03-30-2012, 04:29 PM
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What music are you listening to while you are tooling around here?

State the Artist and Title with a picture if possible (of the album preferably). Posting information beyond that is totally up to you.

I will start off:

Eddie Hazel - Games, Dames and Guitar Thangs

[Image: Eddie+Hazel+-+Games,+Dames+And+Guitar+Thangs.jpg]

A mythical figure, original Funkadelic guitarist Eddie Hazel pioneered an innovative funk-metal sound in the early '70s, best exemplified on his mammoth classic instrumental jam "Maggot Brain." This mythological status arises from his brief, mysterious era of productivity, a shadowy three-album cycle capped by Maggot Brain that came to a close as Hazel's notorious drug problems began to haunt him, resulting in personal disputes with George Clinton, a jail sentence, and ultimately his slow death to liver failure. Yet even though Hazel's notable accomplishments are few -- reserved mostly to the first three Funkadelic albums, a 1977 solo album, and legendary live performances -- these accomplishments were highly influential. At the time, Hazel seemed a clear successor to the deceased Jimi Hendrix, one of the few black guitar players merging an acid rock approach with an R&B aesthetic. Furthermore, Hazel took things a step further, integrating a heavy dose of funk into his fiery guitar work as well, setting the precedent for successive Parliament/Funkadelic guitarists, as well as later generations of funk-metal guitarists.

Though born in Brooklyn on April 10, 1950, Eddie Hazel grew up outside the city in Plainfield, NJ, since his mother, Grace Cook, didn't want her son growing up in a negative, drug-littered environment (though, ironically, Plainfield wasn't much better in regard to drugs). While his mother commuted back and forth to Brooklyn to work as a silk presser, the young Eddie spent most of his time playing the guitar his brother had bought for him as a Christmas gift. In addition to his self-trained guitar playing, Eddie also sang in church and eventually met Billy "Bass" Nelson when he was only 12 -- the two instantly began playing together, teaching each other to sing and play guitar. Once they met up with yet another local youth, drummer Harvey McGee, they began jamming together as a trio, trying to learn all the early-'60s Motown hits.

In 1967, another much more established Plainfield group, the Parliaments, had suddenly found themselves experiencing a considerable level of success and wanted to mount a tour. They needed a backing band, though, and looked to Nelson for help. Unfortunately, Hazel was nowhere to be found, supposedly in Newark, NJ, working with producer George Blackwell. When Nelson returned from a short summer tour in August, the first thing he did was hunt down Hazel in hopes of beefing up the Parliaments' rhythm section. There was one problem, though -- Eddie's mother. She wasn't crazy about the idea of letting her 17-year-old son head out on a tour with George Clinton's ensemble of wild musicians. Yet after a little begging and some convincing on both Clinton's and Nelson's part, Ms. Cook agreed to let her son follow his ambitions.

The Parliaments went back on tour in September 1967, with Nelson and Hazel anchoring the rhythm section. In Philadelphia during a show at the Uptown Theater, Hazel met Tiki Fulwood, who was the Uptown's house drummer. The two instantly became close friends, going out partying after the show together. Furthermore, since both Nelson and Hazel were unhappy with their drummer at the time, they argued with Clinton about replacing the Parliaments' inadequate drummer with Fulwood. By the time they left Philadelphia, the Nelson/Hazel/Fulwood rhythm section was finally in place, a tight squad that spawned Funkadelic.

In essence, Funkadelic was just a continuation of the Parliaments. With group member Calvin Simon gone off to the war, and with Hazel and Fulwood now in the group, the Parliaments abandoned their uniforms, donned extravagant costumes or street clothes, and began playing increasingly rock-influenced music driven by Hazel's dirty fuzz tone and Hendrix-influenced acid rock approach. The change to Funkadelic then became official with the introduction of Tawl Ross on rhythm guitar and Bernie Worrell on keyboards, resulting in a series of three landmark albums: the group's self-titled debut (1970), Free Your Mind...and Your Ass Will Follow (1970), and Maggot Brain (1971).

