Sem duvida alguma uma da melhores bandas a se apresentar no Rock In Rio .Ed Motta, Rui Veloso, Andreas Kisser, Paulinho Guitarra, Ugo Perrotta e Otávio Rocha. Esse é pra ficar guardado pra sempre na memoria de todos . Só espero que lancem um DVD ou um CD , dessa maravilha . Parabéns pessoal , isso sim é o espirito do Rock In Rio .
Bad to Me, One and One Is Two, 12-Bar Original, A Day in the Life, Magical Mystery Tour, The Fool on the Hill, Blue Jay Way, Your Mother Should Know, I Am the Walrus, Christmas Time Is Here Again, Goodbye,Something,
I Me Mine .
Inteiramnete indispensavel para os amantes dos Beatles, esse disco contém alguns takes alternativos e raridades como 12-Bar Original , inteiramente instrumental .
Um ótimo disco de Funk & Disco , esse eu tenho certeza que vai animar sua festa . A banda foi formada em 1971 , e já no ano subsequente gravaram seu primeiro álbum o último foi em 1984 . Eles lançaram dez discos no total esse é o oitavo e um dos melhores da carreiar da familia Sylvers .
It began and begins again in California. Donny approached Randy and asked him to be in a band he was putting together. Randy agreed, although he wasn’t certain about the From Laguna Beach, California, Love and Jameson had previously been members of Phil Pearlman's band that recorded the rare surf 45 as Phil and The Flakes. The Bandbass player or the singer. The name for the band came about one night when the bass player’s younger brother, a child at the time, said, “Well, what about Wildfire?” Everyone laughed at first, because the suggestion came from a “little kid,” but then the laughter stopped and someone said, “Hey, that’s a really good name.One night Randy and Donny were playing in a band at an underground club in Huntington Beach. Danny walked in as part of the audience, accompanied by 2 chicks. At the break Danny said, “I like the way you play, can I jam with you guys?” The Sixties, the time of free love, of free music. Walk into a club today and ask the band if you could jam with them. Right!
Randy asked Danny what he played, and Danny replied, “bass, keyboards and vocals.” Randy thought that if this guy is any good, he could replace his bass player AND the singer. After the break, Danny got on stage with Randy and Donny and after Danny’s first note, history was in the making! Quilter Amplifiers
Shortly before Randy met Danny, he was working with a bass player named Mike Castevens. Mike rode an old Indian motorcycle and was working at this guy Pat Quilter’s formative guitar-amp shop.
Randy was using a Fender Single Showman at the time and he was constantly blowing it up trying to play Jimi Hendrix licks. He really needed the Dual Showman version, but you couldn’t just add another speaker to the existing cabinet, the output transformer was set to drive only one. Randy’s father passed by Fender Musical Instruments in Fullerton each day on his way to work, and he would take in the amp every other day or so to get a new speaker. After about five warranty replacement speakers (expensive JBL D130F’s) he was basically advised that he was expecting too much from the amp. What to do?
Mike introduced Randy to Pat Quilter, saying “this guy is an electrical genius, he can build you whatever you want.” Pat’s first idea was to replace the single 15 with a set of four 12-inch speakers wired for the same impedance. These were the heaviest-duty speakers available from a local electronics store. They held up for a little while but eventually fried as well. However, Randy thought this was progress at least, and remained interested in what would happen next at “Da Shoppe”. The group Randy and Mike played in broke up, so equipment plans were put on hold, but when Danny joined the band, Randy realized that Pat Quilter was what Wildfire needed.
Mike Castevens, who played bass with Pat Quilter’s younger brother in their high school band “The Blown Mind”, had commissioned the first Quilter amp with the inspiring nameplate “A Quilter Sound Thing.” It was a 100 watt amp that sold for $250. Pat remembers that he had to do everything over twice before it worked, and that he made about 3 cents an hour after all was done!
“Flushed with success,” according to Pat, he went into business in 1968 and quickly connected with several local bands in Southern California, including Wildfire. A great part of the dominance of the Wildfire sound was due to the next-generation Quilter amplifiers they used. Randy got an early prototype of the “Model 500” which had 200 watts, but only 3 main control knobs – volume, treble and bass. Pat squeezed in a little mid-range knob to add “contour” and give the sound more overdrive, but Randy didn’t consider that one of the main controls.
