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Los Doobie Brothers, una de las bandas norteamericanas más importantes de los años 70, continúan su largo camino musical con el nuevo LP “Liberté”, el decimoquinto de estudio y primero en siete años, publicado el pasado viernes por Universal Music.
Producido y coescrito por John Shanks (Bon Jovi, Sheryl Crow, Miley Cyrus), el álbum contiene 12 temas nuevos compuestos por Tom Johnston, Pat Simmons y John McFee. Importante señalar que Michael McDonald no ha participado en el nuevo álbum.
Curiosamente, las cuatro veces ganadoras del premio Grammy y los miembros del Salón de la Fama del Rock and Roll desde el 2020, se encuentran en medio de una gira de reunión con Michael McDonald, originalmente programada para el año pasado, pero que finalmente tuvo que posponerse hasta el 22 de agosto de 2021.
La muy esperada gira por 49 ciudades de Norteamérica celebra el 50 aniversario de la fundación de la banda con Johnston, McDonald, Simmons y McFee de gira juntos por primera vez en casi 25 años.
Con casi 50 millones de álbumes vendidos en todo el mundo, los Doobie Brothers han tenido cinco singles Top 10, dieciséis en el Top 40, tres álbumes multiplatino, siete álbumes de platino y, por encima de todos ellos, un disco de diamante para el su LP recopilatorio de 1976 “Best of the Doobies” por sus diez millones de copias vendidas
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The Doobie Brothers, one of the most important American bands of the 70s, continue their long musical journey with the new LP "Liberté", the fifteenth studio and first in seven years, released last Friday by Universal Music.
Produced and co-written by John Shanks (Bon Jovi, Sheryl Crow, Miley Cyrus), the album contains 12 new tracks composed by Tom Johnston, Pat Simmons and John McFee. It is important to note that Michael McDonald has not participated in the new album.
Interestingly, the four-time Grammy Award winners and members of the Rock and Roll Hall of Fame since 2020 are in the middle of a reunion tour with Michael McDonald, originally scheduled for last year, but which finally had to be postponed until August 22, 2021.
The long-awaited tour of 49 North American cities celebrates the 50th anniversary of the band's founding with Johnston, McDonald, Simmons and McFee touring together for the first time in nearly 25 years.
With nearly 50 million albums sold worldwide, the Doobie Brothers have had five Top 10 singles, sixteen in the Top 40, three multiplatinum albums, seven platinum albums and, above all, a diamond record for the his 1976 compilation LP “Best of the Doobies” for its ten million copies sold.
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'Surrender of Silence' es el flamante álbum de estudio del mítico guitarrista Steve Hackett. Al igual que con su álbum acústico de principios de este año, también se grabó durante el cierre y participó varios músicos y cantantes de todo el mundo. "Las telarañas de bloqueo se hacen volar de una sola vez aquí", dice Steve... "Con la sección de ritmo monstruo de Jonas Reingold, Craig Blundell, Nick D'Virgilio y Phil Ehart junto con el saxo y clarinete bajo de Rob Townsend, Nad Sylvan, Amanda Lehmann y yo a la voz, el órgano oscurísimo y poderoso de Roger King y mi guitarra, nos sumergimos en esta liberación de energía salvaje "..." Junto a la pesadez está ésta necesidad constante de explorar y atravesar los límites Empezamos a abrazar la vida de nuevo. Todavía no podemos viajar a todas partes, pero este álbum viaja por todo el mundo desde Extremo Oriente hasta África, con las bellas voces de Amanda más Lorelei y Durga McBroom, el extraordinario dutar de Ubaidulloev Sodikhorn y el extracto tar de Malik Mansurov ... todo atado a Roger bellas texturas orquestales, destacadas por el sublime violín y viola de Christine Towsnend ".
‘Surrender of Silence’ is the brand new studio album by legendary guitarist Steve Hackett. As with his acoustic album earlier this year, it was also recorded during the closing and featured several musicians and singers from around the world. “Locking cobwebs fly at once here,” Steve says ... “With the monster rhythm section of Jonas Reingold, Craig Blundell, Nick D’Virgilio and Phil Ehart along with saxophone and bass clarinet Rob Townsend, Nad Sylvan, Amanda Lehmann and I on vocals, the very dark and powerful organ of Roger King and my guitar, we immerse ourselves in this release of wild energy "..." Next to the heaviness is this constant need to explore and cross boundaries.We start embracing life again.We still can’t travel everywhere, but this album travels all over the world from the Far East to Africa, with beautiful voices of Amanda plus Lorelei and Durga McBroom, the extraordinary dutar of Ubaidulloev Sodikhorn and the tar extract of Malik Mansurov ... all linked to Roger beautiful orchestral textures, highlighted by the sublime violin and viola of Christine Towsnend ".
Carlos Santana ha pasado la última década aproximadamente volviendo a sus raíces después de que una serie de álbumes de colaboración de estrellas le convirtieron en una superestrella ganadora de un Grammy a principios de siglo. Su último álbum, Africa Speaks de 2019, fue un disco de rock puramente latino realizado con la mujer de la batería Cindy Blackman y el productor Rick Rubin; la anterior, Santana IV, contaba con miembros de la formación clásica de los años 70 de la banda Santana. Para Blessings and Miracles, el 26º álbum de la banda en general, vuelve a la fórmula que perfeccionó en el encabezamiento de las listas Supernatural de 1999 y que visitó por última vez en All That I Am de 2005. Incluso ha pedido a algunos viejos amigos, como Rob Thomas de Matchbox Twenty, que ayudó a impulsar a Supernatural al éxito histórico de las listas mediante el omnipresente "Smooth" y desempeña un papel similar a la actualización del siglo XXI "Move" . El resultado es más o menos lo que te esperarías de un álbum que empareja a Santana con artistas de su generación (Steve Winwood finalmente llega a cubrir "A Whiter Shade of Pale") con algunos fans más jóvenes (el atípico del país Chris Stapleton), además de muchos héroes de guitarra (de Kirk Hammett de Carlos y Metallica) por recorrer: es por todas partes, pero no sin momentos destacados. Los dos instrumentales de apertura - "Ghost of Future Pull / New Light" y "Santana Celebration" - tienen más en común con los primeros años de la banda que la época de Arista llena de estrellas, pero cuando Stapleton aparece en "Joy", Blessings. y Milagros se ha instalado en un surco que es en parte Abraxas, en parte chamán. Esta vuelta y vuelta aterriza principalmente en un terreno común durante la duración de una hora de duración del LP. Ayuda a que Santana no se vea eclipsado por sus estrellas invitadas, como lo hacía a menudo en aquellos discos multiplatino. La mayoría de ellos se ajustan al programa esta vez, así que, en su mayoría, no hay estrellas del pop de moda en la mezcla (aunque el giro de rap de G-Eazy en "She's Fire" suena como si fuese de otra sesión). Esto hace que Blessings and Miracles sea menos relevante y emocionante que Supernatural en ocasiones, pero es una representación más genuina de la música de Santana a medida que avanzan hacia otra década.
Carlos Santana has spent the last decade or so returning to his roots after a series of star collaboration albums turned him into a Grammy-winning superstar at the turn of the century. Her latest album, 2019 Africa Speaks, was a purely Latin rock album made with drummer Cindy Blackman and producer Rick Rubin; the previous one, Santana IV, counted on members of the classic formation of years 70 of the Santana band. For Blessings and Miracles, the band's 26th overall album, it returns to the formula it perfected at the top of the 1999 Supernatural charts and last visited All That I Am in 2005. Even has asked some old friends, like Rob Thomas of Matchbox Twenty, who helped propel Supernatural to the historical success of the charts through the ubiquitous "Smooth" and plays a role similar to the 21st century update "Move" . The result is more or less what you would expect from an album that pairs Santana with artists of his generation (Steve Winwood finally gets to cover "A Whiter Shade of Pale") with some younger fans (the atypical of the country Chris Stapleton), as well as many guitar heroes (from Kirk Hammett to Carlos and Metallica) to tour: it’s everywhere, but not without highlights. The two opening instruments - "Ghost of Future Pull / New Light" and "Santana Celebration" - have more in common with the band's early years than the star-studded Arista era, but when Stapleton appears in "Joy," Blessings. and Miracles has settled in a groove that is partly Abraxas, partly shaman. This round trip lands mainly on common ground for the duration of an hour-long LP. It helps that Santana is not overshadowed by her guest stars, as she often did on those multiplatinum records. Most of them fit into the show this time around, so for the most part, there are no trendy pop stars in the mix (though G-Eazy's rap twist on "She's Fire" sounds as if from another session). This makes Blessings and Miracles less relevant and exciting than Supernatural at times, but it is a more genuine representation of Santana’s music as they move into another decade.
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El único álbum de los Beatles que ha ocasionado críticas negativas, incluso hostiles, hay pocos otros discos de rock tan controvertidos como Let It Be. En primer lugar, es necesario explicar varios hechos: aunque se lanzó en mayo de 1970, este no fue su último álbum, pero se grabó en gran parte a principios de 1969, mucho antes de Abbey Road. Phil Spector fue contratado a principios de 1970 para hacer algunos trabajos de postproducción, pero no trabajó con la banda como una unidad, como lo hicieron George Martin y Glyn Johns en las sesiones mismas; El trabajo de Spector se limitó a la mezcla y algunas sobregrabaciones. Y, aunque su uso de cuerdas ha generado muchas críticas, en general dejó las interpretaciones originales como están: solo "The Long and Winding Road" y (en menor grado) "Across the Universe" y "I Me Mine". "Obtenga las capas de cuerdas y coros femeninos de pared de sonido. Aunque la mayor parte del álbum, entonces, tiene una sensación de vivir en el estudio, el problema principal era que el material no era uniformemente fuerte y que los Beatles mismos estaban de muy mal humor debido a la tensión entre los grupos. Dicho todo esto, el álbum está en general subestimado, incluso descontando el hecho de que un disco de los Beatles por debajo del estándar es mejor que casi el mejor trabajo de cualquier otro grupo. McCartney en particular ofrece varias joyas: la gospel "Let It Be", que tiene algunas de sus mejores letras; "Get Back", uno de sus rockeros más duros; y la melódica "The Long and Winding Road", arruinada por las sobregrabaciones de mano dura de Spector (la versión superior sin cuerdas y sin coro finalmente se lanzó en Anthology Vol. 3). El folk "Two of Us", con John y Paul armonizando juntos, también fue un punto culminante. La mayor parte del resto del material, por el contrario, estaba pasando por los movimientos hasta cierto punto, aunque hay algunos buenos momentos de rock duro puro en "Tengo un sentimiento" y "Dig a Pony". Tan defectuoso y desigual como es, es un álbum que vale la pena tener, ya que cuando los Beatles estaban en plena forma aquí, estaban tan bien como siempre.
