1970s Rock MusicRock music of the 1970s
1970' s Rock INSIDEce 1974
In the fall of 2006, Tom Cox, a signature of the Sunday Times, contacted two musicians in the recording studios to suggest a bizarre way to increase the visibility of their product. But Israel Nash's Rain Plan, a cheeky singer-songwriter from Missouri who later moved to Texas, already sounds wonderfully like a classic in the new psychological-folk scene.
In fact, he defines his music as "desert folklore," almost as if he were emphasizing the breadth of the compositions, which certainly draw on the epic sound of the sixties, but also have the courage to go even further back to try out the nation's most original and purest sound backbone. His quiet voice oscillates between rough Neil Young style countryside clamps and long melodic highways reminiscent of the more mature Beach Boys without losing sight of the rock matrix, a necessary element to break the innate stiffness of the listener.
There are no signs of fatigue or blurring during the nine tracks, but there are emotional peaks to give a further rhythm to a music that already naturally follows the moods of the clouds and which, admittedly much more bizarre, is accompanied by men who sometimes distract it from the ground.
The last mentioned "Passage", by Kravitz, is a clear example of how, in a situation of complete and free artistic control of the product - far from the unartistic pressure of a record market in constant need and the rhythms of television formats - even artists who in recent years - and who have not shown too much interest - have been able to revive their laurels - artists can now use barrels to program a relaunch on the scene (in order to conquer a permanent place in our country in the top ten singles and bestsellers).
Because LOMBARDI ROCCO: The Swiss drummer, after long marathons with organist Frank Salis and guitarists Joe Colombo and Luca Princiotta (all present as guests) and picaresque musical adventures that led him across the ocean, christens the goal of his first solo record, which gives the audience a real rainbow rhythm.
The eclectic and "boundless" approach of jazz - the fundamental contribution of the bassists Flavio Piantoni and Gian-Andrea Costa - is accompanied by the massive presence of rock to drive the traces in the direction of Zappa's cosmology and to record King Crimson's experimentation. Because BENJAMIN BOOKER: A rock and roller that has its deepest roots in Chuck Berry meets the Beatles of Revolver, the misunderstood flair of T-Rex, the "dirtiest" Dylan and the spirit of Sam Cooke in an incredible explosion of sound energy.
Benjamin Booker, born in 1989, certainly has the courage to add a very contemporary post-grunge/garage taste to this already incredible fusion that brings him closer to creative gambling - if you listen to him, you can only share that opinion - to Jack White. Give this young rock singer songwriter, who was taken over by New Orleans, a chance.
Apart from the captivating cinematic references, it turns out that the Mantuan Quartet has adopted much more than just the name of the character of Bastardi senior gloria: on a strong rock-blues matrix, which owes much to the experiences of the early 70s, they create Funky Vagits, which greatly expand the band's musical offer and make it decidedly more aggressive.
Ugostiglitz, however you want to take it, remains deeply rocky, as long as they make the spontaneity and naturalness of the sound attitude not a trademark, but a stubborn basis for life. WEIL ORWELLS: Without necessarily looking for references in the long and not very exciting list of current and supposed rock stars, it will be enough to say that the U.S. The Orwells are demonstrating that they have an evil and insane sound aggressiveness to revive the fame of the best rock parties of the second half of the last century.
In short, don't expect fine sounds and revolutionary intuitions, but simply good rock, or by stealing the words from the children of Illinois, "dirty rock nn rock roll".