Índicefanáticos de GOV'T MULE
+6
Carlton Banks
CROWES
Murdock
Curtis Loew
Jano
Perimaggot
10 participantes
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fanáticos de GOV'T MULE
por Perimaggot Jue 8 Ene 2009 - 4:53
¿habéis escuchado a ROBIN TROWER?
lo mismo ya es uno de vuestros ídolos y yo llego tarde, pero el otro día estuve repasado un par de discos suyos que tengo, un directo y el TOO ROLLING STONED (del 74) y ALUCINÉ EN COLORES... joder, no recordaba lo bueno que era este tipo. Hacía años que no escuchaba esos discos y me parecieron increibles. Guitarras hendrixianas, una voz grave, ronca, precedente claro de Haynes, unas canciones cojonudas... desarrollos instrumentales a la altura de los allman o cream
recomendable al máximo
por supuesto, sus guitarras en PROCOL HARUM son cojonudas, aunque no tienen nada que ver con lo que el tipo haría luego en solitario...
lo mismo ya es uno de vuestros ídolos y yo llego tarde, pero el otro día estuve repasado un par de discos suyos que tengo, un directo y el TOO ROLLING STONED (del 74) y ALUCINÉ EN COLORES... joder, no recordaba lo bueno que era este tipo. Hacía años que no escuchaba esos discos y me parecieron increibles. Guitarras hendrixianas, una voz grave, ronca, precedente claro de Haynes, unas canciones cojonudas... desarrollos instrumentales a la altura de los allman o cream
recomendable al máximo
por supuesto, sus guitarras en PROCOL HARUM son cojonudas, aunque no tienen nada que ver con lo que el tipo haría luego en solitario...
Perimaggot- Mensajes : 35025
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Re: fanáticos de GOV'T MULE
por Jano Jue 8 Ene 2009 - 4:56
al menos el señor carlton banks y yo somos seguidores de este tipo
un crack
peri, hazte ya con el 'Bridge of Sighs'
un crack
peri, hazte ya con el 'Bridge of Sighs'
Jano- Mensajes : 31935
Fecha de inscripción : 24/03/2008
Re: fanáticos de GOV'T MULE
por Perimaggot Jue 8 Ene 2009 - 4:57
Jano escribió:al menos el señor carlton banks y yo somos seguidores de este tipo
un crack
peri, hazte ya con el 'Bridge of Sighs'
¡¡¡OIDO COCINA!!!
me flipa, tío... no recordaba lo bueno que era (hace cómo cuatro años que no me ponía esos discos, y en su momento los escuché muy de pasada)
¿qué opinas del TOO ROLLING STONED? a mí me parece genial, tronco
¿más discos recomendables? ¿alguno que no deba pillarme?
Perimaggot- Mensajes : 35025
Fecha de inscripción : 20/05/2008
Re: fanáticos de GOV'T MULE
por Jano Jue 8 Ene 2009 - 5:01
Perimaggot escribió:Jano escribió:al menos el señor carlton banks y yo somos seguidores de este tipo
un crack
peri, hazte ya con el 'Bridge of Sighs'
¡¡¡OIDO COCINA!!!
me flipa, tío... no recordaba lo bueno que era (hace cómo cuatro años que no me ponía esos discos, y en su momento los escuché muy de pasada)
¿qué opinas del TOO ROLLING STONED? a mí me parece genial, tronco
¿más discos recomendables? ¿alguno que no deba pillarme?
estoy perdido
'too rolling stoned' es, si no me falla la memoria, una canción del 'Bridge of Sighs'... a lo mejor tienes un pirata o algo así
no sé
los directos son todos buenos... y el de este año con jack bruce está chulísimo
Jano- Mensajes : 31935
Fecha de inscripción : 24/03/2008
Re: fanáticos de GOV'T MULE
por Curtis Loew Jue 8 Ene 2009 - 5:05
Jano escribió:Perimaggot escribió:Jano escribió:al menos el señor carlton banks y yo somos seguidores de este tipo
un crack
peri, hazte ya con el 'Bridge of Sighs'
¡¡¡OIDO COCINA!!!
me flipa, tío... no recordaba lo bueno que era (hace cómo cuatro años que no me ponía esos discos, y en su momento los escuché muy de pasada)
¿qué opinas del TOO ROLLING STONED? a mí me parece genial, tronco
¿más discos recomendables? ¿alguno que no deba pillarme?
estoy perdido
'too rolling stoned' es, si no me falla la memoria, una canción del 'Bridge of Sighs'... a lo mejor tienes un pirata o algo así
no sé
los directos son todos buenos... y el de este año con jack bruce está chulísimo
Podéis "cagar" algo en la papelera, plis?
