The Rolling Stones - She's A Rainbow

 #The Rolling Stones #Keith Richards #Mick Jagger #blues rock #hard rock #classic rock #psychedelic rock #British blues rock #British psychedelia #rock & roll #1960s

Part druggy experiment, part musical rivalry with the Fab Four, and a total anomaly in the Rolling Stones' catalogue, Their Satanic Majesties Request contains at least three trippy classics in "Citadel," "She's a Rainbow," and "2000 Light Years From Home." That it also contains an extensive sample of Bill Wyman snoring and an eight-minute stoned jam that begins with the timeless phrase "Where's that joint?" is a measure of Satanic Majesties' breadth of genius and folly. There's a lot going on here - try comparing the wayward Eastern atmospheres of "Gomper" to anything on Beggar’s Banquet, and marvel that you're listening to the same band. The fact that Jagger and Richards could still come up with the unimpeachably charming "She's a Rainbow" - baroque pop at its finest - and a fair stab at heavy R&B in "The Lantern," while attempting to negotiate the band's rocky passage through Flower Power is a tribute to their vision, their perseverance, and their drugs of choice.  From: https://www.amazon.com/Satanic-Majesties-Request-Rolling-Stones/dp/B00006AW2M  

The Rolling Stones song ‘She’s A Rainbow’ was met with a mixed reaction when it was first released back in 1967 but, as the years have gone by, the track has quite rightly grown in appreciation. Now, the track is firmly seen as a highlight from the psychedelically twinged Their Satanic Majesties Request. Remarkably, John Paul Jones, who would of course later go on to conquer the world with Led Zeppelin, arranged the strings of this song during his days as a session musician. The backing vocals were a joint effort by the entire band apart from Charlie Watts who had managed to escape his duties. In truth, the whole recording process for the record was a giant mess. Their legal ongoings at the time were causing issues after the infamous Redlands bust that saw Mick Jagger and Keith Richards spend time behind bars immediately after the time they began recording. This meant that it took the band over eight months in total to record the album as the legal problems coupled up with their newfound adoration for psychedelic drugs created a recipe for professional disaster that somehow created incredible art.
In his 2002 book Rolling with the Stones, Wyman describes the situations in the studio: “Every day at the studio it was a lottery as to who would turn up and what – if any – positive contribution they would make when they did,” he said. “Keith would arrive with anywhere up to ten people, Brian with another half-a-dozen and it was the same for Mick. They were assorted girlfriends and friends. I hated it! Then again, so did Andrew (Oldham) and just gave up on it. There were times when I wish I could have done, too.” “Sometimes I think it was a miracle that we produced anything with all the emotional upheavals within the group,” Wyman also noted. The late Anita Pallenberg was rumoured to be the muse for the track, with a 2020 biography by Simon Wells on the late model even being titled She’s A Rainbow. Pallenberg had just come out of a relationship with Brian Jones in 1967 after he was physically abusive to her in Morrocco, Keith Richards saw the violence and took her back safely to England with the two falling instantly in love with one another — even going on to have three children together.
The trippy sounding track isn’t a sound that one would associate with The Stones outside of Their Satanic Majesties Request but ‘She’s A Rainbow’ has become a true cult classic with their ardent fans as the years have passed. It took 30 years before they took to performing it at a touring show and then, following that run of dates, it was yet again put back on the shelf until 2016 with it now finally being a deserved regular in their sets.
From: https://faroutmagazine.co.uk/story-behind-the-rolling-stones-shes-a-rainbow/

Michelle Shocked - Prodigal Daughter

#Michelle Shocked #contemporary folk #folk rock #alternative folk #alternative rock #folk punk #bluegrass #folk blues #Americana #country rock #singer-songwriter 

Arkansas Traveler, the third and last album Michelle Shocked released for Mercury/Polygram records ‘received little commercial notice’ according to Shocked’s Wikipedia entry. Which shows you exactly how underrated this album is. Not only to ‘the public’ (which proves once again how poor taste it has, generally speaking), but also in the music critics and opinions – at leat that is the impression you get looking for information about the album in places such as her own website, not to mention other places you would expect to find one of the classic and most amazing Roots music records ever. It’s not really mentioned all too often and when it is it’s mostly the album that didn’t do well – a greatly undeserved accolade. It was, fortunately, however re-released together with her other early work on her own Mighty Sound label, made possible thanks to the fact that she retained the rights to her work when she signed to Mercury (wise move, that). Which means that if you don’t know the album you should still be able to get it should my review entice you to do that. The album I am writing about here however is the original 1992 version. She is undoubtedly best known and most revered for her 1988 album Shot Sharped Shocked with its iconic cover image – and the standout track Anchorage, her ‘greatest’ (and pretty much only) chart hit. However good that album is (haven’t heard that in ages I have to confess, as I don’t currently own a copy – it’s been on my to-buy list for a very long time). Of course I love Anchorage a lot too (how can you not?), but Arkansas Traveler is most definitely my favorite album of hers by a long shot.
Even just reading a list of the artists involved on here is jaw-dropping, really. And that’s a long list indeed, but I just have to give you that here,although I am not too keen on name-dropping generally: The Band. Don Was/Mitchell Froom/Jerry Scheff/Kenny Aronoff. The Red Clay Ramblers (w/Bernie Leadon). The Hothouse Flowers (Anybody rembering them?). Uncle Tupelo. Taj Mahal. Doc Watson (R.I.P) & Jerry Douglas. Alison Krauss & Union Station.Rising Fawn String Ensemble (feat. Norman and Nancy Blake). (Paul Kelly) & The Messengers. Jimmy Driftwood (R.I.P.) Her father ‘Dollar Bill’ and brother Max Johnston (later of Uncle Tupelo, Wilco and The Gourds). So far, so good. Just names. But what this list doesn’t tell you is what each and every single artist mentioned here (and the ones not mentioned by name in their respective bands) contributes to making this album, well, one of the best albums of all-time, especially as far as Roots music is concerned. I kid you not. Of course this is an entirely personal and subjective matter. But the sheer quality you get on each track is utterly amazing. I would assume she had the time of her life recording this album – although getting all the artists together must have been a hell of a lot of work. Pleasant in nature of course, but doubtless there must have been a lot of hurdles to get them all to commit to this project. But given they must have all been artists for which the joy of playing comes first it most probably didn’t take them too much convincing to join the fun.  In any case all of the tracks on the album are brimful with energy, enthusiasm and the fun I assume was had by all is palpable anywhere, but especially in her vocals.  From: https://backroadbound.com/2014/05/13/michelle-shocked-arkansas-traveler/

Michelle Shocked is the chosen name of singer-songwriter Karen Michelle Johnson, known for her iconoclastic bent, both musically and politically. Throughout her career Shocked has used her music to deliver stinging social commentary. She has also explored a wide range of musical interests in folk, western swing, gospel, and blues with Texas roots.  From: https://musicianguide.com/biographies/1608004750/Michelle-Shocked.html

