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블루스 명곡모음 앨범 전곡듣기 Feel the Blues Vol.Ⅶ-4
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[참 조] ▒ ▒ ▒ LandBerk - Discography ▒ ▒ ▒ |
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Album Title: Indian Summer[1996년] |
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1 Humanize 6:07
2 All Around Me 9:03
3 1st of May 3:34
4 I Wish I Had a Boat 5:41
5 Dustgod 5:04
6 Dreamdance 4:49
7 Why Do I Still Sleep 7:55
8 Indian Summer 5:12 |
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Album Review by by François Couture
There had already been a significant change in direction between Landberk's Lonely Land and One Man Tells Another, but nothing that could have foretold the Swedish group's third and final opus, Indian Summer. Shedding its progressive rock skin, Landberk reinvented itself as a mellow alternative-cum-intelligent rock outfit. Some people will be tempted to compare this album to Pink Floyd's atmospheric rock, but it has more bite than that, it is less-polished to the bone, more elemental and emotional, hinting at Radiohead's OK Computer a year before the latter came out. These are slow songs inhabited by understated melodies, atmospheric electric guitars, and slow, thoughtful solos. The album requires some getting used to, especially if you expect something in a more overtly prog rock vein. Tracks like "Humanize," "I Wish I Had a Boat," and "Why Do I Still Sleep" reveal their beauties after repeated listens, once you cannot get their melodies out of your head. "1st of May" and "Dustgod" balance the album by bringing harder-rocking moments, although the attention to detail and mood remain unchanged. The title track closes the album with a heartbreakingly simple guitar piece. This album was cruelly overlooked because, coming out of the '90s prog rock network, it was dismissed as being too uncharacteristic by the fans and yet it was unable to reach the wider audience it was targeting. It deserved to succeed -- you deserved it. |
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[참 조] ▒ ▒ ▒ Louis Bertignac - Discography ▒ ▒ ▒ |
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Album Title: Telle Est Ma Vie [1998년]
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Disc 1
1 Vas-Y Guitare 4:36
2 Pas Cassé 3:22
3 Days of 96 4:57
4 Pluie de Blues 7:23 
5 Maguy T'Arrache Pas 5:17
6 Oubliez Moi 2:45
7 Sniper 3:26
8 Je N'Veux Plus T'Attendre 5:30
9 Cendrillon-Version 97- 7:06
10 Le Vent Viendra 6:38
11 (Sittin' On) The Dock of theBay 3:09
12 Muddy Waters Blues 7:17
13 Piste CD Rom : 120 Mo [CD-ROM Track]
Disc 2
1 Jack 3:39
2 Sympathy for the Devil 2:21
3 Hey Jude/Reprise Sympathy 3:33
4 Love in Vain 4:50
5 Girl of the North Country 1:53
6 Telle Est Ma Vie 7:20
7 2000 Nuits 5:06
8 Cœur Ouvert 8:29
9 Flipper 7:44
10 Hygiaphone 3:38
11 Wild Thing 5:57
12 Ces Idées Là 10:36
13 Piste CD Rom : 80 Mo [CD-ROM Track]
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[ 참 조 ] ▒ ▒ ▒ Rory Gallagher - Biography ▒ ▒ ▒ |
블루스를 사랑하는 정열의 아이리쉬 혈통의 기타리스트이다.
1948년 3월 아일랜드의 도네갈(Donegal) 태생인 [로리 갤러거]는 로큰롤의 원조인[빌 헤일리], [엘비스 프레슬리], 스키풀 음악의 [로니 드네건]등을 듣고 자랐으며 10세에 어쿠스틱, 12세엔 일렉트릭을 연주했다.
15세에 쇼우 밴드(풀 밴드)에 기타리스트로 입단했으나, [비틀즈]와 [롤링 스톤즈]등의 음악을 접하게 되고, 그의 뿌리가 된 [머디 워터스], [지미 리드]등의 본바닥 블루스에 끌리어 1969년 3인조 그룹[테이스트(Taste)]를 결성해서 묘기에 가까운 스테이지 매너에 절묘한 기타 워크로 특히 라이브에서 좋은 반응을 얻었다.
철저하게 대중적인 인기에 영합하기를 싫어했던 로리의 성격은 TV쇼 조차도 거부하고 오로지 앨범과 라이브 공연을 통해서만 음악을 계속 했다.
그룹 [테이스트]는 8장의 앨범을 내놓고 해체하였지만 [로리 갤러거]는 솔로 활동을 통하여 유행의 변화에 쫓지 않고 록에 바탕을 둔 블루스 연주자로서 자신의 스타일을 지켜나갔다.
