Nina Hagen - Pop RockPunk Rock (Germany)

Catharina "Nina" Hagen (born 11 March 1955) is a German singer, songwriter, and actress. She is known for her theatrical vocals and rose to prominence during the punk and new wave movements in the late 1970s and early 1980s.

Born in the former East Berlin, German Democratic Republic, Hagen began her career as an actress when she appeared in several German films alongside her mother Eva-Maria Hagen. Around that same time, she joined the band Automobil and released the single "Du hast den Farbfilm vergessen". After her stepfather Wolf Biermann's East German citizenship was withdrawn in 1976, Hagen followed him to Hamburg. Shortly afterwards, she was offered a record deal from CBS Records and formed Nina Hagen Band. Their self-titled debut album was released in 1978 to critical acclaim and was a commercial success selling over 250,000 copies. The band released one more album Unbehagen before their break-up in 1979.

In 1982, Hagen signed a new contract with CBS and released her debut solo album NunSexMonkRock, which became her first record to chart in the United States. She followed it with two more albums: Fearless (1983) and Nina Hagen in Ekstasy (1985), before her contract with CBS expired and was not renewed. In 1989, she was offered a record deal from Mercury Records. She released three albums on the label: Nina Hagen (1989), Street (1991), and Revolution Ballroom (1993). However, none of the albums achieved notable commercial success. Hagen made her musical comeback with the release of her album Return of the Mother (2000).

Besides her musical career, Hagen is also a voice-over actress. She wrote three autobiographies: Ich bin ein Berliner (1988), Nina Hagen: That's Why the Lady Is a Punk (2003), and Bekenntnisse (2010). She is also noted for her human and animal rights activism.

Nina Hagen Band 1978

Alternative Link

NunSexMonkRock 1982

Television - Alternative Rock (Post Punk)

Television is an American rock band from New York City, most notably active in the 1970s. The group was founded by Tom Verlaine, Richard Lloyd, Billy Ficca, and Richard Hell. An early fixture of CBGB and the 1970s New York rock scene, the band is considered influential in the development of punk and alternative music.

Although they recorded in a stripped-down, guitar-based manner similar to their punk contemporaries, Television's music was by comparison clean, improvisational, and technically proficient, drawing influence from avant-garde jazz and 1960s rock. The group's debut album, Marquee Moon, is often considered one of the defining releases of the post-punk era.

Television's roots can be traced to the teenage friendship between Tom Verlaine and Richard Hell. The duo met at Sanford School in Hockessin, Delaware, from which they ran away. Both moved to New York, separately, in the early 1970s, aspiring to be poets.

Their first group together was the Neon Boys, consisting of Verlaine on guitar and vocals, Hell on bass and vocals and Billy Ficca on drums. The group lasted from late 1972 to late 1973. A 7-inch record featuring "That's All I Know (Right Now)" and "Love Comes in Spurts" was released in 1980.

In late 1973 the group reformed, calling themselves Television and recruiting Richard Lloyd as a second guitarist. Their first gig was at the Townhouse Theatre, on March 2, 1974. Their manager, Terry Ork, persuaded CBGB owner Hilly Kristal to give the band a regular gig at his club, where they reportedly constructed their first stage. After playing several gigs at CBGB in early 1974, they played at Max's Kansas City and other clubs, returning to CBGB in January 1975, where they established a significant cult following.

Marquee Moon 1977

Adventure 1978

Propaganda - Electronic Synth Pop (Germany)

Propaganda are a German synthpop group, formed in 1982. They were one of the initial roster of acts signed to Trevor Horn's ZTT label, between 1984 and 1986, during which they released the critically acclaimed album A Secret Wish.

Propaganda was formed in Düsseldorf, West Germany, in 1982, by Ralf Dörper (a member of the German industrial band Die Krupps). As a trio, with artist Andreas Thein and vocalist Susanne Freytag, the group made initial recordings in Germany which were destined for future release in the UK, where Ralf Dörper's early experimental recordings had received critical acclaim by radio DJ John Peel and journalist Chris Bohn aka Biba Kopf. With the inclusion of classically trained musician and composer Michael Mertens and singer Claudia Brücken (who had worked with Freytag in her previous band, The Topolinos), music journalist Paul Morley signed the band to Trevor Horn's newly formed ZTT Records label.