Maggot Brain ended up being one of the group's more essential albums, thanks primarily to Hazel's guitar playing. In particular, the title track has become his legacy, an epic instrumental piece fashioned as an emotive eulogy that has become a perennial staple of the group's live shows over the decades. The song's origins are supposedly rooted in a recording session where Clinton told Hazel to envision the saddest thought possible, his mother's death, and use that vision as inspiration. Other myths involve Hazel's voracious drug intake, a characteristic that led to the nickname "Maggot Brain." Either way, the song made Hazel famous and secured his legacy for successive decades.

Unfortunately, following Hazel's most promising moment and greatest accomplishment to date, his career began descending quickly. It's no secret that the early Funkadelic lineup suffered through drug problems during this early-'70s era, as first Ross was ousted from the group for his increasing LSD-related unreliability. Soon after, Clinton became equally frustrated with Hazel's and Fulwood's growing drug abuse, often cutting off their pay so that they wouldn't go spend it on illicit substances. These problems most obviously came to light on the follow-up to Maggot Brain, 1972's America Eats Its Young, where Hazel's role was minimal. Furthermore, the guitarist began working with fellow Detroiters the Temptations instead, contributing guitar and songwriting to Zoom (1973) and Song for You (1975).

Hazel's drug abuse problems finally caught up with him in 1974, with an indictment resulting from an airline incident that involved him assaulting a stewardess. In his absence, Clinton integrated the potent duo of Garry Shider and Ron Brylowski into Funkadelic, and later Michael Hampton (a young guitar prodigy who caught the band's attention by playing a note-for-note rendition of "Maggot Brain" at a party in Cleveland). Hazel returned from exile for 1974's Standing on the Verge of Getting It On, with strong guitar contributions and co-writing credits with George Clinton on several songs, but by the next album (Let's Take It to the Stage), Hazel was taking a secondary role to the new roster of Parliament/Funkadelic guitarists.

While Hazel's role in Parliament/Funkadelic had diminished by the late '70s, Clinton did grant him the opportunity to record a solo album for Warner Brothers, 1977's Games, Dames and Guitar Things. The album featured covers of "California Dreamin'" and "I Want You (She's So Heavy)," along with a few songs written by Clinton and Bootsy Collins. The nine songs all prominently feature Hazel's lead guitar work, along with a considerable amount of backing vocals courtesy of the Brides of Funkenstein. Incredibly rare and highly collectable for years as a vinyl-only release, the album remains one of the better P-Funk albums of the late '70s, highlighted by its guitar-heavy sound.

Following this album, Hazel continued to play with Clinton in successive years, but his contributions were never major, and he slowly descended further into oblivion, eventually suffering from chronic stomach problems and ultimately dying on December 23, 1992, from internal bleeding and liver failure. In the wake of his death, two posthumous collections of unreleased material were released. Jams From the Heart surfaced first in 1994, a brief four-song EP that eventually was eclipsed by a second import release, 2000's Rest in P. This latter collection compiled the material from Jams From the Heart along with a few other leftovers dug up from the vaults. In 2004 Rhino Homemade finally reissued Games, Dames and Guitar Things, appending the Jams From the Heart EP as an added bonus.

by Jason Birchmeier Allmusic.com

1 2,827
 03-31-2012, 11:02 AM
  • Manticore
  • Old And In The Way
  • Manchester, New Hampshire
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Artist: Love
Album: Forever Changes

One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday -- lasting all of three albums -- they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the '60s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the band's vision may have been too elusive to attract mass success anyway.

Love was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.

Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/David's "My Little Red Book."

Love briefly expanded to a seven-piece for their second album, Da Capo (1967), which included their only Top 40 hit, the corkscrew-tempoed "Seven & Seven Is." The first side was psychedelia at its best, with an eclectic palette encompassing furious jazz structures, gentle Spanish guitar interludes, and beautiful Baroque pop with dream-like images ("She Comes in Colors"). It was also psychedelia at its most reckless, with the whole of side two taken up by a meandering 19-minute jam. It was still a great step forward, but by mid-1967, the band was threatening to disintegrate due to drugs and general disorganization.

