vinyl paint on canvas 97cm * 146cm
Saturday, January 30, 2010
Monday, January 25, 2010
Best Pitcher Ever In Softball
REVEREND BIZARRE
"This is a vision of horror. That for the day. "
REVEREND BIZARRE:" III - So Long Sucker "2007
He missed me a long time a soundtrack to my life recently. Of course, there were all my records, my precious patties Rock. Yet missing a group capable of expressing all the darkness, the sinking of our time. We had a group that translates into music all with the magic sensory 70s.
Reverend Bizarre I discovered a few years ago, the release of her debut album. Cantor of a doom-metal purist says he wants incantatory, and refers only to the first three albums, Black Sabbath, Saint Vitus and Pentagram, which diverts some images shamelessly. Reverend Bizarre is not alone, however, there is a real passion that charmed me. However, the titles of ten minutes without solid riffs punctuated, eventually get tired. Probably because I see in the solo, even minimalist, part of lyricism needed to take off the nightmare the darkest fantasies into a small clearing. Then I found interesting Reverend Bizarre, but without any measure with Sleep, Electric Wizard, Goatsnake and High On Fire.
And then there was this disc. Has Sami Hynninen said Sir Albert Witchfinder "on bass and vocals, Kimi Kärki said" Father Peter Vicar "on guitar and Jari Pohjonen said" Mr. Earl Of Void "on drums, the trio decided to return Finland the sources of such doom and dice the late 90s. His integrity, his EP as long as their albums, its incredible prolixity, and his melancholy old-fashioned group did a mini-legend.
when, in 2007, they decided to separate on a third album, claiming they had told all and that any other output discography would shaded their discography, they do not know how hard this is major.
For it is an incredible foundation of heavy-metal black. First it is a double album. Incredibly dense, it is tamed after several plays. Unlike his predecessors, who saw Reverend Bizarre sometimes dwell on the long, rhythmic abusing pachyderms "III" is incredibly rich in its entirety.
It is a combination of impeccable riffs, a rhythm hover above reproach. And the song of Sir Albert Witchfinder seems touched by grace evil.
And I can tell you it takes guts to start an album with a title of 29 minutes, which is more entitled, "They Used Dark Forces - Teutonic Witch".
This title is in itself a journey into the human soul. Mid-tempo, the first title queries, tireless. It is the soundtrack to these gloomy cityscapes that can be seen on a Paris highway. These large gray buildings, these sites decommissioned, these commercial areas out of sight. And the filth, the acrid smell that takes you by the throat. Everything you sick. Everything seems artificial. Cradingue these landscapes, the magical tree in the car, air conditioned office, laundry and sink clogged at home. All this feels the precast. Everything is formatted, you're not free, and this is a reality.
So this first song is 29 minutes of a force deaf, as if the beasts of the underground world of HP Lovecraft were finally out of the ground to shred with the greatest ferocity jumble your boss, your colleague obsequious, or your stepmother. It is hoped this storm as one who cleans and foremost human stupidity, it is expressed by men or by their creations. The Vicar
scrapes his Gibson SG with a haunting riff, angry. Sir Albert sings despair, fear. His voice, lyrical, bombastic German described the witch. The pagan myth of Pan-German legends, The Valkyrie, the bloody dog. And then behind, there are these black warriors, covered with metal armor, black leather and animal skins. Leather and their faces covered with a thick beard, Cruel eyes glisten in the moonlight. They are ready to attack.
you, driving your old car sight threatening their silhouettes on the hill in the distance. They will charge, they are there to save us from our conditions of slaves, and there will be no quarter. They will use their occult powers to finally restore the balance of forces of nature, those that can not be challenged. There's echoes of paganism Norse, these fearsome warriors, barbarians aspects, but whose culture and understanding of the elements had an incredible advance on our poor ancestors and mediaeval Christians.
obscurantism facing the religious understanding of life and the world around us. Reverend Bizarre is this. That is what doom deep, vindictive, visceral.
