Music Blogs At Traveling Luck

Some sadly overlooked Can-indebted post punk beauty here folks! Sticken-In's stark but fucked instrumental palette seems to take a leaf from both their mentor's collaborations with Japanese vocalist Phew and from Damo's vocalese, resulting in lots of harmonically/structurally sophisticated concepts being advanced here, with other tips 'o the hat in the direction of of Gang Of Four via scribble/scratch guitars and P.I.L. via dubwise production maneuvers of a downcast demeanor.

Get it via Megaupload Here 

Record Club No. 1:
The Velvet Underground & Nico
Finally, A Record Club That Won't Screw You
RS - M/U - ZS - DF

No recording of tonight’s show (due to a fuck-up by yours truly), which is just as well as technical problems in the studio made it not so swell…
There was a show. It was part two of Musically Speaking. It was ok, but chaos due to a completely fubar air-room made it frustrating and not very [...]

Year: 1992
Style: Rock
Country: France
Format: CD
Label: Remark records (517 194-2)
Tracks: Sergent Pépère / Pas d'papier water / Comme tu dégueules / Look anorak / Les p'tites bites / Assaut sur mon grand-père / L'usine in the sky / Twist n'chat / Hep / Seau d'eau sous-marine / Hard les smacs / A Walibi j't'emmène / Get claques / Hey Jules

Les Bidochons is a group of musical parodists wich took their name from Christian BINET's comic strip les Bidochons. The band's discography is based on parodies with lyrics rewritten in French of pre-existing songs from THE ROLLING STONES, THE SEX PISTOLS, TELEPHONE and, of course, THE BEATLES.

Yoko Ono, Paul Mc Cartney, Julian and Sean Lennon had no easy laugh about that. That's how Les Bidochons had to confront the lawyers of Apple Corps and that they finally achieved their biggest media blow.

They chained themselves on a huge bed, in the street, in front of fans, cameras and curious. In the end, the band won the right to parody The BEATLES. The procedure turned round against their authors and gave an unhoped exhibition to the album.

1. Open Your Eyes, You Can Fly 4:29
2. Time's Lie 5:09
3. Sometime Ago 4:44
4. San Francisco River 4:06
5. Andei (I Walked) 6:11
6. Ina's Song (Trip to Bahia) 3:40
7. Conversation 2:34
8. Medley: White Wing/Blank Wing 5:50

Flora Purim - Guitar, Percussion, Vocals
David Amaro - Guitar, Vocals
Egberto Gismonti - Guitar
George Duke - Keyboards, Vocals, Arp String Ensemble
Ron Carter - Bass
Alphonso Johnson - Bass
Airto Moreira - Percussion, Conga
Ndugu - Drums
Robertinho Silva - Percussion, Drums, Berimbau
Laudir DeOliveira - Percussion, Conga
Hermeto Pascoal - Vocals
Flora Amaro - Vocals
Thomas Flora - Vocals

AMG:

1. Madre di Cose Perdute (20:30)
2. Sette? (21:18)

Bambi Fossatti - guitars, vocals
Lio Marchi - keyboards
Angelo Traverso - bass
Maurizio Cassinelli - drums, vocals

1 - 2

Scans

1. Maya Desnuda (6:08)
2. Decomposizione, Preludio E Pace (1:55)
3. 26 Febbraio 1700 (7:20)
4. L'Ultima Graziosa (5:22)
5. Moretto Da Brescia:
- a. Goffredo (6:15)
- b. Il Giardino Del Re (9:16)
- c. Dolce Come Sei Tu (5:19)

Bambi Fossatti - guitars, vocals
Lio Marchi - keyboards
Angelo Traverso - bass
Maurizio Cassinelli - drums, vocals

Progarchives:
"The Gleemen quartet from Genoa is rather a typical for Italian prog groups, generally avoiding the heavily slanted symphonic influences most of their countrymen were choosing and were relying on a heavy guitar-based sound and were often hard rocking. Their first album (1970) is still regarded nowadays as a gem from collectors all over the world, although it will surprise progheads a bit with its very 60's sound and major Hendrix influences, and absolutely stupendous artwork.

Having changed their name to a more Italian sounding name (Garybaldi being some hero of the late XIXth century in Liguria and neighbouring French Provence), they proceeded to record two further album with the same heavily slanted Hendrix influences even if the keyboards are also a good part of the sound). The first one sports an astounding and complex artwork by future Italian comix superstar Guido Crepax. Sidelong tracks are a common feature in those albums and they are self-indulgent, either.