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Τετάρτη 30 Δεκεμβρίου 2015

V.A.-Classics In The Metal (2013) cd 2

01 - At Vance- Four Seasons- Summer (Vivaldi Cover)
02 - Steve Grant's Barockestra- Hair and A G String
03 - Evil Masquerade- Ride of The Valkyries (Wagner Cover)
04 - Dark Moor- Swan Lake (Tchaikovsky Cover)
05 - Heavatar- Replica
06 - Dragonland- Rondo A La Turka (Mozart Cover)
07 - Lisegang- Sabre Danse Macabre (Khachaturian Cover)
08 - Emerson, Lake & Palmer- Romeo and Juliet
09 - Trans-Siberian Orchestra- Toccata (Bach Cover)
10 - Steve Grant's Barockestra- Flight of The Bumble Bee (Rimsky-Korsakov Cover)
11 - Epica- Presto (Vivaldi Cover)
12 - Space Odyssey- The Pagamo Thrill
13 - Kaledon- Goodbye My Friend
14 - At Vance- Summer 2nd Set (Vivaldi Cover)
15 - Iron Mask- Morgana's Castle
16 - Therion- Symphony No.9 (Dvorak Cover)
17 - Steve Grant's Barockestra- Badinerie (Bach Cover)
18 - Tierra Santa- Himno A La Alegria (Beethoven Cover)
19 - Angelica- Ave Maria
20 - Dark Moor- The Moon

Σάββατο 26 Δεκεμβρίου 2015

V.A.-Classics In The Metal (2013) cd1


01 - At Vance- 5th Simfoniа (Beethoven Cover)
02 - Steve Grant's Barockestra- Largo Al Factotum, Figaro (Beethoven Cover)
03 - Evil Masquerade- Badinerie (Bach Cover)
04 - Dark Moor- Four Seasons- Winter (Vivaldi Cover)
05 - Vitalij Kuprij- Opus I (Paganini Cover)
06 - Arachnes- The Barber of Seville (Rossini Cover)
07 - Luca Turilli- Caprice In A Minor
08 - Masterplan- Lonely Winds of War (Alexander Borodin Cover)
09 - Mägo de Öz- Czardas (Monti Cover)
10 - Steve Grant's Barockestra- Dance of The Cygnets (Tchaikovsky Cover)
11 - Epica- Montagues & Capulets (Prokofiev Cover)
12 - Skylark- Eine Kleine Nachtmusik K525 (Mozart Cover)
13 - Viper- Moonlight (Beethoven Cover)
14 - Pathfinder- Pathway To The Moon
15 - Stratovarius- Holy Light (Bach Cover)
16 - Therion- Il Trovatore (Verdi Cover)
17 - Steve Grant's Barockestra- William Tell Overture (Rossini Cover)
18 - Gaja Prelude- Mystic Formula
19 - Angelica- Der Holle Rache (The Queen of The Night's Aria. Mozart Cover)
20 - Aunt Mary- In The Hall of The Mountain King (Edvard Grieg Peer Gynt Cover)
21 - Warmen- Return (Salieri Cover)


Παρασκευή 25 Δεκεμβρίου 2015

Elvis Presley - Christmas 1957


01. Santa Claus Is Back In Town (Jerry Leiber, Mike Stoller) - 2:23
02. White Christmas (Irving Berlin) - 2:23
03. Here Comes Santa Claus (Right Down Santa Clause Lane) (Gene Autry, Oakley Haldeman, Harriett Melka) - 1:53
04. I'll Be Home For Christmas (Walter Kent, James Gannon, Buck Ram) - 1:53
05. Blue Christmas (Billy Hayes, Jay Johnson) - 2:07
06. Santa Bring My Baby Back (To Me) (Aaron Schroeder, Claude DeMetrius) - 1:52
07. Oh Little Town Of Bethlehem (Lewis H. Redner, Phillips Brooks, Elvis Presley) - 2:35
08. Silent Night (Joseph Mohr, Franz Gruber, Elvis Presley) - 2:23
09. (There'll Be) Peace In The Valley (For Me) (Thomas A.Dorsey) - 3:22
10. I Believe (Ervin Drake, Irvin Graham, Jimmy Shirl, Al Stillman) - 2:04
11. Take My Hand, Precious Lord (Thomas A.Dorsey) - 3:20
12. It Is No Secret (What God Can Do) (Stuart Hamblen) - 3:52


- Elvis Presley – vocals, guitar
- Scotty Moore – guitar
- Gordon Stoker - piano, backing vocals
- Dudley Brooks, Marvin Hughes - piano
- Hoyt Hawkins - organ
- Bill Black – bass
- D.J. Fontana - drums
- Millie Kirkham - backing vocals
- The Jordanaires - backing vocals (09-12)


Δευτέρα 21 Δεκεμβρίου 2015

Παρασκευή 18 Δεκεμβρίου 2015


The Allman Brothers Band was an American rock band formed in Jacksonville, Florida in 1969 by brothers Duane Allman (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). While the band has been called the principal architects of southern rock, they also incorporate elements ofblues, jazz, and country music, and their live shows have jam band-style improvisation and instrumentals.

The group's first two studio releases 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" and "Whipping Post", and is often considered among the best live albums ever made. Group leader Duane Allman was killed in a motorcycle accident later that year, and the band dedicated Eat a Peach (1972) in his memory, a dual studio/live album that cemented the band's popularity. Following the motorcycle death of bassist Berry Oakley later that year, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973's Brothers and Sisters, which, combined with the hit single, "Ramblin' Man", placed the group at the forefront of 1970s rock music. Internal turmoil overtook the band soon after; the group dissolved in 1976, re-formed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.

The band re-formed 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 drummer), and became renowned for their month-long string of shows at New York City's Beacon Theater each spring. The band retired in 2014 with the departure of the aforementioned members. The band has been awarded eleven gold and five platinum albums,[2] 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.[3]

Κυριακή 13 Δεκεμβρίου 2015

Molly Hatchet - Greatest Hits

Molly Hatchet is an American Southern rock/hard rock band that formed in Jacksonville, Florida, in 1975. The band is perhaps best known for their hit song "Flirtin' with Disaster" from the album of the same title. The band was founded by Dave Hlubek


Originating from and based in Jacksonville, Florida, Molly Hatchet shared influences and inspiration with what is perhaps the most well-known act in the Southern rock genre, Lynyrd Skynyrd, Another up-and-coming Southern rock act, .38 Special, were contemporaries and peers to the members of the Molly Hatchet. Dave Hlubek was the band's vocalist prior to Danny Joe Brown, and wrote and co-produced many of the band's songs. Hlubek has stated that the demise of Lynyrd Skynyrd opened the door for Molly Hatchet.[1] Members of the band 38 Special referred Molly Hatchet to manager Pat Armstrong.[1] Armstrong with partner Alan Walden had briefly been co-manager of Lynyrd Skynyrd in 1970. Armstrong signed on as Molly Hatchet's manager. Ronnie Van Zant was slated to produce Molly Hatchet's first album, having helped in writing arrangements and directing rehearsals prior to his death.[citation needed] Molly Hatchet cut their first demos in Lynyrd Skynyrd's 8-track recording studio using their equipment.[1] Other demos were cut in Jacksonville's Warehouse Studios. Warner Bros. Records expressed interest in the resulting recordings from these sessions.[citation needed] Molly Hatchet ended up being turned down by Warner Bros. who picked Van Halen over Molly Hatchet. After this setback, Molly Hatchet toured the Florida roadhouse and bar circuit. About six months later Epic Records signed the band to a recording contract, bringing in Tom Werman as a producer.

