domingo, 13 de abril de 2008

Dream Theater - Train of Thought

Inspired by the audience response to Dream Theater's heavier songs while on tour, Train of Thought is widely considered their heaviest album to date. The album was written in three weeks. It was engineered by Doug Oberkircher and mixed by Kevin Shirley.There are some connections to previous and following albums of the band:
The album has seven songs, while its predecessor (Six Degrees of Inner Turbulence) has six and its successor (Octavarium) has eight.
The first song "As I Am" starts with the ending synth/orchestral chord of Six Degrees of Inner Turbulence and the ending piano note (F) of "In the Name of God" is the first note of Octavarium's "The Root of All Evil".
"This Dying Soul" continues Mike Portnoy's Alcoholics Anonymous suite, started with "The Glass Prison" on Six Degrees of Inner Turbulence and later continued with Octavarium's "The Root of All Evil" and Systematic Chaos "Repentance". The songs share some of the lyrics and melodies.

The Chant/Hymn at the end of "In the Name of God" (from 12:56 onwards, coming from the right-side speaker) is the American civil war hymn "Battle Hymn of the Republic".
"Honor Thy Father" was written about Mike Portnoy's stepfather. When asked about what inspired him to write that song, he stated in an IRC chat: "I'm not very good at writing love songs, so I decided to write a HATE song!!!"
Between 05:51 and 06:07 of the song "In the Name of God", there was a hidden composition buried beneath the far louder sounds of the song itself which lay undiscovered for over a year and a half. The band did not tell anyone that a hidden "nugget" (as it became known amongst Dream Theater fans) was present in the song, and only when Mike Portnoy mentioned it in his Mike Portnoy: Live at Budokan Drum-Cam DVD over a year later did someone find it. The Mike Portnoy message board was rife with fans scouring the song looking for what it might be, until a fan going by the pseudonymous name "DarrylRevok" mentioned that from 05:51 to 06:07 there appeared to be morse code audible, which Nick Bogovich (user handle "Bogie") isolated and discovered that when translated to English, the phrase "eat my ass and balls" (a Mike Portnoy catchphrase) was the result.
The bridge of "In the Name of God" contains references to several noted cult leaders, including David Koresh, Marshall Applewhite, and Jim Jones.
Stream of Consciousness is the longest Dream Theater instrumental to date (not counting live mash-ups such as Instrumedley).
Some lyrics of As I Am were inspired by Dream Theater's 2003 summer tour with Queensryche, described by Mike Portnoy as an "irksome series of shows." According to Portnoy, Queensryche guitarist Mike Stone tried giving John Petrucci tips on playing guitar, leading Petrucci to write the lyrics. Jordan Rudess played the final note in the album (In The Name of God minute 14:8) with his nose as shown in Making The Train of Thought documentary, Mike Portnoy approved the take in the video while he was filming.


James LaBrieVocals
John MyungBass
John PetrucciGuitars, backing vocals
Mike PortnoyDrums, backing vocals
Jordan RudessKeyboards

"As I Am" – 7:47 (Petrucci)
"This Dying Soul" – 11:28 (Portnoy)
"Endless Sacrifice" – 11:23 (Petrucci)
"Honor Thy Father" – 10:14 (Portnoy)
"Vacant" – 2:58 (LaBrie)
"Stream of Consciousness" – 11:16 (instrumental)
"In The Name of God" – 14:16 (Petrucci)


Frank Zappa - Weasels Ripped My Flesh(1970)

Weasels Ripped My Flesh is an album by Frank Zappa and the Mothers of Invention, released in 1970 (see 1970 in music).
Conceptually, the album could be considered Phase Two of Burnt Weeny Sandwich. Both albums consist of previously unreleased Mothers tracks released after the demise of the original band. Whereas the pieces on Burnt Weeny Sandwich generally have a more rigid and planned feel captured by quality studio equipment, Weasels Ripped My Flesh mostly captures the Mothers on stage, where they employ frenetic and chaotic improvisation characteristic of avant-garde free jazz. The album's infamous closer and title track is nothing more than every man on stage producing as much noise and feedback as they can for two minutes. Interestingly, an audience member is heard yelling for more at its conclusion. The album also contains such surprising treats as Don "Sugarcane" Harris's straight-ahead blues violin and vocal performance of "Directly From My Heart to You".
Burnt Weeny Sandwich and Weasels Ripped My Flesh were also reissued together on vinyl as 2 Originals of the Mothers of Invention, with the original covers used as the left and right sides of the inner spread, and the front cover depicting a pistol shooting toothpaste onto a toothbrush.

Frank Zappa – lead guitar, vocals
Jimmy Carl Blackdrums
Ray Collins – vocals
Roy Estradabass, vocals
Bunk Gardner – tenor sax
Lowell Georgerhythm guitar, vocals
Don "Sugarcane" Harris – vocals, electric violin
Don Preston – organ, electronic effects
Buzz Gardner – trumpet and flugel horn
Motorhead Sherwood – baritone saxophone, snorks
Art Tripp – drums
Ian Underwood – alto saxophone

Side one
"Didja Get Any Onya?" (live) – 6:51
Includes 'Charles Ives' on compact disc re-issue
"Directly from My Heart to You" (Richard Wayne Penniman) – 5:16
"Prelude to the Afternoon of a Sexually Aroused Gas Mask" (live) – 3:47
"Toads of the Short Forest" – 4:47
Side two
"Get a Little" (live) – 2:31
"Eric Dolphy Memorial Barbecue" – 6:52
"Dwarf Nebula Processional March & Dwarf Nebula" – 2:12
"My Guitar Wants to Kill Your Mama" – 3:32
"Oh No" – 1:45
"The Orange County Lumber Truck" (live) – 3:21
"Weasels Ripped My Flesh" (live) – 2:08


Frank Zappa - The Yellow Shark(1992)

The Yellow Shark is an album of orchestral music by Frank Zappa, released in 1993. It features live recordings from the Ensemble Modern's 1992 performances of Zappa's compositions. It is the last Zappa album to be released before his death.It's Frank's Classical Work with huge sound quality.Really great album.