1995년 런던에서 47세의 젊은 나이로 생을 마감한 [로리 갤러거]는 자신이 심각한 병에 걸린 것을 알면서도 1994년 말까지 라이브를 계속 함으로써 그의 음악에 대한 애착을 엿 볼 수 있었다.
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Album Title: Live in Europe / Stage Struck [1972년]
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1 Messin' With the Kid 6:10
2 Laundromat 4:55
3 I Could've Had Religion 8:25
4 Pistol Slapper Blues 2:55
5 Going to My Home Town 6:03
6 Bullfrog Blues 6:47 
7 Shin Kicker 3:50
8 Wayward Child 4:30
9 Brute Force and Ignorance 4:05
10 Moonchild 6:07
11 Follow Me 5:55
12 Bought and Sold 4:35
13 Shadow Play 5:06 |
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Album Review by Thom Owens
The live album Live in Europe/Stage Struck captures Rory Gallagher at his finest, as he tears his way through many of his very best songs. Though the performance quality is a little uneven, there are gems scattered throughout the record, including smoking versions of "Messin' with the Kid" and "Laundromat." |
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[참 조] ▒ ▒ ▒ Blues Creation - Biography ▒ ▒ ▒ |
Blues Creation [1969 -1971] (http://www.kazuotakeda.com/)
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Blues Creation은 기타리스트 타케다 카즈오(竹田和夫)가 주축이 된 헤비블루스록 밴드이다. 6,70년대의 블루스 기조의 록밴드를 사랑하는 올드록팬들에겐 반색할만한 밴드이지 않을까 싶다. 일본 밴드라는 것도 흥미를 돋우는 한 요소이기도 하지만 이들이 데뷔할 당시의 그룹 멤버의 평균연령이 18세에 불과하다는 점이 더욱 흥미를 끈다. 일본어 가사의 노래를 부르는 밴드가 활성화되기 전이어서 이 그룹 역시 영어 가사의 노래를 한다. 마치 90년대 중반까지 영어가사로 작사를 해서 노래를 하던 우리나라 메탈밴드의 사정과 유사하다 하겠다. 타케다 카즈오는 Blues Creation 해산 후 Mountain의 펠릭스 패퍼랄디와 작업을 하게 된다.
Even by the flash-in-the-pan standards of Japan's turbulent late-‘60s/early-70s post-Group Sounds psychedelic rock scene, Blues Creation seemed to come out of nowhere and head right back there again faster than most anyone else. Like many of its contemporaries, Blues Creation was launched by a budding Japanese guitar hero whose mind had been effectively blown by the deafeningly heavy sounds of Led Zeppelin and Black Sabbath -- this being Kazuo Takeda, who had actually already spent some time playing in Europe and America, and was therefore a first-hand witness to the sonic events that spawned heavy metal's birth. But before going down that road, Takeda and his chosen Blues Creation bandmates, Fumio Nunoya (vocals), Takayuki Noji (bass), and Shinichi Tashiro (drums), recorded an eponymous 1969 debut filled with heavy-handed blues covers (a strategy copied by Flower Travellin' Band just one year later), as befit their chosen moniker. But Takeda would soon have his stylistic rethink and scrap everything for a new lineup consisting of Hiromi Osawa (vocals), Masashi Saeki (bass), and Akiyuki Higuchi (drums), returning in 1971 with Blues Creation's most legendary artifact, the cryptically named sophomore LP, Demon & Eleven Children, which was awash in primal, proto-metallic acid rock. The album would only achieve legendary status decades later, though, and so the rest of that year found a multi-tasking Blues Creation recording another album backing singer Carmen Maki (billed as Carmen Maki & Blues Creation), as well as a jam-happy concert document entitled simply Blues Creation Live. And then there was…silence; and by the very next year Takeda had decided to break up the band and move back to London, where he befriended American hard rockers Mountain (among others), and duly returned to Japan for a tour with them in 1975. Now leading a new power trio billed only as Creation, he recorded several albums well into the early '80s, including 1975's Creation, 1976's Felix Pappalardi & Creation (recorded with the man himself in Nantucket), 1977's Pure Electric Soul, 1978's Super Rock in the Highest Voltage, 1981's Lonely Heart, and 1982's Rock City. In the aftermath, Takeda continued to perform live, work sessions as a musician and producer, and released more than 20 solo albums, but it's arguably still Blues Creation's brief but volcanic existence that headlines his impressive CV.
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