La nueva mezcla estéreo del álbum fue guiada por la versión original "reproducida para disco" de Phil Spector. La Edición Super Deluxe incluye 27 grabaciones de sesiones inéditas, un Let It Be EP de 4 pistas, la mezcla estéreo inédita de 14 pistas “Get Back” de Glyn Johns de 1969 y un libro de tapa dura de 100 páginas con una introducción de Paul McCartney, pista información de grabación por pista y muchas fotos, notas y más que no se han visto.
The only Beatles album to have drawn negative, even hostile reviews, there are few other rock records as controversial as Let It Be. First of all, several facts need to be explained: Although it was released in May 1970, this was not his last album, but it was largely recorded in early 1969, long before Abbey Road. Phil Spector was hired in the early 1970s to do some post-production work, but he did not work with the band as a unit, as George Martin and Glyn Johns did in the sessions themselves; Spector's work was limited to mixing and some overdubbing. And, while his use of strings has drawn a lot of criticism, he generally left the original performances as is: just "The Long and Winding Road" and (to a lesser degree) "Across the Universe" and "I Me Mine." "Get the layers of sound-wall female choruses and strings. Although most of the album, then, has a studio-living feel to it, the main problem was that the material was not uniformly strong and that the Beatles themselves were up for it. very grumpy due to the tension between the groups. All that said, the album is generally underrated, even discounting the fact that a sub-standard Beatles record is better than almost any other group's best work. McCartney in particular it offers several gems: the gospel "Let It Be", which has some of its best lyrics; "Get Back", one of its hardest rockers; and the melodic "The Long and Winding Road", ruined by the overdubs of Spector's heavy hand (the top version without strings and without chorus was finally released in Anthology Vol. 3). The folk "Two of Us", with John and Paul harmonizing together, was also a highlight. Most of the rest of the material, on the contrary, e I was going through the motions to a degree, although there are some good pure hard rock moments in "Got a Feeling" and "Dig a Pony". As flawed and uneven as it is, it's an album worth having, as when the Beatles were in top form here, they were as good as ever.
The new stereo mix of the album was guided by Phil Spector's original "played for disk" version. The Super Deluxe Edition includes 27 previously unreleased session recordings, a 4-track Let It Be EP, Glyn Johns' unreleased 14-track stereo mix "Get Back" from 1969, and a 100-page hardcover book with an introduction by Paul McCartney, track-by-track recording information and many unseen photos, notes and more.
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Raise the Roof es el segundo álbum colaborativo del cantante de rock Robert Plant y la vocalista estadounidense de bluegrass-country Alison Krauss , publicado en 2021 por Rounder Records y Concord Records. Al igual que el álbum predecesor, Raising Sand de 2007, su producción la realizó T-Bone Burnett y contiene versiones de canciones de otros artistas.
Raise the Roof recibió críticas generalmente positivas de los críticos. En Metacritic, que asigna una calificación normalizada de 100 a las reseñas de los críticos, el álbum recibió una puntuación promedio de 83, lo que indica "aclamación universal", según 11 reseñas.
Raise the Roof is the second collaborative album by rock singer Robert Plant and American bluegrass-country vocalist Alison Krauss, released in 2021 by Rounder Records and Concord Records. Like its predecessor album, 2007's Raising Sand, it was produced by T-Bone Burnett and contains covers of songs by other artists.
Raise the Roof received generally positive reviews from critics. On Metacritic, which assigns a normalized rating of 100 to critical reviews, the album received an average score of 83, indicating "universal acclaim," based on 11 reviews.
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Freddie Mercury (5 de septiembre de 1946 - 24 de noviembre de 1991) fue un cantante, compositor, productor de discos y vocalista principal de la banda de rock Queen. Considerado como uno de los mejores cantantes en la historia de la música rock, era conocido por su extravagante personalidad en el escenario y su rango vocal de cuatro octavas. Mercury desafió las convenciones de un líder de rock, con su estilo altamente teatral influyendo en la dirección artística de Queen. Nacido en 1946 en Zanzíbar de padres parsi-indios, asistió a internados de estilo inglés en la India desde los ocho años y regresó a Zanzíbar después de la escuela secundaria. En 1964, su familia huyó de la Revolución de Zanzíbar y se mudó a Middlesex, Inglaterra. Habiendo estudiado y escrito música durante años, formó Queen en 1970 con el guitarrista Brian May y el baterista Roger Taylor. Mercury escribió numerosos éxitos para Queen, incluyendo "Killer Queen", "Bohemian Rhapsody", "Somebody to Love", "We Are the Champions", "Don't Stop Me Now" y "Crazy Little Thing Called Love". Sus carismáticas actuaciones en el escenario lo vieron a menudo interactuar con la audiencia, como se muestra en el concierto Live Aid de 1985. También llevó una carrera en solitario y se desempeñó como productor y músico invitado para otros artistas. Mercury murió en 1991 a los 45 años debido a complicaciones del SIDA. Confirmó el día antes de su muerte que había contraído la enfermedad, habiendo sido diagnosticado en 1987. Mercury había continuado grabando con Queen después de su diagnóstico, y apareció póstumamente en el último álbum de la banda, Made in Heaven (1995). En 1992, su concierto homenaje se celebró en el estadio de Wembley. Como miembro de Queen, Mercury fue incluido póstumamente en el Salón de la Fama del Rock and Roll en 2001, en el Salón de la Fama de los Compositores en 2003 y en el Salón de la Fama de la Música del Reino Unido en 2004. En 1990, él y los otros miembros de Queen fueron galardonados el Brit Award por Contribución Destacada a la Música Británica, y un año después de su muerte, Mercury se lo otorgó individualmente. En 2005, Queen recibió un premio Ivor Novello a la colección de canciones destacadas de la Academia Británica de Compositores, Compositores y Autores. En 2002, Mercury ocupó el puesto 58 en la encuesta de la BBC de los 100 mejores británicos. Su carrera con Queen fue dramatizada en la película biográfica de 2018 Bohemian Rhapsody.
Freddie Mercury (5 September 1946 – 24 November 1991) was a British singer, songwriter, record producer, and lead vocalist of the rock band Queen. Regarded as one of the greatest singers in the history of rock music, he was known for his flamboyant stage persona and four-octave vocal range. Mercury defied the conventions of a rock frontman, with his highly theatrical style influencing the artistic direction of Queen. Born in 1946 in Zanzibar to Parsi-Indian parents, he attended English-style boarding schools in India from the age of eight and returned to Zanzibar after secondary school. In 1964, his family fled the Zanzibar Revolution, moving to Middlesex, England. Having studied and written music for years, he formed Queen in 1970 with guitarist Brian May and drummer Roger Taylor. Mercury wrote numerous hits for Queen, including "Killer Queen", "Bohemian Rhapsody", "Somebody to Love", "We Are the Champions", "Don't Stop Me Now", and "Crazy Little Thing Called Love". His charismatic stage performances often saw him interact with the audience, as displayed at the 1985 Live Aid concert. He also led a solo career and served as a producer and guest musician for other artists. Mercury died in 1991 at age 45 due to complications from AIDS. He confirmed the day before his death that he had contracted the disease, having been diagnosed in 1987. Mercury had continued to record with Queen following his diagnosis, and he was posthumously featured on the band's final album, Made in Heaven (1995). In 1992, his tribute concert was held at Wembley Stadium. As a member of Queen, Mercury was posthumously inducted into the Rock and Roll Hall of Fame in 2001, the Songwriters Hall of Fame in 2003, and the UK Music Hall of Fame in 2004. In 1990, he and the other Queen members were awarded the Brit Award for Outstanding Contribution to British Music, and one year after his death Mercury was awarded it individually. In 2005, Queen were awarded an Ivor Novello Award for Outstanding Song Collection from the British Academy of Songwriters, Composers, and Authors. In 2002, Mercury ranked number 58 in the BBC's poll of the 100 Greatest Britons. His career with Queen was dramatised in the 2018 biopic Bohemian Rhapsody.
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LA Guns es una banda estadounidense de glam metal de Los Ángeles, California, formada en 1983. La formación actualmente está formada por Tracii Guns (guitarra principal), Phil Lewis (voz principal), Ace Von Johnson (guitarra rítmica, coros), Johnny Martin (bajo, coros) y Scot Coogan (batería). La primera encarnación del grupo fue formada por Tracii Guns y Rob Gardner en 1983 y se fusionó con el grupo de Los Ángeles, Hollywood Rose, para formar Guns N 'Roses en marzo de 1985. Después de solo una breve permanencia en esa banda, Guns reformó LA Guns con una nueva alineación, compuesta por Paul Black, Mick Cripps, Robert Stoddard y Nickey Alexander. Black pronto sería reemplazado por el ex cantante Phil Lewis, mientras que el ex bajista de Faster Pussycat Kelly Nickels se agregó al grupo. Más tarde, Alexander sería reemplazado por el ex W.A.S.P. el baterista Steve Riley, siendo esto conocido como la "formación clásica" de L.A. Guns. Alcanzaron un éxito moderado en las listas a finales de la década de 1980 y principios de la de 1990. Sin embargo, el grupo pasó por numerosos cambios en la alineación (siendo Riley el miembro más consistente) y no pudo recuperar la atención general.
