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IAN VOODOO (Full Album) __HOT__

Dark Continent is the debut studio album by American rock band Wall of Voodoo, released in 1981 by I.R.S. Records. Early live versions of four songs ("Red Light", "Animal Day", "Back in Flesh" and "Call Box (1-2-3)") are featured on the compilation The Index Masters.

IAN VOODOO (Full Album)

In a retrospective review, Greg Adams of AllMusic declared Dark Continent to be Wall of Voodoo's greatest album, pointing to the uniformly strong songwriting and the intensely original voice and style.[1] Conversely, Geoff Barton of Classic Rock magazine opined that the first two Wall of Voodoo albums did not age well; he found Ridgway's singing style "intensely irritating" and the music "too clever-clever for comfort."[2]

The album was first issued on CD by A&M Records in 1992.[6] In 2009, Australian label Raven Records reissued Dark Continent and the second Wall of Voodoo album, Call of the West, together on one CD, featuring a full color booklet with liner notes by Ian McFarlane. Both albums were digitally remastered.[7]

Voodoo Lounge is the 20th British and 22nd American studio album by the English rock band The Rolling Stones, released on 11 July 1994. As their first new release under their new alliance with Virgin Records, it ended a five-year gap since their last studio album, Steel Wheels in 1989. Voodoo Lounge is also the band's first album without their original bassist Bill Wyman; he left the band in early 1991, though the Stones did not formally announce the departure until 1993.[2] In 2009, the album was remastered and reissued by Universal Music. This album was released as a double vinyl and as a single CD and cassette.

After the departure of Wyman, the Stones chose not to officially replace him as a band member and continue as a four-piece with Mick Jagger (vocals), Charlie Watts (drums), Keith Richards and Ronnie Wood (both guitars). Wyman was unofficially replaced by Darryl Jones, who would perform with the Stones in the studio and on tour as a contracted player. Keyboards were provided by Chuck Leavell. Jones and Leavell, though not band members, would remain collaborators with the group for the next quarter of a century. Don Was was brought in to produce the album alongside Jagger and Richards.

Was responded that he was not "anti-groove, just anti-groove without substance, in the context of this album. They had a number of great grooves. But it was like, 'OK, what goes on top of it? Where does it go?' I just felt that it's not what people were looking for from the Stones. I was looking for a sign that they can get real serious about this, still play better than anybody and write better than anybody."[4]

During the recording of the album, Richards adopted a stray cat in Barbados which he named Voodoo, because they were in Barbados, and the kitten had survived the odds. He dubbed the terrace of the house Voodoo's Lounge. "Sparks Will Fly" was written by Richards after a blow-up with Jerry Lee Lewis in Ireland. Richards invited Lewis to Wood's home to jam on a few songs. Lewis took it seriously and thought they were making an album, and upon playback of the session, he started to pick apart Richards' band, which outraged Richards.[5]

David Cavanagh of Q Magazine wrote that "musically, these 15 songs represent the Stones at their all-time least newsworthy," adding that "Voodoo Lounge is no classic, but nor is it the resounding hound it could have been." Though he was disappointed in the inconsistency of the album's second half, he called the trio of opening rockers "exuberant and on the warm side" despite their lyric shortcomings and hailed the next four songs as an extremely good stretch with "Out of Tears" in particular showing "tantalizing glimmers of genius."[10]

Writing for Vox magazine in August 1994, Steven Dalton thought that the album's strongest tracks were filled with "echoes of the band's halcyon days", most notably 1972's Exile on Main Street and 1978's Some Girls.[14] He went on to surmise that Voodoo Lounge "reminds us why we liked the Stones in the first place," and singled out "New Faces", "Out of Tears" and "Blinded by Rainbows" as the album's highlights, despite also stating that the record contained "too many sketchy, arsing-around-in-the-studio jobs" to be considered one of the group's overall best albums.[14]