Once the adrenaline rush subsided, the rate goes up. Vicar, glaring lyrical chorus, a flight which is a tiny light puff of air against the deluge of fire. A
knee, this disc has already been through a thousand worlds swallowed. However, the arid "Sorrow" will not help you to regain your wits. 'They Used .... "Was a wild ride, this second title shot in the head. He is the Way of the Cross infernal man before his impotence. There is even a mirror. A reflection glacial bluntly. Sir Albert incantatory, serious, like a priest sordid, unwholesome. The riff heavy falls heavily on deep bass drums and apocalyptic.
is a vision of horror. That of everyday life. That of the human misery that makes you end up in an office among an army of poor backgrounds whose only ambitionnels are football matches, a nice bike, a big car, big house comfortable, and respect sweating Submission of the rank of chief. All this set with model child and a woman sexually and always subject primed. Is this a result of this vision that the Vicar is roaring chorus icy, while feedback? But this disc is revenge, then in a final death rattle, the guitar gets angry. She begins to thunder, sip of thumping bass and drums relentless. Vicar triggers the storm, while sustain. We are not dogs, we have no right to be that. The rage in my heart, Reverend Bizarre illuminates the horizon of the victims. The sun glows even for those who love him.
"Funeral Summer" drove the nail into his chest. Sinister, sarcastic, he is just playing with words in light appearances . Yet the hatred is there. "One Last Time" closes the chapter. It is a dismal spell, which ends in a procession of wah-wah and chorus epic that seems to recall that nothing is won. It's been going wrong, it's the worst that could happen, but it happens every summer.
The second disc will see a succession of two large heavy-songs: "One Last Time" and "Caesar Forever", just an instrumental interspersed with crossed feedback and hate, between two long breathing unhealthy apnea in hell. Because these two songs are massive, powerful, granite. But unlike albums previous aridity is by no means a failure. It is an adrenaline despair. The first, a disappointment in love that goes into slow drive punctuated by shots of hate-hat sounding like the death knell. The second for an apology of a black dictator, who refers to many grim examples of flesh and bone. It is the translation of this terrible thirst for power leads only to destruction.
"Caesar Forever" is an obelisk of heavy riffs that only accentuates the feeling of power, but also face crushing power.
The introduction of "Anywhere Out Of This World "is minimalist. It is a bit like "Moonchild" by King Crimson. And then the riff sounds, powerful. It is reminiscent of "The Usurper" by Celtic Frost, a convoluted riff, dark, thrash, black as jet. Then it plunges back into a liquid melody, almost jazzy. Sir Albert's voice is almost a parody of Frank Sinatra. It's fun this obsession of the kings of riff heavy jazz. Black Sabbath, his time, loved to bounce in the jazzy improvisations, like breathing in the middle of hardened steel.
But here, everything is clean. No free demonstration, not imitation Django Rheinardt. Found again this climate Crimsonien the first album. Before plunging into the abyss.
Yet even sang the bass seems to agreements metallic killing more heroic. There is a need for air, a desire to emerge from the mire. It feels worn, before we resume the anger, and erase all the latest hints of lucidity. Unless this is immense need of love, brotherhood, being with people you love, in whom you trust. As if that were ultimately not really within our reach.
"Bonus Track" is a Drone conclusion of the whole. This title does nothing, except a scary buzzing. It is the catalyst of intense emotions experienced before. It is this violent return to reality, as the sound of vacuum cleaner or ventilation system wakes you in your deepest sleep. With this discomfort back to a reality too shabby
For this album lifts you to a higher level of sensitivity. It is simply not possible to return free of such emotional journey. And casually, he became one of the cornerstones of the huge rock of the 2000s. As an obelisk. As a presence. All Rights
Reserved 
"This is a vision of horror. That for the day. " REVEREND BIZARRE:" III - So Long Sucker "2007
He missed me a long time a soundtrack to my life recently. Of course, there were all my records, my precious patties Rock. Yet missing a group capable of expressing all the darkness, the sinking of our time. We had a group that translates into music all with the magic sensory 70s.