Escrita y grabada a finales de 2020 y principios de 2021, "Checkered Past" ve a Tracii Guns, Phil Lewis y compañía continuar con el tono lírico más oscuro de los álbumes de estudio anteriores, "The Devil You Know" y "The Missing Peace", al tiempo que incorpora su influencias del rock clásico en la mezcla. Las canciones más pesadas se mezclan con más blues, pistas que inducen al boogie y baladas oscuras e introspectivas, que a menudo se remontan a los primeros tres álbumes que hizo la banda, pero también empujan a la banda hacia adelante
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L.A. Guns are an American glam metal band from Los Angeles, California, formed in 1983. The lineup currently consists of Tracii Guns (lead guitar), Phil Lewis (lead vocals), Ace Von Johnson (rhythm guitar, backing vocals), Johnny Martin (bass, backing vocals) and Scot Coogan (drums). The first incarnation of the group was formed by Tracii Guns and Rob Gardner in 1983 and merged with fellow Los Angeles group, Hollywood Rose, to form Guns N' Roses in March 1985. After only a brief tenure in that band, Guns reformed L.A. Guns with a new lineup, consisting of Paul Black, Mick Cripps, Robert Stoddard, and Nickey Alexander. Black would soon be replaced by former Girl singer Phil Lewis while former Faster Pussycat bassist Kelly Nickels was added to the group. Later, Alexander would be replaced by former W.A.S.P. drummer Steve Riley with this being known as the "classic lineup" of L.A. Guns. They achieved moderate chart success in the late 1980s and early 1990s. However, the group went through numerous lineup changes (with Riley being the most consistent member) and failed to regain mainstream attention.
Written and recorded during late 2020 and early 2021, "Checkered Past" sees Tracii Guns, Phil Lewis and company continuing with the darker lyrical tone of the preceding studio albums, "The Devil You Know" and "The Missing Peace", while incorporating their classic rock influences into the mix. Heavier songs are mixed with bluesier, boogie inducing tracks and dark, introspective ballads, often harkening back to the first three albums the band made, but also pushing the band forward.
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Gary Moore (1952 - 2011) fue un músico, cantante y compositor de Irlanda del Norte. A lo largo de su carrera tocó en varios grupos y tocó una gama ecléctica de música que incluía blues, hard rock, heavy metal y jazz fusión. Influenciado por Peter Green y Eric Clapton, Moore comenzó su carrera a fines de la década de 1960 cuando se unió a Skid Row, con quien lanzó dos álbumes. Después de que Moore dejó el grupo, se unió a Thin Lizzy, con su ex compañero de banda de Skid Row y colaborador frecuente Phil Lynott. Moore comenzó su carrera en solitario en la década de 1970 y logró un gran éxito con "Parisienne Walkways" de 1978, que se considera su canción insignia. Durante la década de 1980, Moore pasó a tocar hard rock y heavy metal con diversos grados de éxito internacional. En 1990, regresó a sus raíces con Still Got the Blues, que se convirtió en el álbum más exitoso de su carrera. Moore continuó lanzando nueva música a lo largo de su carrera posterior, colaborando con otros artistas de vez en cuando. Moore murió el 6 de febrero de 2011 de un infarto mientras estaba de vacaciones en España. Moore fue descrito a menudo como un virtuoso y ha sido citado como una influencia por muchos otros guitarristas. Fue votado como uno de los mejores guitarristas de todos los tiempos en las respectivas listas por Total Guitar y Louder. El cantautor irlandés Bob Geldof dijo que "sin lugar a dudas, [Moore] fue uno de los grandes músicos del blues irlandés". Durante la mayor parte de su carrera, Moore estuvo fuertemente asociado con la famosa guitarra Gibson Les Paul de 1959 de Peter Green. Más tarde fue honrado por Gibson y Fender con varios modelos de guitarras exclusivas.
Gary Moore (1952 – 2011) was a Northern Irish musician, singer and songwriter. Over the course of his career he played in various groups and performed an eclectic range of music including blues, hard rock, heavy metal, and jazz fusion. Influenced by Peter Green and Eric Clapton, Moore began his career in the late 1960s when he joined Skid Row, with whom he released two albums. After Moore left the group he joined Thin Lizzy, featuring his former Skid Row bandmate and frequent collaborator Phil Lynott. Moore began his solo career in the 1970s and achieved major success with 1978's "Parisienne Walkways", which is considered his signature song. During the 1980s, Moore transitioned into playing hard rock and heavy metal with varying degrees of international success. In 1990, he returned to his roots with Still Got the Blues, which became the most successful album of his career. Moore continued to release new music throughout his later career, collaborating with other artists from time to time. Moore died on 6 February 2011 from a heart attack while on holiday in Spain. Moore was often described as a virtuoso and has been cited as an influence by many other guitar players. He was voted one of the greatest guitarists of all time on respective lists by Total Guitar and Louder. Irish singer-songwriter Bob Geldof said that "without question, [Moore] was one of the great Irish bluesmen". For most of his career, Moore was heavily associated with Peter Green's famed 1959 Gibson Les Paul guitar. Later he was honoured by Gibson and Fender with several signature model guitars.
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Los Hoochie Coochie Men, que llevan el nombre de la canción de Willie Dixon "I'm Your Hoochie Coochie Man", eran Bob Daisley (Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep) en el bajo, Tim Gaze en la voz principal y la guitarra, Rob Grosser en batería y Jim Conway en la armónica, la vida de la banda cambió drásticamente cuando el legendario miembro fundador de DEEP PURPLE, Jon Lord, decidió unirse a ellos para un concierto en el famoso "Basement Club" en Sidney justo después de unas pocas horas de ensayo. A todos los músicos les encantaba tocar juntos y se mantenían en contacto. Muchos periodistas y fanáticos ya han dicho que Hoochie Coochie Men es el regreso de Jon Lord a la música rock y gracias a la presencia distintiva de su órgano Hammond; más fuerte y más fresco que nunca. x3 CD Deluxe Limited Edition documenta el programa que inició la hazaña del proyecto Hoochie Coochie Men. Jon Lord. Consta de 2 CD con el Show completo de "Live At The Basement" más un CD extra que documenta en esencia la formación embrionaria de cómo los "Hoochie Coochie Men" llegaron a grabar su primer álbum de estudio con Jon Lord.
The Hoochie Coochie Men, named after the Willie Dixon song "I'm Your Hoochie Coochie Man", were Bob Daisley (Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep) on bass, Tim Gaze on lead vocals and guitar, Rob Grosser on drums and Jim Conway on harmonica the band's life changed drastically when legendary founder member of DEEP PURPLE, Jon Lord decided to join them for a concert at the famous "Basement Club" in Sidney just after a few hours rehearsal. All musicians loved playing together and remained in contact. Many journalists and fans have already said the Hoochie Coochie Men is Jon Lord's return to rock music and thanks to the distinctive presence of his Hammond organ; louder and cooler than ever. x3 CD Deluxe Limited Edition is documenting the show that started the Hoochie Coochie Men project feat. Jon Lord. It consists of 2 CDs with the complete "Live At The Basement" Show plus a bonus CD that documents in essence the embryonic formation of how the "Hoochie Coochie Men" came to record their first studio album with Jon Lord.
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A sus 76 años, Rod Stewart no está a punto de soltar sus modos de rapscall, al menos no en la canción. Pero mientras llora Las lágrimas de Hércules en su 31º álbum de estudio y el primer conjunto de material nuevo en tres años, Stewart es a la vez un canalla y un rapsoda, tomando a través de sus 12 canciones toda la medida de una vida que va desde un escolar haciendo tiempo. con "Maggie May" a un senior que se mueve cómodamente al ritmo de su corazón de rock 'n' roll. Coproducido y en su mayoría coescrito con el miembro de la banda Kevin Savigar, con una especie de sonido estéril de garaje y GarageBand, Hércules marca la mayoría de las casillas que Stewart ha hecho comercializar sus acciones musicales a lo largo de más de cinco décadas. Lanza una tormenta libidinosa en temas como "One More Time", "Gabriella" y "Kookooaramabama", esta última una especie de soplado de "I Want Your Sex" de George Michael que es tan alegremente tonto como sugiere su título. Su visión de "Some Kind of Wonderful" de Soul Brothers Six es fiel y alegre, y "Born to Boogie (A Tribute to Marc Bolan)" verifica el nombre de los grandes éxitos de T. Rex antes de declarar que "cuando muera, seré balanceándose en el cielo a su lado". Si le dejan secando un poco de sudor de la frente, tómese en el pañuelo de la segunda mitad de Hércules para cuidar las lágrimas. Stewart se desplaza, algo bruscamente, al territorio sentimental, amando a su mujer Penny Lancaster en "I Can't Imagine" y saludando a su difunto padre al final del álbum "Touchline". La canción principal, aunque escrita por Marc Jordan para su propia versión en 2004, es un balance con gusto celta sobre el eterno conflicto entre el hogar y la pasión por viajar. Stewart pisa, ligeramente, un terreno sociopolítico con "Hold On" y una versión de "These Are My People" de Johnny Cash, mientras que "Precious Memories" rompe la sobriedad con algo de doo-wop alegre. La mezcla y el espíritu de The Tears of Hercules recuerda, sin duda, clásicos como Every Picture Tells en Story y Never en Dull Moment sin sustituirlos ni ofrecer necesariamente canciones que encontrarán un sitio en el escalón superior del catálogo de Stewart. De todas formas, es una tarea difícil, así que estemos satisfechos y quizás incluso algo sorprendidos con 45 minutos de escucha sólida, y disfrutamos del hecho de que incluso tan lejano esta rubia todavía quiere divertirse más.
