Pile Poil j'écoute ça

kick a écrit:

CC Rider a écrit:

ressorti du fond de mes fichiers MP3, cette compil, sous le casque de scoot en allant au boulot.
Ca a  vieilli grave mais cette collection de chansons se défend vraiment bien.

Que veux-tu dire par "ça a vieilli grave" ? (je ne connais pas cette compil)  

Comme tout artiste dont les textes sont inspirés par l'époque, au sens social ou politique du terme, certains textes ont beaucoup vieillis.
La collection de chanson qui figure sur cette double compil provoque par moment des sourires (attendris pas moqueur) devant la naïveté de certains pamphlets.
Sans même parler du son et du style de chant qui a évolué.
Ils ne pouvaient quand même pas faire une carrière en copiant le Gun Club à ce point là

Par contre la force et l'énergie qui vient avec est et restera unique.


Le fait que la vie de ce groupe se soit interrompu de la manière dont les choses se sont passé, a laissé beaucoup de place, de vide.
Que la nature a remplie d'autres choses.
Du coup "l'horizon" s'est dégagé et ces titres là sont loin là bas, dans la paysage, parfois presque plus visibles.

je crois d'ailleurs, pour nourrir cette parenthèse, que ton propos est tellement juste que l'intéressé lui-même n'a pas pu s'empêcher de replonger dans ce répertoire-là pour son retour sur scène, au point d'eclipser les nouveaux "horizons" musicaux présentés récemment sur cd.
Ce qui désarçonne les fans, si j'en crois les quelques réactions qu'on m'a rapportées...

mathis a écrit:je crois d'ailleurs, pour nourrir cette parenthèse, que ton propos est tellement juste que l'intéressé lui-même n'a pas pu s'empêcher de replonger dans ce répertoire-là pour son retour sur scène, au point d'eclipser les nouveaux "horizons" musicaux présentés récemment sur cd.
Ce qui désarçonne les fans, si j'en crois les quelques réactions qu'on m'a rapportées...

ah? je n'ai absolument pas suivi ce retour et comme je trouve l'album de Detroit très moyen, je suis vite passé à autre chose  

Passé un peu inaperçu ce "B-Sides"....
Il contient pourtant quelques pièces de choix : le superbe "She loves you",
la reprise de Pearl Jam "State of love and trust" en live, une belle version acoustique de "59 sound"
et une reprise des Stones : "tumbling dice"........
Sympa   

CD2

"Pocahontas" (Neil Young) – 3:43

Originally recorded by Young for Rust Never Sleeps (1978)

"I'm a Drifter" (Version 1) (Dolly Parton) – 3:50

Originally recorded by Parton for All I Can Do (1976)

"Trouble in Mind" (Richard M. Jones) – 3:32
"Down the Line" (Roy Orbison/Sam Phillips) – 2:38
"I'm Moving On" (Hank Snow) – 2:54
"As Long as the Grass Shall Grow" (Peter La Farge) – 4:21 with June Carter Cash

Originally recorded by Cash for Bitter Tears: Ballads of the American Indian (1964)

"Heart of Gold" (Young) – 3:01 with Red Hot Chili Peppers

Originally recorded by Young for Harvest (1972)

"The Running Kind" (Haggard) – 3:11 with Tom Petty
"Everybody's Trying to Be My Baby" (Carl Perkins) – 2:11
"Brown Eyed Handsome Man" (Chuck Berry) – 2:21 with Carl Perkins
"T for Texas" (Jimmie Rodgers) – 3:38
"Devil's Right Hand" (Steve Earle) – 2:33

Originally recorded by Steve Earle for Copperhead Road in 1988 and previously by The Highwaymen for The Road Goes on Forever (1995)

"I'm a Drifter" (Version 2) (Parton) – 3:45
"Like a Soldier" (Cash) – 2:55 with Willie Nelson

Alternate take from American Recordings

"Drive On" (Cash) – 2:23

Alternate take from American Recordings

"Bird on a Wire" (Leonard Cohen) – 5:13

Live, orchestrated alternate take from American Recordings

Mon concert préféré pour cette tournée 2014

En voilà un groupe que j'avais complètement oublié, et hop un concert gratuit sur Concert Vault m'a rafraichi la mémoire. Je ne connaissais pas grand chose d'eux, un album emprunté à la médiathèque, PEACE IN OUR TIME je crois, et un tube, plus ancien, "Fields Of Fire". Et je dois dire que j'y suis allé à reculons et que finalement, ça a très bien vieilli, on sent bien que c'est un groupe à hymnes repris en chœurs, normal pour des Écossais. Très agréable, et ça reste frais. Et ils tournent toujours...

Big Country
Glasgow Barrowlands, Glasgow, Scotland
December 31st, 1983
Concert Vault MP3

79’29”
01 “One Thousand Stars” 4’25”
02 “Angle Park” 4’32”
03 “Close Action” 4’13”
04 “Lost Patrol” 4’48”
05 “Wonderland” 4’10”
06 “The Storm” 5’16”
07 “Dundonald & Dysart Pipe Band Sequence” 3’40”
08 “Porroh Man” 7’51”
09 “Chance” 5’56”
10 “Inwards” 5’54”
11 “Fields Of Fire” 6’38”
12 “Harvest Home” 4’38”
13 “Tracks Of My Tears” 3’15”
14 “In A Big Country” / “Auld Lang Syne” 8’13”
15 Interview With Stuart Adamson 5’59”

Stuart Adamson – vocals, guitar, piano
Mark Brzezicki – drums
Tony Butler – bass
Bruce Watson – guitar

This energetic King Biscuit Flower Hour Show was recorded on New Year's Eve 1983 in Glasgow, Scotland, near Big Country's hometown. The show opens with the sounds of rain, thunder and lightning. After an earsplitting crash, the effects slowly fade, and the band breaks into "One Thousand Stars." Big Country's trademark guitars in their "bagpipe" mode cut through the song's intro, leading into Adamson's passionate vocals. The rest of the show is propelled by the band's powerful rhythm section and the interplay between the twin guitar action of Adamson and Watson.

"We recorded that show at a venue called Barrowlands in Scotland," said Mark Brzezicki. "When we tour, the gig we always look forward to is the gig on our home turf. The response at that gig is always exceptional." "I was aware that I had to play me arse off during that period," Brzezicki adds, "because we were coming off an important tour for us. Everything kept getting moved during that gig. There was a surge of people from the front of the stage. Complete mayhem, and the hottest gig I have done ever." "Angle Park," "Lost Patrol," "Fields Of Fire" and the signature "In A Big Country" are all here, making this recording a true testament to the quintessential Big Country live show of that era.

"The excitement going on in the room that night was really a Scottish thing," says Watson. "We tried to make it a huge party, as much as possible. We had just gotten back after three months in America. We loved America but we were missing home. And this show was a homecoming." The performance was held in a hired ballroom, or dance hall, similar to the legendary Roseland dance hall in New York City.

Steve Lillywhite (the platinum producer best known for his work with The Rolling Stones and U2) was the engineer on recording of the show. Lilywhite had produced the band's first two albums, and wanted to be part of this historic performance. "We knew that the show was going to be taped and shot on video and it was going to be broadcast live around the world, and in the States on the King Biscuit Flower Hour," says Stuart Adamson.

Big Country's roots reach back to the highlands of Scotland in the late 1970s and early 1980s. The band was initially formed by Stuart Adamson, who had been a member of a group called the Skids, which had seen success in England thanks to a handful of hits. "Around late 1981 or early 1982, I knew I wanted to move on," says Adamson, who formed the first version of Big Country with Watson and another rhythm section, replaced quickly after the band's first experience with Brzezicki and Butler.

The group released their debut album in 1983 to significant critical acclaim and commercial success. The Crossing scored a Top 5 hit, "In A Big Country," and garnered the band rave reviews, earning them spots on huge tours opening for U2, David Bowie and the Eurthymics - and eventually leading to appearances at the Prince's Trust and Knebworth concerts. The group cut two more albums for PolyGram - Steeltown in 1984 and The Seer in 1986 - and then spent much of the late 1980s and 1990s moving from label to label in attempts to equal their earlier commercial success. The band signed to Warner Brothers/Reprise Records and released one album in 1988, Peace in Our Time.

Big Country returned to the scene in '91 with the European release No Place Like Home, but were determined to get back on track in the U.S. In 1993, they attempted to break back onto U.S. airwaves with an album called The Buffalo Skinners, released by the short lived, RCA distributed label Fox Records. Unfortunately, it too would fall through the cracks.

In 1995, Big Country moved to the indie label Pure Records, where they recorded the critically acclaimed studio LP, Why the Long Face?, followed by a European only released acoustic live LP. In 1996, the band went on hiatus, but regrouped in 1999 to put out Driving to Damascus, which contained the hit "Somebody Else," written by Adamson and the Kink's Ray Davies. At the start of the millennium, Adamson announced his intention to retire from touring around the time the limited edition Nashville Album was released. Several months later, a two-disc live album called Come Up Screaming was issued. Tragically, the still loyal reception to Big Country didn't prevent Adamson from succumbing to problems with alcohol, and in December of 2001, he was found dead in a hotel room in Hawaii. His distinctive personality is still alive in the music, though, and recordings such as these reveal just what an inspired performer he truly was. Catch him here - in his prime, on home turf, larger than life.

devil59620 a écrit:Mon concert préféré pour cette tournée 2014

Je crois effectivement qu'il fait l'unanimité ...

en écoute avant la sortie, bien différent du précédent, beaucoup plus calme et intimiste...

outlawpedro a écrit:

devil59620 a écrit:Mon concert préféré pour cette tournée 2014

Je crois effectivement qu'il fait l'unanimité ...

Pour les avoir tous écouté, de loin le Brisbane est mon préféré.

Allez du bon boogie pour commencer ce long weekend de trois jours qui va me faire le plus grand bien:



Canned Heat
Parr Meadows, Brookhaven, NY
September 7th, 1979
Concert Vault MP3

47’04”
01 Introduction 1’06”
02 “On The Road Again” 4’29”
03 “Bullfrog Blues” 3’28”
04 “Chicken Shack Boogie” 4’46”
05 “Stand Up (For What You Are)” 3’51”
06 “Goin’ Up The Country” 4’22”
07 “Don’t Know Where She Went (She Went She Split)” 5’26”
08 “Human Condition” 11’52”
09 “Shake ‘N’ Boogie” 7’38”

Fito de la Parra – Drums
Bob "The Bear" Hite – Lead Vocals, Harmonica
Larry Taylor – Bass, Vocals
Mike "Hollywood Fats" Mann – Lead Guitar
Jay Spell – Piano, Vocals

There have been quite a few high profile events to commemorate the legendary 1969 Woodstock Festival, but one of the most interesting occurred when many of the original musicians who had performed at Woodstock converged in Long Island's Parr Meadows in Brookhaven, NY to celebrate the 10th anniversary. Unlike later events, this was a true reunion for many of the musicians who played at Woodstock and the audience was treated to performances by the likes of Richie Havens, John Sebastian, Stephen Stills, Johnny Winter, the Rick Danko/Paul Butterfield Band and Canned Heat, among others. Although much had changed in the previous decade and this was a considerably smaller event, the audience was treated to a wealth of memorable music. The King Biscuit Flower Hour folks were on hand and later that fall, they broadcast several highlights from this memorable day.

One of the standout performances from this 10th anniversary concert was provided by the blues and boogie masters, Canned Heat. Much had changed in the ten years since the Heat had played Woodstock, including the band's lineup. Founding member Alan Wilson had passed away and both original guitarist Henry Vestine and their Woodstock guitarist Harvey Mandel, were now pursuing other musical adventures. However, the frontman Bob Hite and the extraordinary rhythm section of drummer Fito de la Parra and bassist Larry Taylor were still firmly intact and just as heavily invested in the blues as they ever were. For this event, the core band was augmented by two choice musicians who were outstanding instrumentalists in their own right: blind pianist Jay Spell, who added his own bluesy barrelhouse keyboard flavorings to the proceedings (and who had a singing voice that was uncannily similar to that of founding member Alan Wilson) and Mike "Hollywood Fats" Mann on guitar, who was a first-rate blues guitarist who helped revitalize the momentum of earlier lineups. Just two years after this memorable night, Bob Hite would pass away after years of heavy drug and alcohol abuse, and shortly afterward Mike Mann would suffer the same fate. The loss of these two great talents and champions of the blues cannot be overestimated, but thanks to this complete recording of Canned Heat's set, one can enjoy these two greats performing together before an extremely receptive audience.

Immediately following the group's introduction, Bob Hite inquires the audience, "Are you ready to raise a little hell?" and then along with his bandmembers, proceeds to do just that. They kick it off with "On The Road Again," featuring Jay Spell sounding frighteningly similar to Alan Wilson on vocals and pounding out a great piano solo, while Hite blows harp embellishments over the smoldering groove. The party continues with Hite reaching way back into the band's catalogue for "Bullfrog Blues," the track that kicked off the band's debut album back in 1967. No Canned Heat set is complete without some boogie music and next up is a fine example. Jay Spell rips into "Chicken Shack Boogie" with frenetic piano playing that propels the band along and Mike Mann takes his first serious solo of the evening.

The group isn't just locked into past accomplishments here. In the next number, "Stand Up (For What You Are)," Bob Hite encourages everyone to let go of the past and enjoy the here and now. The "Going Up The Country" that follows, again lets Jay Spell channel Alan Wilson as he lays down plenty of piano grooves. Another new one follows and it's a rare opportunity to hear Larry Taylor front the band on an energetic romp through "Don't Know Where She Went (She Split)." Taylor and Hite together take lead vocals on this number and both Mann and Spell get solo spots to shine.

A rare opportunity to hear a live reading on "Human Condition" is next. Hite dedicates this rarely played number to Alan Wilson (who wrote and originally sang it) and while it is considerably revamped compared to the Future Blues original, it is here that the group gets a chance to stretch out and jam a bit. This is certainly one of the standout performances of Canned Heat's set, with Bob Hite taking the vocals with extended solos from Mann, Spell and Taylor.

This all leads up to the smokin' conclusion of the set, "Shake 'N' Boogie," which is a barnburner of the highest caliber. Fans of Canned Heat will recognize this immediately, as it is essentially the classic "Refried Boogie" that they always concluded their sets with. An improvisational exercise on the basic up-tempo boogie theme, this allows Mike Mann to soar on guitar throughout while Hite improvises vocals and gets the audience on their feet and dancing. Fito takes a brief drum solo in the middle and then it's back into a searing vamp as Hite introduces the band members. Then they bring it to a close, but not before Hite reminds this audience, just like the original Woodstock audience ten years prior, "Don't forget to boogie!"

devil59620 a écrit:

Passé un peu inaperçu ce "B-Sides"....
Il contient pourtant quelques pièces de choix : le superbe "She loves you",
la reprise de Pearl Jam "State of love and trust" en live, une belle version acoustique de "59 sound"
et une reprise des Stones : "tumbling dice"........
Sympa   

oui
ça tourne chez moi aussi  

Nine inch nails - Year zero

Qu'est ce que j'aime ce groupe.

Dans la lignée de ce que fait Ryan Bingham (que Marc Ford a produit d'ailleurs). Vraiment très bon.
Au Divan du Monde le 21/5.

The Black Crowes
Newport Folk Festival, Newport, RI
August 2nd, 2008
Concert Vault MP3

78’53”
01 Introduction 0’25”
02 “Girl From The North Country” 4’21”
03 “He Was A Friend Of Mine” 4’27”
04 “Whoa Mule” 6’47”
05 “Polly” 5’10”
06 “Delaney & Bonnie Medley: Poor Elijah – Tribute To Robert Johnson” 6’13”
07 “Wiser Time” 12’22”
08 “Movin’ On Down The Line” 7’24”
09 “Goodbye Daughters Of The Revolution” 5’04”
10 “Jealous Again” 5’37”
11 “Oh Josephine” 7’45”
12 “Thorn In My Pride” 12’46”
13 Applause – Closing Announcement 0’24”

Chris Robinson - lead vocals, acoustic guitar, harmonica
Rich Robinson - vocals, acoustic and electric guitars
Luther Dickinson - harmony vocals, guitar, mandolin
Adam MacDougall -harmony vocals, keyboards
Sven Pipien - harmony vocals, bass
Steve Gorman - drums, percussion
Charity White - background vocals
Monalisa Young - background vocals

The Newport Folk Festival was never strictly limited to folk music, but the 2008 festival expanded the musical diversity more than ever before. Perhaps taking a cue from the massive success of younger festivals like Bonnaroo, the 2008 roster included bigger ticket artists like The Black Crowes (presented here), Jimmy Buffett, The Levon Helm Band, Trey Anastasio and The Cowboy Junkies, right along with the folk, bluegrass and blues troubadours that once topped the bill. Despite some weather issues, this approach turned out to be a resounding success and all of the headlining acts turned in memorable performances that often conveyed the influence of the traditional styles that originally launched the festival.

One of the most surprising and highly anticipated groups to appear was The Black Crowes, who closed out the Saturday schedule, following a torrential downpour that significantly reduced the size of the festival audience. When they hit the main Fort Stage shortly after 5:00 PM, those that remained were treated to what many considered the highlight set of the festival. The performance was tempered in a way that paid tribute to the festival and its history, while still featuring plenty of the group's trademark guitar driven rock, heavily influenced by groups like The Stones, The Faces and The Allman Brothers Band, which the Robinson brothers had grown up on.

At this time The Black Crowes were 18-year veterans of the road with thousands of concerts behind them, and a true force in modern rock music. The band had weathered internal struggles in the preceding years and had just completed their seventh album, Warpaint, their strongest in over a decade. Just prior to the sessions, two personnel changes had taken place, with the addition of keyboard player Adam MacDougall and former North Mississippi Allstars guitarist Luther Dickinson being brought on board. The Warpaint album revealed a more seasoned band with a newfound sense of solidarity. Without changing their basic sound and dynamics, Warpaint conveyed a more original and distinctive band, while still drawing on the influences that initially drew listeners in.

The Black Crowes' set began during a vibrant sunset, just as the storm had cleared. Well aware that much of their music would easily plow over most acoustic troubadours, the Robinson brothers initially hit the stage alone, armed with acoustic guitars. Paying tribute to the stripped down folk music that initially launched the festival, they begin with a rendition of Bob Dylan's "Girl From The North Country." Following this, Luther Dickinson joins the brothers on stage, adding mandolin embellishments to "He Was A Friend Of Mine," the 1960s anthem that conveyed the sense of loss following the assassination of President Kennedy. Both of these numbers are extremely well received and convey a sense of respect for the festival and its history.

