Rock & roll had grown louder and wilder by leaps and bounds during the '60s, but when Blue Cheer emerged from San Francisco onto the national rock scene in 1968 with their debut album, Vincebus Eruptum, they crossed a line which most musicians and fans hadn't even thought to draw yet. Vincebus Eruptum sounds monolithically loud and primal today, but it must have seemed like some sort of frontal assault upon first release; Blue Cheer are often cited as the first genuine heavy metal band, but that in itself doesn't quite sum up the true impact of this music, which even at a low volume sounds crushingly forceful…
Una compilation con i maggiori successi tutti da ascoltare nell’imminente 2020 è Hit Mania 2020. La compilation è stata mixata da Luigi Mastroianni. Ecco la cover del nuovo disco, in uscita venerdì 13 dicembre.
Blue Cheer's debut album, Vincebus Eruptum, was widely and accurately described as "the loudest record ever made" when it first appeared in early 1968, and the band seemingly had the good sense to realize that for sheer brutal impact, there was little chance they could top it. So for their second LP, Outsideinside (which appeared a mere seven months later), rather than aim for something bigger and more decibel intensive, Blue Cheer decided to see how much polish they could add to their formula without blunting the skull-crushing force of their live attack. While Vincebus Eruptum was cut in simple and straightforward form with minimal overdubs, Outsideinside found Blue Cheer embracing the possibilities of the recording studio…
Mambo Mania! may not be the last word on the Afro-Cuban music of the 1950s and '60s, but for beginners, it's a darn nice place to start. Rhino can usually be counted on to do its homework when assembling compilations, and this superb 18-song CD is no exception. Serious fans of what came to be called salsa will be more than familiar with such classics as Celia Cruz's "Tumba La Cana, Jibarito," Beny More's "Me Gusta Mas El Son" and Tito Puente's "Guaguanco Margarito" – all of which are essential listening for even the most casual salseros.
Dance Mania, Tito Puente's best-known and best-selling album, came ten years into his career, but at a time (1957) when the craze for mambo and Latin music was beginning to crest. (Another landmark LP, Pérez Prado's Havana 3 A.M., had been released the previous year, and Prado's "Cherry Pink and Apple Blossom White" had hit number one in 1955.) Recorded as part of a just-signed exclusive contract with RCA and appearing in vibrant sound as part of the label's Living Stereo series, Dance Mania exploded with a series of tight arrangements, propulsive playing, and the features of new additions in vocalist Santos Colón and conguero Ray Barretto (who helped, in part, make up for the recent loss of Willie Bobo and Mongo Santamaria to Cal Tjader's group).
Rock & roll had grown louder and wilder by leaps and bounds during the '60s, but when Blue Cheer emerged from San Francisco onto the national rock scene in 1968 with their debut album, Vincebus Eruptum, they crossed a line which most musicians and fans hadn't even thought to draw yet…
Sodom's landmark Persecution Mania stands at the very crossroads of thrash and death metal. A virtual tour de force of blinding speed and blunt force, it is also arguably the best album of Sodom's checkered career. Recorded shortly after the arrival of guitarist extraordinaire Frank Blackfire, Persecution Mania took the group's fast-as-can-be, subtlety-free, roast-every-bridge approach to a whole new level of intensity and power…