At 76, Rod Stewart isn’t about to let go of his rapscalling ways, at least not in the song. But as he cries The Tears of Hercules on his 31st studio album and the first set of new material in three years, Stewart is both a rascal and a rhapsodist, taking through his 12 songs the full measure of a lifetime. which goes from a schoolboy making time. with “Maggie May” to a senior who moves comfortably to the beat of his rock ‘n’ roll heart. Co-produced and mostly co-written with band member Kevin Savigar, with a sort of sterile garage sound and GarageBand, Hercules ticks most of the boxes Stewart has marketed his musical actions over more than five decades. It launches a lustful storm on tracks like "One More Time," "Gabriella" and "Kookooaramabama," the latter a sort of blast of George Michael's "I Want Your Sex" that is as cheerfully silly as its title suggests. His vision of Soul Brothers Six's "Some Kind of Wonderful" is faithful and cheerful, and "Born to Boogie (A Tribute to Marc Bolan)" verifies the name of T. Rex's greatest hits before declaring that "when he dies, I will be swinging in the sky beside you. " If they leave you wiping some sweat from your forehead, grab the handkerchief from the second half of Hercules to take care of the tears. Stewart moves, somewhat abruptly, into sentimental territory, loving his wife Penny Lancaster on "I Can't Imagine" and greeting his late father at the end of the "Touchline" album. The lead song, though written by Marc Jordan for his own version in 2004, is a Celtic-flavored balance sheet about the eternal conflict between home and passion for travel. Stewart treads, lightly, sociopolitical ground with “Hold On” and a version of Johnny Cash’s “These Are My People,” while “Precious Memories” breaks sobriety with a bit of cheerful doo-wop. The mix and spirit of The Tears of Hercules is undoubtedly reminiscent of classics like Every Picture Tells a Story and Never a Dull Moment without necessarily replacing them or offering songs that will find a place at the top rung of Stewart’s catalog. Anyway, it’s a difficult task, so let’s be happy and maybe even a little surprised with 45 minutes of solid listening, and enjoy the fact that even so far away this blonde still wants to have more fun.
https://ydray.com/get/l/ut16375216744508/1cIxkUvo8z9(caduca a los 10 dias//expires after 10 days)
Tras el aclamado Blues With Friends (2020) de Dion, una vez más un reparto de estrellas se une a él en su nuevo álbum, Stomping Ground, saldrá el 19 de noviembre en Keeping the Blues Alive Records (KTBA) , producido por Wayne Wood y Dion. Grabado durante la pandemia, el álbum cuenta con invitados Boz Scaggs, Mark Knopfler, Eric Clapton, Peter Frampton, Patti Scialfa, Bruce Springsteen, Billy F Gibbons, Keb Mo, Sonny Landreth, Joe Menza, Mike Menza, Marcia Ball, Jimmy Vivino, Rickie Lee Jones, Wayne Wood, Joe Bonamassa y GE Smith. Stomping Ground también incluye notas de forro de Pete Townshend. Con 14 temas, la mayoría escritos conjuntamente por Dion y Mike Aquilina, Stomping Ground encuentra al miembro del Salón de la Fama del Rock & Roll en su auténtico elemento de blues/rock & roll con músicos famosos que se unen. Un vocalista suave y con alma, Dion permite espacio para los invitados. artistas para dar su estilo único a cada canción. Sus contribuciones en última instancia sirven a las canciones, sin dominar nunca las canciones innatamente geniales. Dion es el centro de esta celebración del blues. Dion es quizás el único artista que se ha mantenido relevante e innovador desde la década de 1950 hasta la actualidad. En su adolescencia, Dion cantó en las esquinas de las calles del Bronx y en los bares locales, reuniendo a otros cantantes, utilizando sus voces en vez de instrumentos y en 1957 formó Dion and The Belmonts. Crearon hit tras hit con doo-wop y se convirtieron en una sensación nacional. Después, su carrera en solitario en los años 60, 70 y 80 produjo una serie de logros número 1. Incorporado al Salón de la Fama del Rock and Roll en 1989, Dion ayudó a sonar en la era del rock and roll . Se le cita como una influencia importante en artistas como Bruce Springsteen, Paul Simon, Lou Reed y más. Los azules son el campo de batalla de Dion. Con influencias de rock y R&B, las canciones del álbum son variadas e interesantes, desde el rock&roll hasta el blues pasando por la combustión lenta y el soul. Stomping Ground favorece el increíble y continuado viaje musical de Dion.
fter Dion’s acclaimed Blues With Friends (2020), once again a star cast joins him on his new album, Stomping Ground, will be released on November 19 on Keeping the Blues Alive Records (KTBA) , produced by Wayne Wood and Dion. Recorded during the pandemic, the album features guests Boz Scaggs, Mark Knopfler, Eric Clapton, Peter Frampton, Patti Scialfa, Bruce Springsteen, Billy F Gibbons, Keb 'Mo', Sonny Landreth, Joe Menza, Mike Menza, Marcia Ball, Jimmy Vivino, Rickie Lee Jones, Wayne Wood, Joe Bonamassa and GE Smith. Stomping Ground also includes lining notes by Pete Townshend. With 14 tracks, most written jointly by Dion and Mike Aquilina, Stomping Ground finds the Rock & Roll Hall of Fame member in his true blues / rock & roll element with famous musicians joining him. A gentle, soulful vocalist, Dion allows space for guests. artists to give their unique style to each song. His contributions ultimately serve the songs, never dominating the innately great songs. Dion is the center of this blues celebration. Dion is perhaps the only artist who has remained relevant and innovative from the 1950s to the present. In his teens, Dion sang on the corners of Bronx streets and local bars, bringing together other singers, using their voices instead of instruments, and in 1957 he formed Dion and The Belmonts. They created hit after hit with doo-wop and it became a national sensation. Then, his solo career in the 60s, 70s and 80s produced a number 1 hit series. Incorporated into the Rock and Roll Hall of Fame in 1989, Dion helped sound in the rock and roll era. . He is cited as a major influence on artists such as Bruce Springsteen, Paul Simon, Lou Reed and more. The Blues are Dion’s battlefield. With rock and R&B influences, the songs on the album are varied and interesting, from rock & roll to blues to slow burning and soul. Stomping Ground favors Dion’s incredible and continued musical journey.
https://ydray.com/get/l/ZS16375207549626/D1RCwh5eabP(caduca a los 10 dias//expires after 10 days)
John Dawson «Johnny» Winter (Beaumont, Estados Unidos, 23 de febrero de 1944-Zúrich, Suiza, 16 de julio de 2014) fue un guitarrista estadounidense de blues y de rock. Winter se convirtió en una estrella del blues eléctrico a finales de los años 1960 y en el momento del festival de Woodstock ya era una leyenda. Durante la última etapa de Muddy Waters, produjo sus tres últimos discos.
Estrellato
Su descubrimiento a nivel nacional llegó a través de un artículo en la revista Rolling Stone, en 1968, lo que le valió un contrato con un propietario de un club neoyorquino y una grabación con Columbia. Su disco de debut oficial, Johnny Winter, fue publicado en 1969, año en el que también tocó en distintas presentaciones y festivales, incluyendo el de Woodstock.
Más tarde, formó una banda con antiguos componentes de The McCoys, llamada Johnny Winter And. Consiguió buenas ventas entre 1969 y 1970 con los álbumes Second Winter y Johnny Winter, respectivamente. Durante ese tiempo, Winter sufrió una fuerte adicción a la heroína, de la que se recuperó rápidamente, y grabó en 1973 Still Alive and Well. Sus discos fueron cada vez más orientados al blues duro, y a finales de los setenta produjo también varios álbumes de Muddy Waters, con quien consiguió un par de Premios Grammy, entre otras colaboraciones.
Década de 1980
En los ochenta, luego de una larga pausa grabó tres discos para el sello de blues Alligator. El primero, en 1984, contenía relanzamientos de viejos temas R&B y contó con la ayuda de la Albert Collins Icebrakers Band, compañeros de disquera, logrando su segunda candidatura a los premios Grammy. En 1986 lanza Third Degree, un disco compartido con antiguos compañeros de gira. Alternativamente mantiene sus habituales giras por distintos locales, ofreciendo conciertos y colaborando con otros artistas.
1990
Marca su regreso a los estudios con una nueva nominación a los Grammy gracias a su álbum Let Me In. Vuelve al año siguiente con Hey, Where's Your Brother?, también nominado a los premios Grammy. Ese mismo año sale también a la venta el recopilatorio Scorchin' Blues mientras continua de gira. También colaboraría en 1996 con su hermano en el disco The Real Deal manteniendo sus giras. En 1998 producto de su trabajo en vivo sale a la venta Live In NYC '97 disco que recopila cinco años de concierto. Las canciones de este disco fueron escogidas por sus seguidores a manera de tributo,3 año en el que también se cumplían 30 años de su llegada al estrellato.
2004
Winter regresó en 2004 con su primer álbum en ocho años I'm a Bluesman con el que logró de nuevo una excelente crítica y otra candidatura a los Grammy. Winter continua maravillando con su peculiar estilo a sus seguidores, manteniendo sus giras, aunque en últimos años se había visto afectado por problemas de salud y se ve obligado a realizar las presentaciones sentado, producto de un problema de Síndrome Túnel Carpiano así como problemas en la cadera.5 Aun así mantiene su carrera artística. En mayo de 2009 lanzó un nuevo recopilatorio denominado The Johnny Winter Anthology distribuido por Sony Music Entertainment.