With MacDougall (whose birthday it was) and the rhythm section joining the other members onstage, the first number off the new album, "Whoa Mule," is next. A bluesy number that begins a capella and then builds its intensity gradually, this song has a thrust that cannot be denied. With Dickinson contributing slide and a striking vocal from Robinson, this conveys a band more comfortable and confident than ever before. Two well-chosen covers surface next, first in the form of "Polly," a country flavored obscurity written by ex-Byrd Gene Clark, recorded for the second (and more obscure) Dillard & Clark album in 1969. However, it is the medley of Delaney & Bonnie songs that follows that is one of the true highlights of this performance. Rich Robinson starts it out with some strident acoustic rhythm as they kick into a wonderful rendition of "Poor Elijah." This cooks from the get-go and quickly builds into a soulful romp with Dickinson seemingly channeling Duane Allman (who played on the original). Like the Delaney & Bonnie recording, it then gets even bluesier, with Robinson belting out the "Tribute To Johnson" section, but rather than concluding there, they toss in a bit of "Things Get Better" before wrapping it up. This is a superb performance that rivals the originals.

With MacDougall organ swells serving as a segue, they next ease into a confident reading of "Wiser Time," the single from the 1994 album, Amorica. Dickinson's slide work and MacDougall's electric piano underpinnings are both notable here. As this progresses over twelve minutes, longtime listeners will recognize a newfound chemistry emerging between these musicians. The Crowes could always jam, but here there are no aimless improvisations. Instead, there is focused soloing and a collective sound that can only occur when musicians are carefully listening to each other. Two fine new songs from Warpaint, "Movin' On Down The Line" and "Goodbye Daughters Of The Revolution," are prime examples of this chemistry. Even on "Jealous Again," the hit that first brought the band recognition, Dickinson and MacDougall's contributions add freshness, while losing none of the Faces-influenced flavor that made it so fun in the first place.

The final 25 minutes of the set is a two-song tour de force beginning with the Warpaint ballad "Oh Josephine," which gradually ratchets up the intensity level over the course of 8 minutes. One of the band's most compelling songs, this is a slow-rolling burn that builds to a blazing close. A spacey organ interlude from MacDougall follows, before the band segues into the opening of "Thorn In My Pride." Expanded well beyond its original incarnation, this is engaging from the start and doesn't let go for its 15-minute duration. Within a few minutes, the band is deeply engaged with Rich Robinson's overdriven guitar cutting through like a knife. Just when they've reached a major crescendo (at exactly the six-minute mark), everyone drops out, leaving Chris Robinson to begin a blues harp solo. With Robinson leading the way, the band builds into a menacing jam that is quite inspired. At times this bears a striking resemblance to the snaky grooves of "Midnight Rambler" and is every bit as intense as The Stones in their 1969 prime. Under tight time restrictions as the final act of the day, no encore was possible, but by the time "Thorn In My Pride" winds to its soulful conclusion, the audience erupts with applause having witnessed one of the hardest hitting Newport Folk Festival performances ever.

-Written by Alan Bershaw

Pas de passage en Europe prévu pour le moment, en tournée ce printemps aux Etats-Unis, pour promouvoir le nouvel album sorti ce mois-ci...

Il y a quelques temps j'étais tombé sur une émission qui énumérait les artistes d'un seul tube, ce devait être sur TMC, et Joan Osborne fut abordée dans cette émission avec évidemment "One Of Us". Parmi les intervenants dans ce docu, l'un d'entre eux avait eu ce commentaire qui m'avait fait sourire... : "Un tube et depuis elle est retombée dans l'oubli..."

Mouais, des chanteuses à qui on a demandé de participer à un film consacré à la Motown et de chanter accompagnée par les musiciens studio de l'époque, à qui les ex-membres du Grateful Dead ont demandé de se joindre à eux pour être la lead singer d'une tournée entière, qui a fondé un groupe qui promet avec le batteur et le nouveau guitariste des Black Crowes, et qui a sorti de biens beaux albums comme celui-ci très country, le suivant très soul BREAKFAST IN BED ou encore HOW SWEET IT IS qui était excellent, beaucoup de chanteuses aimeraient tombé dans l'oubli comme Joan Osborne !

Comme quoi on peut faire carrière sans pour autant enquiller les tubes et même se contenter d'un seul. Et sans faire des clips montrant 95 % de la surface de l'épiderme...