31 dic 2012

Feliz año nuevo, 2013 !!!!!!

Perdón, es el alcohol que ya me hace efecto...

Graham Gouldman - Love and Work

by Dave Thompson
Already established among the most successful songwriters Britain had ever produced, Graham Gouldman launched his solo career in 1966 after two successive band projects, the Whirlwinds and the Mockingbirds, met nothing but failure.
The Yardbirdsthe HolliesHerman's HermitsWayne FontanaJeff BeckCherthe ShindigsJeff Beck,the Shadows, and PJ Proby were among the high-profile acts who recorded Gouldman material. He had turned his hand to production, handling a single for Little Frankie, while the quality of his work was such that when the Downliners Sect came to release his "The Cost of Living" as a single, they didn't even record it themselves. They just rushed out Gouldman's original demo.
Gouldman's own solo career debuted in February 1966 with "Stop or I'll Be Gone"; he was also working with Friday Browne, a Manchester singer who was to be involved in several Gouldman projects, as well as having a later single, "Ask Any Woman," produced by him. In November 1966, she joined Gouldman, former Country Gentleman Peter Cowap, Phil Dermys, Clem Cattini, and future Led Zeppelin bassistJohn Paul Jones in the High Society, an ad hoc combination whose sole single, "People Pass By," remains a forgotten classic.
This same team then became the Manchester Mob and recorded March 1967's "Bony Maroni at the Hop" before GouldmanJonesEddie Kramer, and Peter Noone began work on what became the songwriter's first solo album, The Graham Gouldman Thing. Largely comprisingGouldman's own versions of the songs he had written for others, the album (which would be released in America only) was prefaced with a new single, "No Milk Today" (a U.K. hit for Herman's Hermits). It flopped. A British 45, "Upstairs Downstairs," followed unsuccessful suit, and by the time the album itself was issued, Gouldman had abandoned his solo plans to join the Mindbenders for their final single, "Uncle Joe the Ice Cream Man," and tour. The group then broke up and Gouldman and Mindbenders guitarist Eric Stewart immediately set to work building Strawberry Studios in the Manchester suburb of Stockport.
Gouldman also returned to his maverick wanderings, cutting a bizarre instrumental version of Noel Harrison's "The Windmills of Your Mind" as the Graham Gouldman Orchestra and issuing a minor psych masterpiece under the pseudonym Garden Odyssey. He also recorded some material for the short-lived Marmalade label, including one song, "The Late Mr. Late," which appeared on a label sampler together with a reunion with ex-Mockingbirds drummer Kevin Godley, "To Fly Away." (Godley's own project, Frabjoy & the Runcible Spoon, was also signed to Marmalade.)
That label collapsed in early 1969, at which point Gouldman relocated to New York to become a contract songwriter at Kasenatz/Katz's songwriting factory -- many of his compositions were then recorded at Strawberry, while Godley and Crème also got in on the action, composing (and recording) Crazy Elephant's hit "There Ain't No Umbopo." Gouldman, meanwhile, penned two Ohio Express hits, "Sausalito" and "Tampa Florida," together with Freddie and the Dreamers' French hit "Susan's Tuba" and "Fighter Squadron"'s "When He Comes."
Over the next two years, Strawberry proved remarkably productive. Albums by Ramases and Neil Sedaka, singles by comedian John Paul Joans (no relation to the bassist), sundry English soccer teams and comedy acts, and even a freak hit for the studio musicians themselves, Hotlegs "Neanderthal Man."Gouldman, however, would cut just one more solo single during this period, teaming with producer Eric Woolfson (later a member of the Alan Parsons Project) to record "Growing Older."
10cc consumed Gouldman's attention for the next seven years. He returned to solo action in 1979 during a layoff enforced while Eric Stewart recovered from injuries sustained in a serious motor accident. Sunburn, the soundtrack to a new Farrah Fawcett movie, becameGouldman's first ever solo hit single, reaching number 45 in Britain. The following year, Gouldman recorded a second soundtrack,Animalympics, to accompany an amusing sporting cartoon film. He also produced the RamonesPleasant Dreams album, before 10ccrelaunched; following the group's final demise in 1982, Gouldman then launched a new band project, the Wax union with Andrew Gold.
A pair of 10cc reunions followed during the early '90s, while Gouldmanalso launched a songwriting partnership with Kirsty MacColl, tragically curtailed, of course, by her death in 2000. He returned to action that same year with And Another Thing, his second full solo album and, like the Graham Gouldman Thing, an opportunity to both try out some new songs and revisit some old -- "You Stole My Love," "Heartful of Soul," and 10cc's "Ready to Go Home" were among the highlights.

