Personal Computer From Internet From 22 Enero 2016

Preacher is a six piece rock band from Glasgow/Ayr in the United Kingdom that’s been making quite a name for themselves thanks to their stunning live shows and studio albums. The band is made up of Martin Murphy (Lyrics, Vocals, Guitar); Arny Burgoyne (Keyboards); Greg Murphy (Lead Guitar); Iain Duncan (Drums); Gordon Munro (Bass); Ron Rodgers (Acoustic Guitar) and they are often joined for live performances on home turf with the fabulous backing duo of Angela Bell and Kerry McWhinnie. Preacher’s distinctive sound is a sparkling blend of melodic rock and classic rock with subtle hints of Bowie and Floyd thrown in for good measure. Their stunning debut album Signals in many ways paid homage to the classic conceptual approach of crafting an album based around a single theme or ‘concept’ championed by bands such as Pink Floyd, Yes and King Crimson in their heyday and more recently with the likes of Radiohead opting for a similar aesthetic.

The Cannonball Adderley Quintet - Music, You All (1972) {Blue Note-Real Gone Music RGM-0454 rel 2016}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 312 Mb | MP3 @320 -> 120 Mb
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© 1972, 2016 Blue Note / Capitol / Real Gone Music / Dusty Groove | RGM-0454
Jazz / Soul Jazz / Modern Jazz / Jazz Funk / Saxophone

Killer work from the same sessions that gave the world Cannonball Adderley's classic Black Messiah album – live material from an extended stretch as the Troubadour club in LA – featuring a very righteous, freewheeling version of Cannonball's group! The lineup features some wonderful work on Fender Rhodes from George Duke – who brings a more soulful, spiritual current to the proceedings than Joe Zawinul did in earlier years – a really commanding presence that hints at his brewing solo fame, and which is a very welcome addition to the core lineup, which also includes Cannon on soprano and alto, and brother Nat on cornet!

After the quintet Toxic Parasites, and the eponymous CD released in 2013, saxophonist-clarinetist exchange instrumentation maintaining the same drummer. On the trio originally associated sax, organ and drums, arises by adding a guitar a formula strongly influenced by jazz history (Jimmy Smith, Brother Jack McDuff, Jimmy McGriff, but obviously as Larry Young). It is indeed in a context of effervescence, groove and cursiveness resulting feet and neurons in a desire for perpetual motion. Beaches on fast tempo, which cultivate the taste of vertigo in motion alternate with claimed melancholy moments, whether clarinets (Smooth Skin, Cape Cod) or alto sax, with an obviously tropism which causes the side of Ornette Coleman (Dreaming with Ornette, Silent March).

Digitally remastered and expanded edition including six bonus tracks. Memphis during the 70s was a hot bed of musical talent. Sure, it's blues and R&B roots had always been proudly on display, but with the explosion of FM radio, bigger live venues, and the establishment of a renowned studio (Ardent), the city seemed to be providing it's home grown musicians with an opportunity to set the world on fire. None of these possibilities were lost on Target, a cabal of tough rockers keen to stamp their identity on the local scene and beyond. Riding a wave of creativity and seeking to maximize their already solid reputation as a band to watch, Target took the recording of this, their second album, with an impressive sense of purpose.

The seventh studio long-player from the veteran California-based metal ensemble, and their first new collection of music to feature ex-Bad Religion drummer Brooks Wackerman behind the kit, The Stage sees Avenged Sevenfold rolling up their sleeves and delivering an ambitious concept LP. Dropped with little to no promotion - WWE superstar and Fozzy frontman Chris Jericho leaked the album's original title, Voltaic Oceans, via his Instagram account a month prior to the release - the narrative concerns itself with the Orwellian consequences of a world struggling to adapt to the myriad complexities of artificial intelligence - there's even a spoken word appearance by celebrity astrophysicist Neil deGrasse Tyson. Despite some forays into Floyd-ian space rock - the soloing in the orchestra-driven "Roman Sky" is positively Gilmour-esque - the 11-track set mostly sticks to the kind of propulsive, melodic carnage…

France’s leading young harpsichordist performs works by two masters of the French Baroque. No surprises there, perhaps … but the harpsichordist in question is Jean Rondeau and the album is called Vertigo. It conceives the harpsichord in vividly theatrical terms. Vertigo takes its name from a dramatic, rhapsodic piece by Joseph-Nicolas-Pancrace Royer, who, along with Jean-Philippe Rameau, forms the focus of this album. If Rameau (1683–1764) is the better-known composer today, especially admired for such operatic masterpieces as Hippolyte et Aricie and Platée, the younger Royer (1705–1755) was also a major figure in his time, rising to become master of music at the court of Louis XV. Both Rameau and Royer excelled in keyboard music and in works for the stage. As Jean Rondeau says: “These two illustrious composers battled for the top spot at the Opéra.” He describes them as “two magicians, two master architects, amongst the most wildly imaginative and brilliant of their era … Two composers who also tried to capture echoes of grand theatre with the palette offered by their keyboard.

Digitally remastered and expanded edition including two bonus tracks. Arguably the British rock scene was hugely influenced by the massive commercial impact of American melodic rock bands that emerged during the late 70s. However there was a time, earlier in the decade, when British rock cast a huge impact on American music. Acts such as Free, Bad Company, Trapeze and Deep Purple were the hot ticket items of the time and their influence was staggeringly persuasive… not least on Target. Memphis based Target were keen students of the British sound and forged their style and identity with exacting accuracy.