V
vinyl-jønki
Gjest
Bryan Ferry,s første soloalum kom i -73
Mye amerikanske coverlåter, han gjør en
versjon av Bob Dylan,s A Hard Rain's A-Gonna Fall
Synes han gjør en god jobb.
|
Diskusjonstråd Se tråd i gallerivisning
-
Bryan Ferry,s første soloalum kom i -73
Mye amerikanske coverlåter, han gjør en
versjon av Bob Dylan,s A Hard Rain's A-Gonna Fall
Synes han gjør en god jobb.Vvinyl-jønki
Gjest
Nr:500
Nr:500
Eva Dahlgren, En blekt blondins hjerte-91
Begynner på 500 hundre og teller nedover, her er
det litt av hvert.Denne trenger vel ingen nærmere presentasjon?Vvinyl-jønki
Gjest
Vvinyl-jønki
Gjest
Nr:499
Nr:499
Debut plata til Trettioåriga Kriget som kom i -74
Også albumets navn, svensk prog, med en helt
særegent sound.Ble dannet i -70. Bandet har en utmerket
hjemmeside som jeg stjeler litt ifra:
Trettioåriga Kriget(Thirty Years War) was formed in 1970 in Saltsjöbaden, a seaside resort southeast of Stockholm. They were at the time all around seventeen and still in high school. The schools mainhall was in the beginning used as the rehearsalroom. This first lineup of the band was a sixpiece with two drummers! It included Stefan Fredin- bass guitar, vocals, Pocke Öhrström- guitar, vocals, Dag Lundquist- drums, Olle Thörnvall- harmonica, guitar, Dag Kronlund- piano and Johan Gullberg- drums. In 1971 Pocke, Johan and Dag K. left and Robert joined on vocals and guitar. In 1972 Olle quit playing harmonica to concentrate on the lyrics, leaving the band to concist only of Stefan, Dag and Robert. They decided they needed a good guitarplayer and started to audition some guitarists. Through these auditions they found Christer who joined the band in summer 1972. The band rehearsed intensively for a year and a half and developed a style of their own quite unlike the main trend in Swedish rock during the Seventies. ..
Early 1974 they got a recorddeal. Also at that time they got a new rehearsal room in Saltsjöbaden. An old underground disco which they called “Grunden”. There they would remain for a long time….An album was recorded that summer and released in august 1974. The album was named only “TRETTIOÅRIGA KRIGET”. The musical talent and originality of the group was duly recognized in the reviews. The album was an instant classic and is often considered as the first Swedsih heavy rock album. They also now started to tour extensively in Sweden and also did several live performances on national Swedish radio. ..
The second album “KRIGSSÅNG” was recorded in the summer of 1975 though it was not released until early 1976 . It is commonly regarded as Trettioåriga Krigets “masterpiece”. The second side is totally devoted to the long suite “Krigssång 2″. These first 2 albums have had a tremendous influence on later Swedish progressive and metal bands i.e. Anekdoten, Opeth, Änglagård etc. The band continued touring and gigging in -75 and -76 . In October -76 they left for an extensive English tour from Croydon in London to Cardiff in Wales to Sunderland near the Scotish border. They went down very well and the English musicmagazine “Melody Maker” chose them as one of the most promising bands for -77, speaking enthusiastically of their “intense gripping songs” and saying that “the power of the music is tremendous”!!! Back home again however they got the boot from their Swedish label, who apparently hadn..t heard any news from abroad. .. Trettioåriga Kriget then chose to sign for a small Swedish independet label called Mistlur.
The first album on this new label was called “HEJ PÅ ER”.It was recorded in the summer of 1978 in “Grunden”, the rehearsal room, with mobile recording facilties. By this time Mats had joined on keyboards too. The album was very well received and was to that date their best selling album. The album was seeing the band moving to a more simple songformat and is seen as the last album in a trilogy starting with the first album. The band continued to tour extensively during this time around Scandinavia. ..
In the summer of 1979 the band recorded “MOT ALLA ODDS” also at “Grunden”. It is largely regarded the bands least successful album though it has its moments, i.e. the title song. This was the last album with Robert who left in autumn 1979 leaving the vocals to Stefan. .
.In 1980 the band played the Roskilde festival in Denmark and continued the extensive touring. And they also recorded their fifth album called only “KRIGET” which was released in spring 1981. It got some some very good reviews and was played a lot on Swedish radio. Even so the band felt that
energy was running out after 7 years of touring plus 5 albums and decided to split.
The story then jumps to 1992 when Stefan, Robert and Dag played an accoustic set at a releaseparty for the CD-release of “Krigssång”. And then in 1996 to coincide with the release of their mostly live album “WARMEMORIES”, the band decided to do two reunionconcerts in Stockholm… ..
In 2002 Stefan, Dag, Chris and Olle decided to start rehearsing to try out new material. These rehearsals were such a success that the band decided to enter the studio once more and record a new album. In the studio, Robert and Mats also joined. The album was named “ELDEN AV ÅR” (Fire of Years) and was released January 2004. It got such very good reception and reviews. Many describing the album as the bands best and even one of the best reunionalbums ever released. Liveshows also followed in 2004 with the classic lineup of Stefan Fredin, Dag Lundquist, Christer Åkerberg, Robert Zima and Mats Lindberg. In September 2004 the band even made their US debut playing the Progday Festival in North Carolina and also for the first time in over 30 years did a show in their homevillage of Saltsjöbaden. .. Later that autumn their first two albums, “Trettioåriga Kriget” and “Krigssång” were re-released with bonustracks. In March 2005 the bands third album, “Hej på er” (Hallo everybody) was also re-released with bonustracks. .. In June 2005 they played Swedens biggest rockfestival, Sweden Rock, and in March 2006 they played the Baja Prog Festival in Mexico. ..
In 2004 TK also released “GLORIOUS WAR” an album recorded in 1971 by the founding lineup of the band but put in the archives and not released until 2004.
In August 2007 their 8th studioalbum, “I BÖRJAN OCH SLUTET”(In the beginning and the end), was released to overwhelming reviews. The band saw it like a natural follow up to “Elden av år”, with a more coherent atmosphere, and unlike “Elden” this album was written and recorded in a shorter space of time. Autumn 2007 also saw the band play in both France and Brazil for the first time as well as some Swedish shows to promote the album .. Spring 2008 saw the band play in Spain for the first time as well as shows in Norway, Sweden and France. .. In the autumn of 2008 the band did release their first live album called “WAR YEARS”. A double album covering their whole career from their 2nd show ever in their homevillage of Saltsjöbaden up their show at the Progday Festival in North Carolina, US in 2004. They also made their first tour of Japan and to coincide with the tour released their first 3 and 2 latest albums there in a boxset called just “TRETTIOÅRIGA KRIGET”. .. In June 2009 TK played the prestigious Nearfest Festival in the US…
In April 2011 TK released the last album in the trilogy starting with “Elden av år” and “I början och slutet” called “EFTER EFTER” (After efter). In the autumn of 2011 the band is did their first shows in Chile and Peru plus in Stockholm for the first time ever performed their debut album from 1974 in its entirety.
Autumn 2012 saw TK doing their first ever show in Italy plus a handful of shows in their homecountry Sweden. Including a headlining appearance at the “Sweden Prog Fest” festival where they for the first time ever played their masterpiece album “Krigssang” in its entirety.
2013 will start with a show in Tokyo, Japan on the 12th of January.
Plans are also underway for TKs first DVD ever.Vvinyl-jønki
Gjest
Innlegg no 178 Ove.Har det blitt en plate tråd nå ?
Sleng inn litt bilder av den nye forsterkeren nå,Tor
O
Ja se det!
Innlegg no 178 Ove.Har det blitt en plate tråd nå ?
Sleng inn litt bilder av den nye forsterkeren nå,Tor
O
OVvinyl-jønki
Gjest
Nr:498
Nr:498
Marie Fredriksson, efter stormen-87
En artist som er kjent for de fleste?
Siste ikveld.Vvinyl-jønki
Gjest
En annen Jackson Browne plate som har vært med siden den kom i -77, Running on Empty.
Igjen noen minner som kommer når jeg spiller denne.En god venn.Vvinyl-jønki
Gjest
J.J. Cale, Really -72
VinylVvinyl-jønki
Gjest
Nr 497
Blomman, Små Knepiga Låtar-77
Bosse Blomman Blombergh artist karriere på vinyl varte
fra 1977 til 1982, han ga ut 3 lp,er og en EP.Han skrev ikke musikk
mere tekster til gamle melodier, akkurat på dette albumet er han
spesielt glad JJ Cale.Han hadde et skjevt blikk til politikere, betong, journalister....
Innhold:
SMÅ KNEPIGA LÅTAR Vals (Lies - J.J.Cale / Blomman)
Blomman Blues (D Lawton - C Högberg - I Rogefeldt - H Hilden - J Baretto / Blomman)
Farfars Barnkalas (Clyde - J.J.Cale / Blomman)
Nånting E Fel (Nowhere To Run - J.J.Cale / Blomman)
Dom Borde Tjacka Spikskor (I'll Be There - R Gabbard - R Price / Blomman)
Jag Skriver Små Knepiga Låtar (Rock'n'Roll Records - J.J.Cale / Blomman)
Heroine (Cocaine - J.J.Cale / Bloman)
Blues Till Polischefen - (I'm A Gipsy Man - S Curtis / Blomman)
Club Amour (Cajun Moon - J.J.Cale / Blomman)
Veckotidningsboogie (Everlovin' Woman - J.J.Cale / Blomman)
Vvinyl-jønki
Gjest
Nr 496
Motvind, Kjenn dej blåst!-76
Svensk progband som ble dannet 1974, er fortsatt aktive.
På 10 år rakk de med 3000 livefremførelser og en rekke radio-
tv-show.Deres hjemmeside:Motvind, progg rock, Svenskt Rockband, Göteborg Livemusik
Vvinyl-jønki
Gjest
Tom Waits, Closing Time-73
Og noe godt i glasset, en passende
avsluttning før senga.Vvinyl-jønki
Gjest
Hehe, det er det, Lillebjørn Nilsen er hørbart
Har ikke kommet så mye regn ennå blåser mer,hvordan er det innafor?Vvinyl-jønki
Gjest
Nr 495
Viva!, Dreams be Quiet -85
Tredje plata til dette svenske new wave bandet. Gitt
ut på Norske Uniton Records,med et flott cover av Peter Bryx.
De ga ut fire album fra 1982 til 1987, tre singler og det var det.
Hentet inspirasjon fra Simple Minds, Ultravox og David Bowie.
Et mørkt lydbilde på denne plata,veldig bra.
Vvinyl-jønki
Gjest
Nr 494
Dom Dummaste,Sympati for Djevelen-82
Ble dannet i 1979 av Lars Cleveman og Martin Røssel.
De har en hjemmeside: domdummaste.net
Lhttp://www.domdummaste.net/Lhttp://www.domdummaste.net/ars Clevemanars Clevhttp://www.domdummaste.net/eman
OM DUMMASTE var Svergies första hårda syntband.