Jon Pareles of The New York Times found Voodoo Lounge to be disappointing, arguing that the album "rings hollow, as if it were made not to shake things up but simply to fuel the machine." He harshly criticized the songwriting, arguing that "for much of the album, Jagger and Richards seem determined to write the most generic love songs possible...Flip over the sentimentality, and the Stones offer some of their least convincing leers."[15]

Robert Christgau didn't believe the album warranted a full review, consigning it to his column's list of "honorable mentions" and commenting only that the Stones had become the "world's greatest roots-rock band."[9] Tom Hull similarly listed it as an "honorable mention," conceding that the album "feels like they're just going through the motions."[13]

"Love Is Strong", which was inspired by Richards' solo "Wicked as It Seems", was released as the first single, reaching No. 14 in the UK. However, although the track was a hit on US rock radio, it stalled on the singles chart at No. 91, and (at least in the US) became the Rolling Stones' worst performing lead single from an album up to that time. Two follow-up US singles also received strong rock radio airplay, but failed to cross over into top-40 hits: "Out of Tears" peaked at No. 60, and "You Got Me Rocking" fared even worse, peaking at No. 113. Consequently, Voodoo Lounge would be the first Rolling Stones album to not produce significant hits in the US, even with two million copies sold. In the UK, "Love Is Strong", "You Got Me Rocking", "Out of Tears", and "I Go Wild" were all top-40 chart hits.

2023 marks the 30th anniversary of Ian Prowse and Pele's first album 'Fireworks', featuring the single 'Megalomania' that hit #1 in South Africa. The band will be playing Pele's 'Fireworks' album along with Amsterdam and Prowsey classics, as well as a few surprises.