Keith Graham Gouldman (10 de mayo de 1946BroughtonLancashire) es uncantantemúsico y cantautor inglés, fundador y miembro del grupo 10cc. Su estilo musical es el soft rock y el pop, y toca la guitarra y el bajo, en lo referente a la composicoón es uno de los padres del popsike.
Desde 1963 participó en varios grupos en su ciudad de origen, pero en 1972 fundó10cc, donde ha pasado la mayor parte de su carrera. También es productor, especialmente para el álbum Pleasant Dreams de los Ramones.
Sin embargo su mayor aportación a la música se fraguó por la vía de la composición, se puede decir que fue uno de los principales compositores de la llamada "british Invasion": "No milk Today", "Marcel's" y "Listen People" de los Herman's Hermits, "Schoolgirl" de los Mindbenders (también versioneada por los Hollies), "Bus Stop", "Stop, Stop, Stop" y "Look through Any Window" de los Hollies, "For your Love" (también editada en solitario junto con "Pamela, Pamela" que versioneó Wayne Fontana), "Heart Full of Soul" y "Evil Hearted You" de los Yardbirds, "Some People" de los Chords Five o "Sad And Lonely" de Garden Odissey Enterprise (siendo su mejor versión la del grupo español Mi Generación bajo el título "Triste y Solo")

Abstenerse diabéticos.

Graham Gouldman – Love and Work


Anne Soldaat . Anne Soldaat

Poco puedo decir de este artista holandes.Disco de pop de agradable escucha

http://annesoldaat.com/Anne Soldaat – Anne Soldaat


30 dic 2012

Fats Domino

by Richie Unterberger
The most popular exponent of the classic New Orleans R&B sound, Fats Domino sold more records than any other black rock & roll star of the 1950s. His relaxed, lolling boogie-woogie piano style and easygoing, warm vocals anchored a long series of national hits from the mid-'50s to the early '60s. Through it all, his basic approach rarely changed. He may not have been one of early rock's most charismatic, innovative, or threatening figures, but he was certainly one of its most consistent.
Domino's first single, "The Fat Man" (1949), is one of the dozens of tracks that have been consistently singled out as a candidate for the first rock & roll record. As far as Fats was concerned, he was just playing what he'd already been doing in New Orleans for years, and would continue to play and sing in pretty much the same fashion even after his music was dubbed "rock & roll."
The record made number two on the R&B charts, and sold a million copies. Just as important, it established a vital partnership between Fats and Imperial A&R man Dave BartholomewBartholomew, himself a trumpeter, would produce Domino's big hits, co-writing many of them with Fats. He would also usually employ New Orleans session greats like Alvin Tyler on sax and Earl Palmer on drums -- musicians who were vital in establishing New Orleans R&B as a distinct entity, playing on many other local recordings as well (including hits made in New Orleans by Georgia native Little Richard).
Domino didn't cross over into the pop charts in a big way until 1955, when "Ain't That a Shame" made the Top Ten. Pat Boone's cover of the song stole some of Fats' thunder, going all the way to number one (Boone was also bowdlerizing Little Richard's early singles for pop hits during this time). Domino's long-range prospects weren't damaged, however; between 1955 and 1963, he racked up an astonishing 35 Top 40 singles. "Blueberry Hill" (1956) was probably his best (and best-remembered) single; "Walking to New Orleans," "Whole Lotta Loving," "I'm Walking," "Blue Monday," and "I'm in Love Again" were also huge successes.
After Fats left Imperial for ABC-Paramount in 1963, he would only enter the Top 40 one more time. The surprise was not that Fats fell out of fashion, but that he'd maintained his popularity so long while the essentials of his style remained unchanged. This was during an era, remember, when most of rock's biggest stars had their careers derailed by death or scandal, or were made to soften up their sound for mainstream consumption. Although an active performer in the ensuing decades, his career as an important artist was essentially over in the mid-'60s. He did stir up a bit of attention in 1968 when he covered the Beatles' "Lady Madonna" single, which had been an obvious homage to Fats' style.

Dog is Dead - All Our Favourite Stories

With their affected vocal harmonies, awkwardly angled guitar play and a penchant for schmaltzy saxophone solos, there was an endearingly goofy charm to Dog Is Dead upon their 2008 arrival. But the Nottingham five-piece have been given a major-label reboot for their debut LP, and the rough edges that gave them their early oddball indie pop character have been sanded off in favour of earnest but uninspiring anthemic rock. Zesty older tracks like ‘Glockenspiel Song’ are buried beneath common-denominator stadium yawns such as ‘Heal It’, while even the once-punchy ‘River Jordan’ has been refined for the BBC montages they’re now being sculpted for. 