Psychedelic Porn Crumpets - Acid Dent

 #Psychedelic Porn Crumpets #psychedelic rock #progressive rock #garage rock #alternative rock #hard rock #stoner rock #Australian #animated music video #claymation

Psychedelic Porn Crumpets is an Australian psychedelic rock band formed in 2014 in Perth. The band has been cited saying that some of the inspiration for their music comes in part from classic rock of the 1960s and 1970s, such as Led Zeppelin, Black Sabbath, and the Beatles. However, they have been influenced by more than just the rock genre, getting inspiration also from experimental electronic jazz. Jack McEwan, the band's vocalist, has also mentioned that their style "is pretty much identical" to that of Pond and Tame Impala, bands that are often viewed to be in the same sphere. McEwan has also stated that he believes Australia, and his hometown of Perth specifically, to be a hotspot for rock music, and attributes the growth of the band partially to the live music scene in the city. Besides the Porn Crumpets, King Gizzard and the Lizard Wizard and Tame Impala, two of the band's influences, also hail from Australia. Some have given credit to King Gizzard and Tame Impala for creating the current Australian psychedelic rock scene. Many consider psychedelic rock to be Australia's main musical export in modern times, also citing bands such as Pond, Orb, Gum and more as evidence for this claim.  From: https://en.wikipedia.org/wiki/Psychedelic_Porn_Crumpets

Zepparella - When The Levee Breaks

 #Zepparella #Led Zeppelin tribute band #classic rock #blues rock #heavy metal #hard rock #all-female band #cover band #music video

If it’s not a tribute band, or a quartet of groupies pining to peel off Jimmy Page’s pants, or a bunch of rock ‘n’ roll wannabes, or Howard Stern’s favorite band, what then, is Zepparella? Serious. The San Francisco-based quartet of women rockers came together in summer 2005, when jazzy singer Anna Kristina joined guitarist Gretchen Menn, bassist Nila Minnerock and drummer Clementine, who in great rock fashion simply goes by her first name. Separately, each has her own musical interests, which range from prog rock and metal to electronica and jazz, but together, it’s all about Led Zeppelin, baby.
“It’s a tribute to the music,” Clementine said when reached in San Francisco before their current tour, which sees the band at Sam Bond’s Garage on Friday. “We’re a tribute band in that we’re playing one band’s music, but we don’t really care about Jimmy Page’s pants.” Apparently, a lot of other bands do care about his pants. They’re everywhere: Black Dog, Stairway Denied, Led Zepland, Hammer of the Gods, The Immigrants (an Italian Led Zeppelin tribute band) or The Vibe Remains the Same.
But just because other bands play out their fantasies of being part of one of the greatest rock bands ever, if only for a night at a time, doesn’t mean the ladies of Zepparella are going to follow suit. “To me, tribute bands look like the players and sound just like the players – and that’s really fun. I’m not putting it down,” Clementine said. “But for Led Zeppelin, I feel like we wouldn’t be doing the music justice if we did that.”
To do the music justice, Clementine said, the band, which takes its name from Led Zeppelin and the campy Jane Fonda film “Barbarella,” learns the songs exactly as they sound on the album. “But as we play together, things happen and the songs start to breathe and our own music starts coming through.” There are guitar riffs and grooves on the drums the band wants to hit, but they leave a lot of room for the songs to have a life of their own. “These songs are built for different interpretations,” she said, “so it’d be kind of a crime to stick to the record version.”
The band’s album, “Live at 19 Broadway,” gives a taste of the similarities, and differences, between the two Zeps. One difference is the vocals. If anything, Robert Plant is more effeminate than the lustrous Kristina, whose jazz-influenced voice shines through. “She’s a jazz singer more than a rock singer, so it’s tougher for her to do this,” Clementine said. “She’s really gotten into learning the whole rock thing, and Plant is such a great place to start. “She’s not really trying to sound like him. It’s more the phrasing and the delivery.”
But there are times when Kristina definitely conjures up memories of Plant. The beginning of the band’s cover of Zeppelin staple “Whole Lotta Love” sounds as if Kristina ate Plant for breakfast and he’s trying to escape from inside of her. And the wails at the start of “Immigrant Song” are just as haunting and powerful as the original. The rest of the band does Zeppelin justice as well. Menn’s powerful guitar riffs, Minnerock’s steady bass and Clementine’s thundering drums capably carry Zepparella through Zeppelin’s oeuvre.
Even Howard Stern had nothing bad to say about the band’s take on Zeppelin. Zepparella is on a compilation record of all-women tribute bands, and Stern – that champion of feminism everywhere – was talking about the album in less than flattering terms on his show. “They chose one song to play, and it was one of ours,” Clementine said, laughing. “But they were like, ‘Hey, this is pretty good,’ and we were happy they were saying our name on the radio.” The band learned Led Zeppelin has heard of Zepparella, Clementine said. Robert Plant’s question: “Are they any good?” Yes, Mr. Plant, they are.
From: https://www.dailyemerald.com/archives/the-girls-of-zepparella-make-classics-their-own/article_6d019491-f59d-58ee-9283-6bf7eb604d84.html

Zepparella - four women intent on bringing the passion, the beauty, the aggression, and the musicality of Led Zeppelin alive. Zepparella explores their own improvised magic within the framework of Zeppelin’s mighty songs. For five years, the Zeppelin love has washed in waves out of the doors of the venues. Initial skeptics have been quickly converted.  From: https://dola.com/artists/zepparella

Tautumeitas - Raganu Nakts

 #Tautumeitas #Latvian folk #world music #traditional folk #Eastern European folk #music video

Tautumeitas - Raganu Nakts

Hey all, I'm wondering if anyone can offer info about this song. I've read a google translation, so I have a vague idea of what the lyrics mean. I'm curious about the history of the group and some background on where they are conceptually coming from. The percussion is also really interesting and I'm curious of the instrumentation? Are they traditional latvian instruments/rhythms? (Sounds similar to japanese taiko drumming.) I am a descendant of Latvians displaced after WW2. I'm not fluent in this beautiful language yet, I apologise, I will get there. In the mean time, I'm trying to develop cultural appreciation and understanding through music. I've become a bit infatuated with this song and I'd love to know more.

