"And on this ground, Blackfoot was a beast. It was literally the Led Zeppelin Hard-Southern Blues."
BLACKFOOT "Live In Atlanta" live 1981
With a friend, we watched videos on a site of old clips. During these evenings, we remember the 80 and 90 and looking for the most cheesy promotional clips of the greatest groups. Thus, some institutions of Rock (all?) Have often strayed into films and screenplays for film quality of a bewildering void, all music is often used near the black hole also creative. It may well include Deep Purple 1987-1993 period, after 1983 Saxon, Judas Priest after 1982, and many others who have picked up on MTV years in the worst excesses of quick shots.
BLACKFOOT "Live In Atlanta" live 1981
With a friend, we watched videos on a site of old clips. During these evenings, we remember the 80 and 90 and looking for the most cheesy promotional clips of the greatest groups. Thus, some institutions of Rock (all?) Have often strayed into films and screenplays for film quality of a bewildering void, all music is often used near the black hole also creative. It may well include Deep Purple 1987-1993 period, after 1983 Saxon, Judas Priest after 1982, and many others who have picked up on MTV years in the worst excesses of quick shots.
Seeking ever more ridiculous and so ludicrous, I sought the side of Blackfoot. I find him and "Vertical Smiles", the studio album of 1984, concentrated authentic sound of garbage, followed three years later a "Ricky Medlocke Blackfoot's" just as miserable musically. But he enjoyed a flirtatious promotional video shit superb visual grouping all the cliches in a riot of inconsistency to make you bust a gut. It distinguishes 
jumble the band playing on stage, mixing designer suits with shiny black musicians like Miami Vice and terrycloth headband on his forehead, and leading rock-metal (Ricky Medlocke so), with superb biker fringe, skinny jeans, cowboy boots and white Ibanez guitar. The music is bone-FM synthesizers rotten pompous and hard-metal guitars inept. The scenario then mixed sexy pictures, horror movies of Z series and sports cars of the time (that is to say rotten plastic crates). Briefly, total. A close 
few laughs generous, we end up not calm us down, and a hint of pain eventually invade us. Because behind, I pushed the vice disseminating "Train Train" concert in 1981. Blackfoot is not so ridiculous, but mighty, the pinnacle of firepower sonic quality. 
The four musicians, despite their Tronches bumpkins from the Deep South, are beautiful, as proud, united. They have fun, give everything to their audience. Yes, Charlie Hargrett guitarist, lost her hair and big sunglasses cheap. Yes, Jackson Spires, drummer, ladle and a small satin shorts a bit silly, but his shot Dante and his jaw clenched make a hell of a musician. Yes, Greg T Walker with its array of Indian, seems a little jerk but his bass resonates powerfully, and the man showed a lot of humor and joviality. 
And then there's Ricky. He is proud, he is tall and handsome. He wears his Stetson and his cloak of bad man, but he is in tune with the group. It literally steals, pushed by his three playmates All four are in total harmony, and they ravage everything, leaving the audience bloodless, as few groups are still able at that time (remember that it feels hard-FM USA and the New Wave in Europe since 1979). Then the valiant fighters of the Hard-Blues, they do not rest. It is in the wind at the time, like synths and permanent or New Wave-Gothic, or it is simply metal, like Iron Maiden, Saxon or future Metallica, Slayer or Metal Church.
This small party eventually make me want to listen a little gem to my friend. It is a live album recorded by American radio in Atlanta in 1981. Blackfoot is then in full promotional tour for the album "Tomcattin '," published last year. The group finally sat his style from 'Strikes, "published in 1979, that is to say a Hard Rock-drenched blues and soul. Blackfoot was attached to the Confederate movement, which he claimed for two reasons: first, they are in Jacksonville as Lynyrd Skynyrd and Ricky Medlocke was its drummer in 1970. The second is that in 1979, only groups southerners continued to perpetuate this mixture Hard rock and blues, like the Outlaws, Molly Hatchet, Point Blank or Doc Holliday. But Blackfoot was the most formidable.
He had also a nice feature that did not have his playmates Three quarters of the group were of the Blackfoot Indian origin, or from one of the most persecuted communities of the United States, before Blacks. It could therefore hardly be suspected of Blackfoot racist or extreme right, contrary to Lynyrd Skynyrd, for example. 