Simon Jay Catling

Disco irregular pero se aprecia el esfuerzo de construir melodías trabajadas con aires pop y gotitas funk. Dejaremos que se cuezan un poco más.



Dog Is Dead: Don't blame us for the death of your dog

Read more: 

Dog Is Dead – All Our Favourite Stories


Icons of Elegance - Carousel

  • The Icons of Elegance are made up of two brothers who are based in Helsinki and London, and formed the band in 2004 taking their name from a description they saw of Salvador Dali.
  • Since that time they have been honing their trade which you sense has been leading to the production of this fine album. All songs are written and produced by the brothers. The album we are told being recorded mostly live in a studio which has been converted from an old umbrella factory. This is an upbeat pop album of the highest order full of instantly catchy tunes and could well have originated at the height of 1960’s creativity.
    The opening track and album title “Carousel” is a high tempo number full of harmonies and jangling guitars which is followed by “Blonde Little Girl” with hints of Brian Wilson invention which in turn is followed by “Time Will Tell” which you could easily accept as a being a number one single from summers gone by. The album continues in this vein; the key to its freshness being the willingness to embrace and fuse musical styles and instrumentation. “Letter From An Island” has a Hawaiian lilt with horns taking centre stage on “Tales Of Animals” whilst “Maybe She’s a DJ” has a dance beat and is delivered with subtle irony in the style of the Scissor Sisters. This is an album to lift your spirits and make you smile.

    www.iconsofelegance.com/www.americana-uk.com/reviews-cd-live/latest-cd-reviews/item/michael-farley-10Icons Of Elegance – Carousel EP


Crybaby - Crybaby

Hometown: Bristol.
The lineup: Danny Coughlan (vocals, guitar).
The background: Danny Coughlan as Crybaby is an astonishingly fully formed version of the artist he obviously set out to be. He is so successful at being the heartbroken crooner of his childhood dreams, the one in thrall to the music of the era between the twin reigns of Elvis and the Beatles, to the twisted productions of Phil Spector and Joe Meek, to early soul, the stoic balladry of Roy Orbison and the notion of doomed romance, that it almost obviates comment, let alone critique. He is so precisely the sum of his obsessions we are almost rendered speechless. Almost, but not quite.
Of course, Richard Hawley and Morrissey have covered this territory before. In fact, Coughlan's voice is uncannily Hawleyish while his songs, all superbly orchestrated and slow, evoke a world in which the Smiths only wrote sepulchral ballads, not jaunty ones about vicars in tutus. Many of them recall Strangeways-era Smiths, and songs such as I Won't Share You, but that's about the only "modern" (ie non-60s) reference that springs to mind listening to Crybaby's eponymous debut album, apart from Hawley, but – like Coughlan – he's so steeped in his influences and mired in the past it barely makes sense to consider him a contemporary act at all.
Produced by Chris Hughes – the Merrick in Adam Ant's immortal "Marco, Merrick, Terry-Lee, Gary Tibbs and yours tru-lee" – Crybaby is, as Coughlan puts it, "a tribute, a love letter" to his favourite old records, "the sort that were full of songs that had insights into love and life and romance, but never in a chocolate-box way", records furthermore that addressed his favourite topics: "Love and pain … attraction, heartbreak, sorrow." Coughlan uses a lot of words to express the rapture of sadness. His first single, for example, bears a typically windy title: I Cherish the Heartbreak More Than the Love That I Lost, a paraphrase of that old Woody Allen chestnut about unrequited love being the only love that lasts. Elsewhere, there are When the Lights Go Out, We're Supposed to Be in Love and What Am I Supposed to Do Without You Now? You can imagine Coughlan making great play of the dearth today of wordsmiths and lovers of language, compared to the last golden age of literate verbosity when the likes of Morrissey – and Elvis Costello, and Paddy McAloon, and Martin Fry – used whole libraries of clever similes and metaphors to describe the ups and downs of love. He might be right to do so.
If the imagery and the arrangements – all of it, really – are filched, it's still entertaining, and occasionally moving as hell, even if you feel as though your emotions are being piqued by the ersatz, replicas of beauty. These are bona fide neo-classics, classy and classically structured – Coughlan has studied well, right down to the swooning vocal delivery and elisions of vowels, which are pure Moz. Armies of Darkness recalls Otis at his most blue. This Time It's Over conflates the work of his two idols – It's Over and I Know It's Over – so faithfully you feel like shouting, Stop him if you think you've heard this one before! Shame and Twist of The Knife both feature Be My Baby drums and you fear he's running out of ideas, but the penultimate pair, Veils and A Misery of Love, are so successfully forlorn in that Moz-does-Roy way, you can only applaud his mastery and, well, gall.
The buzz: "An entirely appropriate pseudonym for this creator of beautifully miserable tunes" – Amazing Blog.
The truth: Meet Boy Orbison.
Most likely to: Want the one he can't have.
Least likely to: Do a cover of Ant Rap.
What to buy: Crybaby is released on 9 April by Helium, preceded by the single I Cherish the Heartbreak More Than the Love That I Lost, out now.
File next to: Morrissey, Richard Hawley, Roy Orbison, Joe Meek.
Links: ohcrybaby.com.
Friday's new band: Amanda Mair.