Firstly - original Latvian (mostly older dialect) lyrics from the folk song that they are using as a basis for their track can be found here - https://genius.com/Tautumeitas-raganu-nakts-lyrics
As with most folk songs, there is no good (proper, well understandable) translation possible for this song. It's basically a short snippets of explanation supported by repeating chants ("līgo, līgo" - phrase being chanted during the "Jāņi" celebration - Latvian national summer solstice festival with long history). General idea throughout the song is that there is "Jāņi" being celebrated that night, and girls are taunting all the evil spirits and daring them to try to come in their farmstead, which is protected by old-Latvian protective signs, and they are singing that nothing bad will happen to them. I must explain that this is a common theme throughout many Latvian folk-songs, especially the ones dedicated to "Jāņi" celebrations - you see, it's an old folk belief that during the "Jāņi" night Latvians feel the most united and strongest, and are even daring the evil spirits. So there are a LOT of folk songs and tales with this motive.
P.S. "Tautumeitas" currently is, imho, by far the coolest and most successful folk-music related band, that is singing and playing their own versions of the classic folk songs, making them way more attractive to the younger audience. I highly suggest you to check out their other songs from the latest album - they are all great.

From: https://www.reddit.com/r/latvia/comments/gf3k8w/tautumeitas_raganu_nakts_info/

Tautumeitas is a Latvian folk/world music band formed in 2015. The band consists of six women vocalists/instrumentalists. Their album 'Songs From Auleja', released in 2019, introduced the world to sixteen songs from the Latvian village of Auleja. These songs, based on recordings found in archives, were also unfamiliar to most Latvians. In fact, it is this repertoire of songs that brought Tautumeitas together in the first place. The traditional form of a cappella multipart singing on this album, known as bolsi, is linked with specific times of the year or special celebrations. The texts tell about various natural phenomena as well as events and activities in people’s lives. These multipart songs were traditionally sung outdoors, the singers actively interacting with the environment.  From: https://www.lmic.lv/en/musicians/-tautumeitas-4619#!/

The Crazy World of Arthur Brown - Fire

#The Crazy World of Arthur Brown #psychedelic rock #experimental rock #theatrical rock #British R&B #psychedelic soul #proto-prog #operatic vocals #1960s

The Crazy World of Arthur Brown were an English rock band formed by singer Arthur Brown in 1967. The original band included Vincent Crane (Hammond organ and piano), Drachen Theaker (drums), and Nick Greenwood (bass). This early incarnation was noted for Crane's organ and brass arrangements and Brown's powerful, wide ranging operatic voice. Brown was also notable for his unique stage persona which included such things as extreme facepaint and a burning helmet. Their song "Fire" (released in 1968 as a single) sold over one million copies, and was awarded a gold disc, reaching number one in the UK. In the late 1960s, the Crazy World of Arthur Brown's popularity was such that the group shared bills with the Who, Jimi Hendrix, the Mothers of Invention, the Doors, the Small Faces, and Joe Cocker, among others. Following the success of the single "Fire", the press would often refer to Brown as "The God of Hellfire", in reference to the shouted opening line of the song, a moniker that exists to this day.  From: https://en.wikipedia.org/wiki/The_Crazy_World_of_Arthur_Brown

 

Aorta - Sleep Tight

 #Aorta #psychedelic rock #acid rock #folk rock #jazz rock #proto-prog #psych pop #1960s

Aorta were an American psychedelic rock band from Chicago who recorded two albums in the late 1960s and early 1970s. The band developed from a soul, pop and rock'n'roll group who had originally formed in Rockford, Illinois in 1962 as Kal David and the Exceptions. Its members were Kal David (vocals and guitar), Peter Cetera (bass, vocals), Denny Ebert (drums, vocals), and Marty Grebb (saxophone, keyboards, guitar, vocals). David left in 1965, to join The Rovin' Kind, later to become Illinois Speed Press, and was replaced by James Vincent (later known as Jim Donlinger). The band was then known as The Exceptions. They released several singles on local labels, and an EP, Rock and Roll Mass, on the Flair label, before Grebb left to join The Buckinghams, being replaced by Jim Nyeholt. Ebert also left to be replaced by Billy Herman. As The Exceptions, Vincent (Donlinger), Cetera, Nyeholt and Herman recorded several singles for Capitol Records, but Cetera left when the other members expressed a desire to perform more psychedelic material. Cetera joined The Big Thing, who became Chicago Transit Authority and then Chicago.
After recruiting Bobby Jones as the new bass player, the group changed their name to Aorta in 1967, for a short period also adding Dan Hoagland on tenor sax. With Jim Donlinger on lead vocals, the band recorded a single, "The Shape Of Things To Come", a song written by Barry Mann and Cynthia Weil and included on the soundtrack to the movie Wild in the Streets by the fictional group Max Frost and the Troopers. Aorta signed to Dunwich Productions, a company formed by Bill Traut, and the single was leased for release on Atlantic Records. Under Traut's management, the band were then signed to Columbia Records to record an album. Their first LP was produced by Traut and Donlinger. Entitled Aorta, it was issued in early 1969, as part of a drive by Columbia to promote "the Chicago sound" - the company simultaneously released albums by Chicago, Illinois Speed Press, and The Flock. The album has been described as a "startling record which was a mix of psychedelia, soul, jazz, folk, and rock housed in a beautiful, graphic sleeve that has always overshadowed the great music from within. Aorta is solid throughout, featuring strong musicianship, inventive studio wizardry, superb songs with a healthy dose of fuzz guitar and wonderful string and horn arrangements." The group toured in support of bands such as Led Zeppelin, Janis Joplin and The Mothers of Invention, and were given a major showcase opportunity to impress music industry leaders at the Fillmore East in New York City. However, according to Donlinger, the band were offered LSD by another musician before the show, resulting in them giving what was described as a "train wreck" of a performance.
Jones and Herman then left, and Donlinger and Nyeholt, together with Donlinger's drummer brother Tom, temporarily joined the Rotary Connection. However, they then decided to reform Aorta, with the Donlinger brothers and Nyeholt adding Michael Been on bass, guitar and vocals. The band recorded a second album, Aorta 2, in a radically different style, leaning more towards country rock with Christian overtones. They finally split up shortly after its release on the Happy Tiger label in early 1970. Jim Donlinger and Michael Been, together with former Exceptions member Marty Grebb, then joined the band Lovecraft (previously H. P. Lovecraft).  From: https://en.wikipedia.org/wiki/Aorta_(band)

Spirit - Aren't You Glad

 #Spirit #Randy California #Jay Ferguson #psychedelic rock #hard rock #progressive rock #experimental rock #jazz rock #blues rock #eclectic #West coast psychedelia #1960s