The group relocated to the United Kingdom and released the single "Dr. Mabuse", named after the fictional character made famous by filmmaker Fritz Lang. The single reached the Top 30 in the UK Singles Chart, and the Top 10 in Germany. The group appeared on various TV shows in the UK, including Channel 4's The Tube. Here, as well as performing "Dr. Mabuse", the group also gave one of its few performances of a cover version of Throbbing Gristle's song "Discipline".

Before the year was out, Thein was asked to leave the band due to musical differences. With Mertens now filling the gap left by his departure, the band forged ahead with recording its follow-up single and debut album. However both of these were to be delayed as a result of the unexpectedly huge success of ZTT's most famous signing, Frankie Goes to Hollywood. As the label was still in its infancy, ZTT was forced to spend all its limited resources on promoting and marketing Frankie Goes to Hollywood, and this also meant that Trevor Horn was not available to produce Propaganda's album. Stephen Lipson, one of Horn's established studio engineers, took his place along with Andy Richards playing keyboards, but the delay meant that Propaganda's second single, the more pop-oriented "Duel", did not surface until April 1985. Perhaps the band's most recognisable release, it was also their highest-charting single in the UK, reaching number 21. The band made its single appearance on the flagship BBC music programme Top of the Pops in June of that year. The song was also used as the theme music for the World Rally Championship (WRC) in 2005, the alternate version "Jewelled" having also been used as the theme music for the BBC's Top Gear RAC Rally Report programmes in the late 1980s.

In May 1985, with Frankie Goes to Hollywood becoming tax exiles in Ireland, the band effectively headlined "The Value of Entertainment", a series of showcase gigs of ZTT signings, held at the Ambassadors Theatre in London. The shows also featured Art of Noise, Anne Pigalle, Andrew Poppy and Instinct. Propaganda were joined on stage by former Simple Minds bassist Derek Forbes and ex-Japan drummer Steve Jansen.

The first week of July 1985 finally saw the release of the band's debut album, A Secret Wish. After receiving considerable critical acclaim and some commercial success, it reached number 16 on the UK Album Chart. The album was followed by another single, "p:Machinery", in August 1985, which only reached number 50 in the UK, but becoming a bigger hit in Italy, France, the Netherlands, Germany and Switzerland and even being used in the hit US TV Show Miami Vice. The 12-inch version of this release caused controversy (even within the group) as Paul Morley thought it was a good idea to have the sleeve feature a quote by writer J. G. Ballard praising the activities of the German extremist group Red Army Faction. Ariola, who distributed ZTT's releases in Germany, refused to carry the 12" as a result, so the quote was changed on the German release to another by Ballard on the aesthetic perfection of German suburbs.

The group spent the rest of the year on their "Outside World" tour, taking in Europe and America. They were joined once again by Derek Forbes on bass, with his fellow ex-Simple Minds colleagues Brian McGee on drums, and Kevin Armstrong on guitar, with backing tapes used for most of the keyboard parts. In the meantime a remix album, Wishful Thinking, was released in November 1985. Originally intended for the American club market, the album was also released in Europe, but against the wishes of the group themselves. The album peaked at number 82 in the UK. A remixed version of "p:Machinery" was also re-released as a single, only four months after its original release. In the UK, it too failed to make an impact and peaked at no.83, but was, again, more successful in France and Germany.

1985 A Secret Wish

1985 Wishful Thinking

The Allman Brothers - Rock (USA)

The Allman Brothers Band was an American rock band formed in Macon, Georgia, in 1969 by brothers Duane Allman (founder, slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). The band incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.

The group's first two studio releases, The Allman Brothers Band (1969) and Idlewild South (1970) (both released by Capricorn Records), stalled commercially, but their 1971 live release, At Fillmore East, represented an artistic and commercial breakthrough. The album features extended renderings of their songs "In Memory of Elizabeth Reed", "You Don't Love Me" and "Whipping Post", and is considered among the best live albums ever made.

Group leader Duane Allman was killed in a motorcycle accident later that year – on October 29, 1971, and the band dedicated Eat a Peach (1972) to his memory, a dual studio/live album that cemented the band's popularity and featured Gregg Allman's "Melissa" and Dickey Betts's "Blue Sky". Following the motorcycling death of bassist Berry Oakley exactly one year and 13 days later on November 11, 1972, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973's Brothers and Sisters. This album included Betts's hit single "Ramblin' Man". These tunes went on to become classic rock radio staples, and placed the group at the forefront of 1970s rock music. Internal turmoil overtook them soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.