Having learned not to skimp on speakers, the Model 500 came with a single tall cabinet holding no less than six Altec 417C guitar speakers – a truly cosmic experience! There are a few 455 and 500 heads in the Quilter museum, but no original Quilter speaker bottoms have surfaced – no doubt they were eventually recycled as closets or storage units.
The earliest Model 500 amplifiers were plenty loud, but there were some bugs in the design. For some reason, about 25% of them would “just blow!” If they made it through a few gigs, they were usually good for life. They were the loudest thing available, even compared to a Marshall stack at the time. Danny played through a newer, cleaned-up Model 455 with a 2 x 15 Altec bass cabinet.
Later Randy asked Pat to build him a bigger stack, and he was rewarded with a 500 watt monster with 2 4-12 cabinets. The stack contained a faceplate that said “The Randy Love Model” and cost him $2,100. It stood about 8-10 inches taller than a Marshall and, according to Randy, “just kicked ass!” Unfortunately, the power of this amplifier did not catch on with other bands.
By about 1972, it became clear to Pat and his partners that they had missed their chance to take over the world in guitar amplifiers. Marshall had already become the standard for “big stacks” and other companies had taken up the rest of the business. Beginning in the mid-seventies, “Quilter” became “QSC” and refocused on rack-mounted general purpose amplifiers. The company has since worked its way to leadership in the general sound reinforcement industry.
Check out today’s Quilter amps at www.qsc.com. California The main venue for the band in California was Finnegan’s Rainbow, a nightclub in Orange County owned by Syl Grove.
Soon after the association with Danny, the band began rehearing in a house on 19th Street in Costa Mesa. They had been together only 3 weeks when they were offered the opportunity to play an outdoor concert at the University of California at Irvine (UCI), headlining Lee Michaels. There were 8 or 10 other bands on the bill, including Love, and Wildfire went on right before Lee Michaels. Thousands of people showed up, including people from Finnegan’s Rainbow. Soon after the show Wildfire was asked to be the house band at Finnegan’s, playing 5 nights a week. After only a few appearances, lines formed around the block waiting to get into the club and hear the band.
Another memorable concert was at an obscure location in the hills above Laguna Beach known as the “Top of the World,” a remote spot available at that time only via a dirt road. Wildfire pioneered the concept of “word of mouth” advertising, and told a small number of people about the venue. The band knew a man who worked for the Aliso Creek Water District, and he had the keys to all of the locked gates. Given entrance, the roadies set up the gear on a flat-bed truck with a 10kW gas generator. About 500 people came through the gates, settled into the beautiful valley setting, and the gates were locked once again.
The Top of the World concert stands as one of the epitomes of “peace/love/joy.” There was no violence. No arguments. No “hassles,” as they said back then. The audience was as much in love with the music as the boys were making it. As was fitting, the generator ran out of gas on the last song, the second encore, “Quicksand.” There were rumors that the Orange County Sheriff’s Department personnel were outside the gates wondering where all that music was coming from, hearing the cheers of 500+ people from somewhere up on that mountain!
The Top of the World concert stands out in a series of outdoor concerts in Southern California. The Ortega Festival, the last outdoor concert Wildfire did in California, was much larger, almost 2,000 people, and the organizers were not ready for the crowds. Wildfire played at the end of the day, and by that time, the venue had become a dust bowl, covering the guitar strings with dirt. It was the last outdoor venue Wildfire played until they came to Texas.
Prior to the Ortega Festival, Wildfire had played at the Merced County Fairgrounds, opening for Elvin Bishop and Santana. It was a typical county fair situation, with people from the surrounding areas coming to enjoy a day of county fair activities. The bands performed outside in the afternoon, and then were to perform inside a convention center that evening.