Spirit’s sophomore album shows a more mature band sound that took the psychedelic rock, contemporary folk, classical and jazz-fusion elements of the debut and found them woven together in a tight musical tapestry with that off-kilter 60s psychedelia basted in a strong steady backbeat. One again Marty Paich made a reprise with his unique stamp with arrangements for string and horns which added the proper symphonic backing that with the jazz-tinged rock pieces created a veritable progressive rock template for 70s symphonic bands to expand upon. While Spirit never cranked out the hit singles, the opener "I Got A Line On You" was the exception as it was the band's only top 40 hit of their existence and the one track that everyone has surely heard if they have delved into 60s music at all. While that single and the closer "Aren't You Glad" add heavier aspects of rock complemented by Randy California's use of double guitar tracks, for the most part “The Family That Plays Together” is a more subdued mellow affair with the emphasis on exquisitely designed compositions that are cruising on California West Coast chill mode than anything close to the heavier Cream and Hendrix sounds of the day.
Part of Spirit’s eclectic inspiration stemmed from the fact that Barry Hansen, who would become the kind of parody as Dr. Demento who specialized in novelty songs and comedy, had a huge collection of music in the same house that he was sharing which allowed the band to peruse the vaults for musical inspiration. And that is exactly what Spirit sounds like to me. There are so many tiny snippets of sounds that remind me of both past and future acts that one could rightfully write quite a lengthy thesis on the matter. The music on “The Family That Plays Together” is generally characterized by a strong groovy bass line that anchors the melodic development. The guitars and keyboards provide unique and progressive counterpoints with Cassidy's jazzified drumming style adding yet another eclectic layer. The band had mastered the art of harmonic vocal interaction much like The Beach Boys or The Mamas and the Papas but were more sophisticated than the average pop band of the era despite having cleverly crafted pop hooks that took more labyrinthine liberties.
During the year 1969, Spirit were at their popular (if not creative) peak with two hit albums and a top 40 single under their belt. While the band never hit the big time, during this brief moment in history, it was THEY who were the headliners while bands like Led Zeppelin, Chicago and Traffic were opening for them. While at the Atlanta Pop Festival, they performed to over 100,000 music fans in the audience and Randy California rekindled his friendship with Jimi Hendrix, with whom who briefly played in Jimmy James & The Blue Flames. “The Family That Plays Together” is an excellent sophomore release from Spirit. While the debut may have had a few more flashy jazz-fusion moments, this one has a more cohesive band sound which shows a clear dedication to finding the ultimate band chemistry at play. Laced with subtly addictive hooks and sophisticated progressive undercurrents, “The Family That Plays Together” is actually a little more accessible on first listen although it's slightly more angular than the average pop rock band of the era but still a testament to Spirit’s unique musical vision.  From: https://www.progarchives.com/album.asp?id=13050 

Spirit was a highly regarded American rock band that achieved modest commercial success between 1968 and 1977. Founded in Los Angeles in 1967 by musicians who had a mixture of rock, pop, folk, blues, classical, and jazz backgrounds, and who ranged in age from 16 to 44, the group had an eclectic musical style in keeping with the early days of progressive rock; they were as likely to play a folk ballad featuring fingerpicked acoustic guitar, a jazz instrumental full of imaginative improvisation, or a driving rhythm tune dominated by acid rock electric guitar playing. The diverse tastes of the original quintet produced a hybrid style that delighted a core audience of fans but proved too wide-ranging to attract a mass following, and at the same time the musicians' acknowledged talents brought them other opportunities that led to the breakup of the original lineup after four years and four albums, then kept them from committing fully to regroupings as their music began to be recognized in later years. While two bandmembers, singer/guitarist Randy California and drummer Ed Cassidy, maintained the Spirit name, the others came and went as their schedules allowed, such that the group never fulfilled its early promise, although, as a vehicle for California's songwriting and guitar playing, it continued to produce worthwhile music until his death.  From: https://www.allmusic.com/artist/spirit-mn0000746010/biography

Diamanda Galas - Wild Women With Steak Knives

 #Diamanda Galas #avant-garde #experimental #avant-goth #classical crossover #performance art #operatic #blues #jazz #five octave range #spoken word #piano #a capella #extreme vocals

“Wild Women with Steak-Knives,” from the tragedy-grotesque Eyes Without Blood by Diamanda Galas, is “a cold examination of unrepentant monomania, the devoration instinct, for which the naive notion of filial mercy will only cock a vestigial grin.”

Wild Women with Steak-Knives (The Homicidal Love Song for Solo Scream)

I want you to get down on your knees
And I want you to ask me:
What is my name
What is my name
What is my name
What is my name
What is my
What is
Your name

I have been looking for a killer
And I'm not talking about meatballs
I am talking about steak
Steak
Steak
Yes...killer

I commend myself to a death of no importance
To the amputation of all seeking hands
Pulling, grasping, with the might of nations
Of sirens, in a never ending bloody-bliss
To the death of mere savagery
And the birth of pearly, white terror

Wild women with veins slashed and wombs spread
Singing songs of the death instinct
In voices yet unheard
Praising nothing but the promise of death on earth
Laughing seas of grinning red, red eyes
All washed ashore and devoured
By hard and unseeing spiders

I commend myself to a death beyond all hope of
Redemption
Beyond the desire for forgetfulness
Beyond the desire to feel all things at every moment
But to never forget
To kill for the sake of killing
And with a pure and most happy heart
Extoll and redeem disease

She was hanging...
And her...
And I asked you: well, well
And ask you: well, well
What would you do
Angel in the house tonight

Black Sabbath - The Wizard

 #Black Sabbath #Ozzy Osbourne #heavy metal #hard rock #classic rock #heavy blues rock #British blues rock #doom metal #1970s