Frank Zappa – conductor, producer, performer
Peter Rundel – conductor, violin
Wolfgang Stryi – bass clarinet, tenor saxophone, contrabass trombone, clarinet
Todd Yvega – synclavier assistance
Herman Kretzschmar – celeste, harpsichord, voices, piano
Uwe Dierksen – trombone
Friedemann Dahn – violoncello
Thomas Fichter- contrabass, fichter electric upright bass
William Formann – cornet, flugelhorn, piccolo trumpet, trumpet
Rumi Ogawa-Helferich – cymbalom, percussion
Franck Ollu – horn
Jürgen Ruck – banjo, guitar
Claudia Sack – violin
Veit Scholz – bassoon, contrabassoon
Hilary Sturt – voices, violin
Michael Svoboda – euphonium, didjeridu, alphorn, trombone
Mathias Tacke – violin
Detlef Tewes – mandolin
Ellen Wegner – harp
Ueli Wiget – cello, harp, harpsichord, piano
Andreas Bottger – percussion
Ensemble Modern – main performer
Daryl Smith – tuba
Dietmar Wiesner – flute
Michael Gross – cornet, flugelhorn, piccolo trumpet, trumpet

"Dog Breath Variations"–2:07
"Uncle Meat"–3:24
"Outrage at Valdez"–3:27
"Times Beach II"–7:31
"III Revised"–1:45
"The Girl in the Magnesium Dress"–4:33
"Be-Bop Tango"–3:43
"Ruth Is Sleeping"–5:56
"None of the Above"–2:17
"Pentagon Afternoon"–2:28
"Questi Cazzi Di Piccione"–3:03
"Times Beach III"–4:26
"Food Gathering in Post-Industrial America, 1992"–2:52
"Welcome to the United States"–6:39
"Pound for a Brown"–2:12
"Exercise, No. 4"–1:37
"Get Whitey"–7:00
"G-Spot Tornado"–5:17


The Mars Volta - Live Ep

Live EP is the first officially released live recording from the band The Mars Volta. The EP was released in limited quantities in 2003 and is now difficult to find. Due to this, the EP has become a collectors item among Volta fans, sometimes selling for up to $150 on eBay. The first two tracks were recorded live at the XFM Studio in London, 2003. The last two tracks were recorded at the Electric Ballroom in London on July 9, 2003.
During the jam in "Drunkship," part of "Cygnus...Vismund Cygnus" from Frances the Mute is played.
The album artwork is from the fable of Arachne (also Arachné). It has also been used as the backdrop during the band's live performances.
"Roulette Dares (The Haunt Of)" – 9:29
"Drunkship of Lanterns" – 9:38
"Cicatriz ESP" – 16:03
"Televators" – 7:18

The Mars Volta - Scabdates

Scabdates is the second official live recording from the band The Mars Volta. It was released on November 8, 2005 and features music recorded between May 2004 and May 2005 during the 2004-2005 tour in support of Frances the Mute.
While the disc contains twelve tracks, only three of the band's songs are represented; many of the tracks constitute expansions on musical themes which appear elsewhere in their work, or entirely new segments altogether. For example, the lengthy exposition on "Cicatriz," which combined with its introduction "Haruspex", comprises 48 minutes of the disc and incorporates into its lengthy jam themes which would later be used in "Cassandra Gemini" (the performance excerpted here was recorded on May 12, 2004, almost a year before Frances the Mute was released). Oddly enough, while the renditions of "Take the Veil Cerpin Taxt" and "Cicatriz" are much longer than their album counterparts, the Scabdates version of "Concertina" is actually 37 seconds shorter than its Tremulant EP counterpart.
The Mars Volta have freely encouraged the trading of bootlegged live performances, but Scabdates was lauded by many fans for its superior sound quality and for being the first official recording that captured the Volta's lengthy experimental workouts during live performances. IGN however, described the experimentation as "sonic meandering which some regard as genius and others find to be a futile exercise in pretentious instrumental masturbation." No matter what one thinks of the band's avant-garde style of jamming, it is undeniably the source of the definitive split between the fans and critics of live Mars Volta performances.
While the material on Scabdates is drawn almost entirely from live performances, the music doesn't appear exactly as performed; Part IV of "Cicatriz" incorporates a full eight-minute, psychedelic sound collage of many other Mars Volta live performances (notably, performances of "Eunuch Provocateur" and "Cassandra Gemini") that was not featured in the original performance, along with edited recordings of what sounds like Omar laughing, Cedric and other people talking, coughing, laughing, etc. A voice can be heard saying "Don't you remind me of Jeremy", referring to former soundman Jeremy Ward. "Abrasions Mount the Timpani" also features sound samples of mewling babies and airliner announcements that Omar recorded while on the road with the band. The album ends with Cedric thanking the audience by telling them to "go home and take a bath."