The band reformed once more in 1989, releasing a string of new albums and touring heavily. A series of personnel changes in the late 1990s was capped by the departure of Betts. The group found stability during the 2000s with bassist Oteil Burbridge and guitarists Warren Haynes and Derek Trucks (the nephew of their original drummer) and became renowned for their month-long string of shows at New York City's Beacon Theatre each spring. The band retired for good in October 2014 after their final show at the Beacon Theatre.

Butch Trucks committed suicide on January 24, 2017, in West Palm Beach, Florida, at the age of 69. Gregg Allman died from complications arising from liver cancer on May 27, 2017, at his home in Savannah, Georgia, also at the age of 69. The band has been awarded seven gold and four platinum albums, and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004.

Idlewild South 1970

Brothers and Sisters 1973

Win, Lose Or Draw 1975

Brothers Of The Road 1981

Seven Turns 1990 

Elis Regina - Bossa Nova /MPB

Elis Regina Carvalho Costa (March 17, 1945 – January 19, 1982), known professionally as Elis Regina, was a Brazilian singer of popular and jazz music.

She became nationally renowned in 1965 after singing "Arrastão" (composed by Edu Lobo and Vinícius de Moraes) in the first edition of TV Excelsior festival song contest, and soon joined O Fino da Bossa, a television program on TV Record. Elis was noted for her vocalization, as well as for her personal interpretation and performances in shows. She recorded several successful compositions, such as "Como nossos pais" (Belchior), "Upa Neguinho" (E. Lobo and Gianfrancesco Guarnieri), "Madalena" (Ivan Lins), "Casa no Campo" (Zé Rodrix and Tavito), "Águas de Março" (Tom Jobim), "Atrás da porta" (Chico Buarque and Francis Hime), "O bêbado e a equilibrista" (Aldir Blanc and João Bosco), "Conversando no bar" (Milton Nascimento), etc.

Her untimely death, at the age of 36, shocked Brazil. She has frequently been regarded as the greatest Brazilian singer of all time by critics, musicians, and commentators.

Elis Regina - Ela 1971

King Kong

Pela recomendação do Monster, posto esta sonzeira do Jean-Luc Ponty tocando composições do Zappa, com a participação do próprio. Ponty tocava na banda do Zappa e depois de algum tempo saiu para a carreira solo de sucesso. King Kong marca o fim da relação entre Ponty e Zappa, a partir dali nunca mais se falaram. Dá pra destacar o ritmo lento e pulsante de King Kong, a sintonia entre Ponty e Ernie Watts em Cigars, assim como o solo de Ernie e o wah-wah de Zappa em Head.

Monster, a próxima cê mesmo posta, beleza?

* * * * *

King Kong - Jean-Luc Ponty Plays the Music of Frank Zappa (1973)

Faixas e músicos:

1. King Kong
Jean-Luc Ponty - electric violin and baritone violectra
George Duke - electric piano
Gene Estes - vibes & percussion
Buell Neidlinger - bass
Arthur D. Tripp, III - drums
Ian Underwood - tenor sax

2. Idiot Bastard Son
Jean-Luc Ponty - electric violin and baritone violectra
George Duke - electric piano
Wilton Felder - fender bass
John Guerin - drums
Ernie Watts - alto & tenor sax

3. Twenty Small Cigars
Jean-Luc Ponty - electric violin and baritone violectra
George Duke - electric piano
Wilton Felder - fender bass
John Guerin - drums
Ernie Watts - alto & tenor sax

4. How Would You Like to Have a Head Like That (Jean-Luc Ponty)
Jean-Luc Ponty - electric violin
Frank Zappa - guitar
George Duke - electric piano
Wilton Felder - fender bass
John Guerin - drums
Ernie Watts - tenor sax

5. Music for Electric Violin and Low Budget Orchestra
Ian Underwood - conductor
Jean-Luc Ponty - electric violin
George Duke - piano & electric piano
Donald Christlieb - bassoon
Gene Cipriano - oboe & english horn
Vincent DeRosa - french horn & descant
Arthur Maebe - french horn & tuben
Jonathan Meyer - flute
Harold Bemko - cello
Buell Neidlinger - bass
Milton Thomas - viola
Arthur D. Tripp, III - drums

6. America Drinks and Goes Home
Jean-Luc Ponty - electric violin and baritone violectra
George Duke - electric piano
Wilton Felder - fender bass
John Guerin - drums
Ernie Watts - alto & tenor sax

Ao Brother!