Reverend Bizarre I discovered a few years ago, the release of her debut album. Cantor of a doom-metal purist says he wants incantatory, and refers only to the first three albums, Black Sabbath, Saint Vitus and Pentagram, which diverts some images shamelessly. Reverend Bizarre is not alone, however, there is a real passion that charmed me. However, the titles of ten minutes without solid riffs punctuated, eventually get tired. Probably because I see in the solo, even minimalist, part of lyricism needed to take off the nightmare the darkest fantasies into a small clearing. Then I found interesting Reverend Bizarre, but without any measure with Sleep, Electric Wizard, Goatsnake and High On Fire. And then there was this disc. Has Sami Hynninen said Sir Albert Witchfinder "on bass and vocals, Kimi Kärki said" Father Peter Vicar "on guitar and Jari Pohjonen said" Mr. Earl Of Void "on drums, the trio decided to return Finland the sources of such doom and dice the late 90s. His integrity, his EP as long as their albums, its incredible prolixity, and his melancholy old-fashioned group did a mini-legend. when, in 2007, they decided to separate on a third album, claiming they had told all and that any other output discography would shaded their discography, they do not know how hard this is major. For it is an incredible foundation of heavy-metal black. First it is a double album. Incredibly dense, it is tamed after several plays. Unlike his predecessors, who saw Reverend Bizarre sometimes dwell on the long, rhythmic abusing pachyderms "III" is incredibly rich in its entirety.
It is a combination of impeccable riffs, a rhythm hover above reproach. And the song of Sir Albert Witchfinder seems touched by grace evil. And I can tell you it takes guts to start an album with a title of 29 minutes, which is more entitled, "They Used Dark Forces - Teutonic Witch".
This title is in itself a journey into the human soul. Mid-tempo, the first title queries, tireless. It is the soundtrack to these gloomy cityscapes that can be seen on a Paris highway. These large gray buildings, these sites decommissioned, these commercial areas out of sight. And the filth, the acrid smell that takes you by the throat. Everything you sick. Everything seems artificial. Cradingue these landscapes, the magical tree in the car, air conditioned office, laundry and sink clogged at home. All this feels the precast. Everything is formatted, you're not free, and this is a reality. So this first song is 29 minutes of a force deaf, as if the beasts of the underground world of HP Lovecraft were finally out of the ground to shred with the greatest ferocity jumble your boss, your colleague obsequious, or your stepmother. It is hoped this storm as one who cleans and foremost human stupidity, it is expressed by men or by their creations. The Vicar scrapes his Gibson SG with a haunting riff, angry. Sir Albert sings despair, fear. His voice, lyrical, bombastic German described the witch. The pagan myth of Pan-German legends, The Valkyrie, the bloody dog. And then behind, there are these black warriors, covered with metal armor, black leather and animal skins. Leather and their faces covered with a thick beard, Cruel eyes glisten in the moonlight. They are ready to attack. you, driving your old car sight threatening their silhouettes on the hill in the distance. They will charge, they are there to save us from our conditions of slaves, and there will be no quarter. They will use their occult powers to finally restore the balance of forces of nature, those that can not be challenged. There's echoes of paganism Norse, these fearsome warriors, barbarians aspects, but whose culture and understanding of the elements had an incredible advance on our poor ancestors and mediaeval Christians. obscurantism facing the religious understanding of life and the world around us. Reverend Bizarre is this. That is what doom deep, vindictive, visceral.
