In terms of heaviness and the kind of music this blog mainly exists for, Pappo's Blues is the go-to Argentine band in this particular volume, and their first three records in particular.
I have used tracks from the first and third already in TDATS so here is a track from "Pappo's Blues 2" called "Insoluble", which displays his band's chugging blues-based rock. On February 25th,Pappo died in an accident on his motorcycle, leaving a legacy of excellent rock and blues in Argentine history. Since Pappo's Blues he had started bands such as Aeroblus and Riffas well as continuing a solo and collaborative career, and is sorely-missed by the rock and metal scenes that he had a huge influence on.
Posted by rich 2 comments. Labels: BloodrockJames Rutledge. Last year the Philadelphia band Bangwho I presume most of you will know by now appearing on Vol 1 after all! Previous to that, they had played a few reunion shows since the 's, and Rise Above's box set remaster of their records. Just prior to their tour of Europe, Lucille aka Lucyfer of Controradio Firenze in Italy podcast archive here interviewed Bang's frontman Frank Ferrara and they talked about the band's past and present career, as well as their rekindled enthusiasm to play again more regularly.
At the time, Lucille offered to contribute the interview to TDATS, but unfortunately that was around the time I was taking a hiatus from doing the blog. So, here it is now, transcribed by myself. Better late than never! Listen here and read my transcription following. Hi Frank! Frank at a show this year Frank : Thank you so much, hello everybody.
Lucille : Bang is a band that is familiar to the listeners of this show, as I often play Bang songs here, and Frank is the bassist and singer from the original line up.
So Frank, first I would like you to tell us something about the roots of Bang, going back to the starting point of your career, and that would be the show in Orlando in when you played on the same stage as Rod Stewart and Deep Purple.
Would you tell us about that crucial show? We really had no particular place to go, we had our equipment, we had gotten some marijuana, and we stopped to buy some rolling papers. He said it was an old poster and that show was last week. He let us in to set up our stuff. So, we had talked our way in to opening up for Deep Purple and Small Faces! Everything Remember - Various - Melodicrock.com Volume 5: Writing On The Wall (CD) life is about timing, seventy two hours earlier we were just driving to Florida with a U-Haul with no idea what would happen.
Lucille : You said it was a question of timing, but I think it was a mixture of fate and boldness, because you were really bold to force that hand of fate, so to say. Frank : We had to. We were always together, we learnt how to write and we became very tight, we were three people as one basically. Our music was good thank you God but I think the promotor saw our determination and our desire, which was just as much why we got the show as the music itself. Lucille : What happened then? A short time after playing that gig you got a contract with Capitol Records.
Frank : We played while the people were coming in, the lights were still on, and we had about two feet of stage left to use, it was a very small thing. He said he had a hotel in Fort Lauderdale where we could stay.
We waited a week and we drove to Richmond to do the Steppenwolf show. After that he asked if we wanted to do another show with The Guess Who, and at that point, when we stayed at the hotel in Fort Lauderdale, there was a studio there, Criteria Studios, which went on to be one of the bigger studios at that time. So after the Faces-Purple concert we did two or three more shows, we did the demo and then Capitol and Atlantic Records were both interested in the band, and we were waiting to see which one of those to go with.
What were the reasons behind that decision? Frank : Capitol Records at the time was very middle-of-the-road. Atlantic had all the hard rock groups, Zeppelin etc, everyone that was heavy, and Capitol was more of a contemporary label. They were just getting ready to lose Grand Funk Railroad. Now, the only reason we went with Capitol was because The Beatles were on there, they were our heroes.
We were kids, we were 18 years old, we trusted everybody at that age. We thought Capitol Records would do right by the band. So we were disillusioned, but what did we know? We were the musicians, we trusted them. Lucille : In fact you were kind of forced to change a lot, because Death of a Country is more of a spiritual, eco-friendly, Remember - Various - Melodicrock.com Volume 5: Writing On The Wall (CD) concept album with some hard rock, while your self-titled debut is more hard rock, more Black Sabbath-style, so you had to change a lot?
Frank : Back in the seventies, bands did two albums a year, so you only had six months in between recordings before you recorded another record. But we did it, because we knew we could write songs. Still, at the time Capitol was trying to make us more commercial, more commercial, more commercial, so after we did DoaC in the studio they rejected it and we had to write a whole different style of music.