Wildfire created such a stir with their loud amplification and high-energy original songs that other more established bands were in awe of their musical power. Thousands of faces turned away from the main stage and started grooving on this powerful trio. Ultimately, the name acts asked the promoters to cancel the indoor appearance of Wildfire, and as usual, money spoke. Despite the pleas of the audience, Wildfire was not allowed to perform that evening.
Wildfire had better luck with the Laguna Beach movie theater. One night Randy was walking past the theatre, right across from the beach, thinking that it would be a great place to play after the movies were finished. He walked in and asked for the manager, who happened to be there, and told him of his idea. Several weeks later the manager called Randy and said that his theatre was about to go out of business, so he had nothing to lose by adding bands at midnight. The boys of Wildfire were geared for the show and had friends doing the promo work. The place was packed and the crowd was on its feet by the end of the show. That single night launched a concert series on Friday and Saturday nights that lasted nearly 4 years. Jerry Garcia and other groups of international acclaim played there. It was at this venue that Wildfire opened for Blue Cheer in the late 1960’s. The local attention paid to Wildfire assured that any name act would find a packed audience. Texas
A Texas promoter heard Wildfire in Southern California and brought them to Austin to play a private concert at The Hill On The Moon, a 55-acre ranch north of Austin by the lake. Because they were so intense and so ahead of their time, they became an instant hit locally in the Austin area. Austin is home to The University of Texas at Austin, and with approximately 40,000 students in the late 1960’s, it was the perfect place to live during the academic school year. The band returned to Southern California during the summer.
The boys loved the college campus, mainly for the beautiful Texas women! At one point, they lived at The Dobie, a high-rise, off-campus, co-ed dorm near the University. The Dobie had a “hippie theater” in it, and in exchange for a concert once a week, the boys lived free in the building for a while.
The Armadillo World Headquarters was a favorite venue for the band (www.awhq.com.) The October, 1970 concerts opening for Freddie King, brought Wildfire to the attention of more Austin music lovers. The two-night stand was memorialized in a poster no longer available, but viewable on the website www.classicposters.com. Freddie King was not traveling with his own band, and Jimmy Vaughn’s band at the time backed him up. Randy remembers that Freddie did not even carry extra guitar strings, and that on both evenings Randy had to give Freddie an e-string before the show.
At that time in Austin, the biggest draw next to Wildfire was Krackerjack. Krackerjack had a winning format – they wrote most of their own stuff and people could dance to their music all night long. With both bands on the ticket, the promoters and club owners were always pleased – Krackerjack sold a lot of beer and Wildfire sold a lot of tickets. Stevie Ray Vaughan played with Krackerjack for a while.
Charlie Hatchett, of the Hatchett Talent Agency, which is still alive today, booked them in and around the Austin area.
The band drew a different crowd in Austin when they played at Maggie’s, an after-hours coffee house near the Holiday Inn on East Avenue somewhere between River Street and First Street. People would stay all night at Maggie’s, listening to music and discussing Viet Nam. Many a person who contributed memories to this history confessed a crush on Miss Maggie! We are still looking for Maggie. If you have any knowledge of how to find her, please send an e-mail to the band.
Wildfire frequently played at The Jam Factory in San Antonio, a club owned by Joe A. Miller. Here they opened for the Allman Brothers, when Dwayne Allman was still alive and the band was rocking. Wildfire played at a Port Arthur surfing contest where the hotel would not let them check in because of their long hair. This performance marked the first time Donny was using Sparkle drumheads and they broke!
Headlined by Doug Sahm and the Sir Douglas Quintet, Wildfire played at the San Antonio Coliseum. ZZ Top was also one of the opening acts.
Another obscure venue where the band played often and to rave reviews was at Jim Marlin’s club in Brownwood, a small town in West Texas. A picture of them playing this club is on the CD release of the original demo album. The 1970 Demo Album
When Wildfire determined it was time to cut a demo album, they began in California at the Beach Boys’ studio, putting down the bass and guitar tracks. Wildfire guitarist Randy Love is Beach Boy Mike Love’s cousin. A Texas promoter convinced the band that Texas was the place they wanted to be and the place they wanted to record, and the boys returned to Austin, eventually ending up at Sonobeat’s Western Hills Drive studio toward the end of the year. There they cut a demo of original music, 8 power-packed songs of timeless rock and roll. Sonobeat owner Bill Josey, Sr. produced and engineered this demo album which, like all of Sonobeat’s classic demos, was released in a plain white jacket with hand-written numbers on white stickers.