Antes de postar sobre os músicos e bandas, sempre dou uma fuçada na rede pra ver se encontro boas informações e compilo, junto com alguns pitacos meus. Sobre o Som Imaginário, encontrei uma ótima resenha do primeiro disco e reproduzirei aqui.

 

Dedico esta sonzeira de rocha ao brother Marcião! Talvez você nem se lembre, camarada, mas dois dos seus três discos dessa fantástica coleção do Som Imaginário, tão comigo! E junto com a caixinha, tudo conservadinho, viu? Nem fique brabo, quando percebi, já tinha viajado muitos quilômetros, mas fique sossegado, à casa eles retornarão!!! Quantos anos faz isso?

Da minha parte posso dizer que o Som Imaginário é do caralho mesmo! O som dos caras é de fuder!!! Quem já assistiu qualquer um deles tocando ao vivo, sabe bem do que falo! É, juntos não tive o privilégio de ver, mas Robertinho Silva, Wagner Tiso e Naná Vasconcelos botam pra quebrar em seus shows! Sempre vale a pena.

 

Abaixo uma reportagem na Revista Intervalo, publicada em março de 1971, baixe aqui.

Então segue a bela resenha escrita por R.Schott e publicada em seu blog Discoteca Básica. Parabéns pelo texto!

O QUE VOCÊ APOSTARIA numa banda psicodélica formada por membros do grupo que acompanhava Milton Nascimento no fim dos anos 60? Pode apostar alto: os três únicos discos lançados pelo Som Imaginário (cujos músicos também acompanharam Lô Borges, Beto Guedes, Erasmo Carlos, Gonzaguinha e outros) são good trips garantidas. O primeiro, em especial, trazia um som mais pop, que misturava Beatles, psicodelia, rock progressivo, hippismo explícito e praticamente nada de MPB - destacando a criatividade de Frederyko, um dos melhores e menos reconhecidos guitarristas do Brasil, hoje sumido da mídia.
A formação que gravou Som Imaginário foi surgindo aos poucos, no fim dos anos 60. Wagner Tiso, que acompanhava Milton Nascimento desde o início de carreira (chegaram a montar, na adolescência, um conjunto de jazz chamado W Boys, graças à predominância na banda de rapazes com a inicial W no nome - Milton, que era o baixista, chegou a trocar seu nome para Wilton) se juntou a alguns músicos que tocavam com ele na noite carioca, como o baterista Robertinho Silva e o baixista Luiz Alves, e acabaram formando uma banda para tocar com o cantor mineiro. Antes disso, boa parte da formação do Som Imaginário podia ser encontrada no grupo de bailes Impacto 8, que tinha, entre outros, Robertinho e Frederyko. A banda não deu muito certo - Raul de Souza, trombonista e, em tese, líder do Impacto 8, desistiu do grupo após um show num Clube Militar em que todos os músicos simplesmente "esqueceram" de animar o baile para improvisar no palco.
Já contando com Wagner Tiso, Luiz Alves e Robertinho Silva, o Som Imaginário logo admitiria Frederyko, o percussionista Laudir de Oliveira (que não ficaria na banda) e mais uma dupla de compositores que também se destacaria no álbum de estréia: Zé Rodrix (órgão) e Tavito (guitarra-base e violão de 12 cordas). O grupo gravaria o LP de 1970 de Milton Nascimento e logo entraria em estúdio para registrar Som Imaginário, um dos mais interessantes lançamentos da música psicodélica brasileira. O disco tinha muito menos influências de MPB do que o pedigree dos músicos poderia fazer supor - mas havia a presença de Milton, fazendo alguns vocais (não creditados) e cedendo o instrumental prog mineiro "Tema dos deuses", sem contar a latinidade que aparecia em algumas canções assinadas por Zé Rodrix, como a ruidosa "Morse" e a doidaralhaça "Super-God", com sua letra psicodélica e contra-cultural. Todas as faixas eram preenchidas pela fuzz-guitar de Frederyko, que ainda contribuiu com dois dos momentos mais hippies do disco, a bela "Sábado" (gravada nos anos 80 pelo - veja só - Roupa Nova) e a balada anarquista "Nepal", gravada em clima de zoação no estúdio.
O maior sucesso do disco acabou sendo "Feira moderna", parceria de Beto Guedes, Lô Borges e Fernando Brant, gravada pela banda numa versão crua, cheia de riffs de órgão - é aquela mesma música que você conhece da versão de Beto Guedes no disco Amor de índio, de 1978 (e regravada também pelos Paralamas do Sucesso nos anos 90). Zé Rodrix, que praticamente liderava o grupo no disco e fazia quase todos os vocais, prosseguia sua viagem pop e lisérgica em faixas como "Make believe waltz" (mesclando valsa, rock e country), a agressiva "Hey man" (espalhando brasa para a Copa de 70 e a ditadura nos versos: "você precisava da taça de ouro/você precisava beber nessa taça/que você pagou com o sangue que nela derreteu.../só que nesse instante você foi feliz/você é feliz quando deixam") e o hino psicodélico "Poison", com letra lembrando Timothy Leary e os Beatles de "Tomorrow never knows" ("I always get the poison that I need to be alive, to see and sing/so poison me to get my mind way out/my mind way in").
Formado por músicos bastante requisitados - até hoje, aliás - o Som Imaginário se dividia entre a banda e vários trabalhos para outros artistas. Com o tempo o grupo foi perdendo integrantes. Zé Rodrix logo sairia da banda para se juntar a Sá & Guarabyra e gravar dois discos não menos clássicos, além do solo 1º acto, de 1973 (também pela Odeon). O segundo disco do Som Imaginário (1971), também homônimo, trazia Frederyko na liderança, compondo uma série de faixas anárquicas (como "Cenouras" e a engraçada "Salvação pela macrobiótica"), além do tema "A nova estrela", dele e de Wagner Tiso. E é a sonoridade de Wagner que domina Matança do porco, disco de 1972 da banda, mais chegado ao estilo que marcaria os trabalhos solo do tecladista. Com três discos bastante diferentes uns dos outros - Milagre dos peixes ao vivo, disco de Milton Nascimento lançado em 1975, pode ser considerado o quarto LP do grupo, por ter sido creditado a eles e ao cantor - o Som Imaginário chegou a um resultado que não permitia comparações com praticamente nenhuma banda nacional ou internacional. Pena que tenha durado tão pouco.