Every Metal Subgenre Began as a Black Sabbath Song
Nathan Smith
Some people out there argue that heavy metal was not invented by Black Sabbath. These people are wrong. To be sure, the Led Zeps and Deep Purples of the world certainly had their metallic moments, but it wasn't until Tony Iommi sheared off his fingertips in a metal stamper and down-tuned his guitar to compensate for this maiming that a new and sinister strain of rock and roll was truly sired.
Now, it's a fact that Sabbath didn't consider themselves heavy metal - not at first, anyway. They viewed themselves simply as putting a slightly new twist on the thunderously heavy blues-rock pioneered by the likes of Cream. There's a lot of truth in that self-assessment. But not even Clapton and co. can claim quite the broad influence on rock and roll that Black Sabbath has produced.
Need proof? Well, how's this for a premise: Practically all of heavy metal's 18 jillion, multifaceted subgenres can be traced back to a specific Black Sabbath song. In cranking out nearly an album per year back in the '70s, the band did a lot more stretching and exploring than they're sometimes given credit for. The result is that they managed to create an entire heavy-metal universe, one track at a time.
They didn't do it alone, of course, and today's metal is as rooted in hardcore punk as it is in '70s hard rock. But the seeds are there. Behold:
10. DOOM METAL
"Into the Void," 1971
Let's start with an easy one. Nowhere in the wide, wacky world of heavy-metal subgenres is Black Sabbath's influence more keenly felt than in doom metal. The band's slow grooves, down-tuned guitars and murky riffs embody the style to this day. The eerie spirit of impending doom on their early songs remains the template for the majority of doom metal's modern practitioners. "Into the Void" is a particularly good example of the doom metal sound from Master of Reality, but it could easily be replaced on this list by any number of tracks from the band's first few albums.
9. POWER METAL
"War Pigs," 1970
Black Sabbath wouldn't truly lead the charge toward power metal until Ozzy was replaced by Ronnie James Dio, one of the preeminent operatic voices in rock history. But the predilection for power was there almost from the very beginning. "War Pigs," possibly the greatest anti-war screed ever set to a backbeat, ranks as one of the most spine-tingling songs in heavy-metal history thanks largely to the most powerful vocal performances of Ozzy Osbourne's long career. It doesn't get a lot more anthemic than this one. If you needed any additional proof of the profound influence of "War Pigs" on the formation of the power metal subgenre, consider that it was a favorite cover tune of Dio's pre-Rainbow group, Elf.
8. THRASH METAL
"Symptom of the Universe," 1975
Sabbath infinitely preferred a slow, rumbling sound to high-octane speed. Almost nobody had more influence on the powerful guitar riffage that was the hallmark of thrash metal than Tony Iommi, however. The chugging crunch of "Symptom of the Universe" clearly predicts the rise of bands like Metallica and Slayer in the decade to come, not to mention Geezer Butler's lyrical themes dealing with evil, war and, uh, dirty women that were employed throughout the group's run in the '70s.
7. DEATH METAL
"Sabbath Bloody Sabbath," 1973
A gore-obsessed outgrowth of thrash metal, death metal retains almost none of the blues-based rhythms in which Black Sabbath trafficked. Thematically, though, Sabbath's influence still looms large. The song "Sabbath Bloody Sabbath," with its lyrical allusions to "living just for dying," strongly hinted at the attraction to oblivion that would be cranked up significantly by early death metal bands in the '80s and early '90s. Not to mention the Sabbath Bloody Sabbath album cover! Seemingly scientifically engineered to freak out your mom, the artwork depicts a terrified man tormented by demons on a bed evidently possessed by Satan himself. It set a benchmark for horrifying imagery that death metal bands are still trying to outdo today.
6. BLACK METAL
"Black Sabbath," 1970
Black Sabbath never sounded anywhere near so ugly and extreme as the earliest practitioners of black metal did, but there's no denying that their influence is present. In particular, there's black metal's fascination with Satanism: While never expressing overt sympathy for the devil, early Sabbath flirted heavily with the Adversary; never more so than on their signature tune, "Black Sabbath." The song was constructed around a tritone, a dissonant musical interval derided as diabolus in musica (the devil in music) since at least the 18th century. The song's moody, cinematic opening, full of heavy rain and droning church bells, would also heavily inform the softer, more atmospheric strains of black metal that would arise in the genre's second wave.
5. CHRISTIAN OR WHITE METAL
"After Forever," 1971
The Satanists weren't the only rockers finding inspiration in Sabbath's music and lyrics. While they typically preferred to explore the dark side of the struggle between good and evil, Geezer and the gang weren't above occasionally inserting Christ and the Church into their musical morality plays. The song "After Forever," in fact, makes the claim that "God is the only way to love," and scolds nonbelievers for their faithlessness. While no one has ever called Black Sabbath "Christian rock" with a straight face, there's no doubt the band throws in solidly with the light side on this tune. Lord knows it rocks a damn sight harder than Stryper, too.
4. HAIR METAL
"Changes," 1972
Birmingham, England, is a hell of a long way away from the Sunset Strip, and while Tony Iommi has rocked a few questionable poodle-dos in his day, nobody has ever confused Black Sabbath with Poison. That doesn't mean their contributions to the now-reviled subgenre known as hair metal can be ignored, however. Though Sabbath's dark, sludgy sound was a far cry from the upbeat, overdriven L.A. style of '80s metal, they did practically invent one of the hair bands' most infamous tropes: the metal power ballad. "Changes" would be ripped off by a slew of teased and permed groups in the '80s, from the plaintive vocals right down to the piano accompaniment. Motley Crue's "Home Sweet Home," for instance, could have never existed without it.
3. STONER METAL
"Sweet Leaf," 1971
Black Sab loved the herb as much as they loved any other drug - which is to say, quite a lot. Marijuana smoking was damn near universal at their '70s concerts, with the band's deep, slow grooves matching up with weed's pleasant effects like peanut butter and jelly. An out-and-out love song, "Sweet Leaf" cemented the connection between banging and stoning very early on in metal's development. Its sound has been replicated and expanded upon by the likes of Weedeater, Electric Wizard and other dojah aficionados. The song remains a cherished staple of the band's live show today, and it's possibly the most-covered tune in Black Sabbath's history. Draw your own conclusions.
2. FUNK METAL
"Behind the Wall of Sleep," 1970
Sabbath aren't thought of as a particularly funky bunch, despite their preternatural ability to lock into deep grooves. While they'll never be confused with James Brown, they did have their moments - the funkiest of which can be found on their debut album. In addition to the irresistibly bouncy "N.I.B.," Black Sabbath contains the song "Behind the Wall of Sleep," a riff-sterpiece featuring a sublimely funky drum break by Bill Ward. How funky? Well, funky enough to be sampled by the likes of Outkast, Beck, Too $hort and the Fugees, among others, according to WhoSampled.com. Not a lot of funk metal bands can claim to have influenced a roster of hip-hop artists that talented. Pretty much none, I'd say.
1. PROG METAL
"The Writ," 1975
Much of Black Sabbath's heyday coincided with the rise of progressive rock, and though they were never a part of that scene, they were certainly touched by it. Hell, as a hard rock band in the '70s, it was hard not to be. Particularly as the decade wore on, Sabbath toyed with some proggier elements - even adding a Moog synthesizer to tracks like "Who Are You?" and "Sabra Cadabra." For my money, though, "The Writ" from Sabotage stands alone as the first truly progressive heavy metal song. Coming in at more than eight minutes, the weird, lengthy song is notable for providing the first glimpse of the more dynamic vocal range that Ozzy would later employ to great effect on his '80s solo records.
From: https://www.houstonpress.com/music/every-metal-subgenre-began-as-a-black-sabbath-song-6510141

Gentle Giant - Just the Same

 #Gentle Giant #Shulman brothers #progressive rock #British prog #eclectic prog #classic prog #hard rock #experimental rock #jazz rock #neoclassical #medieval  #1970s #animated music video

Cool stuff in Gentle Giant songs

This is a listing of interesting musical and lyrical tricks and devices that Gentle Giant used on their albums. Some of them are obvious, while others require careful listening. These sorts of things make Gentle Giant's music so interesting to analyze.

Free Hand

During the verses of Just The Same, the bass and drums are playing in 6/4 while the piano, voice, and guitar are playing in 7/4.