Muerte
Durante su gira estival en Europa, el 16 de julio de 2014, trascendió su imprevista muerte. Al parecer, murió en un hotel de Zúrich, Suiza, de madrugada. Aunque su portal no lo informó, la prensa europea anticipó la noticia.6 La esposa de Rick Derringer, Jenda, fue de las primeras personas cercanas al artista que confirmó el deceso.
John Dawson Winter III (February 23, 1944 – July 16, 2014) was an American singer and guitarist. Winter was known for his high-energy blues rock albums and live performances in the late 1960s and 1970s. He also produced three Grammy Award–winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, Winter recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".
Early career
His recording career began at the age of 15, when his band Johnny and the Jammers released "School Day Blues" on a Houston record label.[3] During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B.B. King, and Bobby Bland. In the early days, Winter would sometimes sit in with Roy Head and the Traits when they performed in the Beaumont area, and in 1967, Winter recorded a single with the Traits: "Tramp" backed with "Parchman Farm" (Universal Records 30496). In 1968, he released his first album The Progressive Blues Experiment, on Austin's Sonobeat Records.
Signing with Columbia Records
Johnny Winter, Santa Monica Civic Auditorium, 1969
Winter caught his biggest break in December 1968, when Mike Bloomfield, whom he met and jammed with in Chicago, invited him to sing and play a song during a Bloomfield and Al Kooper concert at the Fillmore East in New York City. As it happened, representatives of Columbia Records (which had released the Top Ten Bloomfield/Kooper/Stills Super Session album) were at the concert. Winter played and sang B.B. King's "It's My Own Fault" to loud applause, and within a few days, was signed to what was reportedly the largest advance in the history of the recording industry at that time—$600,000.
Winter's first Columbia album, Johnny Winter, was recorded and released in 1969. It featured the same backing musicians with whom he had recorded The Progressive Blues Experiment, bassist Tommy Shannon and drummer Uncle John Turner, plus Edgar Winter on keyboards and saxophone on 2 tracks, and (for his "Mean Mistreater") Willie Dixon on upright bass and Big Walter Horton on harmonica. The album featured a few selections that became Winter signature songs, including his composition "Dallas" (an acoustic blues, on which Winter played a steel-bodied, resonator guitar), John Lee "Sonny Boy" Williamson's "Good Morning Little School Girl", and B.B. King's "Be Careful with a Fool".
The album's success coincided with Imperial Records picking up The Progressive Blues Experiment for wider release. The same year, the Winter trio toured and performed at several rock festivals, including Woodstock.[5] With brother Edgar added as a full member of the group, Winter also recorded his second album, Second Winter, in Nashville in 1969.[6] The two-disc album only had three recorded sides (the fourth was blank). It introduced more staples of Winter's concerts, including Chuck Berry's "Johnny B. Goode" and Bob Dylan's "Highway 61 Revisited".Johnny entered into a short-lived affair with Janis Joplin, which culminated at a concert at New York's Madison Square Garden, where Johnny joined her on stage to sing and perform.
Unofficial albums
Contrary to urban legend, Johnny Winter did not perform with Jimi Hendrix and Jim Morrison on the infamous 1968 Hendrix bootleg album Woke up this Morning and Found Myself Dead from New York City's the Scene club. According to Winter, "I never even met Jim Morrison! There's a whole album of Jimi and Jim and I'm supposedly on the album but I don't think I am 'cause I never met Jim Morrison in my life! I'm sure I never, never played with Jim Morrison at all! I don't know how that [rumor] got started."
Beginning in 1969, the first of numerous Johnny Winter albums was released which were cobbled together from approximately fifteen singles (about 30 "sides") he recorded before signing with Columbia in 1969.[3] Many were produced by Roy Ames, owner of Home Cooking Records/Clarity Music Publishing, who had briefly managed Winter. According to an article from the Houston Press, Winter left town for the express purpose of getting away from him. Ames died on August 14, 2003, of natural causes at age 66. As Ames left no obvious heirs, the ownership rights of the Ames master recordings remains unclear. As Winter stated in an interview when the subject of Roy Ames came up, "This guy has screwed so many people it makes me mad to even talk about him."
Johnny Winter And
Woodstock Reunion, Parr Meadows, Yaphank, New York, 1979
In 1970, when his brother Edgar released a solo album Entrance and formed Edgar Winter's White Trash, an R&B/jazz-rock group, the original trio disbanded.[5] Johnny Winter then formed a new band with the remnants of the McCoys—guitarist Rick Derringer, bassist Randy Jo Hobbs, and drummer Randy Z (who was Derringer's brother, their family name being Zehringer). Originally to be called "Johnny Winter and the McCoys", the name was shortened to "Johnny Winter And", which was also the name of their first album. The album included Derringer's "Rock and Roll, Hoochie Koo" and signaled a more rock-oriented direction for Winter.[8] When Johnny Winter And began to tour, Randy Z was replaced with drummer Bobby Caldwell. Their mixture of the new rock songs with Winter's blues songs was captured on the live album Live Johnny Winter And. It included a new performance of "It's My Own Fault", the song which brought Winter to the attention of Columbia Records.
Winter's momentum was throttled when he sank into heroin addiction during the Johnny Winter And days. After he sought treatment for and recovered from the addiction, Winter was put in front of the music press by manager Steve Paul to discuss the addiction candidly.[3] By 1973, he returned to the music scene with the release of Still Alive and Well, a basic blend of blues and hard rock, whose title track was written by Rick Derringer. His comeback concert at Long Island, New York's Nassau Coliseum featured the "And" line-up minus Rick Derringer and Bobby Caldwell. Also performing on stage was Johnny's wife Susie. Saints & Sinners and John Dawson Winter III, two albums released in 1974, continue in the same direction. In 1975, Johnny returned to Bogalusa, Louisiana, to produce an album for Thunderhead, a Southern rock band which included Pat Rush and Bobby "T" Torello, who would later play with Winter. A second live Winter album, Captured Live!, was released in 1976 and features an extended performance of "Highway 61 Revisite
Muddy Waters sessions
In live performances, Winter often told the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters. He got his chance in 1974, when renowned blues artists and their younger brethren came together to honor the musician (Muddy Waters) responsible for bringing blues to Chicago, and the resulting concert presented many blues classics and was the start of an admired TV series: Soundstage (this particular session was called "Blues Summit in Chicago"). And in 1977, after Waters' long-time label Chess Records went out of business, Winter brought Waters into the studio to record Hard Again for Blue Sky Records, a label set up by Winter's manager and distributed by Columbia. In addition to producing the album, Winter played guitar with Waters veteran James Cotton on harmonica. Winter produced two more studio albums for Waters, I'm Ready (with Big Walter Horton on harmonica) and King Bee and a best-selling live album Muddy "Mississippi" Waters – Live.The partnership produced three Grammy Awards for Waters and an additional Grammy for Winter's own Nothin' But the Blues, with backing by members of Waters' band. Waters told Deep Blues author Robert Palmer that Winter had done remarkable work in reproducing the sound and atmosphere of Waters's vintage Chess Records recordings of the 1950s. AllMusic writer Mark Deming noted: "Between Hard Again and The Last Waltz [1976 concert film by The Band], Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds". Lawsuit against DC Comics
In 1996, Johnny and Edgar filed suit against DC Comics and the creators of the Jonah Hex: Riders of the Worm and Such limited series, claiming, among other things, defamation: two characters named Johnny and Edgar Autumn in the series strongly resemble the Winters. The brothers claimed the comics falsely portrayed them as "vile, depraved, stupid, cowardly, subhuman individuals who engage in wanton acts of violence, murder and bestiality for pleasure and who should be killed." The California Supreme Court sided with DC Comics, holding that the comic books were deserving of First Amendment protection.
Later career
Winter in 2007
After his time with Blue Sky Records, Winter began recording for several labels, including Alligator, Point Blank, and Virgin, where he focused on blues-oriented material. In 1992, he married Susan Warford. In 2004, he received a Grammy Award nomination for his I'm a Bluesman album. Beginning in 2007, a series of live Winter albums titled the Live Bootleg Series and a live DVD all entered the Top 10 Billboard Blues chart. In 2009, The Woodstock Experience album was released, which includes eight songs that Winter performed at the 1969 festival. In 2011, Johnny Winter released Roots on Megaforce Records. It includes Winter's interpretation of eleven early blues and rock 'n' roll classics and features several guest artists (Vince Gill, Sonny Landreth, Susan Tedeschi, Edgar Winter, Warren Haynes, and Derek Trucks). His last studio album, Step Back (which features appearances by Joe Bonamassa, Eric Clapton, Billy Gibbons, Leslie West, Brian Setzer, Dr. John, Paul Nelson, Ben Harper and Joe Perry), was released on September 2, 2014. Nelson and Winter won a Grammy Award in the Best Blues Album category for Step Back in 2015. Nelson said Winter knew it was an award winner and Winter told him "If we don't win a Grammy for this, they're nuts.
Winter continued to perform live, including at festivals throughout North America and Europe. He headlined such prestigious events as the New Orleans Jazz & Heritage Festival, Chicago Blues Festival, the 2009 Sweden Rock Festival, the Warren Haynes Christmas Jam, and Rockpalast. He also performed with the Allman Brothers at the Beacon Theater in New York City on the 40th anniversary of their debut. In 2007 and 2010, Winter performed at Eric Clapton's Crossroads Guitar Festivals. Two guitar instructional DVDs were produced by Cherry Lane Music and the Hal Leonard Corporation. The Gibson Guitar Company released the signature Johnny Winter Firebird guitar in a ceremony in Nashville with Slash presenting.
Death
Winter was professionally active until the time of his death near Zürich, Switzerland, on July 16, 2014. He was found dead in his hotel room two days after his last performance, at the Cahors Blues Festival in France. The cause of Winter's death was not officially released According to his guitarist friend and record producer Paul Nelson, Winter died of emphysema combined with pneumonia.
