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Samla Mammas Manna - Maltid (1973)


Artista: Samla Mammas Manna
Álbum: Maltid
Año: 1973
Género: R.I.O/Avant-Prog
Nacionalidad: Suecia


Lista de Temas:
1. Dundrets fröjder
2. Oförutsedd f¢rlossning
3. Den återupplivade låten
4. Folkvisa i morse
5. Syster system
6. Tärningen
7. Svackorpoängen
8. Minareten
9. Værelseds tilbud
10. Minareten II (Bonus tracks)
11. Circus apparatha (Bonus tracks)
12. Probably the probably (Bonus tracks)

Alineación:
- Coste Apetrea / guitars, vocals (except song 11)
- Hasse Bruniusson / drums, percussion, backing vocals, glass
- Lars Hollmer / acoustic & electric pianos, vocals
- Lasse Krants / bass, vocals
- Henrik Öberg / congas


Quizás el disco más importante dentro de la discografía de esta banda sueca, pero como dice Alberto en su próxima reseña, es parte de un todo conformado por la totalidad de su corta obra:


Sucede muy a menudo que las reseñas de Wiki o de las ediciones de los grupos son escritas previo analisis semiológico,y resultan frías, ofreciéndonos contenido sólo de información, ahora bien, cuando el análisis es mas profundo y la crítica va en dirección a la música es cuando nos encontramos ante un campo casi desconocido, por cuanto hay que dejar implicita en el comentario la sensación que produjo con su música un determinado artista, y existe una relación directa entre el gusto personal y el desarrollo auditivo que posea el individuo a cargo.
Siempre, el compositor original te va a llegar 100% más al alma que el intérprete, y la originalidad, de la mano de la honestidad son la fórmula para quedar en la historia de la música.
Samla Mammas Manna pertenece al último grupo, de la originalidad y la honestidad, por ese motivo su música trascendió fronteras y los colocó dentro del círculo de los vanguardistas y de los pioneros del progresivo sueco. Y a esta altura podríamos también colocar básicamente a Suecia como uno de los países más prolíficos y más importantes en materia de grupos y propuestas de toda índole. Desde aproximadamente más de 30 años, Suecia encabeza la movida nórdica con una cantidad increíble de grupos con un nivel musical asombroso y condimentando ese gran estofado de la escena mundial. Basta mencionar a The Flower Kings, Anekdoten, Anglagard, Ralph Lundsten, Kaipa, Ragnarok para saber de que estamos hablando, muchísimo sabor vikingo para el buen paladar de los melómanos.
"Maltid" es el proyecto de SMM que vio la luz en 1973, el disco es básicamente instrumental con fraseos muy fusionados entre el progresivo y el jazz y el agregado de sonidos guturales y voces, tipo (payasos locos de circo estrambótico). Dentro de su corta discografía, "Maltid" es considerado como uno de sus mejores trabajos, pero en particular considero que cada proyecto de SMM es un fragmento de un todo general que son ellos mismos, cosa que también sucede con la obra de Frank Zappa.
Básicamente, este es un disco que uno disfruta de principio a fin, porque tiene de todo, climas, solos, ritmo, momentos, y así es toda la música de estos suecos pelilargos.
Es innegable la presencia del folklore escandinavo, esa cultura tan rica, tan antigua, tan misteriosa, tan profunda, tan ligada al frío de aquellas tierras, y este último (el frío) es otro condimento para la producción, quizás el encierro, el alcohol, y otras yerbas, moldean los espíritus de los vikingos para concretar sus obras, pero esto es solo una teoria, particular.
Contemporáneos a los grandes movimientos musicales nuevos, los SMM están considerados también como los papis del mundillo del R.I.O, cosa que no les queda para nada grande, así que todos los amantes de la buena música tienen la oportunidad de disfrutar en lossles de esta obra.
Cabezonas y Cabezones va cayendo al blog, otro refresco sueco, haganle espacio.
Alberto

A lo que se refería Alberto es que esto texto es el que encontramos en Wikipedia, si querías algo más frío que el clima de Suecia, lo tenés acá:

Samla Mammas Manna fue un grupo de rock progresivo/rock in opposition formado en 1969 y separado en 2008, en la ciudad de Uppsala, se le consideró uno de los grupos más representativos del Rock in Opposition tanto mundial como en Suecia, sus canciones tienen sonidos de circos y de composiciones virtuosas, uno de sus álbumes más conocidos es Måltid de 1973 realizado por Silence Records en la cual contiene sencillos conocidos del grupo como "Circus Apparatha", "Minareten II" y "Probably the Probably". el grupo tuvo un integrante japonés Tatsuya Yoshida que fue baterista en el último periodo del grupo.
El grupo se separó en el 2008, desde que murió el vocalista Lars Hollmer.
Wikipedia