The first section of On Reflection is a four-part vocal fugue. The last section is the same fugue played on instruments. In On Reflection, the last entrance of the band is accompanied by a springy wavering of the pitch (most noticeable in the electric guitar), which is likely the sound of the 24 track tape machine being dropped into "Vari Speed" mode, and the entire end section is transposed (sped up really) by a half step. Both the Studer and the Ampex tape machines, which were popular at the time of Free Hand, make this distinctive noise when you drop them into varispeed.

The bass part at the very beginning of Free Hand is repeated, in a different rhythm and tempo, when the "waltz" section begins (3:55 into the song). In fact, the whole waltz section contains various themes from earlier in the song.

The opening melody of On Reflection and the middle ballad section have almost identical melodies. Compare "In my way did I use you, do you think I really abused you" to "I remember the good things how can you forget."

The opening melody of Talybont is a heavily disguised reworking of the vocal melody of Just The Same. Talybont is a small hamlet in Wales near to where John Weathers lived. Talybont was recorded as the theme song for a movie about Robin Hood. The movie was never released, but it reportedly had "quite well known players in the movie business." If the movie had gone ahead, Gentle Giant would have recorded more material for it. Actually, some of that music did get recorded and appears on Under Construction.

The electronic sounds at the beginning of Time To Kill are from the old videogame, "Pong." And if you listen closely, you can hear one of the guys whisper "go" just before the loud buzz which indicates a goal scored.

The middle of His Last Voyage is a three-part vocal canon. The bass riff in the introduction of His Last Voyage fits over the very classic rock chord progression: I, bVII, bVI, V.

From: https://gentlegiantmusic.com/GG/Cool_stuff_in_Gentle_Giant_songs#Free_Hand

Gentle Giant were a British progressive rock band active between 1970 and 1980. The band were known for the complexity and sophistication of their music and for the varied musical skills of their members. All of the band members were multi-instrumentalists. Although not commercially successful, they did achieve a cult following. The band stated that their aim was to "expand the frontiers of contemporary popular music at the risk of becoming very unpopular” although this stance was to alter significantly with time. Gentle Giant's music was considered complex even by progressive rock standards, drawing on a broad swathe of music including folk, soul, jazz, and classical music. Unlike many of their progressive rock contemporaries, their "classical" influences ranged beyond the Romantic and incorporated medieval, baroque, and modernist chamber music elements. The band also had a taste for broad themes for their lyrics, drawing inspiration not only from personal experiences but from philosophy and the works of Francois Rabelais and R. D. Laing.  From: https://en.wikipedia.org/wiki/Gentle_Giant

The Move - The last Thing On My Mind

 #The Move #Roy Wood #Jeff Lynne #psychedelic rock #blues rock #hard rock #British psychedelia #pop rock #art rock #proto-prog #1960s #Tom Paxton cover

The Move were the best and most important British group of the late '60s that never made a significant dent in the American market. Through the band's several phases (which were sometimes dictated more by image than musical direction), their chief asset was guitarist and songwriter Roy Wood, who combined a knack for Beatlesque pop with a peculiarly British, and occasionally morbid, sense of humor. On their final albums (with considerable input from Jeff Lynne), the band became artier and more ambitious, hinting at the orchestral rock that Wood and Lynne would devise for the Electric Light Orchestra. The Move, however, always placed more emphasis on the pop than the art, and never lost sight of their hardcore rock & roll roots. Formed in the mid-'60s, the Move were so named because the five musicians from the original lineups were moving from established Birmingham groups into a new band. Most of the Move, in fact, had previously recorded flop singles in average, unremarkable British Invasion styles as members of other outfits. Taken under the wing of manager Tony Secunda, the group moved to London and crafted an explosive act, heavily influenced by the Who, which found them destroying televisions on stage. The Move's early singles were also heavily influenced by mod pop in their chunky chords and oddball character sketches, although Roy Wood's songs were much poppier and bouncier than those of Pete Townshend.    From: https://www.allmusic.com/artist/the-move-mn0000483587/biography

Ministry - Filth Pig

 #Ministry #Al Jourgensen #industrial rock #industrial metal #alternative metal #thrash metal #electronic #industrial dance #EBM #speed metal #electro-industrial

Until Nine Inch Nails crossed over to the mainstream, Ministry did more than any other band to popularize industrial dance music, injecting large doses of punky, over-the-top aggression and roaring heavy metal guitar riffs that helped their music find favor with metal and alternative audiences outside of industrial's cult fan base. That's not to say Ministry had a commercial or generally accessible sound: they were unremittingly intense, abrasive, pounding, and repetitive, and not always guitar-oriented (samples, synthesizers, and tape effects were a primary focus just as often as guitars and distorted vocals). However, both live and in the studio, they achieved a huge, crushing sound that put most of their contemporaries in aggressive musical genres to shame; plus, founder and frontman Al Jourgensen gave the group a greater aura of style and theater than other industrial bands, who seemed rather faceless when compared with Jourgensen's leather-clad cowboy/biker look and the edgy shock tactics of such videos as "N.W.O." and "Just One Fix."  From: https://www.allmusic.com/artist/ministry-mn0000420133/biography

Royal Coda - The Innocence Of

 #Royal Coda #post-hardcore #experimental rock #progressive rock #psychedelic rock #post-rock #math rock #animated music video

Royal Coda is an American rock band based in Sacramento, California, founded by lead guitarist Sergio Medina. They are known for their amalgamation of progressive rock, psychedelic rock, and post-hardcore. The band currently consists of lead vocalist Kurt Travis, guitarists Sergio Medina and Will Swan, and bass guitarist Steffen Gotsch.  From: https://en.wikipedia.org/wiki/Royal_Coda

