, it's no surprise that Jord, their third full release (or fourth, if you include Songs from the Northern Wasteland, a split with Breidablik) wasn't covered, but I hope this one doesn't languish in Bandcamp obscurity. Jordsjo is much too good for that, and besides they now have a deal with Karisma Records, so hopefully that would change things. Perhaps in the future I'll see their name in places like The Laser's Edge and Wayside Music. But for now... Jord only proves that Jordsjo is no fluke. "Over Vidda" starts off eerily sounding with eerie sound wailing sounds and synths, before jumping into the first actual song, "Abstraksjoner fra et Dunkelt Kammer". Right away, it's pretty obvious the music brings to mind the likes of Anglagard, Wobbler, and Tusmorke (in fact Hakon Oftung, the main man behind Jordsjo is currently in Tusmorke). "Finske Skoger" has that nice flute playing in a symphonic prog manner. The two part title track features a lot of Anglagard moves, but also plenty of vocals as well. Lots of the usual vintage keys here, Hammond organ, vintage synths, Mellotron (or modern equivalents, although Hakon uses a real Solina String Ensemble). "La Meg Forsvinnel" is very similar to "Solina, Min Dronning", in that the Solina String Ensemble is quite dominant and the music bringing to mind late '70s German space symphonic prog like Sommerabend-era Novalis or Ocean-era Eloy, with some ELP moves as well. "Postludium" is a jump into electronic music, in the Breidablik vein. In this case I keep thinking Morten Birkeland Nielsen, the man behind Breidablik accidentally left one of his recordings on this album, but he's not credited (but thanked in the credits). I love these short electronic pieces Hakon would occasionally put on (such as "Fugloykallen" or the end part of "Under Aurora B"). I could imagine him doing an electronic side project. Or record alongside Morten Birkeland Nielsen. This is great stuff I can recommend. I especially recommend this to those who don't feel Spock's Beard, the Flower Kings and Marillion are what the best prog has to offer.

Jord

Boczny Tor - Vol.1

Bitrate: 320K/s
Year: 2009
Time: 30:35
Size: 70,0 MB
Label: Self Released
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Naive - 5:14
 2. Warszawska - 4:51
 3. Blue - 3:41
 4. The Moon and You - 2:58
 5. Island happy - 4:11
 6. Three walls - 3:53
 7. I remember you - 5:44

W roku 1982 grupa występowała w Jarocinie zajmując drugie miejsce w konkursie głównym za kapelą Rekonstrukcja. Po tym sukcesie grupa nagrała kilka utworów dla Polskiego Radia m.in. „Życie to teatr”. W 1984 r. nakładem Polskich Nagrań pojawił się ich album RSC (tzw. „fly rock”), a dwa inne nagrania pojawiły się na składance firmy Savitor. W roku 1983 grupa występowała w Jarocinie już jako gwiazdy festiwalu. Po tych występach nagrała nowy materiał wydany na kasecie RSC przez firmę VEGA. Znalazły się na niej takie utwory jak: „Maraton rockowy” i „Muzyka semaforów”. Oba albumy doczekały się statusu „Złotej płyty”. W roku 1984 z zespołu odszedł Andrzej Wiśniowski i grupa wkrótce rozwiązała się. Po trzech latach nastąpiła reaktywacja. Zespół przygotował materiał na trzeci album, który prezentowali na trasie koncertowej w dzisiejszej Ukrainie i południowej Polsce. Płyta nie została jednak wydana i w roku 1988 grupa ponownie rozwiązała się. W 1993 grupa po raz trzeci reaktywowała się. Ze starego składu pozostali Wiktor Kucaj, Zbigniew Działa i Piotr Spychalski, który niedługo potem odszedł, a następnie do zespołu powrócił Michał Kochmański. Reaktywowany RSC koncertował na terenie Polski południowo-wschodniej. Pod koniec 2001 roku zespół opuścił Andrzej Balawender. Niedługo potem Michał Kochmański wyjechał do Norwegii. Zastąpił go Andrzej Misztal. Zespół opuścił też Waldemar Rzeszut, którego zastąpił Marcin Pecel. Po zmianach składu aktywność zespołu zmalała i wkrótce nastała cisza. W 2006 roku zespół odrodził się ponownie. Wiktor Kucaj i Zbigniew Działa pod szyldem RSC dwa lata później wydają album aka flyrock. 25 lutego 2012 w rzeszowskim Klubie Pod Palmą ma miejsce koncert charytatywny dla przyjaciela Macieja Miernika. RSC wystąpiło w pierwotnym składzie, obok takich wykonawców jak Aurora, 1984, KSU, Wańka Wstańka, Maciej Maleńczuk, Made in Poland[2][9].
Album z tego koncertu (2 CD + 2 DVD)[10] zatytułowany Help Maciek 2 – Live miał premierę 14 stycznia 2015.
Od 2015 zespół ponownie koncertuje oraz nagrywa nowe piosenki. Zbigniew Działa zapowiedział te wydarzenia w programie INTV Łódź. W 2017 wydano reedycję drugiego albumu, który pod nazwą Życie to teatr trafił na rynek nakładem wydawnictwa GAD Records.