According to Pat Quilter, “to my knowledge, this was the only recording of Quilter amps used at full power.”
In addition to the few copies given out in Austin, the demo was sold at Sound Spectrum, a record store in Southern California owned by Jimmy Otto at the time. Wildfire gave only 100 albums to the store, and they were sold out in 2 days. The store begged fore more, and Sound Spectrum was given an additional 100 albums. They were sold out in a matter of hours, setting an all-time record albums at the store, per Jimmy Otto. The authorized demo album has a white cover with an adhesive label. The label on the vinyl reads “Primo” and was drawn by Randy Love. Autumn Leaves and BMI were on the label.
01. Stars in the Sky
02. Down to Earth
03. Time Will Tell
04. Don’t Look For Me
06. What Have I Got Now
07. Let It Happen
Originally known as White Lightning the group was formed by Tom Caplan in Minneapolis, Minnesota, upon leaving The Litter. Musically their recorded output was decent hard rock, not dissimilar from the Caplan-less Litter's third album. The Lost Studio Album contains two tracks by White Lightning, Only Love and William Tell, taken from an acetate and digitally cleaned, along with recordings made by Lightning in 1969, prior to the release of the P.I.P. album. Three of the songs featured are also on the P.I.P. album, but they are in a very different form on this limited edition release, which features some good guitar work and is well worth investigation. Zip Caplan is the longtime lead guitarist for The Litter, the Minneapolis cult garage band often referred to as ".....the forerunners of the Punk Rock Movement" and who also recorded the cult classic "Action Woman"(represented on the Nuggets box set from Rhino). For a time in the 70's Zip headed up the group White Lightning, did studio work in Los Angeles and later played a short stint with Johnny Winter. Zip Caplan is joined on this project by an old friend, Bernie Bomberg, who plays Keyboards on all the tracks in addition to acting as co-producer and arranger. Zip's association with Bernie began back in the early 60's when they first worked out a crude version of The Mummy. This short version was later re-worked and used on the highly collectable first Litter album "Distortions". In the 70's Zip took another arrangement from his early collaborations with Bernie and turned it into a showstopper with the group White Lightning. The William Tell Overture became so popular at White Lightning concerts that it literally brought the house down at the Aragon Ballroom in Chicago when White Lightning played a double bill with Jethro Tull.
Audio ripado desse maravilhoso DVD , pra mim um dos melhores shows registrados que eu já assisti . Pra quem gosta de Funk e Jazz , não pode perder um tesouro desses . Aqui consegui separar apenas o audio , mesmo . Fica aí um presentão para quem sempre quis ouvir essa maravilha no carro e não tinha um aparelho de DVD no mesmo . Para quem nunca assistiu ao video , tenho certeza que ira correndo comprar essa joia rara .
1. Emergency 2. Hollywood Swinging 3. Jungle Boogie 4. Kool & The Gang 5. Breeze & Soul 6. Chocolate Buttermilk 7. Sea of Tranquility 8. Let the Music Take Your Mind 9. Wild & Peaceful 10. Open Sesame 11. Summer Madness 12. Ladies Night 13. Get Down on It 14. Celebration
E ai pessoal, hoje estou postando aquela velha historia do cara talentoso que produziu apenas um disco e sumiu no mundo . Mas felizmente para nós podemos curtir esse LP ripado que esta aqui , pois nem em CD , saiu essa raridade . O som do cara é um Blues Rock , da melhor qualidade , aproveitem e ouçam no maximo !