Writing in Rolling Stone magazine, after Winter's death, David Marchese said, "Winter was one of the first blues rock guitar virtuosos, releasing a string of popular and fiery albums in the late Sixties and early Seventies, becoming an arena-level concert draw in the process" ... [he] "made an iconic life for himself by playing the blues
https://ydray.com/get/l/dz16375199438359/ZiXcIEj3C8z(caduca a los 10 dias//expires after 10 days)
Time Clocks es el decimoquinto álbum de estudio en solitario del músico de blues rock estadounidense Joe Bonamassa, publicado a través de J&R Adventures en Norteamérica y Provogue Records en Europa el 29 de octubre de 2021. Time Clocks se pone lentamente en el foco después de que el breve instrumental atmosférico "Pilgrimage" establezca el punto de partida. escenario para un récord cinematográfico malhumorado. En su breve minuto, Joe Bonamassa interpreta una frase gorda y melódica que suena extrañamente como David Gilmour, un tono y una estética con la que volverá a lo largo de Time Clocks. En el álbum se alude a otros grandes del blues y del rock clásico: el sinuoso riff que impulsa "Notches" se remonta al Fleetwood Mac de la era Peter Green, Clapton siempre se esconde a la vuelta de la esquina , pero en esta etapa de su carrera Bonamassa es un estilista, ligar influencias reconocibles en algo propio. Aquí, se inclina hacia una introspección sombría, filtrando sus reflexiones sobre la vida y la sociedad a través de un prisma de Pink Floyd. Escuche la canción del título, donde el tempo majestuoso, las voces de apoyo y el riff de clave menor recuerdan a Floyd, pero añade flores a sus arreglos y solos que dirigen estos sonidos astrales a la tierra. Gran parte de Time Clocks divaga: seis de sus diez canciones tienen más de seis minutos, con otra que se acerca a esta marca, pero el estallante "Preguntas y respuestas" muestra que este vagar ofrece una escucha más interesante que cuando Bonamassa mantiene las cosas en buen estado. y estrecho.
Time Clocks is the fifteenth solo studio album by American blues rock musician Joe Bonamassa, released through J&R Adventures in North America and Provogue Records in Europe on October 29, 2021. Time Clocks is slowly set in the spotlight after the brief atmospheric instrumental “Pilgrimage” sets the starting point. stage for a grumpy movie record. In his brief minute, Joe Bonamassa interprets a thick, melodic phrase that sounds strangely like David Gilmour, a tone and aesthetic with which he will return throughout Time Clocks. The album alludes to other greats of blues and classic rock: the sinuous riff that drives "Notches" goes back to the Fleetwood Mac of the Peter Green era, Clapton always hides around the corner , but at this stage of his career Bonamassa is a stylist, tying recognizable influences into something of his own. Here, he leans toward a somber introspection, filtering his reflections on life and society through a Pink Floyd prism. Listen to the title song, where the majestic tempo, backing vocals, and minor key riff are reminiscent of Floyd, but he adds flowers to his arrangements and solos that direct these astral sounds to the earth. Much of Time Clocks rambles: Six of their ten songs are over six minutes long, with another approaching that mark, but the blatant “Questions and Answers” shows that this wander offers a more interesting listen than when Bonamassa keeps things in good condition. and narrow.
George Roger Waters (Surrey, Reino Unido; 6 de septiembre de 1943)1 es uno de los cofundadores de la banda Pink Floyd, considerada una de las más influyentes en la historia de la música moderna. Se convirtió tras la marcha de Syd Barrett en el compositor conceptual de la banda. Además de ser el bajista, fue uno de los cantantes y experimentó con sintetizadores, loops, guitarra eléctrica y acústica. Con él, Pink Floyd alcanzó éxito mundial en la década de 1970 gracias a sus álbumes conceptuales The Dark Side of the Moon, Wish You Were Here, Animals y The Wall. Dejó la banda en 1985 debido a diferencias creativas y legales con los otros integrantes. Resuelta la disputa en 1987, pasaron casi 18 años para que volviese a tocar con la banda. Hacia 2010, el grupo había vendido más de 250 millones de discos;234 solo en Estados Unidos, 74 millones de álbumes.5
En 1970, compuso en colaboración con Ron Geesin, Music from The Body, banda sonora del filme documental The Body, de Roy Battersby, sobre la biología humana.6 Grabó en estudio cuatro discos en solitario: The Pros and Cons of Hitch Hiking (1984), Radio K.A.O.S. (1987), Amused to Death (1992) y Is This the Life We Really Want? (2017). En 1986, contribuyó a la banda sonora de la película Cuando el viento sopla. En 1990, organizó uno de los conciertos con más asistencia de la historia, The Wall - Live in Berlin, con 300 000 espectadores.78
En 1996, fue admitido en el Salón de la Fama del Rock de Estados Unidos y del Reino Unido como miembro de Pink Floyd. Desde 1999 ha hecho varias giras. Desde 1989 trabajó en la ópera Ça Ira, estrenada en 2005, pero que un año antes tuvo su prémiere en las celebraciones por el ingreso de Malta en la Unión Europea. El 2 de julio de 2005, se reunió con sus excompañeros de Pink Floyd para el concierto benéfico Live 8, la única aparición de Waters con la banda desde su última actuación hacía 24 años.
En 2010 dio comienzo The Wall Live, una gira mundial donde interpreta The Wall al completo. Durante la misma, el 12 de mayo de 2011, en The O2 Arena, Gilmour y Mason volvieron a compartir el escenario con Waters, Gilmour tocando «Comfortably Numb» y Gilmour y Mason junto a Waters en «Outside the Wall».
Waters se ha casado cinco veces y es padre de una hija y dos hijos. En 2021 se comprometió con la actriz y directora Laurie Durning. Se casaron en 2012 y en septiembre de 2015 comenzaron los trámites para su divorcio.
George Roger Waters (Surrey, United Kingdom; September 6, 1943) 1 is one of the co-founders of the Pink Floyd band, considered one of the most influential in the history of modern music. After Syd Barrett's departure, he became the band's conceptual composer. In addition to being the bassist, he was one of the singers and experimented with synthesizers, loops, electric and acoustic guitar. With him, Pink Floyd achieved worldwide success in the 1970s thanks to their concept albums The Dark Side of the Moon, Wish You Were Here, Animals and The Wall. He left the band in 1985 due to creative and legal differences with the other members. The dispute resolved in 1987, it took almost 18 years for him to return to play with the band. By 2010, the group had sold more than 250 million records; 2 3 4 in the United States alone, 74 million albums.5
In 1970, he composed, in collaboration with Ron Geesin, Music from The Body, the soundtrack for the documentary film The Body, by Roy Battersby, on human biology.6 He recorded four solo albums in the studio: The Pros and Cons of Hitch Hiking ( 1984), Radio KAOS (1987), Amused to Death (1992) and Is This the Life We Really Want? (2017). In 1986, he contributed to the soundtrack of the film When the Wind Blows. In 1990, he organized one of the most attended concerts in history, The Wall - Live in Berlin, with 300,000 spectators.7 8
In 1996, he was inducted into the United States and United Kingdom Rock Hall of Fame as a member of Pink Floyd. Since 1999 he has done several tours. Since 1989 he has worked on the opera Ça Ira, premiered in 2005, but which a year before had its prémiere in the celebrations for the entry of Malta into the European Union. On July 2, 2005, he reunited with his former Pink Floyd teammates for the Live 8 benefit concert, Waters' only appearance with the band since his last performance 24 years ago.
In 2010 he started The Wall Live, a world tour where he performed The Wall in full. During it, on May 12, 2011, at The O2 Arena, Gilmour and Mason shared the stage again with Waters, Gilmour playing "Comfortably Numb" and Gilmour and Mason with Waters on "Outside the Wall."
Waters has been married five times and is the father of a daughter and two sons. In 2021 he became engaged to actress and director Laurie Durning. They were married in 2012 and in September 2015 the proceedings for their divorce began.
Gov't Mule (pronunciado Government Mule) es una banda de rock sureña estadounidense, formada en 1994 como un proyecto paralelo de Allman Brothers Band por el guitarrista Warren Haynes y el bajista Allen Woody. Los fanáticos a menudo se refieren a Gov't Mule simplemente como Mule. La banda lanzó su álbum debut, Gov't Mule, en 1995, y desde entonces ha lanzado nueve álbumes de estudio adicionales, además de numerosos EP y lanzamientos en vivo. Gov't Mule se ha convertido en un acto básico en los festivales de música de América del Norte, y tanto sus miembros como los invitados frecuentes de otras bandas notables agregan varios elementos de funk y blues rock al sonido de la banda.
Aunque se puede escuchar la influencia del blues en algunas de sus grabaciones, esta es la primera vez que la banda graba (con la adición de trompas en dos pistas y armónica en tres pistas) lo que se denominaría un álbum de blues. Una mezcla de versiones de blues y originales de la banda (varias de las cuales son largas y que la banda usa para explorar la música), hay canciones de Elmore James, Muddy Waters, Howlin 'Wolf y otros. Las canciones originales hacen una buena mezcla de canciones de blues antiguas y nuevas. Pero esto no es una mera copia de la música blues, The Mule pone su propio sello en estas melodías, antiguas o nuevas. Grabados en vivo en el estudio usando equipos analógicos, guitarras y amplificadores antiguos, hay una sensación honesta en estas pistas que muestra que la banda es buena intérprete de melodías de blues más antiguas mientras se desliza en material nuevo. El folleto de diez páginas tiene algunas fotos atmosféricas, una lista de canciones e información de grabación. Los discos se guardan en los bolsillos del paquete de cartón estilo billetera que tiene una foto de dos paneles del estudio.