Once the adrenaline rush subsided, the rate goes up. Vicar, glaring lyrical chorus, a flight which is a tiny light puff of air against the deluge of fire. A
knee, this disc has already been through a thousand worlds swallowed. However, the arid "Sorrow" will not help you to regain your wits. 'They Used .... "Was a wild ride, this second title shot in the head. He is the Way of the Cross infernal man before his impotence. There is even a mirror. A reflection glacial bluntly. Sir Albert incantatory, serious, like a priest sordid, unwholesome. The riff heavy falls heavily on deep bass drums and apocalyptic. is a vision of horror. That of everyday life. That of the human misery that makes you end up in an office among an army of poor backgrounds whose only ambitionnels are football matches, a nice bike, a big car, big house comfortable, and respect sweating Submission of the rank of chief. All this set with model child and a woman sexually and always subject primed. Is this a result of this vision that the Vicar is roaring chorus icy, while feedback? But this disc is revenge, then in a final death rattle, the guitar gets angry. She begins to thunder, sip of thumping bass and drums relentless. Vicar triggers the storm, while sustain. We are not dogs, we have no right to be that. The rage in my heart, Reverend Bizarre illuminates the horizon of the victims. The sun glows even for those who love him. "Funeral Summer" drove the nail into his chest. Sinister, sarcastic, he is just playing with words in light appearances . Yet the hatred is there. "One Last Time" closes the chapter. It is a dismal spell, which ends in a procession of wah-wah and chorus epic that seems to recall that nothing is won. It's been going wrong, it's the worst that could happen, but it happens every summer. The second disc will see a succession of two large heavy-songs: "One Last Time" and "Caesar Forever", just an instrumental interspersed with crossed feedback and hate, between two long breathing unhealthy apnea in hell. Because these two songs are massive, powerful, granite. But unlike albums previous aridity is by no means a failure. It is an adrenaline despair. The first, a disappointment in love that goes into slow drive punctuated by shots of hate-hat sounding like the death knell. The second for an apology of a black dictator, who refers to many grim examples of flesh and bone. It is the translation of this terrible thirst for power leads only to destruction. "Caesar Forever" is an obelisk of heavy riffs that only accentuates the feeling of power, but also face crushing power. The introduction of "Anywhere Out Of This World "is minimalist. It is a bit like "Moonchild" by King Crimson. And then the riff sounds, powerful. It is reminiscent of "The Usurper" by Celtic Frost, a convoluted riff, dark, thrash, black as jet. Then it plunges back into a liquid melody, almost jazzy. Sir Albert's voice is almost a parody of Frank Sinatra. It's fun this obsession of the kings of riff heavy jazz. Black Sabbath, his time, loved to bounce in the jazzy improvisations, like breathing in the middle of hardened steel.
But here, everything is clean. No free demonstration, not imitation Django Rheinardt. Found again this climate Crimsonien the first album. Before plunging into the abyss. Yet even sang the bass seems to agreements metallic killing more heroic. There is a need for air, a desire to emerge from the mire. It feels worn, before we resume the anger, and erase all the latest hints of lucidity. Unless this is immense need of love, brotherhood, being with people you love, in whom you trust. As if that were ultimately not really within our reach. "Bonus Track" is a Drone conclusion of the whole. This title does nothing, except a scary buzzing. It is the catalyst of intense emotions experienced before. It is this violent return to reality, as the sound of vacuum cleaner or ventilation system wakes you in your deepest sleep. With this discomfort back to a reality too shabby For this album lifts you to a higher level of sensitivity. It is simply not possible to return free of such emotional journey. And casually, he became one of the cornerstones of the huge rock of the 2000s. As an obelisk. As a presence. All Rights Reserved Monday, January 18, 2010
Cat With White Blobs In Stool
WISHBONE ASH 1971
"For it is in fact the disc progressive blues quartet, nothing less."
WISHBONE ASH: "Pilgrimage 1971
already discussed in these pages, where Wishbone Ash was arrested via his" Live Dates "in 1974. A second approach would have liked to linger on "Argus", the masterpiece of 1972, and we would not be wrong.
But then, even if this disc is flawless from start to finish, offering and beautiful songs and timeless production, my favorite is my "Pilgrimage."
Predecessor "Argus", so he was released in 1971. What delighted me most is this beautiful pocket enigmatic, this sunset glowing behind a tangle of tree branches completely enigmatic, ghostly. And then there's this mystical name, with the cover reveals the rather rural nature and pagan.
Finally there among the Top Wishbone Ash, I mean closer to the bone. For it is in fact the disc progressive blues quartet, nothing less. While the following discs will clear more of a lush melodic heavy rock, Ash plays the blues and boogie. But in his way.
What you should know is that Wishbone Ash were formed from the ashes still smoking from the British Blues Boom. This current of the late '60s saw Chicken Shack, John Mayall & The Bluesbreakers, Fleetwood Mac, Savoy Brown, Cream and many other clear blues and jazz with the fury of rock.
