Seguindo a temática da sebunda passada: mais q nos discos de estréia, os discos auto-intitulados (ou “sem título”) ao longo da carreira das bandas predomina.
MELHORES DISCOS AUTO-INTITULADOS, OU SEM TÍTULO, Q Ñ OS DISCOS DE ESTRÉIA:
“Coroner” [o 6º – 1995]
“Portishead” [2º – 1997]
“Metallica” [5º – 1991]
“Violeta de Outono” [2º – 1987]
“Inocentes” [4º – 1989]
“Television” [4º – 1992]
“Nação Zumbi” [5º – 2000]
“The Cult” [6º – 1994]
“Plebe Rude” [3º – 1988]
“Echo & the Bunnymen” [5º – 1987]
E ñ tivemos playlist do bonna semana passada. Às vezes tirar uma folga é bacana. Teremos pra hoje?
Sei q o Uriah Heep foi uma grande banda “b”, da 2ª divisão dos 70’s, mas a real é q sempre tive preguiça de ir atrás. Motivo: mudanças infinitas de formação, impossível pra eu assimilar.
Sei q têm lá um “Tony Iommi”, membro original q resolutamente mantém a lojinha aberta – o tal Mick Box – mas é tanto ex vocalista e ex tecladista, q deixei quieto.
Tenho 2 discos aqui: aquele ao vivo na União Soviética de capa vermelha, e até recentemente campeão em sebos + um recente, “Into the Wild”, q tive q ir até onde está guardado pra lembrar do nome. Q comprei pq tava em oferta, na base do “um dia vou ouvir melhor e ver qual é q é”.
Tvz eu ache algum tempo pra isso na quarentena eheh
Mas falei do Uriah Heep só pra contextualizar o falecimento da vez.
Pessoal aqui tem dicas? Ressalvas? Deixar pra lá tb?
***
Outra coisa é a live abaixo. Nova geração duma molecada metaleira estadunidense.
Sempre tive vontade desse tipo de coisa: fazer uma música como se fosse outra banda tocando. O q fizeram esses caras na “versão Iron Maiden” pra Oingo Boingo. Q, ñ fosse o vocal, pra mim teria ficado ok.
Em tempos de No Class, sugeri isso uma vez: pegarmos umas músicas de outras bandas e fazer como se o Motörhead tivesse coverizado ou composto. A deixa foi aquele tributo ao Queen – “Dragon Attack” – em q Lemmy cantou e tocou guitarra base em “Tie Your Mother Down”, mas ñ com o Motörhead de fato (era Ele, Ted Nugent na guitarra solo, Bruce Kullick na guitarra base, Rudi Sarzo no baixo e Tommy Aldridge na bateria), e q ficou muito a ver.
Poderia ter sido composta pelo Motörhead, de certo modo.
A idéia ñ andou: o baixista escolheu “Sunday Morning” (Bolshoi) e o guitarrista, “There’s A Light That Never Goes Out” (The Smiths), q fomos incapazes de motörheadizar. Na real, nem a cover do Queen acabamos fazendo.
Sei q eu curtiria algum cover de Van Halen q tivesse 2 vocalistas: um “David Lee Roth”, outro “Sammy Hagar”, com um fazendo só os sons do outro e vice-versa. Acho q só eu pagaria pra ver, mas tudo bem.
Divagações à parte, vídeo acima rende uns likes/dislikes, ou nem?
Coisa dum tempo em q gravadoras ainda ñ sabiam vender rock: contracapa de “In-A-Gadda-Da-Vida” (1968) prolixa e hiperbolicamente descreve a banda e seus integrantes ñ só como release, mas quase como biografia (super heróis com super poderes) e currículos. Pedigree etc.
“IRON – symbolic of something ‘heavy’ as in sound BUTTERFLY – light, appealing and versatile… an object that can be used freely in the imagination.