Omar Rodriguez-Lopez – producer, lead guitar
Cedric Bixler-Zavala – vocals
Jon Theodore – drums
Isaiah "Ikey" Owens – keyboards
Juan Alderete – bass
Marcel Rodriguez-Lopez – percussion
Paul Hinojos – sound manipulation
Adrián Terrazas-González – flute, tenor saxophone, bass clarinet
John Frusciante – rhythm guitar, lead guitar

"Abrasions Mount the Timpani" – 4:07
"Take the Veil Cerpin Taxt" – 5:57
"A. Gust of Mutts" – 2:34
"B. And Ghosted Pouts" – 4:52
"Caviglia" – 2:46
"Concertina" – 4:17
"Haruspex" – 5:24
"Cicatriz" – 8:16
"A. Part I" – 2:34
"B. Part II" – 7:39
"C. Part III" – 4:29
"D. Part IV" – 20:00

Link: Part 1 -
Part 2 -

Porcupine Tree - Lightbulb Sun

Lightbulb Sun is the sixth studio album by British progressive rock band Porcupine Tree, first released in May 2000. There are four editions: the original release on Snapper records, a German 2 disc tour release on Snapper (with a blue cover), an Israeli 2 disc edition on Helicon records, and the 2 or 3 disc CD/DVD-A reissue on Kscope. Classic Rock magazine described it as "an album of stunning songs and startling musicianship… breathtaking"
The album is divided into two parts by half a minute gap between "Rest Will Flow" and "Hatesong". The first part concentrates more on melodic, poppy elements of Porcupine Tree's style, while the second has a more experimental character.
A CD/DVD-A remaster with 5.1 Surround Sound and a new stereo mix was released on April 7, 2008 from the Porcupine Tree store. Pre-orders of the Porcupine Tree store edition came with an exclusive 2 track bonus CD containing the tracks; "Novak" and "Buying New Soul (Instrumental Backing Track)". The CD/DVD-A album reissue is planned for a mass market release on April 21, 2008 through the Kscope label.
String arrangements in Lightbulb Sun were arranged and produced by Dave Gregory from XTC at Christchurch Studios, Clifton, Bristol in January 2000, recorded by John Waterhouse.

Steven Wilson – Vocals, Guitars, Piano, Mellotron, Hammered Dulcimer, Samples, Banjo, Harp, Production
Richard Barbieri – Synthesizers, Hammond Organ, Fairground, Synthesized Percussion, Fender Rhodes, Clavinet, Mellotron, Insects
Colin Edwin – Fretless Bass, Saz, Drum Machine, Guimbri
Chris Maitland – Drums, Backing & Harmony Vocals, Floor Tom
Stuart Gordon – Violin, Viola
Nick Parry – Cello

"Lightbulb Sun" – 5:31
"How Is Your Life Today?" – 2:46
"Four Chords That Made a Million" – 3:36
"She's moved on" – 5:14
"Last Chance to Evacuate Planet Earth Before it Is Recycled" – 4:49
"The Rest Will Flow" – 3:18
"Hatesong" – 8:30
"Where We Would Be" – 4:13
"Russia on Ice" – 13:05
"Feel So Low" – 5:22


The Mars Volta - De-Loused in the Comatorium

De-Loused in the Comatorium is the first LP and concept album by the progressive rock band The Mars Volta. Based on a short story by lead singer Cedric Bixler-Zavala, and sound manipulation artist Jeremy Michael Ward, it is the hour-long tale of Cerpin Taxt, a man who tries to kill himself by overdosing on morphine. The attempt lands him in a week-long coma during which he experiences visions of humanity and his own psyche. Upon waking, he is dissatisfied with the real world and jumps to his death. The story of Cerpin Taxt is based on the death of El Paso, Texas artist (and Bixler-Zavala's friend) Julio Venegas.
De-Loused became both critically and commercially their biggest hit, eventually selling in excess of 500,000 copies despite next-to-no promotion, and was featured on several critics' "Best of the Year" lists . The album was ranked number 55 on the October 2006 issue of Guitar World magazine's list of the 100 greatest guitar albums of all time.
The music contained in De-Loused is distinguished by its enigmatic lyrics, Jazz rhythms, odd time signatures, and Omar Rodriguez-Lopez's frenetic guitar riffs, which are often harshly dissonant. The title of this album is taken from the lyrics of the song "Eunuch Provocateur" on the band's previous release, Tremulant.

Cedric Bixler-Zavala – vocals
Omar Rodriguez-Lopez – guitar
Jon Theodore – drums
Jeremy Michael Ward – sound manipulation
Isaiah Ikey Owens – keyboards
Lenny Castro – percussion
Flea – bass
John Frusciante – guitar, synthesizer on "Cicatriz ESP"
Justin Meldel Johnson – stand-up bass on "Televators"

"Son et Lumière" – 1:35
"Inertiatic ESP" – 4:24
"Roulette Dares (The Haunt Of)" – 7:31
"Tira Me a las Arañas" – 1:29
"Drunkship of Lanterns" – 7:06
Incorrectly listed as 6:20 on jewel case inlay
"Eriatarka" – 6:20
Incorrectly listed as 7:06 on jewel case inlay
"Cicatriz ESP" – 12:29
"This Apparatus Must Be Unearthed" – 4:58
"Televators" – 6:19
"Take the Veil Cerpin Taxt" – 8:42

Link: Part 1 -
Part 2 -

sexta-feira, 8 de fevereiro de 2008

Frank Zappa - Uncle Meat(1969)