Springboard (august 1966) featured bassist Jeff Clyne, drummer John Stevens and alto saxophonist Trevor Watts.Except for the jittery, petulant, forceful eight-minute Torrid Zone, Nucleus' first album,Elastic Rock (Vertigo, 1970), was fragmented in brief vignettes thathighlighted the group interplay without attempting any major statement.Ian Carr on trumpet and flugelhorn, Karl Jenkins on oboe and piano,Brian Smith on saxophone and flute, Chris Spedding on guitar and bouzouki,Jeff Clyne on bass and John Marshall on drums(both Marshall and Jenkins being ex-members of Graham Collier's ensemble),constituted one of the most skilled combos in the world, and each piece wasmainly a display of their technical brilliance and ofCarr's command of the melody (Elastic Rock, the sublime Earth Mother).The music began to stretch out on We'll Talk About It Later (Vertigo, 1970),a release that was both more ambitious and more emotive.The slick, breezy seven-minute Song For The Bearded Lady refined Carr'sjazz-rock aesthetics to an almost baroque degree and at an almost rockingpace (including lilting guitar riffs to accompany the horn fanfares thatbookend the piece).The nine-minute Oasis is mere sheen, as the instruments gracefullydanced around the leitmotiv propelled by Marshall's unstoppable rhythm.The constructs are never simple, but their "sound" is smooth and elegant.Sun Child is built around the contrast between the cynical, funkyguitar and the sensual horn melodies.We'll Talk About It Later reinvents the blues by translating Jimi Hendrix's Voodoo Chile into the language of Weather Report.The Lullaby For A Lonely Child is the album's romantic zenith,relishing the interplay between the trumpet solo and the dense drumming.Only the cold, brainy and obscure eight-minute Easter 1916, that is alsothe most frantic and convoluted piece of the album, breaks the magical equilibrium of the whole.Nucleus' evolutionary process led to the "orchestral" sound ofSolar Plexus (Vertigo, 1971), where the line-up of Carr,Jenkins, Smith, Spedding, Clyne and Marshall is augmented with the horn sectionof Kenny Wheeler, Harry Beckett and Tony Roberts, and with the synthesizer.Half of the album is taken by the 21-minute suiteTorso / Snakehips' Dream, a new peak for their fluid style ofimprovisation, but no less charming and challenging are the7-minute Bedrock Deadlock and the 9-minute Spirit Level.Penumbra II (Jazz In Britain, 2022) documents a live performance of August 1971 of a three-movement suite by the historic line-up of Ian Carr (here on flugelhorn), Karl Jenkins (piano), the composer, which the album is credited to, Dave McRae (electric piano), Chris Spedding (guitar), John Marshall (drums) and Roy Babbington (bass) with guests such as Ray Warleigh (alto sax), Frank Ricotti (percussion), Brian Smith (soprano sax) and Alan Skidmore (tenor sax).As the original members began playing with the more popular Soft Machine,Nucleus became the name of whatever line-up Ian Carr was playing with.On Belladonna (Vertigo, 1972) the leader and Smith were joined byAllan Holdsworth (guitar),Dave MacRae (keyboards), Gordon Beck (piano),Roy Babbington (bass), Clive Thacker (drums), Trevor Tomkins (percussions).The six tracks(Belladonna, Summer Rain, Remadione, May Day, Suspension, Hector's House)continue the leader's elegant, orchestral, baroque trip, and increase hisexploration of timbres and tempos.Nucleus lost Holdsworth but gained Tony Levin,a synthesizer and a plethora of guests(Kenny Wheeler, Trevor Tomkins, violinist Norma Winstone, clarinetist Tony Coe)on Labyrinth (Vertigo, 1973), whose highlights are the11-minute Origins and the 18-minute Exultation / Naxos.The main innovations were in the rhythmic elements, that acquired a solidgeometry of their own and constrained the melodic elements.Carr shone as the impeccable conductor, composer and arranger of the ensemble.Nucleus music was the "sound" that Carr manufactured out of his collaborators.The overall talent of the group was declining, though, as shown byRoots (Vertigo, 1973), the first album to include a vocalist.The rhythm was beginning to sound like funk music and the ensemble wasbeginning to lose its "choral" appeal due to an excessively smooth production(Roots, Images, Caliban, Whapatiti, Capricorn, Odokamona, Southern Roots And Celebration)Under The Sun (Vertigo, 1974) presented mostly a completely renovatedline-up, with, again, a touch of electronics.Despite the 10-minute Rites of Man, the album is mostly uneventful.So were Snakehips Etcetera (Vertigo, 1975),and Alleycat (Vertigo, 1975).The four lengthy pieces of In Flagranti Delicto (Capitol, 1977)partially restored Carr's prestige, particularly in the way he fused traditionaljazz and electronic sounds(Gestalt, Mysteries, Heyday, In Flagranti Delicto).Jazz arranger Neil Ardley helped craft the electronic sound of the newNucleus on Out Of The Long Dark (Capitol, 1979), but the result wasa more fragmented and less compelling work, as was the humblerAwakening (Mood, 1980).Live At The Theaterhaus (Mood, 1985) contains all previously unreleasedcompositions. Despite the return of John Marshall, this is hardly worth of theoriginal Nucleus.Carr eventually found himself toying with classicalcomposition. The result was the four-part Northumbrian Sketches, forjazz ensemble and string orchestra,that appears on Old Heartland (EMI, 1988).Carr also contributed to Zyklus, a quartet with Neil Ardley andJohn Walters on electronics and Warren Greveson on drum-machines that releasedVirtual Realities (AMP, 1992).Ian Carr's album of trumpet and organ duetsSounds And Sweet Airs (Celestial Harmonies, 1993) tried to sell hissophisticated sound to the meditative audience of new-age music. The 13-disc boxset Live At The BBC (Repertoire, 2021) collects live radio performances by Nucleus, recorded between march 1970 and november 1991. Ian Carr also pursued a successful career as a music critic.Ian Carr died in 2009. (Translation by/ Tradotto da Claudio Vespignan) La scena jazz inglese abbracciò il jazz-rock dal momento in cui fu inventato da Miles Davis. Formati nel 1969 dal trombettista 041b061a72


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