Dice "Go Tell", a superb and energetic instrumental jazz-rock, the band explores new colors with a masterly thoroughness. We could see there than just jam, but already biting instruments actually more than just backtrack.
Then follows "The Pilgrim". Misty, melancholy, especially in his introduction, he reveals the true major influence of Ash: The Fleetwood Mac Peter Green. More specifically the album "Then Play On." We thus find in the introduction to "The Pilgrim" magnificent "Underway". And more generally the twin guitars. For the real inventors of this technique have in fact extended and perfected the technique of guitar dialogues ¨ Peter Green and Danny Kirwan. The long instrumental odyssey, punctuated too jazzy vocal lines, plunging the listener in a strange world made of old yellowed photos 70s, vast grassland and woodland traversed by a wave that plays with pebbles. 
And then there are breaks in feedback, blackening the sky, indicating the arrival of the danger. Concern grows, wind blows through the tall trees, and a silhouette, hunched and grimacing emerges without the flashes of the storm. A fox flees from this vision, the long grass lie downwind, and the figure seems to announce the bad omen.
Next comes "Jailbait." It's back to the urban, the industrious little town, the faces of the workers starting work early, the sun even rose. This is the story of convict will escape and warns her that baby. The doubt settles. The feedback rises, the vibrato of the Flying V and the Stratocaster to meet together in the terrifying hoots, announcing a sad end. The man goes out, but what will he find? The love she still? It is in any case a boogie rustic, giving the most beautiful games to guitars. 
But these are the guitars of Wishbone Ash, that is to say control, fine, chiseled, turns crystal clear and hot, or croaking. Do not look here a boogie to the Status Quo, this is not the kind of home. The riff is not fat their niche. Everything seems thoughtful juxtapositions of rhythm and solo guitars fit perfectly, Nothing seems left to the facility to primary riff. However, it shows an incredible sense of honesty and simplicity.
Is it a coincidence that the prisoner and his "Jailbait" is followed by "Alone," a melancholy instrumental? Concept album if there is not, this disc seems well thought out. This small inset 2'30''is yet a small miracle. "Lullaby" is a beautiful instrumental, which does nothing but refreshing. "Valediction" is the weak point of the album. Its melody a little too religious and impersonal striker coherence, despite its good performance.
Fortunately, the finale to forget this little faux pas: "Where Were You Tomorrow" is a boogie typed Savoy Brown. Simple, exuberant, he takes the listener for ten minutes in an odyssey almost nostalgic for the time, incredibly invigorating hand. Piece recorded live, so bursting with spontaneity, it is a delight to rock music. You'll find yourself listening to this track in full, without any second zap, solos drum, low, or exchanges with the public.
from this album, very instrumental, wobbly, it remains an amazing feeling. Comparing with "Argus" and "New England", this disc is rough-hewn, almost, than its predecessor, this first album which contained "Phoenix". Yet there are the superb sound, this blues rough and imperfect but wonderful these horizons that make this album a magic nugget. These imperfections are born great tenderness, that we may have the honest, human and generous.
all rights reserved
WISHBONE ASH: "Pilgrimage 1971
already discussed in these pages, where Wishbone Ash was arrested via his" Live Dates "in 1974. A second approach would have liked to linger on "Argus", the masterpiece of 1972, and we would not be wrong.
But then, even if this disc is flawless from start to finish, offering and beautiful songs and timeless production, my favorite is my "Pilgrimage."