Gov't Mule (pronounced Government Mule) is an American Southern rock jam band, formed in 1994 as a side project of the Allman Brothers Band by guitarist Warren Haynes and bassist Allen Woody. Fans often refer to Gov't Mule simply as Mule. The band released their debut album, Gov't Mule, in 1995, and have since released an additional nine studio albums, plus numerous EPs and live releases. Gov't Mule has become a staple act at music festivals across North America, with both its members and frequent guests from other notable bands adding various funk and blues rock elements to the band's sound.
Even though you can hear the blues influence in some of their recordings, this is the first time the band has recorded (with the addition of horns on two tracks and harmonica on three tracks) what would be termed a blues album. A mix of blues covers and band originals (several which are lengthy that the band uses to explore the music), there's songs by Elmore James, Muddy Waters, Howlin' Wolf, and others. The original songs make a good blend of older and newer blues songs. But this isn't mere copying of blues music, the Mule puts their own stamp on these tunes, old or new. Recorded live in the studio using analog equipment, vintage guitars and amps, there's an honest feel to these tracks that shows the band are good interpreters of older blues tunes while slipping in some new material. The ten page booklet has some atmospheric photos , a track list, and recording information. The discs slip into pockets in the wallet style cardboard package which has a two panel photo of the studio.
Premiata Forneria Marconi (PFM) es una banda italiana de rock progresivo que alcanzó un alto nivel de popularidad en la década de 1970. Siendo una de las pioneras en el género, alcanzó un gran éxito en los rankings británicos y estadounidenses de la época. A pesar de ser contemporánea de bandas como Banco del Mutuo Soccorso, Area, Perigeo, y Le Orme, la Premiata Forneria Marconi fue la única banda italiana de rock progresivo que obtuvo éxito fuera de su país de origen. Sus influencias musicales vienen de bandas como Genesis, y los comienzos de King Crimson, pero manteniendo un alto nivel de originalidad y distinción junto con un cálido sonido mediterráneo.
Historia
Premiata Forneria Marconi en Módena durante una presentación en vivo en julio de 2007.
La historia de Premiata Forneria Marconi comienza durante la década del '60 con la formación del grupo I Quelli, integrado por Teo Teocoli, Franz Di Cioccio en la batería, Flavio Premoli en los teclados, Franco Mussida en la guitarra y Giorgio Piazza en el bajo.
La banda, cohesionada pero aún sin una carrera independiente, se había dedicado a sesionar en variedad de discos de músicos italianos entre fines de los años sesenta y principios de los setenta, constituyendo un importante pilar en la evolución del sonido italiano tanto de la música popular como de la vanguardia. Lo más destacado de estas participaciones es el haber hecho parte del proyecto Battisti-Mogol, poniendo el sello particular de su sonido en la grabaciones de Lucio Battisti, (quien influenció notablemente el trabajo lírico musical y letras de la PFM) y especialmente los discos de Mina Mazzini entre 1969 y 1972, esta pertinencia a un equipo de trabajo que intentaba encaminar la música popular italiana hacia un sonido nuevo, desemboca en la madurez de una banda cuyo primer trabajo obtiene un amplio reconocimiento. Los músicos de la PFM ya contaban en 1970 con un gran prestigio y no rompían la unidad original.
En 1970, Teo Teocoli abandona al grupo, también Di Cioccio lo hace por algunos meses para tocar con el grupo Equipe 84. A finales de 1970 Cioccio, Mussida, Premoli y Piazza junto a Mauro Pagani forman la Premiata Forneria Marconi. El nombre lo tomaron de la panadería en cuyo sótano ensayaban. Una de las paredes ostentaba el título que había obtenido a principios del Siglo XX: "premiada panadería Marconi". El debut del grupo se lleva a cabo en 1971 en el Teatro Lírico de Milano abriéndole el show a Yes en su primera gira por Italia. Este importante debut atrajo la atención del público y de la crítica.
En ese mismo año, editan su primer álbum llamado "Storia di un minuto" con el sello Número Uno. El grupo sigue creciendo musicalmente y son invitados a abrir los conciertos de Deep Purple y Procol Harum, logrando realizar su primera gira por 16 ciudades de Italia. En el año 1972 sale editado su disco "Per un amico", pero la fama mundial no llegaría hasta el año 1973 cuando es editado en Inglaterra a cargo del sello Manticore el álbum "Photos of Ghosts", versión en inglés de su disco "Per un amico". En "Photos of Ghosts", Pete Sinfield, el poeta de King Crimson, se encarga de adaptar la letra de las canciones. Franco Mamone, mánager del grupo, le da a Emerson, Lake & Palmer la cinta del disco y es Greg Lake quien se interesa por el grupo y viaja a Roma a escucharlos en vivo. Gracias al éxito de este álbum entran a los charts tanto de los Estados Unidos como del Reino Unido.
En marzo de 1973 comienza su primera gira por el Reino Unido y por Europa. En agosto de ese mismo año, Patrick Djivas, del grupo Area, reemplaza en el bajo a Piazza para grabar su cuarto disco llamado "L'isola di niente", disco que al año siguiente se editaría en Inglaterra nuevamente en el sello Manticore y con el nombre "The World Became The World". Logran así su segunda gira por Europa y el Reino Unido para abrir los conciertos de la banda Ten Years After, y también su primera gira americana: se presentan en Canadá y en los Estados Unidos abriendo los conciertos de bandas como Santana y The Beach Boys, entre otros. Esta gira le significó a la banda un gran aumento de su popularidad, lo cual le permitió editar su primer disco en vivo, llamado "Live in USA", aunque también conocido como Cook, inmortalizándose de esta manera su gira por los Estados Unidos.
Al año siguiente, en 1975 editaría "Chocolate Kings", disco que sería boicoteado en los Estados Unidos debido al abierto apoyo de la banda a la causa palestina.
Al salir "Jet Lag" en 1977, su sonido se inclina al jazz rock, que tanto sedujo a los músicos de rock progresivo de esos tiempos. Posteriormente, la banda editaría varios trabajos que supondrían una gran controversia, ya que los antiguos fanáticos de la banda, que estaban más orientados hacia el rock progresivo, recriminaban el nuevo sonido, más "comercial" y menos progresivo, que adquirió la banda a partir de su disco Passpartù. Editado en 1978, Passpartú ofrece un sonido muy fusionista. Las canciones muestran un brillo más pop,pero siempre folclórico con claros fundamentos mediterráneos en los arreglos.El bajo de Djivas se apropia del nuevo sonido Fretless jazz acompañando de una forma muy novedosa las voces acústicas de la guitarra. Este álbum definiría la orientación sonora del siguiente disco hasta el año 2005, en que tendría lugar el lanzamiento de su decimoquinto disco de estudio: "Dracula (Ópera Rock)", disco que sería banda sonora de la ópera rock homónima dirigida por el argentino Alfredo Rodríguez Arias. La obra escénica es uno de los musicales más costosos en la historia del viejo continente.
Premiata Forneria Marconi (PFM) (translation: Award-winning Marconi Bakery) is an Italian progressive rock band founded in 1970 and which continues to the present day. They were the first Italian group to have success internationally. The group recorded five albums with English lyrics between 1973 and 1977. During this period they entered both the British and American charts. They also had several successful European and American tours, playing at the popular Reading Festival in England and on a very popular national television program in the United States.
PFM introduced new sounds, such as the synthesizer, to the Italian musical world. They were also among the first to combine symphonic classical and traditional Italian musical influences in a rock music context. Such innovations and their longevity have earned PFM a place among the most important bands in the Progressive rock genre.
History
1966–1970
From left to right: Patrick Djivas, Franz Di Cioccio, Franco Mussida
The original core members of PFM were Franco Mussida (guitars, vocals), Flavio Premoli (keyboards), Luciano Dovesi (bass), who preceded Giorgio Piazza (bass), and Franz Di Cioccio (drums, vocals). They came together in the mid-1960s while playing together as backup musicians for many different Italian pop, rock and folk singers such as Lucio Battisti, Mina, Adriano Celentano and Fabrizio De André. They appeared on many recordings for other artists during this period and quickly established themselves as top players on the Italian scene before forming the group 'I quelli' (deliberately ungrammatical, roughly translates to 'The Them', or 'Those Guys') in 1968. I Quelli released one album and some successful Italian singles.
Premiata Forneria Marconi was officially formed in Milan in 1970 when the members of I Quelli met Mauro Pagani from the group Dalton. Pagani helped the group expand their sound to include violin and flute. By this time they were already highly experienced musicians who could play the kind of complex progressive heavy rock played by the leading English and American groups. Their early live performances included songs by groups such as King Crimson and Jethro Tull. Other early influences included Chicago, Ekseption, and The Flock.
After rejecting Isotta Fraschini (an Italian car maker) as a name the group finally settled on Pagani's suggestion, 'Forneria Marconi' (meaning 'Marconi Bakery'), borrowed from the sign of a shop in the small town of Chiari, near Brescia. However, record producer and friend Alessandro Colombini suggested the name was not strong enough, so the title 'Premiata' (award-winning) was added. Some objected that 'Premiata Forneria Marconi' was too long a name, but the group's philosophy stated that the more difficult to remember a band's name, the more difficult it was to forget it. Italian progressive bands tended to have long names back then (Banco del Mutuo Soccorso, Raccomandata con Ricevuta di Ritorno, etc.), and so they were usually referred to as 'La Premiata', and later 'PFM'.
Italian and international success (1971–1975)
Franz Di Cioccio (with Lucio Fabbri at left)
In June 1971, PFM entered a competition-cum-music festival called the first 'Festival d'Avanguardia e Nuove Tendenze' in Viareggio, which they won, along with Osanna and Mia Martini. Later in 1971 the group signed with the Numero Uno division of RCA Records in Italy, and released their first single, "Impressioni di settembre"/"La carrozza di Hans". It received wide recognition as the first Italian hit record to feature the synthesizer. The group still regularly performs both songs. Flavio Premoli also did a special demonstration of the capabilities of his Minimoog during a PFM television performance broadcast by RAI.
