Suche:francis rossi

"The Way We Were Vol. 1" ist eine Sammlung bisher unveröffentlichter Demo-Aufnahmen aus Francis Rossis persönlichem Archiv. Das Album vereint frühe Aufnahmen für sein vielbeachtetes zweites Soloalbum "One Step At A Time" (2010) sowie Songs, die später in ihrer endgültigen Version auf einer Reihe von Status Quo-Alben erschienen sind: "Heavy Traffi c" (2002), "XS All Areas" (2004), "The Party Ain't Over Yet" (2005), "In Search Of The Fourth Chord" (2007). Francis Rossi zeigt auf diesem Album eine Vielzahl an Stilen und Ideen. Was die Songs eint, ist, dass sie in der Art und Weise präsentiert werden, in der sie zuerst entstanden sind - roh, aufrichtig und direkt aus dem Herzen vorgetragen, ohne den Einfl uss von Studioveredelung oder kommerziellen Überlegungen. Unter den 17 Songs befi nden sich mit "Scary Mary", "Why I’m Walking", "Load On My Mind", "Can’t Change The World" und "Life Has Changed" zudem fünf Tracks, die nie zuvor außerhalb des Studios zu hören waren.

Together with British folk-pop musician Hannah Rickard, the country music-inspired album "We Talk Too Much" was created in 2019 - an affair of the heart, as the legendary Status Quo founder and frontman says. "My love of country and Americana is well known and has always been present in the background when I've written a song or worked out a melody on my acoustic guitar. Bringing this album to life has been a joy and I hope people can relate to these songs; it's a collection I'm really proud of." "We Talk Too Much" is now released on LP for the first time; "mastered for vinyl" and pressed on 180g black vinyl for the best possible sound experience. In addition, "Broken Memory", written by Francis Rossi and Hannah Rickard, is an exclusive bonus song for this wonderful vinyl release.

Tunnel was made in Naples in 1978 by Giorgio Verdelli and Danilo Rustici only on 7inch and it was the theme song for two RAI radio programs. Going through the names of the musicians we begin with the inimitable voice and the splendid guitars of Danilo Rustici, then passing through the saxophones of Enzo Avitabile we arrive at the keyboards of Joe Amoruso, musician-arranger who left a great void with his untimely death. For Joe, who crossed his experience with Premiata Forneria Marconi, Zucchero, Vasco Rossi, Mauro Pagani and was part of that 'dream team' of Pino Daniele - made up of technically extraordinary musicians, but above all gifted with an inimitable sound - this one-off project represented his recording debut. 'Tunnel Lights' and 'Speed Up' have been brought to light by Dario Di Pace and Claudio Casalini, two visionaries who believe that Neapolitan music is a sonic mixture of ancient and modern musical registers even if it sometimes develops a conflict between tradition and modernity as the recovery of popular tradition is strongly opposed to the push for innovation. This therefore is the reason for a 12" reissue in which the evocative original songs - from almost 50 years ago - are reflected in the new versions created by a bevy of talented DJ-arrangers including Massimo Berardi (with the bassist Luca Andreozzi) and by the industrious and passionate Francisco & Malkuth (ed: Francesco De Bellis and Cosimo 'Cosmo' Mandorino in disguise) in turn assisted by other zealous musicians and dee-jays - including the very good and always very collaborative Raffaele Arcella - who took part in a remix of this EP with enormous fervor The 12" reissue of Tunnel was released both on the classic black vinyl and in the very limited red vinyl version, in order to reflect the lips of the extravagant cover, a graphic work by another brilliant and multifaceted artist: Lino Vairetti, legendary singer of the historic prog rock band Osanna. The envelope developed by Best Record is embossed (front and back cover) to further enhance the passion that Neapolitan musicians have always had in knowing how to combine their roots with all the other musical genres of the world.

In South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. _x000d__x000a_Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. _x000d__x000a_The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar)._x000d__x000a_Status Quo’s first hit record "Pictures of Matchstick Men" was released in 1968 .The single reached #7 in the UK, and remains the band's only major hit single in the US, where it reached #12. Their debut Picturesque Matchstickable Messages from the Status Quo soon followed. It features several covers, including "Green Tambourine" by The Lemon Pipers and "Spicks and Specks” by The Bee Gees. _x000d__x000a_Another highlight from the album is their second single, "Ice in the Sun." Even if this is not the most representative album from Status Quo, it is a good psychedelic pop exercise ._x000d__x000a__x000d__x000a_Picturesque Matchstickable Messages from the Status Quo is now available as a numbered limited edition of 1000 copies on turquoise coloured vinyl_x0009_

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

Recorded between Kelly Finningn's Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Record Kicks is proud to finally present Solid Ground, the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002, with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks. The album is anticipated by the two killer funk singles "Bird of Paradise" and "More and More" on limited edition 45 vinyl.

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

This album was recorded in 1977 and produced by Status Quo’s FRANCIS ROSSI. Shockingly, this album has never been released on vinyl until now. It originally came out on CD in 1992 and is now long out of print and even that goes for good coin.

Du Cann’s stellar career included freakbeat heroes THE ATTACK (“Magic In The Air”), psych/prog legends ANDROMEDA, and the group he’s best known for, ATOMIC ROOSTER. Du Cann wrote their their #4 hit single “Devil’s Answer”. A couple of years later he was in DAEMON, later renamed BULLET, then HARD STUFF. In 1974 he was even a temporary guitarist for a THIN LIZZY German tour.

In 1977, he was signed to the same management company as STATUS QUO, who paired him with Quo leader, Francis Rossi. The resulting album, “The World’s Not Big Enough” included Rossi on guitar, Andy Bown (The Herd, Judas Jump, Status Quo) on keyboards, Pete Kircher (Honeybus, Status Quo, Liverpool Express) on drums, and John McCoy (Ian Gillian, Tyla Gang, U.K. Subs) on bass. Basically, this is Du Cann backed by Status Quo at their Belt Buckle Boogie peak.

A few songs from this album appeared on killer late 70s Punxploitation singles “Throw Him Jail”, “Don’t Be A Dummy” (a UK Top 40 hit!), and “Where’s The Show”. This album has been described as “Quo mixed with the Sex Pistols”, and we can’t disagree with that assessment.

In 1968 Status Quo’s first hit record “Pictures of Matchstick Men” was released and the debut album soon followed. The single reached #7 in the UK, and remains the band’s only major hit single in the US, where it reached #12. Picturesque Matchstickable Messages from the Status Quo features several covers, including “Green Tambourine” by The Lemon Pipers and “Spicks and Specks” by The Bee Gees.

South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar).