I think I’m so educated and I’m so civilized
cos I’m a strict vegetarian
But with the over-population and inflation and starvation
And the crazy politicians
I dont feel safe in this world no more
I dont want to die in a nuclear war
I want to sail away to a distant shore
and make like an ape man
The Kinks - Apeman 1970 (par fritz51177)
“Are You ready?” est le tube d’un groupe américain né en 1967 sur la côte californienne. Pacific Gas & Electric c’est l’histoire d’un batteur afro-américain avec une voix si puissante qu’il devient le chanteur du groupe, d’un manager qui passe au percus, d’un guitariste autodidacte et d’un hit que l’on ne se lasse pas de réécouter. (via Lemellotron.com)
Pacific Gas & Electric - Are You Ready? [1970] (par frankieruiz88)
Johnny Winter - Fast Life Rider - Live (by Circuit7Active)
“Child in Time” is an essentially simple composition, featuring an organ intro, three power chords, and a two minute long solo. Lyrically dark, vocalist Ian Gillan utilizes his full vocal range and goes from quiet singing to loud, high-pitched, banshee-esque screaming. Guitarist Ritchie Blackmore comes in with a slow solo, which builds up to a fast-pace playing and then ends abruptly, with the whole song cycle starting over again. Blackmore is normally associated with playing a Fender Stratocaster, however, he played a Gibson ES-335 on the studio version of the song. (via Wikipedia)
Deep Purple - Child in Time HD 1970 ( UK TV show ) full version (via oiesoudou)
Sur le premier album de Black Sabbath, en 1970, “Warning” détone des autres compositions, qui sont plus “dark”, par son groove et ses accents bluesy. Il s’agit d’une reprise, tirée d’un groupe assez peu connu, même à l’époque, Aynsley Dumbar Retaliation, qui avait composé ce titre en 1967.
Les paroles sont les mêmes (il l’aime, mais elle s’est barrée avec un autre mec, putain c’est dure la vie), la ligne de basse est identique, mais l’atmosphère se transforme radicalement entre les deux versions. Tony Iommi, le guitariste de Black Sabbath, arrive à condenser les longs soli de la composition originale, à les ramasser en deux salves bien délimitées dans le temps et bin isolées du reste du morceau. Alors que dans le titre original, pourtant beaucoup plus court, la guitare ne cesse jamais d’épuiser les bends et les licks bordéliques, dans la version Black Sabbath, le phrasé de Iommi se contente de quelques notes (les plus marquantes de la version originale, et essentiellement des licks classiques de la technique de blues), répétées et parfois développées mais toujours avec un souci de l’économie et une putain de bonne efficacité (ça se retient très vite !). Pourtant le morceau passe de 3mn25 à pratiquement 11 mn ! Il est donc trois fois plus long, mais aussi trois fois plus intense.
BLACK WIDOW - Come To The Sabbat (1970) LIVE video (via pasithespider)
Help me in my search for knowledge,
I must learn the Secret Art.
Who dares to help me raise the on
Whose very name near stills my heart?
ASTAROTH
Discard your clothes and come on foot,
Through streams and fields and moonlit moors,
Your bodies soaked in secret oils,
Perfumed herbs will heal your sores.
Join me in my search for power.
Wives and husbands bring your kin.
We´ll be as one within the hour.
Let the Sabbat now begin.
Come, come, come to the Sabbat.
Come to the Sabbat - Satan´s there!
If you wanna hear some truly weird dwellers on the threshold of the psychedelic/ progressive scene, then Ache is gonna be another band right up your strasse.
Ache’s massive debut LP DE HOMINE URBANO (‘About Urban Man’) almost fitted right alongside such bombastic second generation overwrought Spanish galleons as early Yes and Van Der Graaf Generator. Indeed, their opening side-long epic title track was surely inspired by Yes’ frenetic and strung-out take on The Beatles’ ‘Every Little Thing’ and was all the better for it. (via Mutant Sounds)
When East of Eden’s 2nd Album ‘Snafu’ was released in early 1970 Rock music was coming to the end of it’s most creative decade. For some people this album has been regarded as an indicator of what was to come - Jazz/ rock Fusion, elements of Ska & Reggae, Classical and Folk, plus free improvisation within a Rock format. (via EastofEdenTheBand.com)
Burnin Red Ivanhoé was among the first to mix rock with jazz inflections. Karsten Vogel was eventually to break out of the band and start a more direct jazz fusion outfit under the name of Secret Oyster, which made some albums during the 70s whereas BRI were to continue in a more straight rock direction. (via Inconstantsol)
Blodwyn Pig were a British blues–rock group founded by guitarist–vocalist–songwriter Mick Abrahams, after he left Jethro Tull in 1968 due to a falling-out with Tull leader Ian Anderson. Blodwyn Pig recorded two albums, Ahead Rings Out in 1969 and Getting To This in 1970. Both reached the lower half of the Top Ten of the UK Albums Chart and charted in the United States; Ahead Rings Out displayed a jazzier turn on the heavy blues–rock that formed the band’s core rooted in the British 1960s rhythm and blues scene from which sprang groups like The Yardbirds, Free and eventually Led Zeppelin. Saxophonist–singer Lancaster (who often played two horns at once, like his idol Rahsaan Roland Kirk) was at least as prominent in the mix as Abrahams; some critics thought this contrast bumped the band toward a freer, more experimental sound on the second album. (via wikipedia)
Goliath were a short-lived but very promising UK band. Their eponymous album, released in 1970, has elements of rock, folk and blues, as well as an Eastern touch. Vigorously jagged, propulsive blues rock with shards of brass and metal, played with a contrapuntal intensity which alternately empowers and submits to the tough and salacious belting of Linda Rothwell, perhaps the most sexually aggressive (and demanding) British female singer of her generation. A band with fantastic potential, they faded into obscurity. (via sakalli)