Crybaby – Crybaby (Spotify)


28 dic 2012

Rob Bonfiglio - Mea culpa

Con temas irresistibles como el del vídeo (por cierto a que canción os recuerda el principio) hará las delicias de los amantes del pop al igual que hiciera con los Wanderlust. Una gozada!!!!

Rob Bonfiglio – Mea Culpa (Spotify)


the new album by singer/songwriter Rob Bonfiglio, is a dazzling musical tour-de-force unified by themes of regret, redemption and love. 
Following Bonfiglio's 2006 release "Shine" (as 'The Skies Of America') and 2009's all-solo endeavor "Bring On The Happy", MEA CULPA was
produced, engineered and recorded by Bonfiglio at home. He’s a veritable one-man band, playing all the instruments, following in the grand D.I.Y. tradition of artists like Paul McCartney, Todd Rundgren and Prince. And like those artists, he’s pulled off a mighty difficult trick, delivering a cohesive and dynamic sound full of wily invention and innovation.

Opening with the anthemic “The Message”, a jubilant ode to wide-eyed positivity and the all-encompassing power of pure love, MEA CULPA embraces a confluence of styles and textures, ranging from muscular hard driving rock, incandescent pop, Philly soul and slinky jazz. Powered by a circular guitar riff and blasts of wheezy Dylan-inflected harmonica, with its plea of “live for today” “Eyes on the Prize” declares its pointed lyrical intent, echoing a common thread that weaves throughout the entire record with a recommitment to what really matters.

The insanely catchy “Text Me” follows, bursting out of the speakers like warm sunshine after thirty days of rain, its infectious chorus celebrating the tools of social media for making a love connection against a backdrop of angular guitars, swirling synths and buoyant harmonies.

“No more wasted opportunity” pledges Bonfiglio on the soul searching “Hold on Tight”, a deft marriage of intimate acoustic and electric textures and soaring Hammond organ hard wired to reflective lyrics expressing the desire to be a better man.

The sublime ballad, “Fooled Myself” offers a refreshing change of pace from the album’s rhythmic intensity. Rising jangly piano chords, expressive vocals and tranquil harmonies add to the song’s intimacy, which sports a magnificent slide guitar solo that would surely bring a wide smile to George Harrison’s face. The jazzy “Real Love” shows off the artist’s stylistic versatility and also allows him to demonstrate his impressive chops on the six-string. A native of Philadelphia, Rob’s musical roots shine on this track, its silky smooth soul contours rendering an affectionate homage to Philly International’s classic hits of the ‘70s.

Balancing his career as a solo artist, Bonfiglio is a busy man. He’s the musical leader & guitarist of multi-platinum pop trio, Wilson Phillips (producing their 2012 Sony Masterworks release 'Dedicated"), a member of California Saga, a new musical outfit comprising the offspring of The Beach Boys and is back with acclaimed power pop practitioners, Wanderlust, whose RCA Records debut reaped raves in Billboard. As a songwriter, he’s enjoyed multiple successes with his songs featured prominently in numerous TV shows and films.

Vulnerable, reflective and soul searching, MEA CULPA is the confident work of an artist comfortable in his own skin. Make no mistake, when it comes to this extraordinary and accomplished release, no mea culpa will be necessary.

For more information:

Damask Records


released 21 December 2012
all songs written & performed by Rob Bonfiglio
©2012 Carnella Songs BMI

Dr. John Jams With Dan Auerbach in Brooklyn

This past April, Dr. John celebrated the release of his album Locked Down with a show at the Brooklyn Academy of Music, and in this clip, the New Orleans R&B maestro gets a hand on "Ice Age" from Black Keys frontman Dan Auerbach, who produced Locked Down. Dr. John looks his shamanic best and vibes out on keyboards as Auerbach provides the slinky, funky lead riff. Dr. John jumps into an expended freeform keyboard solo halfway through, but the wide-ranging percussion section is the most impressive thing, clattering and banging away for a soulful jamboree.