Uncle Meat, released in 1969, is the soundtrack to The Mothers of Invention's long-delayed film of the same name; the front cover included the words "(Most of the Music from the Mother's [sic] Movie of the Same Name Which We Haven't Got Enough Money to Finish Yet)". The film was released straight to video in 1987.
Uncle Meat marked an evolution in frontman Frank Zappa's career, moving further into jazz and classical music—as Zappa saw them. It also contains half-mocking, half-homage elements of doo-wop, blues, rock and roll, and sound clips from the movie. The album is united by its dreamy melodies, stream of consciousness lyrics (many about places and events in suburban LA teenagers' lives), and a set of musical themes and subthemes and variations idiomatic of film soundtracks. It also features Suzy Creamcheese.
The CD version was released in 1987, and contained a new song, "Tengo Na Minchia Tanta" (meaning "I've Got a Big Cock" in Sicilian), sung in Italian by Massimo Bassoli, and nearly 40 minutes' worth of sound-bites from the movie. However, many fans have resented these additions, since "Tengo Na Minchia Tanta" was recorded in an entirely different time period, and the movie soundbites are considered by some to be superfluous to the listening tracks. Additionally, their additions force the reissue to use two discs, when the album in its original form could fit on just one disc. Many fans refer to these so-called bonuses as "penalty tracks."

Frank Zappa – guitar, percussion, vocals
Jimmy Carl Black – percussion, drums, poverty
Ray Collins – vocals
Roy Estradabass guitar, vocals
Bunk Gardner – clarinet, flute, bass clarinet, piccolo, alto saxophone, soprano saxophone, tenor saxophone
Ruth Komanoffmarimba, vibes
Billy Mundi – drums
Don Prestonelectric piano
Euclid James Sherwood – tenor saxophone, tambourine, voices, choreography
Art Tripp – percussion, chimes, drums, marimba, xylophone, bells, tympani, vibraphone, wood block
Ian Underwood – clarinet, flute, piano, celeste, harpsichord, alto saxophone, baritone saxophone, wind, electronic organ
Nelcy Walker – soprano vocals
Pamela Zarubica as Suzy Creamcheese


Disc one
"Uncle Meat: Main Title Theme" – 1:56
"The Voice of Cheese" – 0:26
"Nine Types of Industrial Pollution" – 6:00
"Zolar Czakl" – 0:54
"Dog Breath, in the Year of the Plague" – 3:59
"The Legend of the Golden Arches" – 3:28
"Louie Louie (At the Royal Albert Hall in London)" (Richard Berry) – 2:19
"The Dog Breath Variations" – 1:48
"Sleeping in a Jar" – 0:50
"Our Bizarre Relationship" – 1:05
"The Uncle Meat Variations" – 4:46
"Electric Aunt Jemima" – 1:46
"Prelude to King Kong" – 3:38
"God Bless America" (Irving Berlin) – 1:10
"A Pound for a Brown on the Bus" – 1:29
"Ian Underwood Whips It Out" – 5:05
"Mr. Green Genes" – 3:14
"We Can Shoot You" – 2:03
"If We'd All Been Living in California..." – 1:14
"The Air" – 2:57
"Project X" – 4:48
"Cruisin' for Burgers" – 2:18

Disc two
"Uncle Meat Film Excerpt, Pt. 1" – 37:34
"Tengo Na Minchia Tanta" – 3:46
"Uncle Meat Film Excerpt, Pt. 2" – 3:50
"King Kong Itself (as played by the Mothers in a studio)" – 0:49
"King Kong II (its magnificence as interpreted by Dom DeWild)" – 1:21
"King Kong III (as Motorhead explains it)" – 1:44
"King Kong IV (the Gardner Varieties)" – 6:17
"King Kong V (as played by 3 deranged Good Humor Trucks)" – 0:34
"King Kong VI (live on a flat bed diesel in the middle of a race track at a Miami Pop Festival . . . the Underwood ramifications)" – 7:24

Links:Part 1:
Part 2:
Part 3:

quarta-feira, 23 de janeiro de 2008

Mike Oldfield - Amarok(1990)

(When you listen to this album,you must listen it all,at once,in a good volume and never interrupt it,only when it's really necessary)

Amarok is a record album written and mostly performed by Mike Oldfield. It was his thirteenth album and is considered by fans to be his most distinctive work: a single sixty-minute track of continuous, uninterrupted but constantly-changing music. It is also noted for having almost none of the music or sound generated purely by electronic means, Oldfield eschewing synthesizers for "real" instruments and sound sources.

Virgin Records had been trying to convince Oldfield to release a sequel to Tubular Bells, though probably more for the name recognition than anything else, particularly as Oldfield's contract was due to expire. Instead, he created an album that seems to have been designed to be as much a delight to his fans as it was a frustration to Virgin.

It is next to impossible to isolate any one short, radio-friendly section of Amarok without it seeming out of place, and thus no single could be cut and released separately, nor could the album ever be played on popular radio. Similarly, Amarok has never been performed live in its entirety, though Oldfield has played excerpts from time to time. Oldfield had expressed many times his displeasure at Virgin's lack of promotion of his works, and Amarok might have been his revenge: a completely unmarketable album that still showcased his talent as a composer and performer. Oldfield did attempt to circumvent Virgin and create publicity for the album by offering a prize of £1000 of his own money to the first person to find the "secret message" hidden within it,although the competition received little coverage and consequently its impact on sales was negligible.
The message was actually a piece of Morse code found 48 minutes into the piece and spelling out "FUCK OFF RB", a direct statement to Virgin chief Richard Branson.
In addition to his usual impressive list of instruments, Oldfield also employed a number of items in Amarok's creation such as shoes, spoons, a Hoover vacuum cleaner and "contents of aeromodeller's toolbox".