Em 1975 Carlos Iturbide , resolve reformular sua banda que passa a ser um quarteto com a chegada de mais um guitarrista solo . E de Trio Galleta , passam a ser chamados apenas de Galleta , mas não deixando de lado aquele movimento que ele nomeou de Soul Rock , e até arrisca a cair no Hard Rock , mas sem esquecer o balanço da música negra , e manda uma das versões mais legais que já ouvi para : When A Man Loves A Woman , e fazendo a gente querer mandar um backing em : Dear Eloise , ( essa gruda nos ouvidos como chiclete ) e também em : Some Kind Of Wonderful , sem falar em Darling , darling , sem perceber esta voce cantando junto com a banda . O momento que parecia ser mais constrangedor era a cover de Stormy dos Classics lV , mas agora eu até prefiro com eles . Mr. Music Man , é uma das composições própias da banda , nesse disco eles arriscaram umas cinco músicas , deixando de tocar apenas covers . Mas como o ano era de 1975 , e a coisa pela nossa amada América Latina , estava muito conturbada , o disco não teve uma receptividade a sua altura , mas estamos aqui tentando refazer o passado e lher dar um lugar merecido ao lado dos grandes discos e artistas . Pois se o Maradona , é para os irmãos argentinos seu semi-deus , para nós aqui do Rocksoul , Carlos Iturbide , é sim o maior idolo vindo daquele grandiosíssimo pais . E se alguém da Argentina , nos poder passar alguma informação sobre seu paradeiro seria legal saber !
Aqui esta o primeiro disco da nossa querida banda Argentina , liderada por Carlos Iturbide : guitarras e vocal , Lolo : baixo e vocais e Juan Carlos Saporiti na bateria e vocais . Esse album contem a mesma formula seguida pela banda até o seu termino , varios covers dos grandes hits da sua época . Neste disco contamos com um grande sucesso de I've Been Hurt ( Estoy Herido ) , da banda Bill Deal & TheRondells , e também Lodi dos CCR , Light My Fire , Doors , e varios outros clássicos que voces poderão curtir . Enfim mais um ótimo disco
First solo album of ex-BIRTH CONTROL guitarist. Fantastic collection of both powerful and melodious songs with competent instrumentation. Dirk Steffens was for a short period (from 1973 to 1974) guitarist in Birth Control. In Autumn 1975 he began work on his first solo album The Seventh Step (1976), a powerful collection of hard rock songs, well performed by Steffens (guitar), Rainer Baumann (guitar on some tracks). Ian Cussick (bass, vocals, who'd also worked with Lucifer's Friend) and Rolf Kohler (drums, percussion, who previously worked with Achim Reichel). Steffens revealed himself as a technically competent guitarist.
Power Trio Argentino , maravilhoso , fazendo covers da época . Disco imperdivel para os amantes do bom e velho Rock'n Roll e com alguns Blues durante o disco também .
O Trio teve um relativo sucesso nas paradas brasileira com o hit : I'm so Happy , muito tocada nas radios e nos bailinhos das casas , festas e afins .
01 - I'LL SEE YOU IN THE CORNER
02 - RUNNING MILES
03 - I'M LOST
04 - I CAN'T BELIEVE IT
05 - MY SORROW IS ENDED
06 - I SEE YOUR FACE IN THE WINDOW
07 - I AM SO HAPPY
08 - COME TO ME SOFTLY
09 - TAKE IT
10 - JAILHOUSE ROCK
11 - GEORGIA ON MY MIND
12 - GOIN' BACK TO INDIANA
13 - MAKING GOOD TIME
Vejam só o Line Up da banda :Greg Errico, Carlos Santana, Herbie Hancock, Lee Oskar, Neal Schon, Mike Carabello, Greg Rollie, Chepito Areas . Só podemos esperar um grande disco , é oque nós encontramos aqui , dividido entre Funk Rock , e até aquela viagem latina do Santana , o disco é um projeto único . Um trabalho pra se ouvir com atenção e prazer !
After setting the funk world on fire with 1976's Good High and 1977's Brick, the Atlanta-based Brick seemed to be running out of steam on 1979's competent but unremarkable Stoneheart. Gratefully, Brick's fourth album, Waiting on You, was an improvement. Fans who found Stoneheart to be uneven and mildly disappointing were pleased to discover that Brick is more inspired and focused on this 1980 LP. Without question, Brick sounds rejuvenated on energetic, infectious funk smokers like "Free," "Get Started," "Sweet Lips," and "Push, Push." And the band is equally appealing on the romantic soul ballad "Let Me Make You Happy." As much as Waiting on You has going for it, the record isn't quite as strong as Good High or Brick, both of which are classics. But it's certainly superior to Stoneheart, and it demonstrated that Brick was still quite capable of being exciting.