Read more: http://www.rollingstone.com/music/videos/dr-john-jams-with-dan-auerbach-in-brooklyn-20121226#ixzz2GGXO3gZQ 
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The Gross Club CD 'Members Only' contains a mixture of old and new recordings of the songs they played in the Bristol pubs and Clubs in the period 1978-1981. The material is influenced by punk, mod and the sixties. They formed in a Bristol pub in 1978 with the punk idea that anyone could form a band, even if they couldn't play. Initial results were not impressive but they stuck with it and eventually had a residency in the Crown Pub. The original recordings were done in Cave Studios Bristol. Their single 'Second Chance' was played on Radio 1 by John Peel and they appeared on the BBC supporting Black Roots. The later recordings were started in 2005 with Ian Hammond as drummer and co producer.


The Gross Club – Members Only (spotify)

Simpático trabajo de arqueología musical. Reflejo de la energía, frescura de la época


27 dic 2012

World Famous Headliners - World Famous Headliners


Three singers. Three songwriters. Three guitarists. That should be three strikes against the World Famous Headliners.
Instead, the chemistry created in this collaboration is captivating. Big Al Anderson, Shawn Camp and Pat McLaughlin — with plenty of help from bassist Michael Rhodes and drummer Greg Morrow — have made an album that justifies the band's hyperbolic, tongue-in-cheek name.
The group, Anderson's first since NRBQ, employs an unusual approach to song arrangements: Anderson, Camp and McLaughlin often sing in unison. That may have helped avert a clash of egos, and it definitely gives the record a distinctive stamp. And when the trio transitions from unison to three-part harmony, it's goose-bump good.
There's tasty guitar throughout, and the composer cooperative — with every song credited as a three-way effort — produces first-rate material with plenty of variety. "Give Your Love To Me" is loose, ZZ Top-style boogie, "Can I" soars over a Tom Petty-esque guitar bed, the slow waltz "Take Me Back" recalls The Everly Brothers and the closer "Ding Dong" is '50s rock worthy of Leiber and Stoller.
These Headliners deserve boldface type.
CHECK THIS TRACK OUT: The swampy country blues "Too Fast For You" benefits from scooped vocals and ragged but joyous three-part harmony, which give way to a couple of LOL guitar solos.

Sin duda la veteranía es un grado.

worldfamousheadliners.comWorld Famous Headliners – World Famous Headliners (Spotify)


Blackfoot Gypsies - On the loose

Divesión y caña sureña


Blackfoot Gypsies – On the Loose (Spotify)


The Jam - All Mod Cons

by Chris Woodstra
The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary -- all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the "voice of a generation" tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like "classic" are often bandied about, but in the case of All Mod Cons, it is certainly deserved.

Todo un clásico del rock, que marca una época que parece que se repite. Lastima que no se encuentren hoy bandas con esta urgencia y rabia. Disco lleno de recuerdos de juventud y borracheras.

The Jam – All Mod Cons (Spotify)


The Shazam - Live

La demostración de que en Nashville hay viva más allá del country. Fantástico documento en directo de esta increíble banda de ROCK. Imperdonable perderselo. 

by Mark Deming
Led by guitarist, vocalist, and songwriter Hans Rotenberrythe Shazamare a contemporary power pop band from Nashville, Tennessee, who've earned a loyal following among pop obsessives for their sharp, rollicking, and often witty British-influenced sound. the Shazam were formed in 1997 when Rotenberry teamed up with bassist Mick Wilsonand drummer Scott Ballew. The band released its self-titled debut album in 1997, which was produced by Brad Jones and foundRotenberry composing tunes with the likes of Jenny Toomey and Brett Gurewitz. The band expanded to a four-piece on 1999's Godspeed the Shazam with the addition of guitarist Jeremy Ashrock; the track "Super Tuesday" also earned the Shazam a mention in a piece on election-year songs in The New Yorker. Two more albums followed, 2000's Rev9 and 2002's Tomorrow the World, which like their earlier works were produced by Jones, received enthusiastic reviews, and racked up minimal sales. the Shazam unveiled a new lineup on 2009's Meteor, with RotenberryAshrock, and Ballew joined by new bassist Mike Vargo; the album also found the Shazam exploring their love of 1970s and '80s classic rock as they were joined in the studio by Mack (aka Reinhold Mack), a producer and engineer who had worked with QueenBilly Squire, and Black Sabbath. In 2010, Rotenberry teamed with Brad Jones to write and record a duo project, Mountain Jack.