The group was new, the music different. At first their following was limited to the L.A. ‘underground’ – the hip young local fans who listen and keep up on new sounds and trends. That was 1967 and the beginning for the Iron Butterfly. ‘Heavy’ became their first album and first best seller. It was also the introduction of a new sound created by four young men from four different parts of the country who combined their unique musical talents to form what was soon to become known as ‘the Iron Butterfly sound’. All four contribute ideas to each song that is recorded and those ideas are often as different as the four young men themselves. The sound which was introduced on ‘Heavy’ becomes even more prominent in this their second L.P. “In-A-Gadda-Da-Vida’. And the musical genius of Doug Ingle, Lee Dorman, and Erik Brann becomes even more obvious than before.
DOUG INGLE is the Butterfly‘s leader and spokesman. His ideas about music are as unique as the group itself and he is constantly thinking of new ways for expression through sound. Doug’s father was a church organist and much of the classical influence of the church is evident is his writing (he wrote ‘Unconscious Power’/’Possession’, the group’s first single) and playing. He migrated to the West Cost at an early age and is often the most serious member of the group. It was Doug who first founded the Iron Butterfly and originated the name.
Seventeen-year-old ERIK BRANN is the youngest and another ‘nomad’ in the group. One of the most talented young lead guitarists in the country, his musical training began before school and by the time he was seven years of age, he was a concert violinist. Although music has always been his one great love, Erik studied drama and before joining the Butterfly, his acting ability had landed him the lead role in a local play. A native of Boston, Massachusetts, Erik hopes to, one day, continue in the acting field. Right now, however, his only concern is the Iron Butterfly, turtleneck sweaters, bananas, and the fairer sex.
Offstage he is the deepest thinker, but onstage LEE DORMAN becomes the humorist and wit of the Iron Butterfly. Lee’s musical training goes back to his pre-teen years and his ‘heavy’ bass lines are easily recognizeable in this and the other Butterfly recordings. His unique arranging ideas have been a valuable contribution at every Butterfly phase. A native of St. Louis, Missouri, Lee is another member who spent a great deal of time travelling before finally settling down in San Diego two years ago.
RON BUSHY is one of the Butterfly ‘nomads’. His father, a career man in the military, was always on the go and consequently Ron was able to call about 34 different states ‘home’. Aside from promoting his musical genius, travel also made Ron one of the most out-going of the four members. Ron is also and outdoorsman who digs fishing, hunting and skidiving. His drum ‘training’ goes back to the sixth grade when he fashioned his first drum by building a practice pad and cutting out and vanishing his own drum sticks from wood“.
Rob Zombie novo. Toda semelhança será mera coincidência?
King freak gathering the brains of hyenas King freak drinking blood in the arena King freak taste the vectors of disease King freak destroy you while you’re on your knees
We ain’t your execution We ain’t your head pollution We ain’t your flock of sheep We ain’t your minds to read
King freak circling a legion of doom King freak exploding from a sonic boom King freak ringing your cathedral bells King freak calling from the mouth of hell
We ain’t your execution We ain’t your head pollution We ain’t your flock of sheep We ain’t your minds to read
And the crows will dig your grave I do not forgive, I do not save And the crows will dig your grave I do not forgive, I do not save
King freak carve an X into your head King freak dripping deeper in the red King freak gathering sharks in the shallows King freak elevator to the gallows
Disco novo intitulado “The Lunar Injection Kool Aid Eclipse Conspiracy”, prometido prum eventual 12 de março. E aludindo a Jim Jones, mas tvz ñ só.
Ele lá com o “king freak” de topete, nós aqui com o “Rei do Gado”. Ou ver sentido anti-fascista é forçar a amizade?
Entre tantas listas que já foram expostas e discutidas neste boteco, acho que nunca se fez uma dos melhores álbuns de estréia auto-intitulados no hard/metal, algo que particularmente não gosto.
Gosto de títulos, acho que eles dão força a uma obra musical e se tornam uma referência ao se analisar a discografia de um determinado artista.
Dito isso, meu TOP 10 DE PRIMEIROS ÁLBUNS SEM TÍTULO: [ou “auto-intitulados”?]