Both Amarok, along with Heaven's Open (Oldfield's final album for Virgin) can be seen as a definite "farewell" to the company, and not an overly polite one, either. Along with the aforementioned Morse code message, the album's back cover reads: " HEALTH WARNING - This record could be hazardous to the health of cloth-eared nincompoops. If you suffer from this condition, consult your Doctor immediately ".

Though tubular bells are used on the album, they are ambiguously listed in the liner notes as "long thin metallic hanging tubes," possibly a humorous way for Oldfield to avoid bringing to mind his first work. This may also have been one more snub at Virgin. Oldfield did not release the much-desired sequel to Tubular Bells until he was with Warner Bros. Records.
Many fans do claim that Amarok is to be considered "Ommadawn II", and certainly, Oldfield seems to have involved many of the same people that were a part of Ommadawn: Jabula, Clodagh Simmonds, and Paddy Maloney performed on both. Also, William Murray, who co-wrote the song "On Horseback" for Ommadawn, took the Amarok cover photo and wrote the short story included in the liner notes. Oldfield himself reportedly said in an interview, "It's not "Tubular Bells II"; if anything, it's "Ommadawn II".

The origin of the name has always been a point of contention. Oldfield has said in the past that it was chosen for its sound rather than any particular meaning, but numerous theories abound:
"Amaroq" is Inuktitut for "wolf" - in particular, Amarok is the name of a giant wolf in Inuit mythology, reputed to hunt down lone travellers, and used by parents to frighten children.
"Amárach" is Irish for "tomorrow." It is pronounced with a long second 'a'.
The words "amarok" and "amadán" (the origin of Ommadawn) begin with roughly the same "ama" sound, and there is sufficient evidence that Amarok is a sequel of sorts to Ommadawn.
It could also be that since this was the next to last album that Oldfield did for Virgin Records, it may have been a pun on "(I) am a rock" that is, that Oldfield was stating that he was capable of standing on his own without Virgin.
The final part, "Africa", has the "Sondela" chorus sung in Xhosa. In this prefix-based African language, the language itself is isiXhosa, and the nation is amaXhosa (prefix ama- for many people). Hence, "amaRok" could also be pig Xhosa for "the people of Rock" or "the rock people".
Speaking to a Dutch journalist soon after Amarok's release, Mike Oldfield commented on the title: " It doesn't have a real meaning but it's similar to many Gaelic words, like those for morning or happy. And if you split the letters up, you get Am-a-rok... it could mean: am a rock. Maybe that implies I don't want to change anything by following trends. "

Track listing
The album-long track and its 'movement' names:
"Amarok" – 60:02
– 0:00 - Fast Riff Intro
– 2:32 - Intro
– 5:46 - Climax I - 12 Strings
– 6:18 - Soft Bodhran
– 7:20 - Rachmaninov I
– 8:35 - Soft Bodhran 2
– 9:29 - Rachmaninov II
– 9:56 - Roses
– 10:42 - Reprise I - Intro
– 12:45 - Scot
– 13:16 - Didlybom
– 15:00 - Mad Bit
– 15:56 - Run In
– 16:11 - Hoover
– 18:00 - Fast Riff
– 19:57 - Lion
– 21:57 - Fast Waltz
– 23:42 - Stop
– 24:33 - Mad Bit 2
– 24:46 - Fast Waltz 2
– 25:06 - Mandolin
– 26:07 - Intermission
– 26:23 - Boat
– 29:27 - Intro Reprise 2
– 32:07 - Big Roses
– 33:13 - Green Green
– 34:24 - Slow Waltz
– 36:04 - Lion Reprise
– 37:05 - Mandolin Reprise
– 37:47 - TV am/Hoover/Scot
– 39:50 - Fast Riff Reprise
– 42:22 - Boat Reprise
– 43:32 - 12 Rep / Intro Waltz
– 44:12 - Green Reprise
– 44:46 - Africa I: Far Build
– 48:00 - Africa I: Far Dip
– 48:46 - Africa I: Pre Climax
– 49:32 - Africa I: 12 Climax
– 50:24 - Africa I: Climax I
– 51:00 - Africa II: Bridge
– 51:17 - Africa II: Riff
– 51:34 - Africa II: Boats
– 51:52 - Africa II: Bridge II
– 52:10 - Africa II: Climax II
– 54:22 - Africa III: Baker

The "Sondela" finale of "Africa III" (from 58:44 to 60:02, the end), sung in the Xhosa language:
" Sondela / uSomandla / sukuma / wena / obengezela. "
Come closer / the Almighty / arise / you / shining one.
(Come closer to us, o Almighty: arise, you who shines.)

Mike Oldfield - acoustic bass guitar, acoustic guitar, banjo, bass guitar, bass whistles, bouzouki, bell tree, bodhran, bowed guitar, cabasa, classical guitar, electric guitars, Farfisa, Lowrey and Vox organs, Flamenco guitar, glockenspiel,high-string guitar, Jew's harp, kalimba, mandolin, marimba, melodica, Northumbrian bagpipes, penny whistles, percussion, piano, psaltery, rototom, electric sitar,spinet, timpani, tubular bells (listed as "long thin metallic hanging tubes"), twelve-string guitar, ukulele, violin, vocals, and wonga box.