The group was in such sad shape, apparently, that Elektra planned to record their third album with sessionmen backing Lee (on his compositions) or MacLean (on his compositions). Work on two tracks actually commenced in this fashion, but the shocked band pulled themselves together to play their own material again, resulting in one of the finest rock albums of all time, Forever Changes. An exceptionally strong set of material graced by captivating lyrics and glistening, unobtrusive horn and string arrangements, it was not a commercial hit in the U.S. (though it did pretty well in Britain) but remains an all-time favorite of many critics.

Just at the point where they seemed poised to assert themselves as a top band, Love's first and best lineup was broken up in early 1968, at Lee's instigation. Several albums followed in the late '60s and early '70s that, though credited to Love, are in reality Lee and backup musicians -- none of whom had skills on the level of Bryan MacLean or the other original Love men. Lee largely forsook folk-rock for hard rock, with unimpressive results, even when he was able to get Jimi Hendrix to play on one track. The problems ran deeper than unsympathetic accompaniment: Lee's songwriting muse had largely deserted him as well, and nothing on the post-Forever Changes albums competes with the early Elektra records.

Lee released a solo album in the early '70s, and then put another Love together for one last effort in 1974, but basically Love/Lee (the two had in effect become synonymous) ground to a halt in the mid-'70s. Lee sporadically recorded and performed in the years following without coming up with anything resembling a unified full-length studio statement, though some scattered live and studio recordings appeared, including a 1994 single on the tiny Distortions label.

In 1995, Rhino Records released the compilation Love Story 1966-1972 around which time the label also bailed Lee out of jail after he was arrested for trying to set his ex-girlfriend's apartment on fire. Lee's troubles continued the following year after he was again arrested after shooting a gun in the air during an argument with a neighbor. He was subsequently convicted for illegal possession of a firearm, and due to a prior drug offense in the '80s, was sentenced to eight to 12 years in prison under California's three strikes law. In 2000, Rhino issued an expanded version of Love's classic Forever Changes and helped reignite interest in Lee. In 2001, a California federal appeals court found the prosecutor at Lee's trial guilty of misconduct and reversed the charges against Lee who was then freed. Buoyed by renewed fan support, Lee toured with a new Love lineup playing Forever Changes in full and even received a Living Legend Award at the 2004 NME Awards. In 2006, Lee was diagnosed with acute myeloid leukemia and underwent three bouts of chemotherapy as well as a bone marrow transplant before his condition worsened. He passed away on August 3, 2006, at Memphis, Tennessee's Methodist University Hospital.

by Richie Unterberger Allmusic.com

GDCarrington, if I didn't know better I'd say we just dated ourselves, from one dinosaur to another. Wink

0 137
 04-01-2012, 03:53 PM
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Chris, you sure hit the nail on the head with the dinosaur comment. The past couple of weeks I have been saying things that many of my younger co-workers look puzzled and ask me to explain. I still explain to them as a child I saw programs in their first run like Star Trek, Laugh-in, etc. and they go, "Funny, you don't look that old!" Dodgy

1 2,827
 04-01-2012, 04:59 PM
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Smiling Faces: The Best of Undisputed Truth

[Image: Undisputed-Truth-Smiling-Faces:-The-Best...-Truth.jpg]

It's not exactly fair to peg the Undisputed Truth as a one-hit wonder, because they did have a few hits for Motown in the first half of the 1970s (albeit only one big one), as well as made half a dozen albums for the label. Still, it's not that far from the truth. Nothing else they did matched the strength of "Smiling Faces Sometimes," which made number three in 1971. Crafted by Norman Whitfield, Motown's most adventurous producer of the time, it employed the funk-psychedelic guitars and ominous, socially aware lyrics that were also characteristic of his work with the Temptations during the period.

The Undisputed Truth came into being after Bobby Taylor brought Billie Rae Calvin and Brenda Joyce to Motown as part of the Delicates. When the Delicates broke up, the pair kept busy doing background vocals for the Four Tops, Diana Ross, and Edwin Starr. Whitfield teamed them up with Joe Harris of the Preps, laying the groundwork for the male-female vocal interplay that would typify their Motown sessions.

It's fair to say that the Undisputed Truth were little more than a mouthpiece for Whitfield. He wrote most of their material (sometimes in association with Barrett Strong), and used their sessions as a laboratory to devise funk rhythms and psychedelic guitar effects. He was doing the same thing with the Temptations, and the Undisputed Truth's records couldn't help but suffer in comparison. As vocalists they weren't in the same league as the Temps, and Whitfield was most likely reserving his real killer songs for the more famous group.