DD startades1979 efter att frontmännen Lars Cleveman och Martin Rössel träffats genom goda vänner i Stockholm. En Micromoog som Rössel köpt 1979 (sista året de gick att köpa nya i butik) som fortfarande finns i Rössels ägo och används, hörs på många av spåren på debuten "Lars Cleveman, Martin Rössel & Dom Dummaste. Också kallad "Kassetten" gavs den ut på SIsta Bussen 1980. Med Låtar som "Sams Son", "John" och "Ståltråd åt Grabbarna" etablerade sig DD som ett av de mest kompromisslösa och säregna band som någonsin smort in en svensk scen med grisblod och dynga.
DD blandade det brutala, absurda, mystiska, privata och subjektivt iakttagande med oljud, syntar, brutal rock, meditativa ljudlandskap, andebudskap samt tramsiga och sjuka röster. DD föjde sin egen väg och passade givetvis inte in vare sig i någon punk- nya våg- eller annan fålla.
Men det fanns många som lyssnade på DD och de egna berättelserna, vid otaliga spelningar, de största bl.a. på Gärdet och Hultsfred, fick bandet möta de mängder av fans som tagit musiken och texterna till sig. DD-freaksen. De som injecerade leverpastej. Som hade B.B.Stekes märke i pannan samt ett eget slags vatten i knäna.
Dom Dummaste har alltid varit Cleveman & Rössel i grunden, men många har hjälpt till att sprida Dom Dummastes evangelium under åren, Henrik Stawe och Anders Hernestam (nu Weeping Willows) var den tunga rytmsektionen som med bas och trummor utgjorde grunden i bandet. Nära vännen Ralf Nygård (Då Boojwah Kids ) spelade länge sin omisskännliga Sax och munspel med bandet, övriga viktiga deltagare var Thomas Hammar på keyboards och sång, Olle Schedin på keyboards och produktion, Håkan Soold på sologitarr (Sveriges svar på Chris Spedding), Kalle Hilborn på kompgitarr, Dan Suttner på Bas, Nisse Personne på Sax, Caroline Frigren på sång samt Carl-Johan de Geer på trombon.
Medlemmar som Truman Kaputt, Lazlo Spröd, Ingvar Strangekindawoman, Biskop Coca-Cola och Helga Lekamen dök upp med den ungerske managern, falskmyntaren och kvinnoimitatören B.B. Stekes. Stekes satte DD på prov många gånger med sina svårbegripliga turnéer och PR-jippon. Stekes avtjänar just nu ett åttaårigt fängelsestraff I Bulgarien för förfalskning av Wienerbröd, men fortsätter att föröka kontrollera vad han ser som "sitt Dom Dummaste" från sin cell, som en slags Dr Mabuse.
Inför 30-årsjubiléet nästa år 2009 planeras diverse händelser, som du givetvis kommer att få info om här på den oficiella DD-sajten. Det blir både musik och annat, mer info snart…. –
DOM DUMMASTE var Svergies första hårda syntband.
DD startades1979 efter att frontmännen Lars Cleveman och Martin Rössel träffats genom goda vänner i Stockholm. En Micromoog som Rössel köpt 1979 (sista året de gick att köpa nya i butik) som fortfarande finns i Rössels ägo och används, hörs på många av spåren på debuten "Lars Cleveman, Martin Rössel & Dom Dummaste. Också kallad "Kassetten" gavs den ut på SIsta Bussen 1980. Med Låtar som "Sams Son", "John" och "Ståltråd åt Grabbarna" etablerade sig DD som ett av de mest kompromisslösa och säregna band som någonsin smort in en svensk scen med grisblod och dynga.
DD blandade det brutala, absurda, mystiska, privata och subjektivt iakttagande med oljud, syntar, brutal rock, meditativa ljudlandskap, andebudskap samt tramsiga och sjuka röster. DD föjde sin egen väg och passade givetvis inte in vare sig i någon punk- nya våg- eller annan fålla.
Men det fanns många som lyssnade på DD och de egna berättelserna, vid otaliga spelningar, de största bl.a. på Gärdet och Hultsfred, fick bandet möta de mängder av fans som tagit musiken och texterna till sig. DD-freaksen. De som injecerade leverpastej. Som hade B.B.Stekes märke i pannan samt ett eget slags vatten i knäna.
Dom Dummaste har alltid varit Cleveman & Rössel i grunden, men många har hjälpt till att sprida Dom Dummastes evangelium under åren, Henrik Stawe och Anders Hernestam (nu Weeping Willows) var den tunga rytmsektionen som med bas och trummor utgjorde grunden i bandet. Nära vännen Ralf Nygård (Då Boojwah Kids ) spelade länge sin omisskännliga Sax och munspel med bandet, övriga viktiga deltagare var Thomas Hammar på keyboards och sång, Olle Schedin på keyboards och produktion, Håkan Soold på sologitarr (Sveriges svar på Chris Spedding), Kalle Hilborn på kompgitarr, Dan Suttner på Bas, Nisse Personne på Sax, Caroline Frigren på sång samt Carl-Johan de Geer på trombon.
Medlemmar som Truman Kaputt, Lazlo Spröd, Ingvar Strangekindawoman, Biskop Coca-Cola och Helga Lekamen dök upp med den ungerske managern, falskmyntaren och kvinnoimitatören B.B. Stekes. Stekes satte DD på prov många gånger med sina svårbegripliga turnéer och PR-jippon. Stekes avtjänar just nu ett åttaårigt fängelsestraff I Bulgarien för förfalskning av Wienerbröd, men fortsätter att föröka kontrollera vad han ser som "sitt Dom Dummaste" från sin cell, som en slags Dr Mabuse.
Inför 30-årsjubiléet nästa år 2009 planeras diverse händelser, som du givetvis kommer att få info om här på den oficiella DD-sajten. Det blir både musik och annat, mer info snart…. –
DOM DUMMASTE var Svergies första hårda syntband.