We were writing all kinds of music and Capitol wanted top hits. We learned right away that this is not good. It was disillusioning, it was like an oxymoron. It broke our hearts because we really believed in Death of a Country. Lucille : But in some way the commercial ideas of Capitol succeeded, there was a time when Bang were quite famous because you were in the charts.
Again, the business took over and they stopped working that record. Long story short, I think what happened with the band was, six months after Bang was signed with the label, Capitol records got a new president and our producer went to Epic records.
Everybody at Capitol tower in Hollywood that was behind our band was gone. It never mattered to us, sure it was frustrating but we knew we could write songs and we knew we were good and we just tried to keep the faith. You have to do that in anything in life really. It was more pop-melodic, somehow almost Beatles-esque. What inspired that change? Frank : Even on DoaC we always did a lot of harmony. I think harmony in vocals is just as important as the instruments and we liked the two-part and three-part harmonies.
After the Bang album they basically made us change drummers right before the Mother album which was our second album. So we ended up recording the Mother album and Music with a different drummer.
Many folks have taken isolation quite hard, and patiently waited as shows have been postponed time and time again. This will be tough for them. And yet in spite of all this, we have a family member who needs help. We believe that forging ahead with these dates would have had a profoundly destructive effect on Mike, whose value to us as a brother means more to us than his job as singer. Just as we also ask for your support right now. Doomsters Monolord have announced an extensive US tour for !
The band have a new album on the horizon you can pre order now, Your Time To Shine. Def looking forward to more big, melodic glory doom on this one. Filth Is Eternal MySpace.
The gnarliest punk album of the year just dropped. Love Is A Lie, Filth Is Eternal from Filth Is Eternal formerly F'd and B'd reminds us that there was a time when Seattle bands were considered dangerous, when Mudhoney might jump on your face and half the roster of Sub Pop didn't look like even Starbucks wasn't gentrified enough for their tepid, pale faced indie rock bullshit. Fronted by an actual snarling wild animal over some of the best riffs and beats you have ever heard.
This record reminds me of a show I played in with my old band Fuse where Remember - Various - Melodicrock.com Volume 5: Writing On The Wall (CD) got wasted on unclean tapline Rolling Rocks and bottom shelf whiskey after getting a tattoo and ended up rolling on a country bar floor half nude and bleeding and smearing black grime and tattoo inky residue and blood everywhere, waking up the next day feeling kind of aroused and ready to fight literally anything but also half dead.
Sirhan Sirhan is gonna get out of jail and be all stoked to enter polite society and this shit will play and it will retrigger a hypnotic trance and make dude go all Winter Soldier on some dudes. If your band doesn't bang as hard as the ending of "The Dog", just quit now. Morgan Y Evans - Walking Bombs. Sign In Sign Up. More On: Alternative MetalVideo. Comment share on:.
Faith No More's legendary album "The Real Thing" was ranked 1 in British magazine's Kerrang's albums of the year list, which was published that same year. October 19th will see Remember - Various - Melodicrock.com Volume 5: Writing On The Wall (CD) release of an amazing self-titled solo release from KIRA. Kira Roessler has always been a bold and inventive player in bands like Black Flag, dos, The Visitors and many other lesser known yet also influential underground acts.
Basically like many punkers I always thought Roessler was one of the coolest people to ever walk the face of this rotten world, so it was awesome to get to chat about the solo record that Kitten Robot Records is releasing after a thirteen year gestation of the material.
More On: PunkExclusive. According to vocalist Sarabeth Linden, half of the music and lyrics for Shock To The System were written during the recent lockdown attributed to the global pandemic. Musically, there are a lot of firsts on this record. The EP was a bit more simple and aggressive, and those elements are on the album, too, but manifest in a different way. In general, we have grown a lot as a band and as individuals.
Sending horns to Jeff today! Add Possessed to My Radar. Add Carcass to My Radar. Thank you for registering! Click the link to confirm your email address. Please check your spam folder for the email, if it does not arrive, click this link From toCapitol Nashville was known as Liberty Records, before being changed back to Capitol in In the country music Remember - Various - Melodicrock.com Volume 5: Writing On The Wall (CD) along with many of its contemporaries moved to Nashville, TN.
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