Predecessor "Argus", so he was released in 1971. What delighted me most is this beautiful pocket enigmatic, this sunset glowing behind a tangle of tree branches completely enigmatic, ghostly. And then there's this mystical name, with the cover reveals the rather rural nature and pagan. Finally there among the Top Wishbone Ash, I mean closer to the bone. For it is in fact the disc progressive blues quartet, nothing less. While the following discs will clear more of a lush melodic heavy rock, Ash plays the blues and boogie. But in his way. What you should know is that Wishbone Ash were formed from the ashes still smoking from the British Blues Boom. This current of the late '60s saw Chicken Shack, John Mayall & The Bluesbreakers, Fleetwood Mac, Savoy Brown, Cream and many other clear blues and jazz with the fury of rock. Dice "Go Tell", a superb and energetic instrumental jazz-rock, the band explores new colors with a masterly thoroughness. We could see there than just jam, but already biting instruments actually more than just backtrack. Then follows "The Pilgrim". Misty, melancholy, especially in his introduction, he reveals the true major influence of Ash: The Fleetwood Mac Peter Green. More specifically the album "Then Play On." We thus find in the introduction to "The Pilgrim" magnificent "Underway". And more generally the twin guitars. For the real inventors of this technique have in fact extended and perfected the technique of guitar dialogues ¨ Peter Green and Danny Kirwan. The long instrumental odyssey, punctuated too jazzy vocal lines, plunging the listener in a strange world made of old yellowed photos 70s, vast grassland and woodland traversed by a wave that plays with pebbles. And then there are breaks in feedback, blackening the sky, indicating the arrival of the danger. Concern grows, wind blows through the tall trees, and a silhouette, hunched and grimacing emerges without the flashes of the storm. A fox flees from this vision, the long grass lie downwind, and the figure seems to announce the bad omen. Next comes "Jailbait." It's back to the urban, the industrious little town, the faces of the workers starting work early, the sun even rose. This is the story of convict will escape and warns her that baby. The doubt settles. The feedback rises, the vibrato of the Flying V and the Stratocaster to meet together in the terrifying hoots, announcing a sad end. The man goes out, but what will he find? The love she still? It is in any case a boogie rustic, giving the most beautiful games to guitars. But these are the guitars of Wishbone Ash, that is to say control, fine, chiseled, turns crystal clear and hot, or croaking. Do not look here a boogie to the Status Quo, this is not the kind of home. The riff is not fat their niche. Everything seems thoughtful juxtapositions of rhythm and solo guitars fit perfectly, Nothing seems left to the facility to primary riff. However, it shows an incredible sense of honesty and simplicity. Is it a coincidence that the prisoner and his "Jailbait" is followed by "Alone," a melancholy instrumental? Concept album if there is not, this disc seems well thought out. This small inset 2'30''is yet a small miracle. "Lullaby" is a beautiful instrumental, which does nothing but refreshing. "Valediction" is the weak point of the album. Its melody a little too religious and impersonal striker coherence, despite its good performance. Fortunately, the finale to forget this little faux pas: "Where Were You Tomorrow" is a boogie typed Savoy Brown. Simple, exuberant, he takes the listener for ten minutes in an odyssey almost nostalgic for the time, incredibly invigorating hand. Piece recorded live, so bursting with spontaneity, it is a delight to rock music. You'll find yourself listening to this track in full, without any second zap, solos drum, low, or exchanges with the public. from this album, very instrumental, wobbly, it remains an amazing feeling. Comparing with "Argus" and "New England", this disc is rough-hewn, almost, than its predecessor, this first album which contained "Phoenix". Yet there are the superb sound, this blues rough and imperfect but wonderful these horizons that make this album a magic nugget. These imperfections are born great tenderness, that we may have the honest, human and generous. all rights reserved Monday, January 11, 2010
Will Dsc Alarm Work With Trouble Light On
ARGENT
By the way, Happy New Year, Band Suck! It should be clear, this is not me or anyone, who will bring good luck. So this will be good luck for 2010.
"This is not the case at the top of this disc:" Schoolgirl. "Just what the title has something vicious."
MONEY: 'Money' 1970
Is it because after the holidays are in dire need I'm talking about Silver? The joke is very easy, but nevertheless, I think I can say without too much deceive you did not really feel the need to spend to buy this CD, your money. And for good reason, Silver is a group that few know. I'll even be a rare violence: everyone cares of this group completely.