The group never approached the success of "Smiling Faces Sometimes" again, although they racked up a series of modest R&B hits through the mid-'70s. The best of these were "You Make Your Own Heaven and Hell Right Here on Earth" (which perhaps recalled "Smiling Faces" a little too closely) and the original version of "Papa Was a Rollin' Stone," which Whitfield would quickly redo with the Temptations for a much more definitive (and massively successful) version. Little else in the Undisputed Truth discography demands attention, though Motown scholars will find their work worth a listen to investigate some of the ideas rattling around Whitfield's head in the 1970s.

by Richie Unterberger Allmusic.com

1 2,827
 04-03-2012, 05:25 AM
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Ted Nugent

[Image: 220px-Ted_nugent_album_cover.jpg]

Good cup of coffee, good shave, good music. How I like to start the day...

1 223
 04-03-2012, 06:22 AM
  • Leon
  • Active Member
  • Porto, Portugal
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In this very moment - Radiohead - OK Computer

Timeless album. It will still be listened and discussed 30 years from now.

4 318
 04-03-2012, 01:32 PM
  • vuk
  • Senior Member
  • Virginia
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Right now I'm listening to one of my favorite albums: Beirut - The Flying Cup Club

2 526
 04-03-2012, 01:52 PM
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Pink Floyd

Enough said me thinks!!!


0 213
 04-05-2012, 05:17 PM
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The Temptations - Emperors of Soul

Background power provided by the Funk Brothers!

[Image: 1a43b40e-1.gif]

Thanks to their fine-tuned choreography -- and even finer harmonies -- the Temptations became the definitive male vocal group of the 1960s; one of Motown's most elastic acts, they tackled both lush pop and politically charged funk with equal flair, and weathered a steady stream of changes in personnel and consumer tastes with rare dignity and grace. The Temptations' initial five-man lineup formed in Detroit in 1961 as a merger of two local vocal groups, the Primes and the Distants. Baritone Otis Williams, Elbridge (aka El, or Al) Bryant, and bass vocalist Melvin Franklin were longtime veterans of the Detroit music scene when they joined together in the Distants, who in 1959 recorded the single "Come On" for the local Northern label. Around the same time, the Primes, a trio comprised of tenor Eddie Kendricks, Paul Williams (no relation to Otis), and Kell Osborne, relocated to the Motor City from their native Alabama; they quickly found success locally, and their manager even put together a girl group counterpart dubbed the Primettes. (Later, three of the Primettes -- Diana Ross, Mary Wilson and Florence Ballard -- formed the Supremes).

In 1961, the Primes disbanded, but not before Otis Williams saw them perform live, where he was impressed both by Kendricks' vocal prowess and Paul Williams' choreography skills. Soon, Otis Williams, Paul Williams, Bryant, Franklin, and Kendricks joined together as the Elgins; after a name change to the Temptations, they signed to the Motown subsidiary Miracle, where they released a handful of singles over the ensuing months. Only one, the 1962 effort "Dream Come True," achieved any commercial success, however, and in 1963, Bryant either resigned or was fired after physically attacking Paul Williams. The Tempts' fortunes changed dramatically in 1964 when they recruited tenor David Ruffin to replace Bryant; after entering the studio with writer/producer Smokey Robinson, they emerged with the pop smash "The Way You Do the Things You Do," the first in a series of 37 career Top Ten hits. With Robinson again at the helm, they returned in 1965 with their signature song, "My Girl," a number one pop and R&B hit; other Top 20 hits that year included "It's Growing," "Since I Lost My Baby," "Don't Look Back," and "My Baby."