link

InnerSpace - Rise

Bitrate: 320K/s
Year: 2017
Time: 69:32
Size: 159,8 MB
Label: Self Released
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Dawn -  2:47
 2. Tree of life - 10:34
 3. The other side -  3:53
 4. In motion -  7:46
 5. Fill the void -  4:59
 6. Sunset -  3:56
 7. Under the spotlight -  6:46
 8. Dystopian Delirium I-from Sea to sea -  2:53
 9. Dystopian Delirium II-Shadow Of Freedom -  4:22
10. Dystopian Delirium III-Forsaken Dream - 11:55
11. Dystopian Delirium IV-Stronger Than Death -  6:22
12. Dystopian Delirium V-Dusk -  3:13

Cinq annees a attendre le nouvel Innerspace, c’est long, le premier opus de ce jeune groupe canadien « The Village » , m’avait bluffe, que de belles compositions toutes plus reussies les unes que les autres avec une splendide influence et ressemblance avec le Pink Floyd. Innerspace aurait pu etre l’incarnation de l’evolution du Floyd des annees 2000, moderne incisif et elegant. Depuis 2012 plus de nouvelle de ce super groupe si imaginatif, a part une information du guitariste Simon qui annoncait un double album pour 2016. Et puis voila qu’arrive en ce debut octobre « Rise » (encore un concept) le deuxieme album si attendu. Les reproches formules a « The Village » par l’ensemble des critiques etaient, malgre des compositions extras, une orientation qui manquait de personnalite, trop calquee sur celle de ses aines (Floyd, Jane, et plus recent Rpwl). Et bien a l’ecoute de « Rise »  je peux dire que Innerspace a tenu compte des avis, puisque il reussit avec brio le passage si difficile du deuxieme album et evite les ecueils d’une redite redhibitoire.
Les influences initiales sont toujours presentes tout au long des 12 titres mais plutot en des clins d’oeil furtifs, des bruitages, quelques lignes de guitares a la Gilmour et des passages proches de Camel, de fait la musique d’Innerspace prend son veritable envol aujourd’hui. Et quelle surprise d’entendre, des le premier morceau, sur fond de sirenes et d’aboiements de chiens, des ch?urs Gregoriens rythmes au son de la cloche venir ponctues « Dawn » , suivit de « Tree of life », un instrumental, premier titre de bravoure de plus de dix minutes ou le groupe puise dans ses acquis et son savoir faire et delivre une melodie musicalement imparable, symphonique, puissante et coherente, a faire frissonner de plaisir. Beaucoup plus intimiste « The other side » ou le seul accompagnement au piano permet d’apprecier la superbe voix de Phil Burton, melodique et sophistiquee. Pour notre plus grand plaisir « In motion » melange avec un certain bonheur le rock planant et la musique symphonique, le seul titre de « Rise » ou les accointances avec le Floyd sont les plus criardes, mais quand on aime……. ! Le cote progressif legerement en retrait, Innerspace aborde avec « Fill the void » un virage vers un rock alternatif puissant au refrain accrocheur, un eclairage different de la musique des canadiens mais bien maitrise. L’instrumental « Sunset » un veritable joyau de musicalite rappelle le Camel de la belle epoque. On change de genre avec « Under the spotlight » un hard rock avec des riffs qui plombent, assorti d’une melodie dont il est impossible de se defaire, ca surprend mais c’est reussi.
Retour dans le rock progressif pur et dur avec la suite « Dystopian delirium » qui se decline en cinq parties, 1) « From sea to sea » reprend le chant Gregorien du titre d’ouverture « Dawn »,  . 2) « Shadow of freedom » un neo progressif enleve, dans la lignee des morceaux present sur « The Village » . 3) « Forsaken dreams » extremement impressionnant des l’introduction, ou le chant de Phil intervient de maniere tres solennelle et atmospherique sur une melodie lancinante et prenante, au centre des chant religieux et pour finir un super solo de guitare de Simon Arsenault. 4) « Stronger than death » des nappes de claviers planantes et des soli de guitares en sont l’apanage. 5) « Dusk » mets un point final a « Rise » ou seul reste l’orchestre symphonique.
En conclusion, « Rise » reussit la prouesse de faire mieux que « The Village » , en portant plus loin les bases de son progressif Innerspace prodigue a sa musique la note personnel qui lui faisait defaut, pour parfaire un grand album !