Janet Brown - voice of "Margaret Thatcher"
Jabula - African choir and percussion
Paddy Moloney - tin whistle
Clodagh Simmonds - vocals
Bridget St John - vocals


Mike Oldfield - Ommadawn(1975)

Ommadawn is a record album written and mostly performed by Mike Oldfield. It is his third album. The cover photograph was by David Bailey. It peaked at #4 on the UK albums chart.
As with Hergest Ridge and Tubular Bells, Ommadawn is another two-movement work. Here Oldfield sought out the ancient Celtic influence on English music and composed for traditional instruments such as Northumbrian bagpipes on the original LP version.
When Oldfield remastered the work for compact disc release he inserted an Uilleann pipe. He also involved musicians noted for their work in folk music including Clodagh Simonds and Paddy Moloney. He combined this with heavy African influences, mainly by the use of the drummers of Jabula. This makes Ommadawn one of the first successful world music albums in Europe.
A Quadrophonic remix version of Ommadawn was released on Boxed a year later. The 1990 album Amarok is often seen as a sequel to Ommadawn.

Though the actual work Ommadawn is two parts, there is a third track found on the album, a short vocal song by Mike Oldfield and William Murray called "On Horseback". "On Horseback" relates to Oldfield, Murray and Leslie Penning's time riding ponies around the area of Hergest Ridge.
In December 1975 Mike released the single "In Dulci Jubilo", with "On Horseback" as the B-side. It reached number 4 in the UK in January 1976. In France, "In Dulci Jubilo" was coupled to a remix of the end of part 1 of Ommadawn. Some copies of the album also include "In Dulci Jubilo" at the end.

Mike Oldfieldacoustic bass, acoustic guitar, banjo, bouzouki, bodhrán, classical guitar, electric bass, electric guitars, electronic organs, glockenspiel, harp, mandolin, percussion, piano, spinet, steel guitar, synthesizers, twelve-string guitar and vocals.
Don Blakeson - trumpet
Herbie - Northumbrian bagpipes
The Hereford City Band - brass
Jabula - African drums
Pierre Moerlen - timpani
Paddy Moloney - Uilleann pipes
William Murray - percussion
Sally Oldfield - vocals
Terry Oldfield - Panpipes
Leslie Penning - recorders
"The Penrhos Kids" (Abigail, Briony, Ivan and Jason Griffiths) - vocals on "On Horseback"
Clodagh Simonds - vocals
Bridget St John - vocals
David Strange - cello

Track listing
"Ommadawn part one" – 19:23
"Ommadawn part two" – 13:54
"On Horseback" (not actually titled on album) – 3:23


quinta-feira, 3 de janeiro de 2008

Captain Beefheart and The Magic Band - Trout Mask Replica


Trout Mask Replica is the third studio album by Captain Beefheart and His Magic Band. The album was produced by Frank Zappa, a friend and former schoolmate of Beefheart (also known as Don Van Vliet), and was originally released on Zappa's own Straight Records imprint in 1969. Combining blues, free jazz, and other apparently disparate genres of American music, it is regarded as an important work of experimental music and appears at number 58 on the List of Rolling Stone's 500 Greatest Albums of All Time.


Trout Mask Replica was released in June 1969 on Frank Zappa's newly formed Straight Records label. By this time, the Magic Band included guitarist Bill Harkleroad and bassist Mark Boston. However, Van Vliet had also begun assigning nicknames to his band members, so Harkleroad is better known as "Zoot Horn Rollo," and Boston as "Rockette Morton," while John French becomes "Drumbo," and Jeff Cotton is "Antennae Jimmy Semens." According to Van Vliet, the 28 songs on the album were quickly written in a number of milliseconds, though band members have stated that he worked on the compositions for roughly 3 weeks using a piano as his writing tool. Drummer John French took the parts, transcribed them to musical notation, and assigned them to each instrument. The group rehearsed Van Vliet's difficult compositions for eight months, living communally in conditions drummer John French described as "cultlike". The Magic Band was holed up in Van Vliet's home in Los Angeles, restricted from leaving the house, eating very little, and practicing for 14 or more hours a day. Van Vliet wanted the whole band to "live" the "Trout Mask Replica" album. When the time finally arrived to record, the band was able to knock out the pieces flawlessly and lead to a very brief recording process.
The 28 songs on Trout Mask Replica draw on blues music, Bo Diddley, free jazz, and sea shanties but the relentless practice blended the music into an iconoclastic whole of conflicting tempi, harsh slide guitar, loping drumming, and honking saxophone and bass clarinet. Van Vliet's vocals range from growling blues singing to frenzied falsetto to laconic, casual ramblings. His lyrics often seem impenetrably strange and nonsensical, but closer examination actually reveals complex poetic use of wordplay, metaphor and all manner of references: music history, American and international politics, the Holocaust, love and sexuality, Steve Reich, gospel music, conformity. Although the album was effectively recorded live, Van Vliet recorded much of the vocals whilst isolated from the rest of the band in a different room, only being in partial synch with the music by hearing the slight sound leakage through the studio window.
Van Vliet used the ensuing publicity, particularly with a 1970 Rolling Stone interview with Langdon Winner, to promulgate a number of myths which have subsequently been quoted as fact. Winner's article stated, for instance, that neither Van Vliet nor the members of the Magic Band ever took drugs, but guitarist Bill Harkleroad later discredited this. Van Vliet also claimed to have taught both Harkleroad and bassist Mark Boston from scratch; in fact the pair were already accomplished musicians before joining the band.