In 1966, the Tempts recorded another Robinson hit, "Get Ready," before forgoing his smooth popcraft for the harder-edged soul of producers Norman Whitfield and Brian Holland. After spotlighting Kendricks on the smash "Ain't Too Proud to Beg," the group allowed Ruffin to take control over a string of hits including "Beauty's Only Skin Deep" and "(I Know) I'm Losing You." Beginning around 1967, Whitfield assumed full production control, and their records became ever rougher and more muscular, as typified by the 1968 success "I Wish It Would Rain." After Ruffin failed to appear at a 1968 live performance, the other four Tempts fired him; he was replaced by ex-Contour Dennis Edwards, whose less polished voice adapted perfectly to the psychedelic-influenced soul period the group entered following the success of the single "Cloud Nine." As the times changed, so did the group, and as the 1960s drew to a close, the Temptations' music became overtly political; in the wake of "Cloud Nine" -- its title a thinly veiled drug allegory -- came records like "Run Away Child, Running Wild," "Psychedelic Shack," and "Ball of Confusion (That's What the World Is Today)."

After the chart-topping success of the gossamer ballad "Just My Imagination (Running Away With Me)" in 1971, Kendricks exited for a solo career. Soon, Paul Williams left the group as well; long plagued by alcoholism and other personal demons, he was eventually discovered dead from a self-inflected gunshot wound on August 17, 1973, at the age of 34. In their stead, the remaining trio recruited tenors Damon Harris and Richard Street; after the 1971 hit "Superstar (Remember How You Got Where You Are)," they returned in 1972 with the brilliant number one single "Papa Was a Rolling Stone." While the Tempts hit the charts regularly throughout 1973 with "Masterpiece," "Let Your Hair Down," and "The Plastic Man," their success as a pop act gradually dwindled as the '70s wore on. After Harris exited in 1975 (replaced by tenor Glenn Leonard), the group cut 1976's The Temptations Do the Temptations, their final album for Motown. With Louis Price taking over for Edwards, they signed to Atlantic, and attempted to reach the disco market with the LPs Bare Back and Hear to Tempt You.

After Edwards returned to the fold (resulting in Price's hasty exit), the Temptations re-entered the Motown stable, and scored a 1980 hit with "Power." In 1982, Ruffin and Kendricks returned for Reunion, which also included all five of the current Temptations; a tour followed, but problems with Motown, as well as personal differences, cut Ruffin's and Kendricks' tenures short. In the years that followed, the Temptations continued touring and recording, although by the '90s they were essentially an oldies act; only Otis Williams, who published his autobiography in 1988, remained from the original lineup. The intervening years were marked by tragedy: after touring in the late '80s with Kendricks and Edwards as a member of the "Tribute to the Temptations" package tour, Ruffin died on June 1, 1991, after overdosing on cocaine; he was 50 years old. On October 5, 1992, Kendricks died at the age of 52 of lung cancer, and on February 23, 1995, 52-year-old Franklin passed away after suffering a brain seizure. In 1998, the Temptations returned with Phoenix Rising; that same year, their story was also the subject of a well-received NBC television mini-series. Ear-Resistable followed in the spring of 2000 and would win the Grammy Award for Best Traditional R&B Vocal Performance the following year. In 2004, Legacy became their last album for Motown as 2006’s Reflections was released by New Door. The label also released their 2007 effort, Back to Front, which featured new recordings of soul classics from the '60s and '70s. After three years of touring the globe, they returned with Still Here, which was issued on the eve of their 50th anniversary.

by Jason Ankeny Allmusic.com

1 2,827
 04-05-2012, 05:28 PM
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(04-03-2012, 06:22 AM)Leon Wrote: In this very moment - Radiohead - OK Computer

Timeless album. It will still be listened and discussed 30 years from now.

+ completely agree with you, Leon, great album!

Opps, forgot!

Amelia Rodrigues

This is for you, Leon, Emanuel, and Miguel!

Amilia was the greatest "Fado" singer Portugal and the world has ever seen. Her voice was heavenly! Too bad you gentlemen do not understand Portuguese as she was truly outstanding!

93 21,373
 04-07-2012, 11:35 AM
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Wayne Shorter - Night Dreamer

[Image: %255BAllCDCovers%255D_wayne_shorter_nigh...-front.jpg]

Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-'50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and, in later years, adding an element of funk. On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded. Shorter's influence as a player, stemming mainly from his achievements in the 1960s and '70s, has been tremendous upon the neo-bop brigade who emerged in the early '80s, most notably Branford Marsalis. As a composer, he is best known for carefully conceived, complex, long-limbed, endlessly winding tunes, many of which have become jazz standards yet have spawned few imitators.