Rise

вторник, 17 октября 2017 г.

Chas Crane - Cutting Up Rough

Bitrate: 320K/s
Year: 2017
Time: 52:08
Size: 120,8 MB
Label: 596347 Records DK
Styles: Blues
Art: Front

Tracks Listing:
 1. Snow on the Roof - 3:46
 2. Shit Happens - 3:50
 3. Cheap Wine - 3:32
 4. Snowflake - 4:18
 5. Another Gig - 2:22
 6. Do Your Own Thing - 4:48
 7. Move It - 3:31
 8. Drifting Blues - 2:54
 9. Cutting Up Rough - 4:12
10. Everybody's After My Money - 4:57
11. Happy - 2:33
12. This Is What We Find - 3:16
13. Born Under a Bad Sign - 4:51
14. Ballad of the Band - 3:11

The new album that I’ve been working on for the last few months is now complete. It’s a return to my blues and rock roots.

Cutting Up Rough

пятница, 13 октября 2017 г.

Creed - My Own Prison

Bitrate: 320K/s
Year: 1997
Time: 49:16
Size: 113,7 MB
Label: Wind-up
Styles: Hard Rock/Post-Grunge
Art: Front

Tracks Listing:
 1. Torn - 6:24
 2. Ode - 4:57
 3. My Own Prison - 4:58
 4. Pity For A Dime - 5:29
 5. In America - 4:58
 6. Illusion - 4:36
 7. Unforgiven - 3:38
 8. Sister - 4:56
 9. What's This Life For - 4:08
10. One - 5:08

Musicians:
Scott Stapp - lead vocals;
Mark Tremonti - guitar, backing vocals;
Brian Marshall - bass;
Scott Phillips – drums.
Additional musician:
John Kurzweg - keyboards.

Over the course of 100+ weeks on the album charts, Creed’s 1997 debut album, My Own Prison steadily grew from a small independent release to a multi-platinum blockbuster which remains their most critically acclaimed work. The album’s sound hearkens back to the grunge classics released earlier in the decade, which stuck a chord with the angst of youth and the musical taste of fans like those of Pearl Jam and Stone Temple Pilots. Formed in Tallahassee, Florida in 1993, Creed was spawned by the songwriting team of guitarist Mark Tremonti and vocalist Scott Stapp, who had been classmates in both high school and college. After several writing sessions, the duo held auditions for a rhythm section to complete the band’s lineup. With several original songs already written, Creed began playing local gigs, one of which at a club run by Jeff Hanson, who was so impressed by their original material that he signed on to manage the band. Hanson booked the group with producer John Kurzweg and self-funded their recording sessions starting in 1995. My Own Prison was released independently in 1997 and initially distributed to radio stations in Florida, resulting in about 6,000 copies sold. Later in 1997, the group was signed by Wind-Up Records and the album was remixed for further distribution.
The slow grunge of “Torn”, features gently picked electric and elongated vocal patterns before eventually building towards a strong rhythm and melody. Late in the song, the chorus melody is brought down to a very simple arrangement with clean guitar and untreated vocals, which provides the opportunity for one last dynamic blast. “Ode” has an interesting main riff and timing, with Stapp’s doubled vocals in the chorus section as well as some fine harmonies. Tremonti provides chromatic chord movements and harmonic licks. While repetitive, the title song “My Own Prison” is much clearer and easier to grasp than first two tracks. The lead single from the album, it reached the Top 10 of both the Mainstream Rock Tracks chart and the Modern Rock Tracks chart. “Pity for a Dime” has a bright feel through its chording sequence, while “In America” is built on a cool drum roll by Scott Phillips along with socially conscious lyrics and some inventive effects through the melodic choruses. Bassist Brian Marshall commences “Illusion” with a doomy riff, soon joined by the sloshy guitars of Tremonti, while “Unforgiven” is a refreshing, upbeat, succinct jam with an effective verse and chorus.
The album wraps with its two most potent and indelible tunes. “What’s This Life For” was written about a friend who committed suicide with lyrics about the quest for meaning in the world. Musically, the track starts with delicate guitars and moves through some grunge progressions, with the highlight of song being an acoustic strummed coda which builds stronger and stronger through each iteration. The closing track “One” contains both the measured bass line of Marshall and the wild, effect driven guitar lead by Tremonti, with Stapp’s strong hook in between. This combo all resulted in “One” becoming a huge hit in 1999, two years after its release.
Once it caught on, My Own Prison became a charting hit world wide as well as being one of the top 200 selling albums of all time in the US. The group soon began developing material for their second album (Human Clay in 1999), which would bring Creed even more success.