BBC DJ John Peel said of the album: "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work."Peel's playing of the record on late-night radio in Britain was largely responsible for its reaching 21 in the UK charts.
Critic Steve Huey writes that the album's influence "was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless experiments in rock surrealism to follow, especially during the punk/new wave era."Matt Groening has written that his first reaction to Trout Mask Replica was that it was "the worst thing [he]'d ever heard", but now lists the album as one of his favorites. In his 1995 book, "The Alternative Music Almanac", Alan Cross placed the album in the #2 spot on the list of '10 Classic Alternative Albums'. In 1995, Mojo named it the 28th on their "The 100 Greatest Albums Ever Made" list and 51st on their "The 100 Records That Changed the World" list.

Track listing:

All songs written by Van Vliet. The album was produced by Frank Zappa.

"Frownland" – 1:41
"The Dust Blows Forward 'n the Dust Blows Back" – 1:53
"Dachau Blues" – 2:21
"Ella Guru" – 2:26
"Hair Pie: Bake 1" – 4:58
"Moonlight on Vermont" – 3:59
"Pachuco Cadaver" – 4:40
"Bills Corpse" – 1:48
"Sweet Sweet Bulbs" – 2:21
"Neon Meate Dream of a Octafish" – 2:25
"China Pig" – 4:02
"My Human Gets Me Blues" – 2:46
"Dali's Car" – 1:26
"Hair Pie: Bake 2" – 2:23
"Pena" – 2:33
"Well" – 2:07
"When Big Joan Sets Up" – 5:18
"Fallin' Ditch" – 2:08
"Sugar 'n Spikes" – 2:30
"Ant Man Bee" – 3:57
"Orange Claw Hammer" – 3:34
"Wild Life" – 3:09
"She's Too Much for My Mirror" – 1:40
"Hobo Chang Ba" – 2:02
"The Blimp (mousetrapreplica)" – 2:04
"Steal Softly thru Snow" – 2:18
"Old Fart at Play" – 1:51
"Veteran's Day Poppy" – 4:31


Captain Beefheartvocals, harmonica, tenor saxophone, soprano saxophone, bass clarinet, musette, simran horn, hunting horn, jingle bells
Bill Harkleroad (credited as Zoot Horn Rollo) – guitar, flute
Jeff Cotton (Antennae Jimmy Semens) – guitar, vocals on "Pena" and "The Blimp"
Victor Hayden (The Mascara Snake) – bass clarinet, additional vocals
Mark Boston (Rockette Morton) – bass guitar
John French (Drumbo) – drums, percussion
Doug Moon - guitar on "China Pig".
Gary "Magic" Marker - bass guitar on "Moonlight on Vermont", "Veteran's Day Poppy"
Frank Zappa - voice (not vocals) on "Pena", "The Blimp"
Roy Estrada - bass guitar on "The Blimp" (uncredited)
Arthur Tripp III - drums & percussion on "The Blimp" (uncredited)
Don Preston - piano on "The Blimp" (uncredited)
Ian Underwood and Bunk Gardner - alto and tenor saxophones on "The Blimp" (uncredited)
Buzz Gardner - trumpet on "The Blimp" (uncredited)


quarta-feira, 2 de janeiro de 2008

Pink Floyd - The Wall(1979)

The Wall is a concept album/rock opera by the English progressive rock band Pink Floyd, released in 1979. In 1999 the RIAA certified The Wall at 23x platinum, denoting sales of 11.5 million copies of the double album in the United States. The album reached #1 on the Billboard album charts in the US where it stayed for 15 consecutive weeks in early 1980, and it remained on the US charts for two years. The album peaked at #3 in the band's native UK.
"Another Brick in the Wall (Part 2)" was the band's only number one single, reaching #1 in both the UK and the US. Around the world, the album produced a number of hit singles for Pink Floyd, including "Another Brick in the Wall (Part 2)", "Young Lust", "Hey You", "Comfortably Numb" and "Run Like Hell". The Wall was the last Pink Floyd album to feature Rick Wright until his return in 1987. During the recording, Roger Waters demanded a great deal of artistic control, which led to tensions.The album is included in the book 1001 Albums You Must Hear Before You Die, and in 2003, Rolling Stone placed it 87th on their 500 greatest albums of all time list.

"In the Flesh?"
"The Thin Ice"
"Another Brick in the Wall (Part 1)"
"The Happiest Days of Our Lives"
"Another Brick in the Wall (Part 2)"
"Goodbye Blue Sky"
"Empty Spaces"
"Young Lust"
"One of My Turns"
"Don't Leave Me Now"
"Another Brick in the Wall (Part 3)"
"Goodbye Cruel World"
"Hey You"
"Is There Anybody Out There?"
"Nobody Home"
"Bring the Boys Back Home"
"Comfortably Numb"
"The Show Must Go On"
"In the Flesh"
"Run Like Hell"
"Waiting for the Worms"
"The Trial"
"Outside the Wall"

Roger Watersvocals, bass guitar, co-producer, synthesiser, electric guitar, acoustic guitar, sleeve design
David Gilmourguitars, vocals, co-producer, bass guitar, sequencer, synthesiser, clavinet, percussion
Richard Wrightpiano, organ, synthesiser, clavinet, bass pedals
Nick Masondrums, percussion