Essa era a banda do saxofonista Mel Collins , membro das bandas : 21st Century Schizoid Band, The Alan Parsons Project, Byron Band, Camel, Circus, Fission Trip, King Crimson, Kokomo, Alexis Korner & Snape, Snafu, Snape . Daí já da pra sentir oque nos aguarda ao ouvir esse disco . Sinceramente não da pra começar melhor o ano , musicalmente falando , de cara eles abrem o disco com um cover dos Beatles ,instrumental de primeira linha,e, até impressionam o ouvinte com sua Bossa Nova , em Goodnight John Morgan , onde Mel Collins , demonstra sua versatilidade e talento .Em resumo um disco pra se ouvir com muita atenção e varias vezes , em seus 40 anos de existencia , aqui vai uma atrasada homenagem !!!
Formed 1967, United Kingdom Members Mel Collins (saxophone), Phillip Goodhand-Tait (vocals, keyboards), Ian Jelfs (guitar, vocals), Kirk Riddle (bass), Chris Burrows (drums), Alan Bunn (drums)
01.Norwegian Wood 02.Pleasures Of A Lifetime 03.St. Thomas 04.Goodnight John Morgan 05.Father Of My Daughter 06.II B.S. 07.Monday Monday 08.Don't Make Promises
Um belo trabalho dessa maravilhosa banda um Hard Rock , com uma levada Funky , nas guitarras . Não chega a ser tão brilhante como o primeiro mas também não decepciona !
Band Of Light : The History
Line-Up: Phil Key (Guitar / Vocals) Tony Buettel (Drums) Norm Roue (Slide Guitar) Peter Roberts (Bass)
Phil Key had spent eight years with the La De Da's before forming Band Of Light in October 1972 as a more introspective, personal venture. Ian Rilen replaced original bass player Peter Roberts after only three gigs. Master slide guitarist Norm Roue and drummer Tony Buettel completed the line-up. Norm had played with Gutbucket, Lotus and Wolfe. Peter had played with Freshwater and the La De Da's, and Tony with Bay City Union, Levi Smith's Clefs, Fraternity and Band Of Talabene.
Band Of Light immediately established a slow, heavy blues style dominated by Roue's stinging slide work. Key also introduced a quasi-religious philosophy into the band's lyrics that espoused racial equality, social justice and spiritual harmony.
The band worked the Sydney and Melbourne pub circuit and scored a national number 18 hit single in July 1973 with the infectious boogie rocker "Destiny Song"/"Over B" which was taken from the album "Total Union". Mostly the album was standard hard rock, slow 12-bar blues and boogie, but the best tracks revealed Band Of Light to be an energetic and funky rock band. The second single "Free Them From Hunger"/"The Cat" in August and the non-album "Moonstruck"/"If" in November failed to chart.
Roue, Rilen and Buettel all left Band Of Light in mid-1974. Roue went on to join Buffalo, Rilen helped form Rose Tattoo in 1976 and Buettel went into production work. Key was ready to record the band's second album and called in Billy Williams, previously from Classic Affair, to play bass and Danny Davidson, from Tamam Shud and Kahvas Jute, to play drums, in order to complete the album.
Released in 1974, the album "The Archer" had a much drier sound than the debut and failed to chart. The single "The Archer, A Sagittarian Rhapsody"/"Silus The Sun" was not successful. Ray Vanderby on keyboards and Eddie Hansen, from Ticket, on lead guitar, filled out the basic three piece line-up for live dates, but by the end of 1974 the band had broken up.
Key ended up driving taxis in Sydney for many years. He died in May 1984 as a result of a congenital heart condition.