Por Stoya!!!
Curtis Loew- Mensajes : 10301
Fecha de inscripción : 24/03/2008
Re: fanáticos de GOV'T MULE
por Perimaggot Jue 8 Ene 2009 - 5:20
Jano escribió:Perimaggot escribió:Jano escribió:al menos el señor carlton banks y yo somos seguidores de este tipo
un crack
peri, hazte ya con el 'Bridge of Sighs'
¡¡¡OIDO COCINA!!!
me flipa, tío... no recordaba lo bueno que era (hace cómo cuatro años que no me ponía esos discos, y en su momento los escuché muy de pasada)
¿qué opinas del TOO ROLLING STONED? a mí me parece genial, tronco
¿más discos recomendables? ¿alguno que no deba pillarme?
estoy perdido
'too rolling stoned' es, si no me falla la memoria, una canción del 'Bridge of Sighs'... a lo mejor tienes un pirata o algo así
no sé
los directos son todos buenos... y el de este año con jack bruce está chulísimo
hummmmmmm... a ver, yo el que tengo es el que venía con aquella enciclopedia de historia del rock de Salvat... la de las portadas azules. Juraría que es too rolling stoned (lo mismo es un recopilata), aunque tal vez me equivoque. Sé que ese tema venía, y otro llamado CALEDONIA, cojonudísimo...
por lo que estoy mirando por internet, debe tratarse de una recopilación. Esta tarde lo miro y mañana te cuento, a ver
otro tipo del estilo que me mola mucho es FRANK MARINO, aunque tampoco lo tengo muy controlado
Perimaggot- Mensajes : 35025
Fecha de inscripción : 20/05/2008
Re: fanáticos de GOV'T MULE
por Perimaggot Jue 8 Ene 2009 - 5:26
el directo que tengo es este:
Track listing: 1) Lady Love; 2) Somebody Calling; 3) Falling Star; 4) Too Rolling Stoned; 5) Smile; 6) Daydream; 7) Fool And Me; 8) Bridge Of Sighs; 9) Day Of The Eagle; 10) Little Bit Of Sympathy; 11) Messin' The Blues; 12) Further On Up The Road.
This is one of those King Biscuit live albums where you're never sure just how much of a bootleg it is and how much of an officially sanctioned release. Well - considering that it sounds real good and gives a mighty fine impression, I'm gonna review it anyway. This particular release reflects one of the shows from Robin's In City Dreams tour, played specifically on October 18th, 1977, at the New Haven Coliseum, probably all filled up with presumptuous, idealistic Yale students, still not aware of the punk revolution in progress and giving the man a reception so warm and friendly it might have seemed Trower was still being the hottest thing around, him and not these young amateur punks like the Talking Heads.
Supposedly the entire show is captured on here, although if so, it is surprisingly short for such a jam-based, 70s-par-excellence band as Robin Trower's. Not to mention that I will never believe a Seventies hard rock concert could ever go by without a single drum solo in sight - what's that, no opportunity for well-meaning, law-abiding audience members to change their beers and empty their bladders midway through the show? What is this, the Beatles at the Hollywood Bowl??
Joking aside, the performance is very strong. Since Rustee Allen has now taken over the bass duties from Dewar, you would expect some shifts in their basic sound from the era of the Live album, but Rustee's style is predictably similar to Dewar's, and as for Dewar himself, fortunately, he's quite aware that, band or no band, the band's name is "Robin Trower" and not "James Dewar", so he never really tries to pull off a Robert Plant next to Robin's Jimmy Page: where singing is necessary, he sings, where singing is not necessary, he stands aside and lets the big man do his job in peace and quiet instead of putting on a fit of baby-baby-babies or annoying orgasm imitations. The real difference, if there is any, has to be found within Robin's playing; throughout the show, he appears to be in top form, much stronger, actually, than on the comparatively mediocre Live album, soaring on even those numbers that never seemed to be much alive in the studio.