Shorter started on the clarinet at 16 but switched to tenor sax before entering New York University in 1952. After graduating with a BME in 1956, he played with Horace Silver for a short time until he was drafted into the Army for two years. Once out of the service, he joined Maynard Ferguson's band, meeting Ferguson's pianist Joe Zawinul in the process. The following year (1959), Shorter joined Art Blakey's Jazz Messengers, where he remained until 1963, eventually becoming the band's music director. During the Blakey period, Shorter also made his debut on records as a leader, cutting several albums for Chicago's Vee-Jay label. After a few prior attempts to hire him away from Blakey, Miles Davis finally convinced Shorter to join his Quintet in September 1964, thus completing the lineup of a group whose biggest impact would leap-frog a generation into the '80s.

Staying with Miles until 1970, Shorter became at times the band's most prolific composer, contributing tunes like "E.S.P.," "Pinocchio," "Nefertiti," "Sanctuary," "Footprints," "Fall" and the signature description of Miles, "Prince of Darkness." While playing through Miles' transition from loose post-bop acoustic jazz into electronic jazz-rock, Shorter also took up the soprano in late 1968, an instrument which turned out to be more suited to riding above the new electronic timbres than the tenor. As a prolific solo artist for Blue Note during this period, Shorter expanded his palette from hard bop almost into the atonal avant-garde, with fascinating excursions into jazz/rock territory toward the turn of the decade.

In November 1970, Shorter teamed up with old cohort Joe Zawinul and Miroslav Vitous to form Weather Report, where after a fierce start, Shorter's playing grew mellower, pithier, more consciously melodic, and gradually more subservient to Zawinul's concepts. By now, he was playing mostly on soprano, though the tenor would re-emerge more toward the end of WR's run. Shorter's solo ambitions were mostly on hold during the WR days, resulting in but one atypical solo album, Native Dancer, an attractive side trip into Brazilian-American tropicalismo in tandem with Milton Nascimento. Shorter also revisited the past in the late '70s by touring with Freddie Hubbard and ex-Miles sidemen Herbie Hancock, Ron Carter, and Tony Williams as V.S.O.P.

Shorter finally left Weather Report in 1985, but promptly went into a creative slump. Still committed to electronics and fusion, his recorded compositions from this point became more predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements. After three routine Columbia albums during 1986-1988, and a tour with Santana, he lapsed into silence, finally emerging in 1992 with Wallace Roney and the V.S.O.P. rhythm section in the "A Tribute to Miles" band. In 1994, now on Verve, Shorter released High Life, a somewhat more engaging collaboration with keyboardist Rachel Z.

In concert, he has fielded an erratic series of bands, which could be incoherent one year (1995), and lean and fit the next (1996). He guested on the Rolling Stones' Bridges to Babylon in 1997, and on Herbie Hancock's Gershwin's World in 1998. In 2001, he was back with Hancock for Future 2 Future and on Marcus Miller's M². Footprints Live! was released in 2002 under his own name, followed by Alegría in 2003 and Beyond the Sound Barrier in 2005. Given his long track record, Shorter's every record and appearance are still eagerly awaited by fans in the hope that he will thrill them again. Blue Note Records released Blue Note's Great Sessions: Wayne Shorter in 2006.

by Richard S. Ginell Allmusic.com


1 2,827
 04-15-2012, 08:10 AM
  • 4711
  • Member
  • England
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At this very moment ...,Peter Tinniswood "Celtic Fringe" Biggrin

0 110
 04-15-2012, 08:38 AM
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Bowerbirds - Upper Air

[Image: 4hdtf.jpg]

