genre: blues country: us quality : mp3 160k, scans time: 40'43" size: 48 mb issue: recorded '66-'68
Wiki: J. B. Hutto (April 26, 1926 - June 12, 1983[1]) was an American blues musician, born Joseph Benjamin Hutto. Hutto was heavily influenced by legendary bluesman Elmore James, and became known for his slide guitar work and declamatory style of singing. He was inducted into the Blues Hall of Fame two years after his death. ...
the Crack in the Cosmic Egg:
Based on the Ohrwaschl Records CD, P205 were of that typical mid-1970's brand of indie German rock, a hint of Jane or Harlis, but with rather basic (mediocre) musicianship. Odd moments do shine on P205, but they were nothing special. For those liking a more basic rough edged rock music
Gnosis2000.net: Orion is one of the most collectable items on the revered Vertigo "Swirl" label. It was always one of the hardest to track down due to it only being released in their native Netherlands. Pantheon are an instrumental progressive rock group with focus on flute, sax and organ and a dazzling, jazzy style rhythm section. Short tracks like "Daybreak" and "Anais" sound like outtakes from a Focus session with beautiful melodies carried by flute. Where Pantheon really shine are on long songs like "Apocalyps", a jaw dropping composition. Carried by at least two melodies you will be whistling for days, the track goes through multiple movements with sax and organ leading the charge. The complex bass and drum work is startling as well the addition of electric guitar, flute and wordless voice adds to the many ideas on display. It is exactly this sense of melody that is missing in most of today's music (underground or commercial). Afterwards, the whimsical short "The Madman" introduces the 19 minute title track. Everything that makes Orion special is highlighted here. The complex instrumental arrangements, the strong comprehension of melody, the variation in instrumentation (organ, piano, synthesizer, sax, flute, choral vocals, acoustic and electric guitar) and different styles (jazz, baroque, rock). It's a whirlwind journey and worth every listening second. A still unknown classic and now everyone has a chance to be a part of it.
Alfredo Toth: bass Ciro Fogliatta: keyboards Kay Galiffi: guitar (Pappo replaced Galiffi in 1969) Litto Nebbia: vocals and harmonica Oscar Moro: drums
The group got their start in 1967. They recorded their first two singles "Ayer Nomás" and A-side "La Balsa", which turned into an unpredicted large scale hit in the Argentine winter of 67, selling over 200,000 copies, leading to their full-length debut later that year. The following year they went on tour around the Southern Cone, and then released their 2nd album Seremos Amigos, permeating psychedelic rock during the height of that sub-genre of rock.[1] The band's third effort after a short break-up, 1969's Beat N°1, featured the addition to the group of Pappo. His rocking blues style with Litto Nebbia's more classical melodic approach at times made the album uneven, but also created quite dazzling passages of music that can be considered one of the earliest recordings of progressive rock anywhere in the world, previewing the rise of the genre around the world in the 1970s. In 1970, Los Gatos released their fourth major album. Originally called Rock de la mujer podrida (literally "Rotten woman's rock"), the band was forced to change the name of the release by government censorship to Rock de la mujer perdida ("Lost woman's rock").[2] A harder rocking album with Pappo's fingerprints all over, it would be Los Gatos's last. Later that year Pappo left the band to form his own heavy blues-rock group Pappo's Blues. Los Gatos disbanded after a last batch of concerts, with Litto Nebbia kicking off his solo career.