Royal Coda – Compassion
Will Swan is a guitarist that has contributed to Dance Gavin Dance, Sianvar, and Secret Band. He has also run his own record label, Blue Swan Records, since 2013. He is so infused in the genre of post-hardcore that fans have dubbed his style of guitar playing as “Swancore”. Bands such as Hail the Sun, Eidola, Stolas, etc. draw heavy influence from Swan’s groovy, chaotic playing, which is a mish-mash of metal, psychedelia, and math rock. In the aforementioned Dance Gavin Dance, Will was bandmates with vocalist Kurt Travis for the albums Dance Gavin Dance and Happiness. Kurt would sing in several related bands over the years, such as A Lot Like Birds, Eternity Forever, and Push-Over, before forming Royal Coda in 2017. This act also features Sergio Medina (of aforementioned Stolas), Joseph Arrington (A Lot Like Birds), and Steffen Gotsch. It is fair to say that Royal Coda is a Swancore supergroup.
Compassion is a nod to Will/Kurt’s Dance Gavin Dance record, Happiness. Many intricacies prevalent in that now ten-year-old album are even more fleshed-out and take a front row seat in this succinct second album from the band. Where Royal Coda’s self-titled debut album had some novel concepts from some serious star-power in the genre, it was clear that the blending of ideas from each member weren’t coming together as cohesively as an artist that has had time to acclimate. This new effort is proof that these musicians took the time to concoct a fully-realized, unique record.
Announcing Will Swan would be in the band was barely a surprise, and more of a welcome addition. Not to discredit the rest of the musicianship of the band, but anything Will touches turns to gold. He is one of the most hard-working people in the genre, at one point being in three bands at the same time he was running a record label. One would think this would lead to neglecting one band or another, but he regularly records and tours with each band, sometimes playing twice a night for Sianvar and Dance Gavin Dance (and soon to play in Royal Coda and DGD on the upcoming spring tour). Swan is natural in Royal Coda; there are moments in this record that never took place in their first album. For example, the breakdown in “All in Question” is a melodic romp, and a departure from the dreamy environment established by the tranquil backdrop of guitars and soft percussion used throughout the song. The riff in the intro of “Becoming the Memory” is vintage Swan, with a meticulous minor-key run that is pleasant to the ears and is familiar territory for long-time Swancore listeners. Compassion‘s tendency to go from frenetic to relaxed is a treat, and creates an unpredictability factor for first-time listeners.
While Will’s work on the record stands out, the rest of the act deserves their due diligence. Kurt shines bright, as he employs vocal techniques in this album that I have never heard from him before. This is evident in him reaching a low octave in the track “Don’t Stay Long”, as well as his aggressiveness in most of the choruses on the album. The rest of the instrumentation complements the act, with a compelling rhythm melody from Sergio in every song, as well as drumming that rounds it out with notable performances in the chorus of “Numbing Agent” and the verse of “Arms Race for God’s Grace”. Bassist Steffen Gotsch recently replaced Jason Ellis, the bassist on Happiness and Royal Coda, and does a bang-up job considering he’s much newer to the genre than his bandmates.
From: https://phenixxgaming.com/2019/11/18/royal-coda-compassion-review/

Eurythmics - No Fear, No Hate, No Pain

 

 #Eurythmics #Annie Lennox #Dave Stewart #synthpop #new wave #electro-pop #alternative rock #blue-eyed soul #British R&B #1980s

Eurythmics, the London duo consisting of vocalist Annie Lennox and guitarist Dave Stewart, released two albums in 1983. These seminal albums would cement their place as one of the New Wave’s most fondly remembered acts. After establishing their synth-pop credentials with “Sweet Dreams (Are Made of This),” they released “Touch,” a daring album that builds off their previous success and breaks new ground. Not content to build the album off of the pop sensibilities of the opening track, “Here Comes the Rain Again,” Lennox and Stewart use the rest of their time to build a world of their own, which results in an incredibly challenging, albeit rewarding, listen. While not every song hits home emotionally (“Right By Your Side,” for example, is too upbeat for its own good), all are interesting and complex enough to warrant constant relistening. “Touch” has one standout track, “Who’s That Girl,” a haunting, majestic anthem of jealousy and suspicion. “No Fear, No Hate, No Pain (No Broken Hearts)” and “Paint a Rumour,” the two songs which close out the album, also showcase the band’s strengths, especially Lennox’s ability to be soulful and earnest one moment and icy and detached the next. Throughout “Touch,” she proves herself time and again as one of the genre’s most confident and unconventional performers. Eurythmics have always been well in control of their image, and on “Touch,” they accomplish exactly what they set out to do. Powerful vocals and intriguing arrangements combine to make “Touch” a work of art.  From: https://wakemag.org/reviews/2019/12/9/retro-review-touch-eurythmics 

Eurythmics were one of the most successful duos to emerge in the early '80s. Where most of their British synthpop contemporaries disappeared from the charts as soon as new wave faded in 1984, Eurythmics continued to have hits until the end of the decade, making their technically consummate, soul-styled vocalist Annie Lennox a star in her own right as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Originally, the duo channeled the eerily detached sound of electronic synthesizer music into pop songs driven by robotic beats. By the mid-'80s, singles like "Sweet Dreams (Are Made of This)" and "Here Comes the Rain Again" had made the group into international stars, and Eurythmics had begun to experiment with their sound, delving into soul and R&B. By the late '80s, they were having trouble cracking the Top 40 in America, although they stayed successful in the U.K. By the early '90s, Eurythmics had taken an extended hiatus - both Lennox and Stewart pursued solo careers - but reunited occasionally for recording or tours.  From: https://www.allmusic.com/artist/eurythmics-mn0000206241/biography

Lovecraft - We Can All Have It Together

 #Lovecraft #psychedelic rock #folk rock #psychedelic folk #acid rock #acid folk #garage rock #1960s #1970s

H.P. Lovecraft was an American psychedelic rock band formed in Chicago, Illinois in 1967 and named after the horror writer H.P. Lovecraft. Much of the band's music was possessed of a haunting, eerie ambience, and consisted of material that was inspired by the macabre writings of the author whose name they had adopted. Combining elements of psychedelia and folk rock, the band's sound was marked by the striking vocal harmonies of ex-folk singer George Edwards and the classically trained Dave Michaels. In addition, Michaels' multi-instrumentalist abilities on organ, piano, harpsichord, clarinet and recorder provided the band with a richer sonic palette than many of their contemporaries. After the group disbanded in 1969, Edwards and fellow original member Michael Tegza formed a new line-up of the band with the shortened name of Lovecraft, although Edwards left this new group before the first album was recorded. This second incarnation of the band released the Valley of the Moon album in 1970 and, after a further name change to Love Craft, the We Love You Whoever You Are album in 1975.  From: https://en.wikipedia.org/wiki/H._P._Lovecraft_(band)

Cream - Dance the Night Away

 #Cream #Eric Clapton #Jack Bruce #Ginger Baker #blues rock #psychedelic rock #acid rock #hard rock #British psychedelic rock #psychedelic blues rock #classic rock #1960s

Cream’s second album, Disraeli Gears, remains a psych-blues masterpiece that ensures Clapton and co.’s place in the history books. The album was recorded over three and a half days between May 8-16, 1967 at Atlantic Studios in New York City. It was produced by Felix Pappalardi who would later form the Cream-alike band Mountain with guitarist Leslie West, and engineered by Tom Dowd. Released on November 2, 1967, the album made the UK charts and eventually climbed to number 5. Those are the facts, but what about the record’s unusual name? In the 1960s the “must-own” racing bike was equipped with “derailleur gears.” Eric Clapton seems to have had a yearning for such a bicycle and while driving around London, discussing the matter with Ginger Baker one day, up piped Mick Turner, the band’s roadie, to say, “Has it got them Disraeli gears?” Everyone fell about laughing and the band decided to name their album just that (Benjamin Disraeli served as prime minister of the UK in the late nineteenth century and was the only prime minister of Jewish origin ever). Of all the band’s albums, this one is the least blues-influenced record and definitely reflected the prevailing mood of the “Summer of Love.” The album’s distinctive cover was designed by Australian artist Martin Sharp who worked for OZ magazine and lived in Chelsea, where Clapton also lived. Sharp also did the cover for Wheels of Fire as well as writing some of the lyrics for “Tales of Brave Ulysses.”  From: https://www.udiscovermusic.com/stories/rediscover-disraeli-gears/