DD startades1979 efter att frontmännen Lars Cleveman och Martin Rössel träffats genom goda vänner i Stockholm. En Micromoog som Rössel köpt 1979 (sista året de gick att köpa nya i butik) som fortfarande finns i Rössels ägo och används, hörs på många av spåren på debuten "Lars Cleveman, Martin Rössel & Dom Dummaste. Också kallad "Kassetten" gavs den ut på SIsta Bussen 1980. Med Låtar som "Sams Son", "John" och "Ståltråd åt Grabbarna" etablerade sig DD som ett av de mest kompromisslösa och säregna band som någonsin smort in en svensk scen med grisblod och dynga.
DD blandade det brutala, absurda, mystiska, privata och subjektivt iakttagande med oljud, syntar, brutal rock, meditativa ljudlandskap, andebudskap samt tramsiga och sjuka röster. DD föjde sin egen väg och passade givetvis inte in vare sig i någon punk- nya våg- eller annan fålla.
Men det fanns många som lyssnade på DD och de egna berättelserna, vid otaliga spelningar, de största bl.a. på Gärdet och Hultsfred, fick bandet möta de mängder av fans som tagit musiken och texterna till sig. DD-freaksen. De som injecerade leverpastej. Som hade B.B.Stekes märke i pannan samt ett eget slags vatten i knäna.
Dom Dummaste har alltid varit Cleveman & Rössel i grunden, men många har hjälpt till att sprida Dom Dummastes evangelium under åren, Henrik Stawe och Anders Hernestam (nu Weeping Willows) var den tunga rytmsektionen som med bas och trummor utgjorde grunden i bandet. Nära vännen Ralf Nygård (Då Boojwah Kids ) spelade länge sin omisskännliga Sax och munspel med bandet, övriga viktiga deltagare var Thomas Hammar på keyboards och sång, Olle Schedin på keyboards och produktion, Håkan Soold på sologitarr (Sveriges svar på Chris Spedding), Kalle Hilborn på kompgitarr, Dan Suttner på Bas, Nisse Personne på Sax, Caroline Frigren på sång samt Carl-Johan de Geer på trombon.
Medlemmar som Truman Kaputt, Lazlo Spröd, Ingvar Strangekindawoman, Biskop Coca-Cola och Helga Lekamen dök upp med den ungerske managern, falskmyntaren och kvinnoimitatören B.B. Stekes. Stekes satte DD på prov många gånger med sina svårbegripliga turnéer och PR-jippon. Stekes avtjänar just nu ett åttaårigt fängelsestraff I Bulgarien för förfalskning av Wienerbröd, men fortsätter att föröka kontrollera vad han ser som "sitt Dom Dummaste" från sin cell, som en slags Dr Mabuse.
Inför 30-årsjubiléet nästa år 2009 planeras diverse händelser, som du givetvis kommer att få info om här på den oficiella DD-sajten. Det blir både musik och annat, mer info snart…. –
DOM DUMMASTE var Svergies första hårda syntband.
DD startades1979 efter att frontmännen Lars Cleveman och Martin Rössel träffats genom goda vänner i Stockholm. En Micromoog som Rössel köpt 1979 (sista året de gick att köpa nya i butik) som fortfarande finns i Rössels ägo och används, hörs på många av spåren på debuten "Lars Cleveman, Martin Rössel & Dom Dummaste. Också kallad "Kassetten" gavs den ut på SIsta Bussen 1980. Med Låtar som "Sams Son", "John" och "Ståltråd åt Grabbarna" etablerade sig DD som ett av de mest kompromisslösa och säregna band som någonsin smort in en svensk scen med grisblod och dynga.
DD blandade det brutala, absurda, mystiska, privata och subjektivt iakttagande med oljud, syntar, brutal rock, meditativa ljudlandskap, andebudskap samt tramsiga och sjuka röster. DD föjde sin egen väg och passade givetvis inte in vare sig i någon punk- nya våg- eller annan fålla.
Men det fanns många som lyssnade på DD och de egna berättelserna, vid otaliga spelningar, de största bl.a. på Gärdet och Hultsfred, fick bandet möta de mängder av fans som tagit musiken och texterna till sig. DD-freaksen. De som injecerade leverpastej. Som hade B.B.Stekes märke i pannan samt ett eget slags vatten i knäna.
Dom Dummaste har alltid varit Cleveman & Rössel i grunden, men många har hjälpt till att sprida Dom Dummastes evangelium under åren, Henrik Stawe och Anders Hernestam (nu Weeping Willows) var den tunga rytmsektionen som med bas och trummor utgjorde grunden i bandet. Nära vännen Ralf Nygård (Då Boojwah Kids ) spelade länge sin omisskännliga Sax och munspel med bandet, övriga viktiga deltagare var Thomas Hammar på keyboards och sång, Olle Schedin på keyboards och produktion, Håkan Soold på sologitarr (Sveriges svar på Chris Spedding), Kalle Hilborn på kompgitarr, Dan Suttner på Bas, Nisse Personne på Sax, Caroline Frigren på sång samt Carl-Johan de Geer på trombon.
Medlemmar som Truman Kaputt, Lazlo Spröd, Ingvar Strangekindawoman, Biskop Coca-Cola och Helga Lekamen dök upp med den ungerske managern, falskmyntaren och kvinnoimitatören B.B. Stekes. Stekes satte DD på prov många gånger med sina svårbegripliga turnéer och PR-jippon. Stekes avtjänar just nu ett åttaårigt fängelsestraff I Bulgarien för förfalskning av Wienerbröd, men fortsätter att föröka kontrollera vad han ser som "sitt Dom Dummaste" från sin cell, som en slags Dr Mabuse.