Tom Werman, a producer known for working with straight hard rock acts such as Cheap Trick and Ted Nugent, [2] combined boogie, blues and hard rock, making Molly Hatchet's sound different from more country-influenced acts such as Outlaws. Similar to the area's other Southern rock acts, their music in many ways expressed the values, hopes and excesses of some 1970s-era young adults in certain Southern metropolitan areas similar to Jacksonville, Florida.[citation needed]

The band recorded and released their first album, Molly Hatchet in 1978, followed by Flirtin' with Disaster in 1979. Molly Hatchet proceeded to tour behind therecord, building a larger fan base. Danny Joe Brown, lead singer, left the band in 1980 because of health and other reasons, only to return three years later.[3]

official site



Παρασκευή 11 Δεκεμβρίου 2015

The Clash - The Clash (1977)

This album was the first major punk record to be released in the UK. It was later released in the US on July 23rd 1979.

Iconic artwork, alongside themes of Britain’s disaffected youth, unemployment, drugs, rioting and oppressive policing acted as a blueprint for the burgeoning punk genre.

The album's cover version of Junior Murvin's Police & Thieves established an early connection between punk and militant reggae music.

The Clash were an English punk rock band that formed in 1976 as part of the original wave of British punk. Along with punk, their music incorporated elements of reggae, dub, funk, ska and rockabilly. For most of their recording career the Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, lead vocals), Paul Simonon (bass guitar, vocals) and Nicky "Topper" Headon (drums, percussion). Headon left the group in 1982, and internal friction led to Jones's departure the following year. The group continued with new members, but finally disbanded in early 1986.

The Clash achieved commercial success in the United Kingdom with the release of their debut album, The Clash, in 1977. Their third album, London Calling, released in the UK in December 1979, earned them popularity in the United States when it was released there the following month. It was declared the best album of the 1980s a decade later byRolling Stone magazine. In 1982 they reached new heights of success with the release of Combat Rock, which spawned the US top 10 hit "Rock the Casbah", helping the album to achieve a 2× Platinum certification there. Their final album,Cut the Crap, was released in 1985.[2]

The Clash's politicised lyrics, musical experimentation, and rebellious attitude had a far-reaching influence on rock,alternative rock in particular.[3] They became widely referred to as "The Only Band That Matters", originally a promotional slogan introduced by the group's record label, CBS. In January 2003, shortly after the death of Joe Strummer, the band—including original drummer Terry Chimes—were inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked the Clash number 28 on their list of the 100 greatest artists of all time.[4]

Critic Sean Egan summarised what made them exceptional by writing, "They were a group whose music was, and is, special to their audience because that music insisted on addressing the conditions of poverty, petty injustice, and mundane life experienced by the people who bought their records. Moreover, although their rebel stances were often no more than posturing, from the Clash's stubborn principles came a fundamental change in the perception of what is possible in the music industry, from subject matter to authenticity to quality control to price ceilings."[5]

Side one
No.TitleLead vocalsLength
1. "Janie Jones" Strummer 2:03
2. "Remote Control" Jones, Strummer 3:00
3. "I'm So Bored with the USA" Strummer 2:25
4. "White Riot" Strummer 1:56
5. "Hate & War" Jones, Strummer 2:05
6. "What's My Name?" (written by Strummer, Jones, Keith Levene) Strummer 1:40
7. "Deny" Strummer 3:03
8. "London's Burning" Strummer 2:12

Side two
No.TitleLead vocalsLength
1. "Career Opportunities" Strummer 1:52
2. "Cheat" Strummer 2:06
3. "Protex Blue" Jones 1:42
4. "Police & Thieves" (written by Junior Murvin, Lee Perry) Strummer 6:01
5. "48 Hours" Strummer 1:34
6. "Garageland"


Παρασκευή 4 Δεκεμβρίου 2015

Blue Oyster Cult - Imaginos 1988

Spanning three decades, Blue Öyster Cult has a long and storied history. The band got its start in the late ’60s on Long Island, New York, as the Soft White Underbelly, but each member had been involved in bands previously in high school and college, before ending up in the “right place at the right time” to create the beginnings of Blue Öyster Cult.

