三浦大知 Good Sign

"Icebound" is seen by the band as a turning point, thanks to the changes of the line up (Zago and Calandriello leave the project and replaced by the eclectic Gian Marco Trevisan) but also thanks to the musical choices. In this album Paolo Botta works out his creativity giving a suggestive atmosphere and an incredible musical variety offered by the already set marriage of Malacrida, Cassani & Trevisan but also by the guests David Jackson (Van Der Graaf Generator), Eloisa Manera (Artchipel Orchestra) and Fabio “Ciro” Ceriani (Ein Kerem). The music gets even more complex, ambitious and at times abstract album. As usual, it's not really a concept album, even if the topics covered tend to be linked together, creating a cohesive and tormented narrative path.

Although it ran parallel with the back-to-basics feeling that permeated the early '70s, Good Dog Banned arrived at a distinctive strain of organic rock that was much more joyous and good-timey than many of their musicians-in-arms. Their one stab at rock & roll immortality, Good Dog Banned seems oblivious to any sense of anger at the "failure" of the '60s dream to take complete effect as of 1971. Whereas some '60s expatriates were decrying the cultural revolution, Good Dog Banned were singing "Things Ain't so Bad," heading down to the river and drinking wine. There is no nostalgia, no cynicism present. The band was untethered, ingenuous. Perhaps it could be viewed as rose-colored hippie denial, but in retrospect, the pure, unselfconscious charisma and the lack of piety that Good Dog Banned inject into their only effort makes it seem less of its time than other bands of this ilk…

This excellent album was released in 1972 on Atlantic Records and was the one and only release from a fusion band from Philadelphia. Mainly instrumental (with some vocal accents) Good God's record contains tightly arranged and very original dose of energeticjazz rock with some progressive and even hard rock influences. The songs showed the instrumental virtuosity and imaginative approach with strong guitar parts leading the way. The group did a fantastic job on Frank Zappa's ‘King Kong’ and John McLaughlin's ‘Dragon Song’, although other four compositions were no less memorable. Most probably it was the greatest 'forgotten' progressive-fussion album ever! Unfortunately, the band sunk without a trace.

The elusive Chicago harpist's one and only full-length album, originally issued on Steve Wisner's short-lived Mr. Blues logo and later picked up by Rooster Blues (but not available on CD as yet). Cut in 1975, this set shows that Charles never left the 1950s stylistically – backed by a nails-tough combo, he pays tribute to both Sonny Boys and his ex-boss Jimmy Rogers while betraying more than a hint of Little Walter influence.

With music instantly accessed at the touch of a button, it seems that the urge to pigeonhole bands as quickly and neatly as possible has been driven to ever more extremes in recent years. Good Tiger, however, forge their own path. Blending their influences in a manner that defies lazy classification sets them apart from their contemporaries, imbuing everything they do with a distinctive sound and feel, and with We Will All Be Gone, Good Tiger have dramatically built upon their stunning debut, 2015's A Head Full Of Moonlight. "I think that what a musician wants to do musically is always pretty fluid and can change from day to day," states guitarist Derya "Dez" Nagle.