This is a number of groups of all time. They are characterized by rather discographies provided (I mean beyond three disks), a career rather long (over five years), and even a mini-hit country since totally forgotten. And yet everyone who cares. Because they have left no mark in history music, simple or so followers recent arrivals of a wave on the decline: it may well include Savoy Brown, Atomic Rooster or Krokus, all quite good, delivering quality discs, but that history has never held because less powerful than the "II" Led Zeppelin "Paranoid" by Black Sabbath. It should then want to discover them, in daring to draw a discography totally unknown and no reference, no known commercial or musical milestone. There are yet
nuggets. This first disc Silver is one. For the record, Silver is the group of Rod Argent, former keyboard and composer of The Zombies. The latter left to posterity the psychedelic pop "Odessey And Oracle" in 1968, pretty little nugget that the world music hip discovers ... lately. In Silver, we discover a pretty good drummer named Robert Henri, and for good reason, because it was one of the best friends ... Keith Moon. Even an ascetic, so.
And above all, there are a Russ Ballard on guitar and vocals. And there it goes bad. Because the character could concentrate all that is worst in Rock Music. It is indeed the author, years later some good FM tubes, such as "Since You Been Gone "and" I Surrender "by Rainbow, or the producer's solo album the singer's girlfriend ... ABBA, among others.
But it is not there yet, and Rock still has class on time, at least for a purpose other than to make the dough. But money comes after the war, as the "Odessey And Oracle" Zombie. That is to say he misses the Hard Rock, Progressive Rock and Psychedelic Rock of the time. Do not look here echoes of Led Zeppelin or Jethro Tull here.
Silver, so it's a group that arrives after the battle. That is to say he plays a rock and psychedelic pop from beginner, that spotlights the melodies and vocal harmonies. The voices are sweet and liquid, at the limit of scary, like the keyboards of Rod Argent, and this is his originality. Ballard is not a guitar hero, it is not. It is even a big branque, even compared to Tony Iommi at the sight of the press at the time. Which is saying something. This boy is it so horrible? No, because it is pretty good level composition (at the time). Generally ranked as the provider of commercial songs is to judge priori to the man.
For the entire disc is ultimately "commercial", that is to say, easy to approach: its light instrumentation fine light years of solid extensible, concise songs.
"Like Honey" begins as a gentle, almost jazzy. After "Liar," Ballard song that will become a tube for the group Three Dog Night in the mid 70s. As such, in its original approach, is almost frightening. Misty, just punctuated by a bass drum, remote keyboards and guitar laid-back, the song explodes on the chorus of a few cymbals and backing vocals shouting "Liar." "Be Free" is compared to "Liar," a commercial song. More accessible, it is a gentle, but nothing miraculous.
This is not the case at the top of this disc: "Schoolgirl". Just what the title has something vicious. First there
few piano notes electric liquids, and then these distant clap hands on the battery. There is also this sweet voice, almost whispering, that of Russ Ballard. The guitar is nonexistent. Everything is dull piano, electric awkward. This is a fantasy, an indiscretion. This song seems to be only the murmur of a dream we dare admit. It is also a failure, that of passing time.
We would like some things never change, wherever you may go back to find the flame front, where one does not know as well. When there was still a mystery.
After this title, everything seems bleaker. Yet there are some nice nuggets like this "Freefall" seeing Ballard roost on acute castrato awkward that make this song its character. Ca, and these keyboards, liquid again, and then the chorus BEATLES on the chorus, majestic and so intimate.
Stepping Stone "Seems almost an accident. The battery seems to sound too loud. Yet, this rock song sounds too pervert to be honest. The resounding chorus, everyone gets carried away, but the stone was the trajectory that we give him.
"Bring Your Joy," which closes this album, sounding between piano-bar-blues and soul. This could be boring if there was no such tax and the science of silence that makes this title so classy.
The disc can be enjoyed as a gem, a small packet of sweets that are purchased on a motorway lost and to be savored on this road too long. It's tangy, fresh, but incredibly emotional. Believe me or not, but the result will not be terrible.
All Rights Reserved 
By the way, Happy New Year, Band Suck! It should be clear, this is not me or anyone, who will bring good luck. So this will be good luck for 2010.
"This is not the case at the top of this disc:" Schoolgirl. "Just what the title has something vicious."
MONEY: 'Money' 1970
Is it because after the holidays are in dire need I'm talking about Silver? The joke is very easy, but nevertheless, I think I can say without too much deceive you did not really feel the need to spend to buy this CD, your money. And for good reason, Silver is a group that few know. I'll even be a rare violence: everyone cares of this group completely.