The threads that eventually wove together to create Blue Öyster Cult got their start in upstate New York.

Long Island native Donald Roeser and Albert Bouchard (of Watertown, New York) met at Clarkson College, in Potsdam, NY. The two were introduced by a mutual friend, Bruce Abbott (who later co-authored “Golden Age of Leather” with Donald). With Abbott and two other friends, they formed “The Disciples” and played college parties and local beer halls. The next year, the band reformed and played the same circuits as “Travesty” (named after the Blues Project album). Through all this, their studies fell by the wayside, and both Albert and Donald decided to quit college to concentrate on playing music full-time.

Eventually “Travesty” broke up, Donald and Albert took seperate paths for a while. Donald went back to Long Island, and Albert took a musical opportunity in Chicago. After moving there, though, the band fizzled, and Albert returned to NY and joined Donald. In the meantime, Donald had been jamming with local musicians, and had met a person that would become very influential in their future: Sandy Pearlman.

Sandy Pearlman became interested in rock music around the time of the British Invasion, and was a pioneering voice of rock criticism, opening a new field for creative writers like Lester Bangs. Both Pearlman and his friend Richard Meltzer were contributors for seminal magazine “Crawdaddy!,” the first magazine that dedicated itself to analysis of rock music and its culture.

Allen Lanier came into the fold by way of guitarist John Wiesenthal. Allen had accepted employment at a film company at which Wiesenthal was also an employee. After becoming acquainted, Wiesenthal invited Allen out to Long Island to meet and jam with the loose group of musicians he played with, and Allen began to regularly jam with them.

An old house near Stony Brook College became ground zero for the formative band, and casual jams with whomever happened to be hanging around began to turn into rehearsals with a core band, which included Wiesenthal, Donald, Albert, Allen and Andrew Winters, a school friend of Donald. It was 1967.

Pearlman (along with Meltzer and Wiesenthal) had been a student at Stony Brook, and was becoming increasingly involved in the music scene. When he heard the formative combo, he instantly recognized the talent at work. He had an idea for a band, and thought that this group of musicians had the chops to put that idea into play. The musicians saw that Pearlman’s contacts and stature in the local (and increasingly national) scene could help them spawn a career as well, and an alliance was formed.


  [01] I am the one you warned me of
  [02] Les Invisibles
 [03] In the presence of another world
 [04] Del Rio's song
 [05] The siege and investiture of Baron
 [06] Astronomy
 [07] Magna of illusion
 [08] Blue Oyster Cult
 [09] Imaginos




Clock strikes twelve and moondrops burst
Out at you from their hiding place
Like acid and oil on a madman's face
His reason tends to fly away
Like lesser birds on the four winds
Like silver scrapes in may
And now the sand's become a crust
Most of you have gone away

Come susie dear, let's take a walk
Just out there upon the beach
I know you'll soon be married
And you'll want to know where winds come from
Well it's never said at all
On the map that carrie reads
Behind the clock back there you know
At the four winds bar

Hey! hey! hey! hey!

Four winds at the four winds bar
Two doors locked and windows barred
One door to let to take you in
The other one just mirrors it

Hey! hey! hey! hey!

Hellish glare and inference
The other one's a duplicate
The queenly flux, eternal light
Or the light that never warms
Yes the light that never, never warms
Or the light that never
Never warms
Never warms
Never warms

The clock strikes twelve and moondrops burst
Out at you from their hiding place
Miss carrie nurse and susie dear
Would find themselves at four winds bar

It's the nexus of the crisis
And the origin of storms
Just the place to hopelessly
Encounter time and then came me

Hey!hey! hey! hey!

Call me desdinova
Eternal light
These gravely digs of mine
Will surely prove a sight
And don't forget my dog
Fixed and consequent

Astronomy...a star