01.- Rock de la mujer perdida 3:09 02.- Requiem para un hombre feliz 3:50 03.- Los dias de Actemio 3:53 04.- Invasion 7:08 05.- Mujer de carbon 5:51 06.- No fui hecho para esta tierra 3:10 07.- Porque bajamos a la ciudad 3:38 08.- Blues de la calle 23 6:39
genre: heavy blues country: argentina quality : mp3 128k, covers time: 32'23" size: 30 mb issue: 1995
Wiki: Pappo is the pseudonym of Argentine blues and metal/rock musician Norberto Napolitano (Buenos Aires, 10 March 1950 - Luján, Buenos Aires province, 24 February 2005).[1] A native of the middle-class La Paternal neighborhood in Buenos Aires, Pappo started playing the guitar at the age of ten, and became active in Argentine rock since its beginnings; Pappo was a force in its transition from English to Spanish as guitarist of Los Gatos, the first rock band to enter the mainstream charts in Argentina. He also played in the first incarnation of cult band Los Abuelos de la Nada and in the quasi-psychedelic La Pesada del Rock and Roll. With his band, Pappo's Blues, he recorded and toured extensively. He became an underground working-class hero, but received no radio airplay. In the mid-1970s, Pappo spent some time in Brazil and also in England, playing alongside Peter Green (formerly of Fleetwood Mac), Lemmy (who later achieved fame with Motörhead), and other rock and blues greats. By the time in which they recorded the third album (Pappo's Blues Volumen 3), there had been two changes in the group: David Lebón (bass) left, and his place was taken by C.A Machi Rufino and Black Amaya, whose place was taken by Pomo. The recording of Pappo's Blues Volumen 4 was marked by the return of David Lebón and Black Amaya and the incorporation of Alejandro Medina. On the same year the discographic company edited "Triángulo" and in 1975 Pappo's Blues Volumen 6 with songs that had already been recorded, in which Pappo played with Eduardo Barbagnatti and Eduardo Beaudoux. In 1978 Pappo, this time with Alejandro Medina playing bass and Darío Fernandez with the drums, recorded Pappo's Blues Volumen 7. On November 14th 1980 the band officially dissolved, but "Pappo's band" kept playing occasionally. The band recorded Hombre Suburbano in 1994; Caso Cerrado in 1995 and Auto Rojo in 1998. Back in Argentina, Pappo formed Riff, a heavy metal band. During the 1982 Falklands war (Spanish: Guerra de las Malvinas/Guerra del Atlántico Sur), Argentine music was given a large share of radio play, and Riff became popular with rockers. With the advent of popular blues bands in the 1980s, such as Memphis La Blusera, Pappo was recognized as the godfather of Argentine blues. As such, he enjoyed the appreciation of B. B. King who admitted cherishing many of Pappo's records, and with whom he played at the Madison Square Garden in 1993 and 1994. BB King said in one occasíon that he had travelled by 67 countries and Pappo was the only great blues player he found, and also that he was one of the best guitar players, not only in Argentina but in the whole world. Since 1984, Pappo alternated solo work with re-unions of Pappo's Blues and Riff. In the late 1980s Pappo spent time in the United States and formed a new version of Riff, which became Pappo y Widowmakers (Pappo and the Widowmakers) in 1989. This version of the band was based in the Los Angeles / Hollywood California area, and the bandmembers were as follows: Dave Hatlee (bass), Rick Ness (rhythm guitar) and Saint Bongosto (drums). Pappo y Widowmaker recorded a two-song EP in late 1989 and then embarked on tour back to South America in December 1989. They performed several successful shows in venues such as Club Satisfaction in Buenos Aires and The Superdomo in Mar Del Plata in 1990. Pappo's other love was car racing. He raced in Argentina's top stock-car category, Turismo Carretera, and in motorcycle races, with limited success. Pappo died in a road accident in Luján, Buenos Aires province on 24 February 2005. He went to dine out with his son Luciano and his son's girlfriend. According to the restaurant owner, Pappo left the restaurant inebriated; Luciano denies this allegation, claiming that the three drank no more than a single bottle of wine, so Pappo (a long-time drinker) could not have been intoxicated. At route 5, km 71, Pappo's Harley-Davidson chopper touched Luciano's motorcycle. Pappo lost control, fell to the ground, and a Renault Clio car traveling in the opposite direction (Luján to Mercedes) hit him, causing his death.
genre: heavy blues country: argentina quality : mp3 128k, scan time: 30'57" size: 29 mb
01 - Tren de las 16 2:40 02 - Llegarа la paz 3:33 03 - Insoluble 3:57 04 - Hay tiempo para elegir 2:50 05 - Desconfбo de la vida 2:42 06 - Solitario Juan 3:30 07 - Blues para Santa Fe 4:38 08 - Cementerio 7:07
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