Inför 30-årsjubiléet nästa år 2009 planeras diverse händelser, som du givetvis kommer att få info om här på den oficiella DD-sajten. Det blir både musik och annat, mer info snart…. –
Vvinyl-jønki
Gjest
Nr 493
Tommy Kørberg/Steffan Nilsson, Blixtlås-79
Her synger Tommy Kørberg svensk samtidspoesi
tonsatt av Steffan Nilsson.At Kørberg kan synge
er det vel ingen tvil om? Her fungerer det bra.Vvinyl-jønki
Gjest
Dusty Springfield, Dusty in Memphis-69
Damen,les sjefen, i huset har kommet hjem, ytret
ønske om noe annet.Derfor denne, ikke et dårlig valg,
generelt ansett som hennes beste?
- Ble medlem
- 27.03.2007
- Innlegg
- 20.617
- Antall liker
- 27.883
- Sted
- Nede i fjæresteinene
- Torget vurderinger
- 2
Hennes desidert beste, IMO, og heldigvis er det ikke bare meg som mener det. Plass #89 på Rolling Stone`s "500 best albums of all time". Stjerneprodusentene Jerry Wexler, Tom Dowd og Arif Mardin arbeidet alle på albumet, backingbandet var Wilson Picketts backingband, og sangene er signert bl. a. Randy Newman, Mann/Weill og Goffin/King.
mvhVvinyl-jønki
Gjest
Carole King, Tapestry-71
Trenger vel ingen nærmere omtale?Vvinyl-jønki
Gjest
Vvinyl-jønki
Gjest
Judee Sill
Judee Sill-71
En flott plate som jeg synes overgår
Carole King,s Tapestry.Tok med en artikkel
jeg fant på nett.
[h=3]The Life and Times of Judee Sill[/h]
[h=1]Dusted Features[/h]
Michael Crumsho takes a look at the life and work of the dearly departed singer-songwriter Judee Sill
Born in Southern California in 1944, and dead in '79, Judee Sill's life was brief, yet filled with enough dark drama to satisfy a lifespan twice that long. It would be easy to relegate her life and musical career as a series of interesting footnotes in the biographies of other more well-known personas: her self-titled debut full-length was the first official release for David Geffen's Asylum imprint; Graham Nash produced her most well known single "Jesus Was a Cross Maker," which was a minor hit for Nash's group the Hollies; she penned a hit single for the Turtles. But doing so would deny the power and majesty of the two albums she released during her lifetime. Critics reacted warmly to her music, commercial success never followed. By the time of her death at the end of the 1970s, she had vanished completely from the music scene, so much so that when word of her death due to a drug overdose trickled down, more than a few people were surprised – they assumed she had already passed.
Now, in what's become an almost common occurrence for earnest, overlooked folkies, a string of reissues over the past couple of years have stirred up attention, and the recent release of her heretofore unknown third album will hopefully allow Sill's story and music to be heard by the wider audience she so richly deserved.
Judee Sill spent much of her adolescence in the Oakland area. Her father, Milford "Bun" Sill owned a bar, which is where Sill spent a lot of her childhood, learning piano in less than idyllic and seedy surroundings. When her father died of pneumonia in 1952, her mother moved Judee and her brother Dennis to Los Angeles, where the former Mrs. Sill took up and married an alcoholic animator named Kenneth Muse. Sill's mother spiraled downward into a haze of drug dependence and alcoholism, and although the two fought and bickered fairly regularly, Judee became more and more of a free spirit, unfettered by any attempts at parental control. She dealt with abuse at the hands of her stepfather and bounced around between family members, staying where she could to avoid the drama at home.
After her mother passed in 1963, Judee bounced around from high school to high school, all the while beginning the descent into darker territory that would color this period of her life. Her experimentation with drugs led her to fall in with a thief. She managed a few successful liquor stores heists before being busted at a gas station and shipped off to a reform school in Ventura. It should be noted that such dangerous activities never left Sill without a sense of humor. Regarding her bust years later, she acknowledged that she was so scared, she fumbled her one line: "This is a fuck-up, mothersticker!"
After doing a brief stint in reform school (where a spell as a church organist taught her many of the "gospel licks" that would later surface in her music), Judee attempted a return to collegiate studies and took a job working long hours in a piano bar. She started doing LSD and promptly moved in with an acid dealer and began exploring some of the psychedelic depths that would inform her later lyrical leanings. She and a friend rented a house from the dealer and formed a jazz trio with a third girl. Around this time, she met and married pianist Bob Harris, and within months both had succumbed to crippling heroin addictions and made their way as junkie musicians in Vegas for a time. When she moved back to California, she resorted to prostitution for a spell to support her massive habit. A string of narcotics and forgery offenses sent her to jail. It was during a desperation call to her brother for some help (as none of her other friends were willing to bail her out) that received the horrible news that Dennis had passed away due to a liver infection. While reaching a nadir in the clink, Sill had recurring fantasies of being a songwriter. When she got out, she immediately set to work. The Turtles recorded her tune "Lady-O," and a short while later David Geffen came calling. He was looking to start a label instead of merely managing artists and wanted to add Sill to his roster.
Judee Sill was released in 1971. Sill took the credit for composition, arrangements and supervision, while the production was split between Jim Pons (of the Turtles), John Beck (of the Leaves), and Henry Lewy (Graham Nash separately produced "Jesus Was a Cross Maker" with an eye toward releasing it as a single). Bob Harris and Don Bagley handled the strings. Listening to the record some 34 years later, it's nearly impossible to believe that this was Sill's debut record – most songwriters today would be lucky to have such an album stand as the crowning achievement in their catalogue, let alone stand as their first public outing. The record dabbles in folk and country figures, buoyed along by Sill's gospel-tinged piano lines, and some staggering baroque string arrangements. She is often associated with the so-called "Laurel Canyon sound" that also included folks like Carole King, but her sound is distanced from those contemporaries by the breadth of her musical knowledge, her stunning attention to detail, and a gorgeous everywoman type of voice, pitch perfect and rendering lyrics that dealt as much with heartbreaking balladry as they did with deep spiritual concerns and cosmos wanderings.
