Two brothers in spirit found themselves in exile in California: the English Glenn Hughes (ex-Trapeze, ex-Deep Purple) and Jason Bonham. After Bonham had represented his father at the legendary 2007 O2-Gig in a grandiose way and after several sessions with John Paul Jones and Jimmy Page as well as singers like Steven Tyler (Aerosmith) or Myles Kennedy (Slash, Alter Bridge), Led Zeppelin had not been continued without Robert Plant, the drummer suddenly gave the pulse of a supergroup: Black Country Communion. Stylistically anchored in the seventies, the band also had an output corresponding to that time: three albums in three years. When Hughes complained loudly that Black Country Communion was acting like a hobby band for Joe Bonamassa and could not establish itself as an independent force, the star guitarist's management pulled the plug.
She learned her guitar trade at the Stuttgart Musikhochschule and the renowned Berklee College of Music in Boston. On her debut album "Yasi", which caused a stir in the guitar scene a few months ago, she translated her skills, at least in instrumental terms, into grandiose songs. "The album is deliberately colourful," smiles the 21-year-old, knowing full well that she hasn't yet decided on her style and doesn't (yet) want to do so. "My top three guitarists are Steve Vai, Robben Ford and Jeff Beck."
The Dane Majke Voss Romme is always surprised by who she is compared to. Woman at the piano - Tori Amos is the influence, isn't he? "In fact, for example, I first heard about her from music journalists. I don't know much about her, but I like what she does." So the question arises as to which musicians are important for her. "I love the music of Stina Nordenstam, a Swedish singer and songwriter, as well as Nina Simone and PJ Harvey. As a child I also enjoyed listening to Whitney Houston, Toni Braxton and the Spice Girls. But to what extent this has influenced my creative work, I can't say."
ANATHEMA - The Lost Song Part 3 (5:16)
Album: Distant Satellites (2014)
No one has an exact definition, but everyone knows what is meant when we talk about Krautrock. "Krautrock is not a musical genre, but a term for a phase: 1969 to 1974," explains Dirk Jan Müller of the band Electric Orange. "Krautrock can be anything. "He was most exciting when he wasn't Anglo-American." Exactly this independence is embodied by bands like Faust, CAN, Amon Düül II, Popol Vuh, Guru Guru or Kraan, who showed a creative unconcern unknown to local conditions. Tom Redecker of The Perc Meets The Hidden Gentleman describes Krautrock as "Germany's only contribution to the worldwide phenomenon of rock music". Of course, Krautrock is wide-ranging: electronics from Kraftwerk or Tangerine Dream; art rock from Eloy, Jane or Grobschnitt; anarchistic folk from Witthüser & Westrupp.
Vienna, one of the first days of spring after a mild winter. The man who turned music history upside down with "Phaedra" forty years ago is sitting in a venerable café on the Ring. The years have left their mark on Edgar Froese's face, but his unrestrained desire to fable, experiment and provoke has not been harmed. Music was and is never an end in itself for him. Froese wants to get to the bottom of things and put everything into a big world context. To the left and right of his table, diplomats and business magnates palaver about the future of Europe, while Froese lets his gaze wander unsentimentally into the past and future, chatting in a good mood about a great adventure.
eclipsed: "Phaedra" is an album that takes on new form and form in every life situation, environment or era. How is such a plate made?
It was pure sex, above all. Along with Jimmy Page's ubiquitous guitar and John Bonham's powerful drums, he seemed to be the driving force in the Led Zeppelin cosmos. Their highly potent and vibrant hardrock seemed like a permanent penis to the audience of the late sixties and early seventies. And not like a little one. The boys were jealous, the girls shuddered, fainted or cheered - depending on temperament and moral disposition. It was exciting.
This sex was embodied by lead singer Robert Plant. The slim torso slightly bent backwards, one hand resting on the hip, the blond angel curls dangling above the tight bottom, a face that at one moment seemed romantic and feminine, but at the next already belonged to the arrogant lust, who insatiably craved the next best skirt. So he stood at the microphone and let his unreal high, through mark and leg moving voice be heard. He was a fantastic mix of Errol Flynn and Brigitte Bardot.
After the creative bang "Caravanserei", the classic Santana line-up was finally separated in 1972. Carlos Santana is neither the type who regrets anything nor extends artistic differences to the private sphere. Over the years he has cultivated a friendly relationship with his former companions: Wherever he met former members of his band, he hugged them warmly, chatted with them and invited them to a joint jam. Nevertheless, it took more than forty years before all those involved sat down at the same table and pondered new joint projects.