This is a number of groups of all time. They are characterized by rather discographies provided (I mean beyond three disks), a career rather long (over five years), and even a mini-hit country since totally forgotten. And yet everyone who cares. Because they have left no mark in history music, simple or so followers recent arrivals of a wave on the decline: it may well include Savoy Brown, Atomic Rooster or Krokus, all quite good, delivering quality discs, but that history has never held because less powerful than the "II" Led Zeppelin "Paranoid" by Black Sabbath. It should then want to discover them, in daring to draw a discography totally unknown and no reference, no known commercial or musical milestone. There are yet nuggets. This first disc Silver is one. For the record, Silver is the group of Rod Argent, former keyboard and composer of The Zombies. The latter left to posterity the psychedelic pop "Odessey And Oracle" in 1968, pretty little nugget that the world music hip discovers ... lately. In Silver, we discover a pretty good drummer named Robert Henri, and for good reason, because it was one of the best friends ... Keith Moon. Even an ascetic, so. And above all, there are a Russ Ballard on guitar and vocals. And there it goes bad. Because the character could concentrate all that is worst in Rock Music. It is indeed the author, years later some good FM tubes, such as "Since You Been Gone "and" I Surrender "by Rainbow, or the producer's solo album the singer's girlfriend ... ABBA, among others. But it is not there yet, and Rock still has class on time, at least for a purpose other than to make the dough. But money comes after the war, as the "Odessey And Oracle" Zombie. That is to say he misses the Hard Rock, Progressive Rock and Psychedelic Rock of the time. Do not look here echoes of Led Zeppelin or Jethro Tull here.
Silver, so it's a group that arrives after the battle. That is to say he plays a rock and psychedelic pop from beginner, that spotlights the melodies and vocal harmonies. The voices are sweet and liquid, at the limit of scary, like the keyboards of Rod Argent, and this is his originality. Ballard is not a guitar hero, it is not. It is even a big branque, even compared to Tony Iommi at the sight of the press at the time. Which is saying something. This boy is it so horrible? No, because it is pretty good level composition (at the time). Generally ranked as the provider of commercial songs is to judge priori to the man.
For the entire disc is ultimately "commercial", that is to say, easy to approach: its light instrumentation fine light years of solid extensible, concise songs.
"Like Honey" begins as a gentle, almost jazzy. After "Liar," Ballard song that will become a tube for the group Three Dog Night in the mid 70s. As such, in its original approach, is almost frightening. Misty, just punctuated by a bass drum, remote keyboards and guitar laid-back, the song explodes on the chorus of a few cymbals and backing vocals shouting "Liar." "Be Free" is compared to "Liar," a commercial song. More accessible, it is a gentle, but nothing miraculous. This is not the case at the top of this disc: "Schoolgirl". Just what the title has something vicious. First there few piano notes electric liquids, and then these distant clap hands on the battery. There is also this sweet voice, almost whispering, that of Russ Ballard. The guitar is nonexistent. Everything is dull piano, electric awkward. This is a fantasy, an indiscretion. This song seems to be only the murmur of a dream we dare admit. It is also a failure, that of passing time.
We would like some things never change, wherever you may go back to find the flame front, where one does not know as well. When there was still a mystery.
After this title, everything seems bleaker. Yet there are some nice nuggets like this "Freefall" seeing Ballard roost on acute castrato awkward that make this song its character. Ca, and these keyboards, liquid again, and then the chorus BEATLES on the chorus, majestic and so intimate. Stepping Stone "Seems almost an accident. The battery seems to sound too loud. Yet, this rock song sounds too pervert to be honest. The resounding chorus, everyone gets carried away, but the stone was the trajectory that we give him.
"Bring Your Joy," which closes this album, sounding between piano-bar-blues and soul. This could be boring if there was no such tax and the science of silence that makes this title so classy.
The disc can be enjoyed as a gem, a small packet of sweets that are purchased on a motorway lost and to be savored on this road too long. It's tangy, fresh, but incredibly emotional. Believe me or not, but the result will not be terrible.
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