Musically, whether in the studio, the band seemed ill at ease, lulled by the councils of producers and record label (Atco, subsidiary of Atlantic, needless to say, a major), he dropped the dogs live. And on this ground, Blackfoot was a beast. It was literally the Led Zeppelin Hard-Blues Southern. The quartet picked up any concert, any festival. His incredible energy knelt a bunch of brave young guns such as Iron Maiden in 1982 in Reading, beaten by four hotheads generous. This live is striking proof. Of course, there was the official live album, this "Highway Song Live" recorded at the Hammersmith Odeon in London. However, although excellent, it lacks the guts it.
Totally caught live, galvanized in its stronghold in the South, Blackfoot gives all, without restraint. And here there is a great set list, giving the most to the previous two discs, but also some nice news from the wonderful "Marauder" published this year. That is to say that famous bestiary which made the reputation of Blackfoot. Above all, he is captured by a local FM radio, which multiplies its impact still live, and thus galvanized the boys who give everything.
Needless to state that the sound is very good, powerful, heavy, and electric. Ricky Medlocke harangue the crowd, challenging the public demonstrate how the Blues still breathing in lung prole of the USA. Atlanta, Georgia is the country of James Brown. Blackfoot has to demonstrate its power in earth Soul.
And for that, it begins with the now classic "Gimme Gimme Gimme" tornado Hard Rock in its shiny chrome, which sets the scene. But Blackfoot pushes the nerve to follow up this matter with another firebrand called "On The Run". Catchy chorus, words carved on the road. The rhythm section is racing, supercharged, and sees Hargrett and Medlocke will surly answer in chorus. pressure does not go down with "Every Man Should Know (Queenie) . This hard-song release of "Marauder" tumbling behind a small impromptu boogie. The riffs are relentless, Blackfoot is dangerous.
"Searchin" calm atmosphere, and brings the quartet lands on real Southerners. This melancholy melody, the sense of dust in the mouth, these plaintive, lyrical solos, everything is magnified by the musicians transcended. It was for just a brief lull before a new flood sonic masterpiece. First, there is heavy and sticky "Fox Chase", his rhythmic heavy nesting before seeing wild horses galloping major on "Too Hard To Handle. " The latter is a stylish way "good booze and bad wimmen, macho and proud. However, this title remains for me one of the most implacable Blackfoot has produced.
The boogie do not stop just because the smashing "Fly Away" with its false air of blue song. The thunder roared always on the chorus and in jousting guitars. "Road Fever" back in Blackfoot territory Hard'n'Heavy pure. It is this type of song that made the group a formidable competitor for the NWOBHM. "Train Train" follows the torrent of anger. I love this song, between blues and boogie. True road-song, she is definitely part classics of the genre. The peculiarity here is that Shorty Medlock, the grandfather of Ricky, who provides the introduction to the track in the studio, just here to play live. So touching moment, which does not affect the power of interpretation. Medlocke Ricky flaunts his talents slide guitarist, something rare in today Lynyrd Skynyrd.
"Highway Song," long piece typical of the heroic kind Southerner, comes close to how beautiful this superb concert. Hargrett and Medlocke will meet at infinity on a hot rhythm, as galloping thoroughbreds.
The public is entitled to Atlanta a little reminder screaming "Rattlesnake Rocker", which lets the silence still filled with electricity.
Listening to this live decisive Blackfoot could only succeed. He will fight again another year. That will change in 1983, management pressure on the group so he picks a real hit. And at the time of Genesis, Bon Jovi and Motley Crue, it could not give a compromise without a soul. Blackfoot will dissolve in bitterness. And for true fans who know they are fabulous concerts that make all the blues-rock and Southern rock now very pale and sanitized.
And because I'm good with you Here interpreting Blackfoot "Train Train" concert in 1981:
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Based on the ashes of the T-Boones in Sweden in 1967, guitarist Kenny Hakanson, bassist Goran Malmberg and drummer Pelle Ekman decides to consider the rock of the era in a storm of electricity. Excellent technicians, they tinker with their own lamps amps (they also provide the Troggs), or their own drum metal, not wood. The result of these hacks are long beaches sips electricity wild, unhealthy and stakeholders, a kind of bad-trips formidable. Dice 
the vertiginous and ghostly "Somebody Keeps Calling My Name", we are stuck in the throat by this mournful voice, and this guitar blues timbre, but wavering under the blows of the pick and white-hot Marshall amps. It is tossed into a cosmic vortex extends to infinity, that is to say about all ranges that are between 7 and 20 minutes. And if the music of Baby Grandmothers is instrumental for many, it can only remain speechless in front of inspiration permanent chorus of guitar that is reminiscent of the best guitar of Jimmy Page in 1969, but with something that crossed and more. A bit like Syd Barrett joined Led Zeppelin. From "Berkagulen" in the odyssey of two parts of "Being Is More Than Life", one is immersed in a world of delirious fans and hallucinations urban, transforming scenes of daily visions of terror. 