______________________________

O Timaço:

Wagner Tiso - piano e órgão
Tavito - violão
Luiz Alves - baixo
Robertinho Silva - bateria
Frederyko atualmente mais conhecido como Fredera - guitarra
Zé Rodrix - órgão, percussão voz e flautas

Outros integrantes:

Laudir de Oliveira - percussão
Naná Vasconcelos - percussão
Nivaldo Ornelas - saxofone e flauta
Toninho Horta - guitarra
Novelli - baixo
Paulinho Braga - bateria
Jamil Joanes - baixo

Som Imaginário - 1970

 

1. Morse (Wagner Tiso, Tavito, Zé Rodrix)

2. Super god (Zé Rodrix)
3. Tema dos deuses (Milton Nascimento)
4. Make believe waltz (Mike Renzi, Zé Rodrix)
5. Pantera (Frederyko, Fernando Brant)
6. Sábado (Frederiko)
7. Nepal (Frederiko)
8. Feira moderna (Beto Guedes, Fernando Brant)
9. Hey man (Tavito, Zé Rodrix)
10. Poison (Marco Antônio, Zé Rodrix)

 Som Imaginário - 1971

 

1. Cenouras (Frederyko)
2. Você tem que saber (Chico Lessa, Márcio Borges)
3. Gogó (O alívio rococó) (Frederyko, Wagner Tiso)
4. Ascenso (Frederyko, Fernando Brant)
5. Salvação pela macrobiótica (Frederyko)
6. Uê (Chico Lessa, Márcio Borges)
7. Xmas blues (Frederyko)
8. A nova estrela (Frederyko, Wagner Tiso)

 

Som Imaginário - Matança do Porco - 1972

 

1. Armina Ouvir (Wagner Tiso)
2. A3 (Wagner Tiso)
3. Armina (Vinheta 1) (Wagner Tiso)
4. A nº 2 (Wagner Tiso)
5. A matança do porco (Wagner Tiso)
6. Armina (Vinheta 2) (Wagner Tiso)
7. Bolero (Mil, Luiz Alves, Wagner Tiso, Robertinho Silva, Tavito)
8. Mar azul (Luiz Alves, Wagner Tiso)
9. Arminha (Vinheta 3) (Wagner Tiso)