Pigface - Kiss King

 #Pigface #Martin Atkins #Meg Lee Chin #industrial rock #alternative rock #indie rock #experimental rock #avant-garde #noise rock #industrial dance #electronic #1990s

Pigface defies categorization. Less an actual band than a recording and performing ensemble of well-known musicians in the alternative/industrial genre, it is also, in a way, a political statement. Founding member Martin Atkins had tired of the rock star attitudes he witnessed as a member of successful bands like Public Image Ltd. and Killing Joke; in addition, despite the fact that both acts presented groundbreaking, anti-establishment-themed sonic artistry, both remained under the thumb of record label executives. Sandy Masuo, writing about Pigface in Option magazine, equated it with “a savvy, calculating brand of post-punk punk attitude - one that’s all about recapturing the means of production that was supposedly seized in the 70s” with the birth of the punk movement.  From: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/pigface

Pigface is an American industrial rock supergroup formed in 1990 by Martin Atkins and William Rieflin. Pigface was formed from Ministry's The Mind Is a Terrible Thing to Taste tour. For the tour, Al Jourgensen brought along Atkins, Nivek Ogre and Chris Connelly. Also on the tour was Rieflin, regular Ministry drummer at the time. While Atkins enjoyed the dynamic of playing with a second drummer, he felt that the lineup was capable of doing much more than being, what he has frequently called, "a Ministry cover band." Once the tour was over, Atkins and Rieflin decided to continue working together and recruited several of their tourmates. Pigface was born with the intention of keeping a revolving-door style collaboration with many experimentally-minded musicians, many of whom, especially early on, had recorded for the influential industrial music record label Wax Trax!. Trent Reznor was also an early partner, before Nine Inch Nails became a household name. "Suck," co-written and sung by Reznor, was something of an underground hit, and Reznor later re-recorded the song for the Broken EP. Rieflin left Pigface after the first tour, leaving Atkins as the sole founder of the group. Hundreds of musical collaborators have since recorded and performed with Pigface, ensuring that each album, tour, and song is unique.  From: https://en.wikipedia.org/wiki/Pigface

 

Meg Lee Chin

Sianvar - Omniphobia

 #Sianvar #Will Swan #progressive rock #post-hardcore #experimental rock #math rock #post-hardcore

Sianvar (pronounced: sea-en-var) was an American progressive rock band from Sacramento, California, formed in 2013. The group currently consists of lead vocalist Donovan Melero, guitarists Will Swan and Sergio Medina, and drummer Joseph Arrington. The band is signed to Swan's independent record label Blue Swan Records. They released their debut self-titled EP in January, 2014 and their debut full-length studio album, Stay Lost, in August 2016. The band announced an indefinite hiatus in 2019.  From: https://en.wikipedia.org/wiki/Sianvar

Sianvar are a supergroup of sorts. The band is a collaborative project between members of Dance Gavin Dance, A Lot Like Birds, Stolas and Hail the Sun. All of these groups turn out consistently solid material, yet when the band released their debut EP, something was amiss. The music was okay, but it didn’t feel like the pieces were in their proper places just yet. Now, with their debut full-length Stay Lost, Sianvar have found their groove that allows them to harness elements of all the individual bands that they’re composed of to make music that sounds one-of-a-kind.
If you’re wondering whether or not the released singles from the album are a reasonable indicator of most of the material present on the record, wonder no longer. The music given to us in advance of the albums release is a fair indicator of the great quality of the album as a whole. ‘Omniphobia’ demonstrates the huge choruses that Donovan Molero seems to nail with ease and the colorful and cascading guitar-work of Will Swan and Sergio Medina. From: https://www.heavyblogisheavy.com/2016/07/26/sianvar-stay-lost/

Planxty - The Rambling Siuler

 #Planxty #Christy Moore #Andy Irvine #Irish folk #world music #Celtic folk #traditional #1970s

Veritable supergroup of Irish traditionalists that helped spark an Celtic folk renaissance in the 1970s. Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band's virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music. The founding members of Planxty - Christy Moore, Donal Lunny, Liam O'Flynn, and Andy Irvine - initially came together to provide instrumental accompaniment for Irish singer/songwriter Christy Moore's 1973 album, Prosperous. The sessions proved so inspiring that the musicians agreed to continue working together. With the release of their debut single, "Cliffs of Dooneen," the new band attracted international attention. An equally memorable, self-titled album, affectionately known as the "Black Album," followed shortly afterwards. Despite its success, Planxty was plagued by a series of personnel changes. Following the release of the band's second album, The Well Below the Valley, Lunny departed for the Bothy Band and was replaced by Johnny Moynihan, who had previously played with Irvine in Sweeney's Men. Moore followed after the release of the band's third album, Cold Blow and the Rainy Night to resume his solo career, and was replaced by singer/songwriter Paul Brady. The loss of Moore and Lunny was devastating and, shortly after releasing their fifth album, The Woman I Loved So Well, Planxty disbanded in 1981.  From: https://www.allmusic.com/artist/planxty-mn0000852842/biography

The Rambling Sailor
It was Cecil Sharp's opinion that early broadsides were about a soldier. There is an argument that the original was an Irish, particularly Ulster song, according to Sam Henry, the greatest collector of Ulster folk songs. The Irish song was called The Rambling Suiler (suiler translated as beggarman, which, indeed, still provides a metaphor for movement, fluidity and lack of fixity). Another suggestion is that ‘The Rambling Suiler' refers to the amorous encounters of James V of Scotland, who roamed his kingdom in disguise and may have written the song about himself or had it written about him. Whether of Gaelic origin, and whomsoever the subject, the anglicised versions of this song are many, using different place names. Nevertheless, the key points are well illustrated. Detaching himself from authority and beoming mobile earns the subject his liberty as an English man. As was frequently the case, 'rambling' was a metaphor for sexual liberty or libertinism. The story of the woman who went to sea inverts several aspects of 'The Rambling Sailor'. Instead of being universalised by being given a name which could apply to any English man - a young man, the son of John - the woman is particularised - Rebecca Young of Gravesend. She is loyal to the memory of her 'true love', a pressed seaman who had drowned, and it was to honour him that she went to sea. She too, drowned, but was undaunted, and in death 'anchored', rather than mobile.  From: https://www.lancaster.ac.uk/fass/projects/english_folk/EFS/Ramblingsailor.html