My Own Prison by Creed

Sweet Bourbon - Night Turned Into Day

Bitrate: 320K/s
Year: 2017
Time: 54:11
Size: 124,5 MB
Label: Self Released
Styles: Blues Rock/Jazzy Blues/Funky Blues
Art: Front

Tracks Listing:
 1. 2Nd Wallstreet - 4:24
 2. Texas Woman - 4:12
 3. Cool Down - 4:48
 4. Blue Wonder - 6:18
 5. Kicked Me Out - 3:35
 6. I Don't Care - 4:02
 7. This Year's Destination - 5:01
 8. Got To Say Goodbye To You - 7:58
 9. Blinded - 4:15
10. Swan - 7:09
11. Enfants Terribles - 2:23

Begin 2014 zag Sweet Bourbon het licht. Na wat wijzigingen in de bezetting zijn gitarist Chris Janssen en drummer Martijn Cuijpers als enige oorspronkelijke leden er nog steeds bij. Willem van der Schoof (toetsen), Roeland van Laer (bas) en Rene van Onna (zang) maken nu deel uit van de definitieve bezetting. Met achtergrondzangeressen Sonja Walters, Suzan Wattimena en Laura van der Vange als de Bourbonnettes is de band compleet. In 2015 verscheen de eerste live opgenomen cd “Live At Trianon” en nu is “Night Turned Into Day” als opvolger verschenen.
Op de cd horen we elf zelfgeschreven nummers. Muzikaal zit het wel goed. De bandleden komen uit diverse disciplines van de blues en die combinatie zorgt voor een aangenaam geluid. Het is een combinatie van rockende blues, ballads en – vooral door inbreng de Bourbonnettes – soulvolle blues. Er is een goede groove, strak gehouden door Roeland en Martijn. Rene heeft een prettige, heldere stem met af en toe dat rauwe randje dat dit genre nu eenmaal vraagt. En Chris en Willem zorgen voor een adequate backing en laten zich op gezette tijden ook als solisten horen. Het smeuige orgel zorgt voor een vol bandgeluid en Chris speelt laid-back als het nodig is, maar kan ook lekker scheuren. Mijn persoonlijke favorieten zijn “I Don’t Care” met een fraaie slidegitaar, het funky “Cool Down” met een mooie pianosolo, en het swingende “This Year’s Destination”. Een goede band, een prima cd.

Night Turned Into Day

четверг, 12 октября 2017 г.

Mordicai Jones - Mordicai Jones

Bitrate: 320K/s
Year: 1972
Time: 39:41
Size: 91,2 MB
Label: Big Pink (2010)
Styles: Roots rock, country rock, blues rock, folk rock, americana
Art: Full
Source: Mario

Tracks Listing:
 1. Walkin' In The Arizona Sun - 2:55
 2. Scorpio Woman - 3:49
 3. The Coca Cola Sign Blinds My Eyes - 6:22
 4. All I Want To Say - 3:13
 5. All Because Of A Woman - 3:19
 6. On The Run - 5:46
 7. Son Of A Simple Man - 4:24
 8. Precious Jewel - 2:16
 9. Days Before Custer - 4:00
10. Gandy Dancer - 3:32

Musicians:
Mordicai Jones (a.k.a. Bobby Howard) - lead vocals, piano, mandolin, harp
Link Wray - electric guitar, dobro, steel guitar, bass guitar
Doug Wray - rhythm guitar, proccnail can percussion, background vocals
Bill Hodges - organ, piano, scratcher percussion, background vocals
Steve Verroca - drums, background vocals
John Grummere - electric rhythm guitar, background vocals
Norman Sue - bass guitar, background vocals
Ned Levitt - foot stomp, hand claps, background vocals

Mordicai Jones is the 1971 album by pioneer Rock & Roll guitarist, and Shawnee Indian Link Wray. The album was credited to mysterious singer Mordicai Jones, who was Link's piano/mandolin player Bobby Howard. It was recorded under supervision of producer Steve Verocca at Wray's Shack Three Track studio in Accokeek, Maryland during the Link Wray/Beans and Fatback sessions by Link's brother Vernon "Ray Vernon" Wray and Chuck Irwin.
This Link's album was credited to lead vocalist Mordicai Jones, alias for Bobby Howard.[1] That music is an Americana blend of blues, country, soul, and folk rock. The same casual and laid-back sound was used on the Link Wray/Beans and Fatback sessions. Some tracks from the album later surfaced on the compilation Guitar Preacher: The Polydor Years, and it was included in its entirety together with other "shack" recordings of '71 (Link Wray and Beans and Fatback) on Wray's Three Track Shack 2CDs compilation.

Mordicai Jones