The setlist is quite predictable; Robin may have been experimenting with the sound, but certainly not with the concoction prepared for the ticket-buying masses. Approximately half of the show consists of numbers from the last album. That's the half that needs to be played for the people down there to convince them to spend money on it. Approximately the other half consists of numbers from Bridge Of Sighs. That's the one that needs to be played for the people down there to give them a good time. Occasionally, people also play "surprise stuff" so as to awaken special kinds of emotions among diehard fans, but Robin plays it straight and blunt. 'Messin' The Blues' and the golden oldie 'Daydream' are the only exceptions.
But that's alright by me, as long as he still finds enough inspiration to deal with these old chestnuts. And that must have been a particularly inspired night. Rockers and "dreamers" (I hesitate to call them "ballads" - Trower's softer side, in agreement with the Hendrix-patented tradition, never really corresponds all that well to the "ballad" moniker) alternate with each other in a cleverly sorted way, and no matter how often the same kind of atmosphere is reprised, Trower always finds himself capable of saying something new. With the short rockers, for instance, it seems like he's consciously raising the kick-ass bar from song to song, starting with the powerful, but "economic" 'Lady Love'; going through the strict-and-solemn 'Falling Star'; raising bluesy hell on 'Fool & Me'; and then, finally, letting loose all the imaginable devils on 'Day Of The Eagle'; the former subtlety of the coda to the latter is completely eliminated in order to give way to a hurricane of wah-wah licks that must have been absolutely mindblowing for everybody who's had the luck to sit in the front row. Jimi would have been proud.
However, if I'm lonely and want my ass kicked, I can always turn to AC/DC; Trower's own blue pate special has always consisted of slow moody ingredients. Blues-rock haters close your eyes and ears, the rest please listen to what I have to say: the long solo passage constituting the last six or so minutes of 'Daydream', seriously extended beyond even the running length on Live, is absolutely gorgeous. It does not exactly scale the kind of emotional depth that a great Clapton solo is capable of, and it doesn't display the kind of otherworldly vision you could sometimes suspect in a great Hendrix solo. But it does a good job of combining the two extremes, blending Hendrix's know-how technicality with Clapton's know-how soulfulness. It's a hard rock solo, not afraid of extra feedback, vibratos, tricky sonic effects, and volume; but it's also Trower's take on a true spiritual journey, not merely a showcase in self-indulgence. The kind of thing that gives the Generic Seventies Live Guitar Solo its good reputation, as opposed to so many other things and people which give it its bad one.
The climactic moment, of course, always arrives when Trower invites us into the aural abyss that is 'Bridge Of Sighs' - for whatever reason, his signature tune never made it onto Live, but here you have a classic opportunity to hear a vintage performance from the glory years. Well worth the Taxpayer's money. Now that I think of, there's only one other person who could ever do this to a guitar while standing onstage, and that was Dave Gilmour. But Dave Gilmour, as I always insist, is a ruthless mathematician at heart, and his personal apocalyptic chaos is a perfectly structured and algorithm-ized one, whereas Trower is not afraid to let the guitar walk out on its own, and walk out it does. How the heck is it possible to create this before-the-first-day-of-creation rumpus with but one bunch of strings and two hands is beyond me. Not even the actual soloing is as impressive as the introduction to the song and the convoluted "half-melody-half-atmosphere" background that Trower keeps up during Dewar's singing. The soloing is cool, but it's Hendrix territory; the other parts are what makes Trower so unique among mortal Robins.
Other highlights, for me, include 'Somebody Calling', here given a lengthy experimental intro and generally played with far more verve than it was in the studio (how does he get that ultra-cool phased "airplane taking off" effect several times, I wonder? Is it just the old 'Roadrunner' trick enhanced through technology or do you also have to be a Robin in order to succeed?); and, predictably, the fast and furious part of 'Too Rolling Stoned', funkier than in the studio and much choo-choo-ing-er in nature, if you know what I mean (see Jethro Tull's 'Locomotive Breath' for further explanation). Conversely, 'Messin' The Blues' is a bit of a disappointment, because the immeasurable coolness of the song consisted of having the main riff being stupidly and stubbornly hammered into your head while a freshly overdubbed Trower could wail away on top of it. In concert, this obviously cannot happen unless Trower sheds some of his pride to invite an extra guitarist, so he soloes just a bit and then basically just gives the song away to Rustee Allen as a Donation for Bass Guitar. Oh well, no drum solo at least.