Her life thus far had given her plenty of heartbreak to sing about, but instead of focusing on her damaged childhood and prison experiences, she chose to dialogue with her faith and spirituality, with religious and occult trappings underpinning her lyrics. "Jesus Was a Cross Maker" is probably her best known tune from this set, an up-tempo piano driven number that deals with, according to Sill, gaining higher momentum from the lower periods in one's life, spurred on from the fact that Jesus Christ was in fact (depending upon your views of Jesus as a historical figure) a cross maker. The album is rich with epiphanies, however, ranging from the "Crayon Angel" songs she naively sings about on the album's opener, to the deeply veiled confessional that permeates "The Lamb Ran Away with the Crown." She sings of "Enchanted Sky Machines" coming to take us all away during the apocalypse, and alludes to relationships with "The Phantom Cowboy" and "The Archetypal Man" that have influenced her life. But more stunning than any of these is "Lopin' Along Through the Cosmos," a beautiful, heart-wrenching ballad where she longs for a kiss from God. All of these tracks begin simply, with spare acoustic guitar or piano figures before swelling with the heft of strings and horns. These are all ornate tracks, but never once is Sill's voice or vision drowned out by her instrumentation. Rather, the two combine into a genre-less album length cycle that is, quite frankly, one of the greatest singer-songwriter albums ever committed to tape.
Sill's second record, Heart Food, was released in 1973, once again on Asylum. Henry Lewy resumed his role as producer, but this time out Sill took some of the reins herself. The arrangements and orchestration were all of her own design – the cover of the album features a shot of her in pensive rumination while conducting the string sections. This batch of songs differed a bit from her first album. The country and gospel elements became more pronounced, and although it seems nearly impossible, her voice sounds stronger and more assured. While her self-titled debut has the better individual songs, Heart Food works better as a complete album. Lyrically, she takes up similar themes to the ones she dealt with on her first record – religion, heart break, and her own quest for salvation.
The album begins with a song regarding a "lonesome pioneer" – "There's a Rugged Road." It's hard to tell if Sill's songs are about specific men in her life or represent an attempt to dialogue with God. The pioneer in question is heading for "Kingdom come," and the image that comes through is obviously inspired by Nikos Kazantzakis' The Last Temptation of Christ, a novel (and later a Martin Scorcese film) that dealt with the image of Jesus as a human being, as flawed as the rest of us. That track is followed by "The Kiss," containing a beautiful lyrical image of locked lips that manages to transcend any overt kitsch implied by the title, an aching vocal paired with a string section that cuts right to the heart of the listener (Bonnie "Prince" Billy recently cut a version for a B-side). She also deals with positive male images on this album, singing about "The Vigilante" who's "fightin' the good fight" and a "Soldier of the Heart" that she joins on an allegorical battlefield who's "pullin' her through." While "The Vigilante" sounds familiar, "Soldier of the Heart" is a rarity in the Sill catalogue – an electric guitar-fueled rocker, complete with solo. She acknowledged that these songs were as much about her own inner male counterpart as they were about any other man in her life, but they could just as easily be viewed as another portion of her fascination with religious figures, the occult and her own attempts to grapple with where she had been and where she was going. "The Phoenix" is probably as close as Sill every came to outright autobiography, working that classic image around what seems to be a recounting of her own trials and tribulations.
As is often the case with some of history's best and brightest musicians, Heart Food sold miserably. In the years after its release, she suffered a wealth of injuries from various car accidents, and what began as an addiction to prescription painkillers led her back down the familiar path of drug addiction. She died on November 23, 1979, from an overdose.
The story didn't end there. Judee Sill may have been fazed by her lack of commercial success, but she continued to write and perform until her death. She amassed an album's worth of demos that were to make up her third full-length, but she died before they could be completed. In the time since her death, her music slipped into obscurity, save for a few prominent fans (Shawn Colvin, Warren Zevon and Jane Siberry all covered her songs at various points in the 1990s). Rhino Handmade reissued both of Sill's albums at the end of 2003, and the 4 Men with Beards label followed suit with vinyl reissues in 2004. (As much as I laud the latter label for their efforts, the Handmade reissues are the ones to seek out. They each contain a wealth of bonus live and demo tracks that are miles above the standard filler.) It also became known in 2004 that none other than Jim O'Rourke was hard at work mixing the tracks that would have made up Sill's final record. The Water label recently issued the fruits of his labor as a two-disc set entitled Dreams Come True: Hi, I Love You Heartily Here – New Songs, collecting together the remaining loose ends Sill left in her wake alongside a painstakingly documented book containing interviews with remaining family and friends.
The first disc of Water's set compiles the eight tracks that were to make up Sill's third Asylum LP (as well as three demo cuts). Produced by Bill Plummer, these songs are vintage Sill, chock full of the types of gospel, country and folk traces that she mined admirably for her first two records. What differentiates this album from its predecessors, however, is the simplistic sound. The instrumentation is basic – guitars, drums, bass, and piano, and no string sections. Although expertly recorded and with a mix courtesy of O'Rourke that makes the tracks feel on par with both of the officially released albums, the songs feel less studied, less agonized over. Sill's first two albums were intense labors of love and devotion. Dreams Come True is a much more casual affair.