The sound recording is obviously very raw in view of means that the trio was able to benefit at the time, but it is still unbelievable that such training is not made more noise media-speak. Too bad-trip, perhaps. In any case, he said that Jimi Hendrix was left speechless at their performance when they occur in the first part of Experience. Voodoo Chile had to redouble his talent to overshadow the three crazy electronics. 
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The right format, one that makes his soul to this disc, is more rare. Especially it must be inflated to begin to speak of Spooky Tooth, passing alongside the first album. It is true that "Spooky Two" from 1969 was the first music CD "smart" that fascinates me I was very young. 
group enlisted the former guitarist ... Johnny Hallyday, a Mick Jones, to reform the band, along with keyboard background: Gary Wright. Pillar of its Spooky Tooth, it is part of the trio of Organists recognizable among all, alongside Jon Lord and Keith Emerson .... And then Brian Auger, but that's to please me. 
short, Spooky Tooth on the road again in 1972, and finds his fortune in the USA thanks to two fine discs: "You Broke My Heart .... So I Busted Your Jaw "in 1972, and" Witness "in 1973. But the waltz musicians from Spooky Tooth is a constant, therefore, there is movement in 1974. 
Mike Harrison, in particular, made known his desire to leave the group. But contrary to what the different historical group willing to teach you, the genesis of this record was complex. Mick Jones is on guitar, Gary Wright on keyboards, Mike Kellie on drums (mmmhhh! This rate compact, thick, that feeling ...) replaced for the tour by Graham Bryson. Val Burke brings a monstrous bass, heavy, fat sound, the first since Greg Ridley in 1969, left in Humble Pie. 
And so there is Mike Patto on vocals. Patto is a magnificent singer, straight out of a wonderful group of jazz-rock heavy-name .... Patto, and counted in its ranks the wonderful Ollie Halsall on guitar. And this beautiful 
And Deep Purple, mixed with English progressive blues, jazz, progressive rock type Patto, funk and heavy, it gives "The Mirror". 
"Satisfiable Fantasy" begins with a big heavy riffs, powerful rhythm section continued with a incredible, compact, precise. The Hammond organ grater space, supporting the Les Paul Jones. The low, sustained, sound swells. Gary Wright sings, and quite well. Her melodic voice announcement, but more viciously, singers of the caliber of Steve Perry of Journey, period hard-FM in the late 70s. 
Bridge hovering mid-heavy took away the pressure, and recalls how Spooky Tooth is since 1968 in the crossroads between heavy and progressive rock-music .. A pioneer in the sum of genres. 
Spooky Tooth is not the type to follow the wind. The bass is heavy, powerful, roaring, stuck on a perfect beat, but totally original, as is that of Mike Kellie, and that man has always had this groove since the late 60s. The Hammond Wright debate roars on, heavy, menacing. The guitar is back, as if to prove that one knows groove in Albion, but unlike the Motown sound, we do not hesitate to elbow. The voice of Mike Patto is brilliant, roaring, sometimes wry, nasal. This man had an incredible talent, able to sing anything with a brilliantly unconventional. Add to that her voice blends perfectly with that of Wright, what makes a good point about the chorus. Strangely, this song goes regular editions, which is, pardon the expression, a monumental stupidity. 
"Kyle" is more romantic. This is the title that makes the show less personality. Although this ballad is of good quality, it adds nothing more to the discography of Spooky Tooth. This is probably one of a small pleasure of Gary Wright, and an attempt to hang the U.S. radio. However, the vocal harmonies on the chorus is a small delight. 
"Higher Circles" is a marvel that begins softly before plunging into the depths of the Les Paul Jones. But what I love is these bridges Hammond in almost cosmic distressing, which bounce the song into another dimension. 
"I'm Alive" is the song Hard Rock has the lock on the car radio when one bar on holiday, or when fleeing a painful breakup. Everything is impeccable: the guitar riff, the chorus of electric piano, rhythm. Rest the voice, that of Wright, who had been entrusted to Mike Patto, more expressive, more aggressive. Nevertheless, "I'm Alive" listened dozens of times without tiring, especially with his lyrical coda. 
"The Hoofer" solves nothing, leaving doubt behind this cynical chorus. He concludes the disc as a parenthesis. It seems that Spooky Tooth has not said everything. 
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