All in all, I don't really need to tell you that this is your best bet for live Trower: Live is too short to be diagnostic, and everything else will be from later epochs anyway. I wouldn't call it Robin's best album - after all, the man's studio trickery and songwriting are of sufficient importance in order for us to concentrate primarily on the studio output. But, like every guitar hero, Trower has to be appreciated in a live setting in order to be believed in, and if you don't happen to believe in him, it just might be that In Concert will convince you otherwise.
la info la he sacado de esta página, dónde viene TODA LA DISCOGRAFÍA COMENTADA hasta 1980
http://starling.rinet.ru/music/trower.htm#Sighs
Track listing: 1) Lady Love; 2) Somebody Calling; 3) Falling Star; 4) Too Rolling Stoned; 5) Smile; 6) Daydream; 7) Fool And Me; 8) Bridge Of Sighs; 9) Day Of The Eagle; 10) Little Bit Of Sympathy; 11) Messin' The Blues; 12) Further On Up The Road.
This is one of those King Biscuit live albums where you're never sure just how much of a bootleg it is and how much of an officially sanctioned release. Well - considering that it sounds real good and gives a mighty fine impression, I'm gonna review it anyway. This particular release reflects one of the shows from Robin's In City Dreams tour, played specifically on October 18th, 1977, at the New Haven Coliseum, probably all filled up with presumptuous, idealistic Yale students, still not aware of the punk revolution in progress and giving the man a reception so warm and friendly it might have seemed Trower was still being the hottest thing around, him and not these young amateur punks like the Talking Heads.
Supposedly the entire show is captured on here, although if so, it is surprisingly short for such a jam-based, 70s-par-excellence band as Robin Trower's. Not to mention that I will never believe a Seventies hard rock concert could ever go by without a single drum solo in sight - what's that, no opportunity for well-meaning, law-abiding audience members to change their beers and empty their bladders midway through the show? What is this, the Beatles at the Hollywood Bowl??
Joking aside, the performance is very strong. Since Rustee Allen has now taken over the bass duties from Dewar, you would expect some shifts in their basic sound from the era of the Live album, but Rustee's style is predictably similar to Dewar's, and as for Dewar himself, fortunately, he's quite aware that, band or no band, the band's name is "Robin Trower" and not "James Dewar", so he never really tries to pull off a Robert Plant next to Robin's Jimmy Page: where singing is necessary, he sings, where singing is not necessary, he stands aside and lets the big man do his job in peace and quiet instead of putting on a fit of baby-baby-babies or annoying orgasm imitations. The real difference, if there is any, has to be found within Robin's playing; throughout the show, he appears to be in top form, much stronger, actually, than on the comparatively mediocre Live album, soaring on even those numbers that never seemed to be much alive in the studio.
The setlist is quite predictable; Robin may have been experimenting with the sound, but certainly not with the concoction prepared for the ticket-buying masses. Approximately half of the show consists of numbers from the last album. That's the half that needs to be played for the people down there to convince them to spend money on it. Approximately the other half consists of numbers from Bridge Of Sighs. That's the one that needs to be played for the people down there to give them a good time. Occasionally, people also play "surprise stuff" so as to awaken special kinds of emotions among diehard fans, but Robin plays it straight and blunt. 'Messin' The Blues' and the golden oldie 'Daydream' are the only exceptions.
But that's alright by me, as long as he still finds enough inspiration to deal with these old chestnuts. And that must have been a particularly inspired night. Rockers and "dreamers" (I hesitate to call them "ballads" - Trower's softer side, in agreement with the Hendrix-patented tradition, never really corresponds all that well to the "ballad" moniker) alternate with each other in a cleverly sorted way, and no matter how often the same kind of atmosphere is reprised, Trower always finds himself capable of saying something new. With the short rockers, for instance, it seems like he's consciously raising the kick-ass bar from song to song, starting with the powerful, but "economic" 'Lady Love'; going through the strict-and-solemn 'Falling Star'; raising bluesy hell on 'Fool & Me'; and then, finally, letting loose all the imaginable devils on 'Day Of The Eagle'; the former subtlety of the coda to the latter is completely eliminated in order to give way to a hurricane of wah-wah licks that must have been absolutely mindblowing for everybody who's had the luck to sit in the front row. Jimi would have been proud.
However, if I'm lonely and want my ass kicked, I can always turn to AC/DC; Trower's own blue pate special has always consisted of slow moody ingredients. Blues-rock haters close your eyes and ears, the rest please listen to what I have to say: the long solo passage constituting the last six or so minutes of 'Daydream', seriously extended beyond even the running length on Live, is absolutely gorgeous. It does not exactly scale the kind of emotional depth that a great Clapton solo is capable of, and it doesn't display the kind of otherworldly vision you could sometimes suspect in a great Hendrix solo. But it does a good job of combining the two extremes, blending Hendrix's know-how technicality with Clapton's know-how soulfulness. It's a hard rock solo, not afraid of extra feedback, vibratos, tricky sonic effects, and volume; but it's also Trower's take on a true spiritual journey, not merely a showcase in self-indulgence. The kind of thing that gives the Generic Seventies Live Guitar Solo its good reputation, as opposed to so many other things and people which give it its bad one.
The climactic moment, of course, always arrives when Trower invites us into the aural abyss that is 'Bridge Of Sighs' - for whatever reason, his signature tune never made it onto Live, but here you have a classic opportunity to hear a vintage performance from the glory years. Well worth the Taxpayer's money. Now that I think of, there's only one other person who could ever do this to a guitar while standing onstage, and that was Dave Gilmour. But Dave Gilmour, as I always insist, is a ruthless mathematician at heart, and his personal apocalyptic chaos is a perfectly structured and algorithm-ized one, whereas Trower is not afraid to let the guitar walk out on its own, and walk out it does. How the heck is it possible to create this before-the-first-day-of-creation rumpus with but one bunch of strings and two hands is beyond me. Not even the actual soloing is as impressive as the introduction to the song and the convoluted "half-melody-half-atmosphere" background that Trower keeps up during Dewar's singing. The soloing is cool, but it's Hendrix territory; the other parts are what makes Trower so unique among mortal Robins.
Other highlights, for me, include 'Somebody Calling', here given a lengthy experimental intro and generally played with far more verve than it was in the studio (how does he get that ultra-cool phased "airplane taking off" effect several times, I wonder? Is it just the old 'Roadrunner' trick enhanced through technology or do you also have to be a Robin in order to succeed?); and, predictably, the fast and furious part of 'Too Rolling Stoned', funkier than in the studio and much choo-choo-ing-er in nature, if you know what I mean (see Jethro Tull's 'Locomotive Breath' for further explanation). Conversely, 'Messin' The Blues' is a bit of a disappointment, because the immeasurable coolness of the song consisted of having the main riff being stupidly and stubbornly hammered into your head while a freshly overdubbed Trower could wail away on top of it. In concert, this obviously cannot happen unless Trower sheds some of his pride to invite an extra guitarist, so he soloes just a bit and then basically just gives the song away to Rustee Allen as a Donation for Bass Guitar. Oh well, no drum solo at least.
All in all, I don't really need to tell you that this is your best bet for live Trower: Live is too short to be diagnostic, and everything else will be from later epochs anyway. I wouldn't call it Robin's best album - after all, the man's studio trickery and songwriting are of sufficient importance in order for us to concentrate primarily on the studio output. But, like every guitar hero, Trower has to be appreciated in a live setting in order to be believed in, and if you don't happen to believe in him, it just might be that In Concert will convince you otherwise.
la info la he sacado de esta página, dónde viene TODA LA DISCOGRAFÍA COMENTADA hasta 1980
http://starling.rinet.ru/music/trower.htm#Sighs
Perimaggot- Mensajes : 35025
Fecha de inscripción : 20/05/2008
Re: fanáticos de GOV'T MULE
por Murdock Jue 8 Ene 2009 - 5:28
Pues este tipo tiene una de mis canciones favoritas de blues-rock de todos los tiempos: THE FOOL AND ME. Esas guitarras a lo Hendrix, esa voz que sólo unos pocos blancos privilegiados saben utilizar como los negros, esa desarrollos guitarreros crecientes e interminables. Maravilloso el tema en sí y el gran Robin Trower. Es del disco Bridge of Sigs. Para quien no la conozca, que le eche una oreja: