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"A masterpiece of Blues and Hard Rock which benefited with the help of ELP incongruous a production of a rare level."
STRAY DOG: Stray Dog »1973
1973 is a year like that. We had to choose sides. Some chose Progressive Rock, others Glam David Bowie, Roxy Music and T-Rex. And then there was the Hard Rock, one of Led Zeppelin, Deep Purple or Black Sabbath. It should also rely on the Funk and the beginnings of what we call the Punk: New York Dolls or the Stooges.
The choice was vast but indicated an unthinkable at the time : The Birth of Rock chapels. You choose your camp. No way to love the Stooges and Yes. Neither Bowie and Led Zeppelin.
So when Keith Emerson of ELP and his companions discover this deadly trio, they are torn between the desire to discover what this great group Stray Dog and stay the course of progressive rock that is their bombastic going their way .
The History of Rock is studded with myriads of small formations, which had their heyday, their ray of sunshine into the light of fame, before diving in complete anonymity. It then remains for the most discerning collectors 33t few rare as one leaves as a closely guarded secret. Nothing in the world of Progressive Rock-Heavy, some religions see the training side of their album fly, without any financial return, of course. Speculation about the opportunity that has fallen to a modest hint of respectability that sometimes inadvertently pushed some groups to be formed in general indifference. Because the odds of a disk is not successful. And because that price does not the quality of an album.
There is indeed some disks with high values on the Argus Collector's autism who are very sad music collections. Can Granicus and include single and album of 1973. Repeatedly compared to Led Zeppelin, it is a pale substitute barely justified by the shrill voice of its singer. By cons, "Growers Of Mushroom 'Leaf Hound, dating from 1971 and whose popularity reached nearly 1000 €, is a fantastic album. He also compared to Led Zeppelin, rather erroneously also close because only in outline, it is against the airship as the perfect synthesis of an English blues-soaked power and rage. It is not just another version.
Echaudé repeatedly by these "unsung classics" who had little musical value to me, I do not delve into this disc with some suspicion.
And at first, there is quite enough: guitar-bass-drums reinforced concrete level production (made in Greg Lake anyway), but strange voice, melody and surprising entry. This disc is tamed gently, and two or three total plays, he finally hit his entire force.
"Stray Dog", the group's eponymous album of the same name, is a great album. A masterpiece of Blues and Hard Rock which benefited with the help of ELP incongruous production a rare level.
"Tramp," which opens the disc, is regularly repeated. It is rather surprising at first. Boogie line, trailing edge, almost spoken, and majestic choir on the chorus opposes the brutality of the guitar and falsetto. Finally, a kind of melting-Heavy Blues and Progressive Rock.
If the first title in mind the common sense of the term, asking the listener what to expect, "Crazy" is thick bases Heavy-Blues Zeppelinien. This song, collected in the directory group Bloodrock, here takes a serious shot of adrenaline. The voice and guitar, WG Snuffy Walden those, then take all their senses. This voice pervert, this roaring electric guitar, man is an heir of American Blues, one of Buddy Guy, but in its most severe, that of John Lee Hooker and Lightnin 'Hopkins.
"A Letter" is a delightful acoustic interlude that only leads to "Chevrolet." Rough, angry, it does nothing to mars with the foregoing. Yet the song is not one of them. She is a Texas group that they want to promote, a trio called ZZ Top. Except that their version of this song is hundred times higher than the original, yet very good. But despite the burden of the first discs Blues ZZ Top, Stray Dog surpass them in rage and power. The trio is then composed of Snuffy Walden on guitar and vocals, Les Sampson on drums (formerly Road, group of Noel Redding, 1972), and Al Roberts on bass and vocals.
The symbiosis between these three is quite surprising, well beyond what one might expect from a young band of Heavy-Blues. Some have become cult for less than that.
This quintessential genius, is found on the excellent and almost funky "Speak Of The Devil". The talents of rhythmist Sampson are particularly highlighted, unleashing a Lightning toms and percussion rabid. Walden roared his Les Paul like a mad beast, the Devil and his slap on Cowbell while his apostles, demented, dancing around the sacred fire to the sound of drums. It is to note the perfect agreement between the voice voice of Walden, serious, and the choruses of Roberts, the more acute. This same
Roberts takes on the song "Slave", a steep piece of heavy-rock hit, not approaching cats, vicious. The low, thick, responds to the guitar. There his men at work there, and also the talent to reach such an agreement musical. Believe me or not, it is comparable to that the first two albums by Led Zeppelin. The three fellows will say in unison, without downtime.
It is in any case the raging anti-chamber of absolute masterpiece that is the final "Rocky Mountain Suite (Bad Road). In all my life, after listening to hundreds of disks, I have in my heart a handful of songs that draw my life. This is a part, forever, as "Live With Me Humble Pie," How Many More Times "by Led Zeppelin, or" We Will not Get Fooled Again "by The Who.
In a constellation of acoustic notes, Walden suddenly landed in her delicate voice. He speaks of a wife, his eyes, his feelings for her. It is once more the burning love that is spoken here. Passion. The sacred fire. Whether sex, love, political beliefs, this is life, what it should always be. We should not make concessions in our feelings, be honest, whatever the cost. Procrastinate because only one suffering.
Walden depicts here a perfect love, this pretty young woman whom we meet, and that you deign to give a look naughty. Your heart races, her eyes, her mouth silhouette have no equivalent. . Then she turns around, and you stay there alone, coward. All this, "Rocky Mountain Road. A good old story of loser who finds refuge in the good old Heavy-Blues. This poignant acoustic introduction, followed by the electrical storm that is the riff from "Bad Road" which broke out as evidence. Fucking road. Like the Rock talking tripe. This title is a cathedral of incredible sensation, between rage and passion blissful. This is the theater of our lives in eight minutes and thirty. It remains
eloquence. It is a form of social representation, which makes us good people seemingly forever.
As the last notes This "Bad Road" still resonates, the disc ends. Oh, if you buy the remastered version that provides lots of bonus live quite delectable. What will be the least will be the second disc, called "While You're Down Here", released in 1974. Uneven, it has its good moments, but a lack of size: the arrival of a keyboard and a singer that do absolutely nothing.
Walden became a respected composer of film music cutesy, leaving behind this single wildfire exceptional. Ultimate album that you listen to without getting tired, which is the prerogative the greatest.
all rights reserved
STRAY DOG: Stray Dog »1973
1973 is a year like that. We had to choose sides. Some chose Progressive Rock, others Glam David Bowie, Roxy Music and T-Rex. And then there was the Hard Rock, one of Led Zeppelin, Deep Purple or Black Sabbath. It should also rely on the Funk and the beginnings of what we call the Punk: New York Dolls or the Stooges.
The choice was vast but indicated an unthinkable at the time : The Birth of Rock chapels. You choose your camp. No way to love the Stooges and Yes. Neither Bowie and Led Zeppelin.
So when Keith Emerson of ELP and his companions discover this deadly trio, they are torn between the desire to discover what this great group Stray Dog and stay the course of progressive rock that is their bombastic going their way .
The History of Rock is studded with myriads of small formations, which had their heyday, their ray of sunshine into the light of fame, before diving in complete anonymity. It then remains for the most discerning collectors 33t few rare as one leaves as a closely guarded secret. Nothing in the world of Progressive Rock-Heavy, some religions see the training side of their album fly, without any financial return, of course. Speculation about the opportunity that has fallen to a modest hint of respectability that sometimes inadvertently pushed some groups to be formed in general indifference. Because the odds of a disk is not successful. And because that price does not the quality of an album.
There is indeed some disks with high values on the Argus Collector's autism who are very sad music collections. Can Granicus and include single and album of 1973. Repeatedly compared to Led Zeppelin, it is a pale substitute barely justified by the shrill voice of its singer. By cons, "Growers Of Mushroom 'Leaf Hound, dating from 1971 and whose popularity reached nearly 1000 €, is a fantastic album. He also compared to Led Zeppelin, rather erroneously also close because only in outline, it is against the airship as the perfect synthesis of an English blues-soaked power and rage. It is not just another version.
Echaudé repeatedly by these "unsung classics" who had little musical value to me, I do not delve into this disc with some suspicion.
And at first, there is quite enough: guitar-bass-drums reinforced concrete level production (made in Greg Lake anyway), but strange voice, melody and surprising entry. This disc is tamed gently, and two or three total plays, he finally hit his entire force.