Upper Air, the Bowerbirds' second release, finds the band continuing in the vein of their first effort; this is rustic, cerebral, ramshackle music. You could call it beard rock -- it's the kind of backwoods, wild-poet-of-the-mountain sound that nods to Bon Iver, Bonnie "Prince" Billy, and Iron & Wine. What makes the Bowerbirds just a touch different lies in how manipulative their songs can be, which is just to say that there are times when Upper Air is exhilarating. "House of Diamonds," what with its stormy percussion and piano chords, and its blocky guitar riffs (so carefully amplified, it almost sounds like frontman Phil Moore is punching the strings), is, in its twine-rough, woodsy way, simply electrifying. Moments like this make it clear that the Bowerbirds are able to capture that certain, heart-snagging something -- it's the kind of thing that brings to mind Arcade Fire's best moments. The Bowerbirds really are at their best when they call up this quietly fiery side of their sound. "Ghost Life"'s wordless chorus (a series of triumphant oh's) shouldn't be as convincingly uplifting as it is -- but it is, and it's a testament to the Bowerbirds' creative chemistry and pop sensibilities. Upper Air only runs into trouble when the Bowerbirds get a little too introspective; some of the slow, meandering tracks here tend to get muddily dirge-like ("Chimes"). But this is a small issue in the wake of all the twisting, strange-hearted stuff this disc has to offer. Those who weren't so sure about the Bowerbirds before might change their tune with this release -- Upper Air is a luminous, wild-eyed affair, and a solid second album to boot.(Taken from http://www.allmusic.com/album/upper-air-r1579456/review )

4 365
 04-15-2012, 08:58 AM
  • 4711
  • Member
  • England
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Well, I'm intrigued now Bowerbirds in my sights ........lets have a listenCool

0 110
 04-15-2012, 09:08 AM
  • Johnny
  • Emeritus
  • Wausau, Wisconsin, USA
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One of my all time favorite bands and one of my favorite albums.



189 26,346
 04-15-2012, 09:25 AM
  • 4711
  • Member
  • England
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Now your talking Johnny, that album takes me right back to very happy times, unlike the personal trauma Fleetwood Mac were going through at the time .....probably made the album though !

0 110
 04-15-2012, 09:54 AM
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(04-15-2012, 08:58 AM)4711 Wrote: Well, I'm intrigued now Bowerbirds in my sights ........lets have a listenCool

Smile nice band, the other albums are solid as well!

(04-15-2012, 09:08 AM)Johnny Wrote: One of my all time favorite bands and one of my favorite albums.

'Go your own way' is a great song!

4 365
 04-15-2012, 02:55 PM
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Stan Ridgway - Mosquitoes

[Image: stan_ridgway-mosquitos.jpg]

1 2,827
 04-23-2012, 08:20 AM
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This weeks iPod play list is so varied is just weird.
Static-X - "Push it"
Tool - No Quarter (cover) & "Undertow"
Pusifer - "Momma Sed" & "The Mission"
The Mountain Goats - "No Children"
Primus - "Tommy The Cat"
Nailbom - "Sick Life"
Meshuggah - "Bleed"
Neds Atomic Dustbin - "Gray Cell Green"
Stevie Ray Vaugh - "Rude Mood" & "Texas Flood"
Andres Segovia - "Asturias"
The Toadies - "Possum Kingdom"
Deftones - "If only Tonight I Could Sleep" (cover) & "Passenger"
VNV Nation - "Rubicon" & "Carbon"
Wolfsheim - "And I"

I listen to a lot of different music.

10 451
 04-28-2012, 01:15 PM
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Just a little more Eddie Hazel.

[Image: R-770413-1247951803.jpeg]

Kenny Vance and the Planotones - Looking for an Echo

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Kenny Vance, who began with Jay & the Americans and has gone on to an extensive career supervising music in films, and his cohorts in the Planotones, each of them with a lengthy list of music business credits, perform doo wop music as a sideline and a labor of love. On this self-titled release, they re-create '50s and '60s standards like Jerry Butler's "He Will Break Your Heart," the Drifters' "Some Kind of Wonderful," and Jay & the Americans' "This Magic Moment," as well as originals such as Vance's autobiographical history of doo wop, "Looking for an Echo" (presented in both demo and full group versions). Kenny Vance & the Planotones emphasize the sweeter aspects of doo wop over its more exciting elements. If they have a flaw (in addition to the slight wear and tear in their middle-aged voices), it is in their extreme reverence for the music, which sometimes makes it seem a bit formal. But they clearly love what they do.

by William Ruhlmann - Allmusic.com

This was used as the soundtrack to the film reviewed below:

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