Rock 'Roll Japones da mais alta qualidade 01 Participation (english) 02 Rock 'n roll ~ good golly miss molly ~ long tall sally 03 My babe 04 House of the rising sun 05 Kyoko 06 I'm a man 07 Jenny jenny '70 08 Eleanor rigby 09 Body and soul 10 Get, got, gotten 11 Ain't that just like me 12 Club a go-go
Grande clássico da Soul Music , aqui tem como bonus : Express Yourself Pt. 2 , que voces só encontram aqui no Rocksoul
Charles Wright headed one of the great funk groups of the late '60s and early '70s, the Watts 103rd Street Rhythm Band. Wright, who was born in Clarksdale, MS, was a singer, pianist, guitarist, and leader of the eight-member band, which had been recruited from Watts in Los Angeles. They were originally known as the Soul Runners. Bill Cosby helped get the band off the ground by giving them appearances at his gigs. They began recording for Keyman in 1967, then moved to Warner Bros. in 1969. While "Do Your Thing" and "Till You Get Enough" were Top 20 R&B hits, their finest selection was "Express Yourself," a song that expressed the urge for freedom as adroitly as the Isley Brothers' "It's Your Thing" had in the '60s. It has also been among the most sampled funk tracks for hip-hop and rap groups. "Your Love (Means Everything to Me)" was their final R&B hit in 1971, peaking at number nine R&B and number 12 pop. The group's best ballad, "Love Land," did better among pop fans than R&B ones, many of whom saw it as a bit soft. They continued recording for Dunhill in 1973 before disbanding. Drummer James Gadson and guitarist Al McKay, who later joined Earth, Wind & Fire, were among the instrumental corps of the Watts 103rd Street Rhythm Band.
Mais um espetacular álbum dessa fantastica banda ,uma das minhas preferidas da Funk Music , de primeira linha com os vocais maravilhosos de Larry "D" Dodson , e , comandada por um de seus fundadores James Alexander .
Able to move with the times, bringing all the elements of the new breed into their sound, and keeping their funk roots intact while traversing the slippery slope of 1980s dance, the Bar-Kays scored another hit with 1984's massive Dangerous LP. Whittled down to a hefty octet for this outing, the Bar-Kays easily proved they were still up to their old tricks, smoothly updating their sound while continuing to take some well-intentioned and good-humored jabs at more than a few peers along the way. This now-traditional penchant, never meant to hurt and only done in homage, is perhaps best heard across the album's three hit singles. Not only was the monstrously sassy "Freakshow on the Dance Floor" an integral part of the film Breakin', but the incorporated elements from Midnight Starr's "No Parking on the Dancefloor" were just evident enough to prove that the similarities were deliberate. Following on the heels of that hit came the mid-tempo groover "Dirty Dancer," which tongue-and-cheekily captured the essence of Michael Jackson's current "Billie Jean," leaving the synthed-out "Sexomatic" following quite happily in Prince's purple footsteps. And while it's true that these songs may well be the best elements of Dangerous, the band wasn't done yet — not by a long shot. The title track remains an outstanding sliver of smooth dance that seamlessly incorporates more than a few Euro-disco splashes into the mix. It's very much of its era, but still compellingly fresh nevertheless. Elsewhere, the band rounds out the relative frenzy with one single ballad, the well-intentioned "Lovers Should Never Fall in Love," capping off another effusive, energetic set. And although, at the time, it seemed as if the Bar-Kays were unstoppable, Dangerous would prove to be the band's last major hit — making this album one to savor.
Banda formada em 1996 em Los Angeles CA , com quatro discos na sua bagagem esse de 2005 , vem mostrar todo talento dos rapazes fazendo uma Funk Music , da melhor qualidade . O disco é inteiramente bom mas o destaque vai pro grande hit Reconize .
Um sensacional Bootleg / Unauthorized , dessa banda formada por Björn Inge (drums, vocals), Christer Stålbrandt (bass, vocals), Richard Rolf (guitar) na Suécia em 01 de Novembro de 1969 e se separaram em 31 de Dezembro de 1972 . Nesse curto periodo eles angariaram varios fans ao redor do mundo com seu HardRock , vigoroso . Aqui um Live , maravilhoso cheio de riffs , do jeito que nós curtimos .