"Stray Dog", the group's eponymous album of the same name, is a great album. A masterpiece of Blues and Hard Rock which benefited with the help of ELP incongruous production a rare level.
"Tramp," which opens the disc, is regularly repeated. It is rather surprising at first. Boogie line, trailing edge, almost spoken, and majestic choir on the chorus opposes the brutality of the guitar and falsetto. Finally, a kind of melting-Heavy Blues and Progressive Rock.
If the first title in mind the common sense of the term, asking the listener what to expect, "Crazy" is thick bases Heavy-Blues Zeppelinien. This song, collected in the directory group Bloodrock, here takes a serious shot of adrenaline. The voice and guitar, WG Snuffy Walden those, then take all their senses. This voice pervert, this roaring electric guitar, man is an heir of American Blues, one of Buddy Guy, but in its most severe, that of John Lee Hooker and Lightnin 'Hopkins. "A Letter" is a delightful acoustic interlude that only leads to "Chevrolet." Rough, angry, it does nothing to mars with the foregoing. Yet the song is not one of them. She is a Texas group that they want to promote, a trio called ZZ Top. Except that their version of this song is hundred times higher than the original, yet very good. But despite the burden of the first discs Blues ZZ Top, Stray Dog surpass them in rage and power. The trio is then composed of Snuffy Walden on guitar and vocals, Les Sampson on drums (formerly Road, group of Noel Redding, 1972), and Al Roberts on bass and vocals. The symbiosis between these three is quite surprising, well beyond what one might expect from a young band of Heavy-Blues. Some have become cult for less than that.
This quintessential genius, is found on the excellent and almost funky "Speak Of The Devil". The talents of rhythmist Sampson are particularly highlighted, unleashing a Lightning toms and percussion rabid. Walden roared his Les Paul like a mad beast, the Devil and his slap on Cowbell while his apostles, demented, dancing around the sacred fire to the sound of drums. It is to note the perfect agreement between the voice voice of Walden, serious, and the choruses of Roberts, the more acute. This same Roberts takes on the song "Slave", a steep piece of heavy-rock hit, not approaching cats, vicious. The low, thick, responds to the guitar. There his men at work there, and also the talent to reach such an agreement musical. Believe me or not, it is comparable to that the first two albums by Led Zeppelin. The three fellows will say in unison, without downtime. It is in any case the raging anti-chamber of absolute masterpiece that is the final "Rocky Mountain Suite (Bad Road). In all my life, after listening to hundreds of disks, I have in my heart a handful of songs that draw my life. This is a part, forever, as "Live With Me Humble Pie," How Many More Times "by Led Zeppelin, or" We Will not Get Fooled Again "by The Who.
In a constellation of acoustic notes, Walden suddenly landed in her delicate voice. He speaks of a wife, his eyes, his feelings for her. It is once more the burning love that is spoken here. Passion. The sacred fire. Whether sex, love, political beliefs, this is life, what it should always be. We should not make concessions in our feelings, be honest, whatever the cost. Procrastinate because only one suffering. Walden depicts here a perfect love, this pretty young woman whom we meet, and that you deign to give a look naughty. Your heart races, her eyes, her mouth silhouette have no equivalent. . Then she turns around, and you stay there alone, coward. All this, "Rocky Mountain Road. A good old story of loser who finds refuge in the good old Heavy-Blues. This poignant acoustic introduction, followed by the electrical storm that is the riff from "Bad Road" which broke out as evidence. Fucking road. Like the Rock talking tripe. This title is a cathedral of incredible sensation, between rage and passion blissful. This is the theater of our lives in eight minutes and thirty. It remains eloquence. It is a form of social representation, which makes us good people seemingly forever.
As the last notes This "Bad Road" still resonates, the disc ends. Oh, if you buy the remastered version that provides lots of bonus live quite delectable. What will be the least will be the second disc, called "While You're Down Here", released in 1974. Uneven, it has its good moments, but a lack of size: the arrival of a keyboard and a singer that do absolutely nothing.
Walden became a respected composer of film music cutesy, leaving behind this single wildfire exceptional. Ultimate album that you listen to without getting tired, which is the prerogative the greatest. all rights reserved 
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