By no means does that detract from the quality of the music gathered within. "That's the Spirit" opens the album with those loping, gospel-fueled piano lines that Sill learned in the joint, climaxing with a wondrous chorus of voices chiming in on the refrain. "The Apocalypse Express" is even better, beginning simply with acoustic guitar and upright bass before skipping into a powerful chorus. Lyrically, it's one of the most uplifting songs Sill ever wrote, touching on the notion of facing the end of all things with power and grace. "The Living End" takes up with religious imagery again, with the obvious titular metaphor giving way to lines about archangel "Gabriel's clarion call." This same fixation on iconography continues into the more low key "The Good Ship Omega, Alpha Bound," and the pensive balladry of the near-title track "'Til Dreams Come True" ends the album proper on a rather wistful note, calling to mind Sill's vintage material. While it's definitely strange that the end of days seems to figure heavily on this set of songs, what's even more bizarre is that this motif never wallows. There's a relentless optimism coursing through them, a shock considering that if any singer had the right to dwell on life's injustices, it was Judee Sill, who died at the hands of the demons she tried so hard to escape.
The second disc gathers some Sill rarities from different points in her career (1968 and 1973), plus a live video. The earlier tracks show a writer just finding her stride. "Dead Time Bummer Blues," one of Sill's first songs, feels more self-conscious lyrically than anything else in her canon, although her piano lines resound strongly. "Emerald River Dance" is a poignant solo acoustic home recording, capturing a shot of Sill during a less ebullient moment. Most interesting of all these "lost songs" is the trio of traditional folk numbers that Sill reworks in her image – of these "North Country" is the best. More than anything, these recordings show that as much as Sill could craft memorable songs of her own, she was equally gifted at transforming others.
It remains to be seen just what will become of Judee Sill's legacy. In my mind, she belongs in the great pantheon of singers and songwriters like the aforementioned Carole King, and the other members of Geffen's stable like Jackson Browne, Joni Mitchell, and Laura Nyro. She reportedly told David Geffen she wanted to be a star, and while she may have never achieved that lofty goal, she left behind a body of work that will inevitably stand any test time can throw at it. Few other singers can reduce one to tears or lift spirits as easily as Sill could, often within a single song. Whether or not she ascends to the highest levels of posthumous fame on the strength of reissues is almost irrelevant to the nature of her music. Judee Sill's songs will always remain impelling epiphanies, each one an invitation to brave the human experience through the bluest of eyes.
By Michael Crumsho
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Di Leva,Vem ska jag tro på?-87
Di Leva eller Sven Thomas Magnusson.
Dette er hans fjerde plate, med et noe barnlig preg.
Her låner jeg fra nettet:
Sven Thomas Magnusson föddes 1963 i Gävle. När han var 14 år bytte han namn från Magnusson till Di Leva, inspirerad av sin mors italienska flicknamn Leva och av idoler som Leonardo da Vinci och Charlie Chaplin.
Di Leva startade sin karriär med bandet Pillisnorks, med vilket EP:n 4 Visitors blev hans skivdebut 1 januari 1980. Därefter bildade Di Leva Gävlebandet Modern Art, som sedermera förvandlades till Modærn Art. Hösten 1981 fick Di Leva skivkontrakt som soloartist hos det nystartade bolaget Adventure och året därpå kom Di Levas debutalbum Marginal Cirkus. Efter en kortare period på bolaget Stranded tog Billy Bolero med sig Di Leva till det nystartade bolaget Papa Records och med albumet På ett fat blev Di Leva rikskändis. Di Leva sa: "Jag vill skapa stor konst i form av enkel musik för den breda publiken". Med låten Kom till mig, som spelades in med stråkar från Fläskkvartetten och Raj Montana Band, kom Di Leva 1985 för första gången upp på Trackslistan och fick med denna låt en mindre hit. Året därpå släpptes hans tredje album, Pussel.
Vem ska jag tro på släpptes hösten 1987 och blev Di Levas genombrottsalbum. Skivan producerades i skivbolaget Mistlur Records källare på Roslagsgatan och medproducent var Kaj Erixon. Titellåten Vem ska jag tro på? skrev Di Leva strax efter att statsminister Olof Palme blivit mördad. På skivans första spår, I morgon, märks nya ton-atmosfärer och ljudeffekter där Johan Vävare uppträder med oscillator och klaviaturklanger. Skivan utsågs av Slitz till Årets bästa album och kom dessutom tvåa i Aftonbladets omröstning om Rockbjörnen i kategorin Bästa svenska album.
Den 11 februari 2012 debuterade Di Leva i Melodifestival-sammanhang, i den andra deltävlingen i Göteborg med Ge aldrig upp, skriven av honom själv. Han gick dock inte vidare utan blev utslagen på en 5:e plats.
Di Leva är också känd som en fredsälskande djurvän och vegetarian.[1][2]
Film och TV
1987 debuterade han som skådespelare på Folkteatern i Gävleborg i Berthold Brechts och Kurt Weills musikalteater Staden Mahagonnys uppgång och fall, följt av rollen som Hamlet i regissören Peter Oskarssons specialversion 1989, Den tragiska berättelsen om Amledo. Året 1987 var en aktiv tid för honom, också som en annorlunda sorts programledare för SVT:s sommarlovsprogram för barn, Sommarmorgon.
År 1997 medverkade han i SVT:s TV-serie Kenny Starfighter, där han spelade en galen musiklärare, och 2010 medverkade han i TV4:s uppskattade serie Så mycket bättre tillsammans med Plura, Petra "September" Marklund, Barbro "Lill-Babs" Svensson, Petter, Lasse Berghagen och Christer Sandelin. Programmet gick ut på att deltagarna skulle tolka varandras låtar, lära känna varandra bättre och hitta på olika aktiviteter på Gotland, där de bodde tillsammans en vecka i ett hus.