Lee Ritenour — Rhythm Guitar on "One of My Turns" and Acoustic Guitar on "Comfortably Numb"
Joe Porcaro — Marching Snare drum on "Bring the Boys Back Home"
Blue Ocean — Marching Snare drum on "Bring the Boys Back Home"
Freddie Mandell — Hammond Organ on "In The Flesh?" and "In the Flesh"
Bobbye Hall — Percussion
Ron di Blasi — Classical guitar on "Is There Anybody Out There?"
Larry Williams — Clarinet on "Outside the Wall"
Trevor Veitch — Mandolin
Frank Marrocco — Concertina
Bruce Johnston — Backing Vocals
Toni Tennille — Backing Vocals
Brian Wilson — Vocal Arrangements
Joe Chemay — Backing Vocals
Jon Joyce — Backing Vocals
Stan Farber — Backing Vocals
Jim Haas — Backing Vocals
Fourth Form Music Class, Islington Green School, London — Backing Vocals
Bob Ezrin — co-producer; Orchestra Arrangement; Keyboards
Michael Kamen — Orchestra Arrangement
James Guthrie — Co-Producer; Engineer; Percussion; Synthesiser on "Empty Spaces" (in collaboration with David Gilmour), Sequencer; Drums on "The Happiest Days of Our Lives" (in collaboration with Nick Mason), remastering producer
Nick Griffiths — Engineer
Patrice Queff — Engineer
Brian Christian — Engineer
John McClure — Engineer
Rick Hart — Engineer
Robert Hrycyna — Engineer
Phil Taylor — Sound Equipment
Gerald Scarfe — Sleeve Design
Doug Sax — Mastering and Remastering


The Rolling Stones - Black And Blue

Black And Blue is an album by The Rolling Stones and was released in 1976. It is notable for being their first studio album following guitarist Mick Taylor's departure. Ron Wood became a full member of the band while this album was being produced. However, he only appears on about half the songs: Wayne Perkins and Harvey Mandel play lead guitar on the remaining tracks.


With barely any time to catch their breath following Mick Taylor's quitting, The Rolling Stones returned to Munich, Germany - the site of It's Only Rock'n Roll's recording - in December 1974 and began the recording of their new album at Musicland Studios, with Mick Jagger and Keith Richards (at the time under a heavy heroin addiction) - as The Glimmer Twins - producing again. With a view to have it released in time for the summer 1975 Tour of the Americas, the band broke for the holidays and returned in January in Rotterdam, Netherlands to continue the good work - all the while auditioning new guitarists as they recorded. Among the hopefuls were Jeff Beck, Rory Gallagher, Harvey Mandel, Wayne Perkins, Peter Frampton, and Ron Wood, although only Mandel's, Perkins' and Wood's guitar work would appear on the finished album. With much work to follow, it was decided to delay the album for the following year and release the Made in the Shade compilation instead. "Cherry Oh Baby" (which was a cover version of an early reggae song) would be the only song from the upcoming album even sporadically played on the Americas Tour.
Following the conclusion of the tour, The Rolling Stones went to Montreux, Switzerland in October for some overdub work, while returning to Musicland Studios in Munich in December to perform similar duties. Upon their arrival at Musicland Studios, the Rolling Stones were reportedly amazed that Led Zeppelin had recorded and mixed their entire album Presence in a mere seventeen days, with Led Zeppelin's Jimmy Page having stayed awake for two days straight to perform all of the guitar overdubs just before the arrival of the Rolling Stones.
After some final touch-ups, Black and Blue was completed in New York City in February 1976.
Stylistically, Black and Blue - so named for its black music influences - embraces funk with "Hot Stuff", reggae with their cover of "Cherry Oh Baby" and jazz with "Melody", featuring the talents of Billy Preston - a heavy contributor to the album. Musical and thematic styles were merged on the seven-minute epic "Memory Motel", with both Jagger and Richards contributing lead vocals to a love song embedded within a life-on-the-road tale.
Released in April 1976 - with "Fool to Cry", a worldwide Top 10 hit, as its lead single - Black and Blue reached #2 in the UK and spent an interrupted four week spell at #1 in the US, going platinum there. Critical view was polarized, with some finding its emphasis on jamming a reflection of the perceived weak songwriting, while others consider it an undervalued gem.
The album was promoted with a controversial billboard on Sunset Boulevard in Hollywood that depicted a bruised, bound woman under the phrase "I'm Black and Blue from the Rolling Stones — and I love it!" The billboard was removed after protests by the feminist group Women Against Violence Against Women, although it earned the band widespread press coverage.[1]
Two extra tracks recorded in the Rotterdam sessions were later released on 1981's Tattoo You.
In 1994, Black and Blue was remastered and reissued by Virgin Records.

Track listing:

All songs by Mick Jagger and Keith Richards, except where noted.

"Hot Stuff" – 5:20
"Hand of Fate" – 4:28
"Cherry Oh Baby" (Eric Donaldson) – 3:53
"Memory Motel" – 7:07
"Hey Negrita" – 4:58
"Melody" – 5:47
"Fool to Cry" – 5:04
"Crazy Mama" – 4:34


Mick Jagger - Vocals, Backing Vocals, Percussion, Guitar, Piano, Electric Piano
Keith Richards - Guitar, Backing Vocals, Vocals, Electric Piano, Bass
Charlie Watts - Drums, Percussion
Bill Wyman - Bass, Percussion
Ron Wood - Guitar, Backing Vocals
Ollie Brown - Percussion
Nicky Hopkins - Electric Piano, Organ, String Synthesizer
Harvey Mandel - Electric Guitar
Wayne Perkins - Guitar, Acoustic Guitar, Electric Guitar
Billy Preston - Backing Vocals, Piano, Vocals, Organ, Keyboards, String Synthesizer
Ian Stewart - Percussion

Took from