viernes, 22 de mayo de 2015
Comenzaron como un grupo de rock en torno a la escena mod de Madrid, surgida a la sombra de la movida, junto a bandas como Los Contentos, Los Flequillos, Pánico Speed o Los Negativos. En sus primeros discos se aprecian influencias de música negra —soul, rhythm and blues y rock and roll—, psicodelia y garage y de hecho, aparecen en la onda del revival «garagero» de los años ochenta procedente de Estados Unidos. Desde entonces su sonido ha ido evolucionando hacia un potente hard rock de corte setentero.
En 1997, tras casi tres años de gira ininterrumpida, deciden dejar el grupo durante un período de tres años, para volver en 2000 con su disco Sonic. Hasta 2006 han publicado un total de once álbumes, dos de ellos en directo y otro compartido.
Han recorrido toda España y buena parte de Europa en numerosas giras (son conocidos en la escena underground de Suiza o Alemania). Asimismo, han tocado en numerosos festivales nacionales —Espárrago Rock, Festimad o Viña Rock— e internacionales —Beat o Mania, en Múnich—, en los que han compartido cartel con grupos como Metallica, The Love Warriors, Sepultura, Backyard Babies, Sonic Youth. En 1994, fueron elegidos por Deep Purple para actuar como teloneros en su gira española.1
Sex Museum ha sido el único grupo musical español, junto con Josele Santiago, en ocupar la portada de la veterana revista musical Ruta 66. En la portada aparecía el siguiente epígrafe: «Sex Museum: ¿el mejor grupo rock español de los 90?».2
Durante sus más de veinte años en activo, los miembros del grupo han compaginado su carrera en Sex Museum con muchos proyectos paralelos, la mayoría sin apenas éxito comercial y a un nivel underground, como Los Coronas, Los Matadors, Wonderboys o The Tubular Greens, aunque otros como Def Con Dos o La Vacazul han alcanzado mayor éxito. Además, Fernando Pardo ha ejercido de productor de muchos grupos españoles.
sábado, 9 de mayo de 2015
In 1968, James had a No. 3 hit with "Mony Mony". Co-written by James, Cordell, Cordell's writing partner Bo Gentry, and Bobby Bloom, "Mony Mony" reached No. 3 in the US and was a British No. 1 in 1968. The title was inspired by a sign for Mutual Of New York that hung outside James' apartment window. He followed it with the song "Do Something to Me". However, James was labeled as a bubble-gum rock artist, which he hated. Therefore, he changed his style to psychedelic rock.
miércoles, 6 de mayo de 2015
George Watters and Bruce Thomas created the band in 1965. George was the leader of The London Dri. He was so instrumental in getting our band started. Plus, credit is due to his parents who allowed us to practice in their home whenever we needed. They were like a second set of parents to us all. Originally, The London Dri consisted of George (drums), Mark Vukalcic (keyboard), Jim Simpson (bass), Mike Mihelich (vocals), and myself (guitar).This group lasted a couple of years. Band members went in different directions.
Thor's Hammer, or Hljómar, was an Icelandic rock band primarily active in the 1960s. Outside of Iceland, they are known among music collectors for their rare releases on Parlophone, sung in English and recorded in London for export. The most famous of these is the 1966 EP Umbarumbamba, regarded as one of the rarest released records in the world and known to fetch prices into the thousands of dollars when a copy surfaces. Their style can be described as garage rock, fuzz rock, and freakbeat, with noticeable influences from both The Who and The Beatles.
sábado, 25 de abril de 2015
A guitarist named John Thomas seems to have as much chance of being recognized as an individual as a fire hydrant in an urban setting. An attached nickname can sometimes be helpful when faced with such a challenge, and this Australian-born performer came up with a good one when he dubbed himself Creepy John Thomas after moving to London. Still, not everyone who hired him wanted to call him a creep in liner notes so, for example, he is sometimes mistaken for the British guitarist John "J.T." Thomas, who joined Budgie in 1978. Neither of these Commonwealth blokes have anything to do with the John Thomas who plays electric guitar on hip sides by Joe Henderson and Jimmy McGriff.
Creepy John ThomasCreepy John Thomas also made use of the stage name Johnny Driver. His first professional success took place as a songwriting member of the Flies, a combo based out of Melbourne that had Australian chart hits. the Flies were known to land on support gigs for some of the biggest '60s attractions touring down under, including the Rolling Stones and Roy Orbison. British RCA put out his self-titled Creepy John Thomas in 1969, a follow-up enchantingly entitled Brother Bat Bone ensuing on Teldec. A firm entitled Fingerprint has apparently reissued both of these masterworks, yet Thomas himself warns fans that these are bootleg productions.
BandagesThomas spent about a year in San Francisco following the original release of these solo albums, but by the early '70s had returned to London and a position as guitarist in the Edgar Broughton Band. Two albums with this outfit feature Thomas, the particularly practically entitled Bandages -- seeing as the album has cuts on it, that is -- combining him with studio mastermind Mike Oldfield. The guitarist also collaborated with Dave Stewart and Annie Lennox prior to the beginning of their Eurythmics success.
During the late '70s this artist undertook another location shift, heading to Berlin and starting up his own Johnny & the Drivers band. Thomas enjoyed Berlin, where creeps are popular, for a decade. Again the project netted a pair of albums on as many labels, in this case Polydor and Phonogram pressing the platters. Thomas was "planning his next attack" upon returning to London but soon made his expertise available to other performers as a producer. He eventually released a new solo album, suggesting listeners Remember Me This Way.
domingo, 19 de abril de 2015
This is a commune band, also known as ‘Center Family’. The album is mostly mystical folk, and includes a ‘chant instructional’. A lot of it isn’t far from standard ‘70s singer-songwriter music, other than the spiritual lyrics. Tempos are generally sluggish and the songwriting simple, though a few songs have catchy choruses. The songs are just acoustic guitar and vocals (mostly male, though some female too), with flute or harmonica on a few, and electric guitar on one. They definitely suffer from lack of variety. Not really the kind of thing that can hold a listener’s interest for a full half hour.
miércoles, 15 de abril de 2015
Tommy James & the Shondells -- the very mention of their name, even to someone who doesn't really know their music, evokes images of dances and the kind of fun that rock & roll represented before it redefined itself on more serious terms. And between 1966 and 1969, the group enjoyed 14 Top 40 hits, most of which remain among the most eminently listenable (if not always respected) examples of pop/rock. The group was almost as much of a Top 40 radio institution of the time as Creedence Clearwater Revival, but because they weren't completely self-contained (they wrote some, but not all, or their own hits) and were more rooted in pop/rock than basic rock & roll, it took decades for writers and pop historians to look with favor on Tommy James & the Shondells.