In early 1972, PFM released their first album, Storia di un minuto. The album topped the Italian charts in its first week and was the first by an Italian rock group to achieve this kind of success. It contained re-recorded versions of songs from the first single, as well as "È Festa" and "Dove... Quando..." which remain concert favorites. Later in 1972 saw the release of their second LP, Per un amico. This album opened the way to broader audience recognition all across Europe. It featured a more sophisticated 16-track production and allowed the group to refine their sound.
PFM came to the attention of Greg Lake of Emerson, Lake & Palmer while ELP was on an Italian tour. ELP arranged for PFM sign to their own label, Manticore Records. The first album on Manticore, Photos of Ghosts was released all across Europe, Japan, the USA and Canada and was the first time an Italian rock band found success in foreign markets. It was also one of the first recordings by a mainland European rock group to have chart success in the United States, peaking at #180 on the Billboard 200 albums chart in November 1973. The album contained mostly re-recordings of songs from Per un amico in English. New lyrics (not translations) were written by former King Crimson member (and ELP lyricist) Peter Sinfield, who helped produce the new recording and mixing at Advision Studios in London. Sinfield also suggested that the band abbreviate their name to PFM, starting with this album. Songs included "Celebration" (a remake of "È Festa"), which received considerable airplay on album-oriented rock stations in the USA and Canada.
Following the release of Photos of Ghosts bass player Giorgio Piazza left the group, being replaced by Patrick Djivas, who has remained with the group since. The next PFM album release in Italy was L'isola di niente in 1974. Highlights of the album include "Dolcissima Maria" (English title: "Just Look Away") and the instrumental "Via Lumiere" (English title: "Have Your Cake and Beat It".) Again a similar English language version of the album was released by Manticore as The World Became the World (1974). The English album included another re-recording of "Impressioni di settembre" as the title track. This was their last collaboration with Peter Sinfield, as the group were not entirely pleased with his English lyrics.
On the 1974 U.S. tour PFM played concerts with Little Feat, The Beach Boys, The Allman Brothers Band, Aerosmith, ZZ Top, Peter Frampton and Dave Mason. They were a victim of theft just before the concert with Santana on July 25 at the Paramount Theatre in Seattle. The stolen items included a 1969 Gibson Les Paul and a Gibson ES-335 (with three pickups, which had "Altaloma" engraved on them) as well as two bass guitars.
1974 concerts were recorded in Toronto, Canada (Convocation Hall) on 22 August, and the Schaeffer Music Festival show in Central Park NYC on 31 August. Tracks from these shows were released as PFM's final album for Manticore, titled, Cook. The album spent eight weeks on the Billboard 200 chart, and peaked at #154 in January 1975. The same recordings were used with different artwork for the next European album titled Live in USA. PFM reached their biggest American audience when they appeared on NBC's Midnight Special program on February 21, 1975. Their nationally televised performance included "Celebration" and the instrumental "Alta Loma Nine 'till Five".
1975–1978
The lack of a strong lead vocalist had always been considered PFM's biggest liability, so they enrolled Bernardo Lanzetti, who was previously with the group Acqua Fragile. While a college student, Lanzetti had lived in Austin, Texas for a few years. Most importantly, he had a powerful and distinctive voice, and could speak fluent English.
The first release by the six-piece band was Chocolate Kings in 1975. Featuring a harder rock sound, it had modest success at home but was their least popular album in Italy so far. The same album was released with different cover art by Manticore in the UK and by Asylum Records in the US. The controversial US/UK cover showed a chocolate bar in a partially peeled Stars and Stripes wrapper on the front, along with the crumpled and discarded wrapper on the back. PFM's first live performance in the UK was on BBC Radio 1's 'In Concert' programme introduced by DJ Pete Drummond on 21 May 1975 in which they performed their own arrangement of Rossini's William Tell Overture. They also appeared on the BBC television show The Old Grey Whistle Test firstly in 1974 and 1975. On 13 April 1976, on the same show, they performed the title track to the album. The album reached the UK top 20 but was less successful internationally. Mauro Pagani left the group following Chocolate Kings to pursue a solo career.
Lanzetti also appeared on Jet Lag (1977), an album highly influenced by the Jazz-fusion movement, which was recorded in Los Angeles. This was their last album with English lyrics and the last album released in the U.S., also on Asylum. Violinist Gregory Bloch, previously with the group It's a Beautiful Day, replaced Mauro Pagani and helped the band acquire notoriety in the US before leaving to join the Saturday Night Live Band in 1979.
For Passpartù (1978) PFM added two new percussion players and shifted stylistic direction once again. The album contains seven songs in Italian and one instrumental, characterized by an international pop music style; an early example of what today is known as 'Worldbeat'. The album's sound emphasizes acoustic, rather than electric guitar, and draws from Italian folk and Latin music as well as Jazz-Pop styles, somewhat like Steely Dan. This was the last album to feature Lanzetti, who then left to pursue a solo career.
Premiata Forneria Marconi during a live performance in Modena
1979–1987
In 1979, PFM once again played as the backup group for Fabrizio De André. The group contributed new arrangements for De André's songs and the ensemble toured Italy and Europe to packed concert halls. De André and PFM released two albums during this period, entitled In Concerto - Arrangiamenti PFM (1979), and In Concerto - Arrangiamenti PFM, Vol. 2 (1980).
During the 1980s PFM enjoyed continued success at home while concentrating on commercial rock music for the mainstream Italian audience. In 1980 Flavio Premoli left the group and built a successful career writing and performing music for Italian films and television. Multi-instrumentalist Lucio Fabbri joined adding skills on violin, keyboards, and rhythm guitar. Albums during this period were Suonare Suonare (1980), Performance (1981), Come ti va in riva alla città (1981), and PFM? PFM! (1984). The title track of their 1987 album Miss Baker was written in honor of the American dancer Josephine Baker. Though PFM stopped performing in 1987 they never officially broke up.
Reformation (1997–present)
In 1997 Flavio Premoli reunited with other core members (DiCioccio, Djivas, Mussida) and released the comeback album Ulisse. Though not as progressive as some of their 1970s work, this album brought PFM back to the attention of the international progressive rock audience. Ulisse is a song cycle based on the Odyssey legend by Homer, with the contributions of noted Italian lyricist Vincenzo Incenzo. A double disc live album www.pfmpfm.it (1998) was recorded with two additional musicians on their sellout Italian tour the next year.
Serendipity (2001) is a studio collection of new songs in Italian. Live in Japan 2002 was released in both a double CD and DVD edition. The double CD edition contains two new studio tracks including a collaboration with Peter Hammill of Van der Graaf Generator. Hammill wrote lyrics and sings on the group's first recording in English since 1977, titled "Sea of Memory". Live album Piazza del Campo (2005) was released in both a single CD and CD+DVD edition. It captures a live performance with the one time only return of Mauro Pagani, filmed outdoors in the main square of Siena. Italian rock singer Piero Pelù also appears on the DVD.
Keyboard player Flavio Premoli left the group for a second time in early 2005. PFM then returned to the USA for the first time since 1977 to play the Progressive Arts Showcase at Bethlehem, Pennsylvania on July 8, 2005. This concert was held in conjunction with the 7th annual NEARfest progressive rock event. Other shows on this tour included dates in Canada, Brazil, Mexico, Panama, and Venezuela. Premoli's last work with the group, Dracula, was released late in the year. It is an original Rock opera based on the Dracula legend.
Stati di immaginazione (2006) is an entirely instrumental effort and has an accompanying DVD of video images made for each song. Following the pattern of earlier works, the music alternates between serene and calming sections of acoustic guitar and sections of sharper-edged hard rock. The video content ranges from fantasy-style vignettes made with computer graphics to archival black and white historic films.
PFM was the first confirmed act for the NEARfest 2009 festival which was held June 20–21.
In 2010 PFM released their new album A.D.2010 - La buona novella, a reworking of the Fabrizio de André's 1970 album La buona novella. The group included sections of their own music within the original De André's folk songs, adding instrumental progressive rock passages. In 2009 PFM performed for the first time at the Sanremo Music Festival. In 2011 they appeared at Sanremo again with Roberto Vecchioni. 2011 also saw the group release Amico Faber, a box set containing the live album PFM canta De André (2008) and A.D.2010 - La buona novella, as well as a 16-page booklet, dedicated to Fabrizio de André.
A 2-CD album, called "PFM IN CLASSIC, DA MOZART A CELEBRATION", was released in 2013. CD #1 comprises somewhat creative "arrangements" by PFM of famous classical works, such as "Il flauto magico" (Mozart), "Danza macabra" (C. Saint-Saëns), and "Romeo & Giulietta" (Prokofiev). CD #2 offers "classical renditions" of some of PFM's best known titles, including "La luna nuova"; "Dove....Quando...."; "Maestro della voce"; and "Impressioni di Settembre".
In March of 2015, the band announced on their official Facebook page that guitarist/founder Franco Mussida had left the band to concentrate on other artistic endeavors and his long-standing presidency of the CPM Music Institute. He was replaced by Marco Sfogli on guitar.
A new studio album, Emotional Tattoos, was released both in Italian and English on October 27, 2017. Of the original band, only Di Cioccio remains. The band is now led by and revolves around Di Cioccio (drums, singing) and Patrick Djivas (bass guitar).
Another new studio album I Dreamed of Electric Sheep - Ho sognato pecore elettriche, is due for release on October 22, 2021. A Sci-Fi-themed conceptual opus, musicians include Franz Di Cioccio (lead vocals, drums) and Patrick Djivas (bass, keyboards), plus guests Ian Anderson and Steve Hackett