Stil
Di Levas musik och särpräglade framtoning har gjort honom till något av en särling inom svensk rockmusik. Låttexterna är ofta oskuldsfullt naivistiska och hans visuella framtoning androgyn[3], på ett sätt som påminner om 1960-talets flower power-kultur och musiker som Donovan. Själv har han uppgett att David Bowie och dennes The Rise and Fall of Ziggy Stardust and the Spiders from Mars har haft inflytande.[4]
Di Leva har länge varit en udda personlighet i musiksverige och med sin kosmisk-andliga stil och inriktning blivit nära förknippad med new age-rörelsen. Han bär konstfullt utsmyckade kaftaner både till vardags och på scen, något han började med 1993. På frågan varför han bär just kaftan svarar Di Leva: "Den symboliserar enhet... en enhet mellan himmel och jord. Kroppen blir så fri." Under en tid hade han mestadels kostymer och i början av karriären ofta en fasttejpad lock i pannan. Di Leva sa i en intervju år 2000 att han helst går naken när han är hemma, men att han givetvis har kläder på sig offentligt.[5]
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Avslutter med denne.Vvinyl-jønki
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Lou Ann Barton, Read my lips-89
På hennes tredje album er hun tilbake til blues røttene,
hennes beste album.
Vedlegg
Sist redigert:Vvinyl-jønki
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Lars Mjøen
Lars Mjøen, Singin in the brain-74
innspilt i -73.
Dette er debut plata til Lars Mjøen, før han slo
seg sammen med Knut Lystad. Den ble reutgitt
1979, da het den Nest siste nytt.
Han ga ut en singel i -71, Hurra-vi-skal-dø-rag/Spretne Ludmilla
Dette er coveret til -79 utgaven:
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Ian Dury & Blockheads, Jukebox Dury-81
En samling av singler som fungerer veldig bra,
her er de fleste, en fin oppsummering.Vvinyl-jønki
Gjest
Et bilde av samlingen med svensk vinyl(pent pakket)
ca 500 plater. Vil nok ta litt tid å gå gjennom dette.Vvinyl-jønki
Gjest
Det er en variert samling, mye av det er mint- tilstand,noe av det kan knapt
være spilt, veldig bra kvalitet.Mange artister som bare har gitt ut en eller to plater.
Ja, dette vil ta tid, kan bli for mye svenskt
Rack-MannenVvinyl-jønki
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Nr 491
Zzaj., ZZAJ.-88
Medlemmer er Anna Nederdal og Billy Bolero, et
band som ga ut 3 album fra -88 til -93.
Musikk for late sommerdager,jordbær og hvitvin.
Stjeler fra nettet:
Zzaj var en svensk pop & jazzgrupp som var aktiv 1986-1993. Bandets fasta medlemmar var Anna Nederdal och Billy Bolero. Den senare skrev det mesta av gruppens material och producerade gruppens skivor. Zzaj, vars namn är ordet jazz stavat baklänges, var starkt influerat av den brittiska soulpopgruppen Sade och andra grupper i den så kallade Sophisti-pop-genren.
Bandet lades ner efter tre album, men enligt gruppens sida på MySpace ska samarbetet mellan Nederdal och Bolero ha återupptagits under 2009.
Et bilde av samlingen med svensk vinyl(pent pakket)
ca 500 plater. Vil nok ta litt tid å gå gjennom dette.
Imponerande!
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Nr 490
Mats Ronander, 50/50-84
En artist som har vært med lenge fortsatt aktiv.
Hjemmeside:Mats Ronander
Et blues rock album? Wikipedia er lett å ty til.
Mats Sture Ronander, även kallad Malla, född 1 april 1954 i Sundsvall och uppvuxen i Örebro, är en svensk rocksångare, gitarrist och kompositör. Han har varit gift med den danska sångerskan Sanne Salomonsen och har tre barn med olika kvinnor.
Mats Ronander började redan som femtonåring i Örebrobandet Crossway Blues, som hade spelningar i Göteborg, Malung, Västerås etc. Efter drygt ett år gick han med i ett annat Örebroband, Blues Quality, där han tog över som sångare efter att Peps Persson slutat på grund av allvarlig sjukdom. Han var en av medlemmarna i bandet Nature, som gav ut några egna skivor och även kompade Ulf Lundell på en turné med en liveplatta som slutresultat. Ronander spelade även med på tre av Lundells studioalbum och gjorde några turnéer som gitarrist i Lundells band. I en av Ulf Lundells böcker citeras en Rats Monander.
Hans största soloframgång kom 1992 med singeln "Gör mig lycklig nu" och albumet Himlen gråter för Elmore James producerad av Max Lorentz. Han medverkade som sångare och gitarrist i Low Budget Blues Band som gav ut tre album. Ronander var även medlem i gruppen Grymlings, i vilken han ersatte Pugh Rogefeldt.
Utöver detta har han varit verksam som studiomusiker, producerat bland annat Py Bäckmans genombrottsalbum Sista föreställningen (1983) samt spelat gitarr på låten "Wagon Wheels" på Kikki Danielssons album Första dagen på resten av mitt liv (2011).[1], turnerat med ABBA i USA och spelat huvudrollen i filmatiseringen av Ulf Lundells roman Sömnen. Gästartist hos Robert Wells Rhapsody in Rock, turnerat med The Refreshments, turné med The Original ABBA Orchestra under våren 2007 och samarbete med Ted Gärdestad. Mats bildar tillsammans med Tommy Körberg, Claes Malmberg och Johan Rabaeus gruppen Ravaillacz, som ställde upp i Melodifestivalen 2013.
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