Y hablando de Suecia, Alberto menciona algunos de sus grupos: The Flower Kings, Anekdoten, Anglagard, Ralph Lundsten, Kaipa, Ragnarok... y yo les dejo anotadas otras buenas bandas progresivas suecas, algunas más actuales, e incluso algunas que hemos presentado en nuestro espacio: Anima Morte, Beardfish, Moon Safari, A.C.T,, Black Bonzo, Carptree (estoy tentado a presentarles a estos locos con su pirada propuesta), Diablo Swing Orchestra, Galleon, Isildurs Bane, Jupiter Society, Karmakanic, Landberk, Par Lindh Project, Meshuggah, Opeth, Paatos, Pain Of Salvation, Ritual, September Malevolence, Seventh Wonder, Simon Says, Sinkadus, Trettioariga Kriget, Unifaun, Violent Silence, Wolverine, Zello , Xsavior, Morte Macabre, y esos son contando únicamente grupos que conozco, recuerdo y he escuchado (y varios ya hemos presentado en sociedad, repito), ni hablar de la cantidad de grupos que hay dando vueltas que no conozco... algunos (sólo algunos) están nombrados acá...
En general, la producción de rock progresivo Suecia se dió en cantidad y calidad suficientes, para afirmar abiertamente, que es parte fundamental de la resurrección del rock progresivo en general, y Anglagard, Anekdoten, Landberk, Par Lindh, y Sinkadus son solo algunos los más sobresalientes exponentes de la sangre nueva del progresivo nórdico. Aparecieron muchos en muchos estilos tan distantes entre sí como el prog pop, el neo prog, el prog metal, el retro prog, el prog sinfónico, el prog folk y todo sonido al que le puedas poner "prog", y todos grupos donde impera la propia cultura escandinava (no solamente sueca). La escena progresiva escandinava, desde los sesenta hasta la fecha, ha sido perseverante en la concepción de músicas progresivas de la más alta dimensión y originalidad, quizás por su fuerte cultura, su particular folcklore, su afición por el jazz y apego por la música clásica... quizás, las otras pautas (frío, alcohol, yerbas, etc.) ya las ha comentado Alberto.
Pero la cuestión innegable es que el progresivo sueco en particular y escandinavo en general es una música de primera clase. Y Samla Mammas Manna es prueba de ello.
Y una particularidad que me gusta de las bandas de rock progresivo es cuando se mezcla el virtusismo con el humor, dejando de lado esa imagen grandilocuente. Así ocurre un poco con los holandeses Focus o con los mismos Jethro Tull, y por supuesto con estos suecos.
Vamos con algunos comentarios del disco, me dejo de hablar al cuete, igual se los resumo, todos dicen que el disco es genial, y tienen razón.

Second album from one of Sweden's craziest yet most enduring and most important band, Maltid is their most stunning album ever, no matter under which name the band will record. Some three years after their debut, SMM lost percussionist Oberg, but gained guitarist Coaste Apetrea, but this didn't alter much their direction, even if there were obvious sonic changes. Unlike its predecessor's and its chicken shack, Maltid was recorded in a real studio during the fall 73 and received a strange third-age picnic artwork (I think Maltid is meal time), which doesn't seem to be related to the tracks, at least not at first glance.
Starting out on some very obtuse bowels sounds (well, sorta anyway ;o), the quartet attacks their second opus on the almost 11-mins Dundrets Frojder, a constantly evolving track with some crazy percussions, weird vocals astounding overall musicianship and a Zappa-esque mastery and humour, but SMM has their own distinct sound. There is no way you could mistake it for Francesco, but it is damn well inspired, but never copied, as SMM is really giving priority to the instruments, as opposed to Frank's often too wordy musical scheme. SMM's vocals are often weird but actually closer to Focus than Zappa. Further down the album we have some really superb tracks like Oforutsed Folossning, some more experimental or dissonant Aterupplivate Laten, the burlesque and wordy Svackorpoangen and the slightly ethnic sounding Minaretten (with some incredible drumming) etc.. The mood always remain positive, humorous, joyous, even festive, that Maltid is actually fairly accessible despite its complexity, and I dare say that more than one prog-refractive should actually like this album, despite its left hand oddness.
This album comes with three bonus tracks, two of them from this same 73 session, and Circus Apparatha from the chicken shack sessions and the debut album. One of the tracks Minaretten 2 is absolutely vocally bonkers and it may introduce a certain reject reaction, but manages to blend in enough with the album's overall mass of work. Blending much better in (although you can hear the major production difference between the shack and the studio) is Circus Apparatha, while unlike the Minaretten 2 track, the final Probably should've made the original cut.
Knowing that SMM is one of the six original groups that will found the RIO movement in 77, they are the second oldest group (Stormy Six started recording in 69 but ahead of Henry Cow) and that by then, they'll have 4 albums, including this fantastic baby and its upcoming little sister Klossa Kuapitatet as pure Chef D'Oeuvre under their belt. This album can only be taken as a salutary musical slap in the face, no less, and assuredly the most important album out of Scandinavia. Well don't stand there, run for it.
Sean Trane

Samla Mammas Manna play a unique style of music. It's bursting with energy, invention and playfulness. Those who like their music to be SERIOUS - well, stay away. You'll hate this. For those of us who can giggle as we listen, this is an album you won't want to miss out on. Jazzy textures and touches of folk mingling with quirky melodies and bursts of care-free avant-garde madness, not to mention those idiosyncratic vocals that sound like a bunch of drunken gnomes burst into the studio. Yes, it's silly at times, but that silliness is underpinned by superb musicianship and a real sense of purpose. It's obvious that SMM knew exactly what they were up to when they recorded this album, and after a few listens you will too. I can't really do a breakdown of the songs in this instance, as it's such a cohesive album. Just take mine, and several others' word for it and check out this strange, fun, and hugely rewarding music.
Highlights: "Dundrets fröjder", "Syster system", "Minareten".
David

I just found out this CD couple of days ago during ProgNite conducted by the Indonesian Progressive Society, Jakarta, Indonesia. As usual, there was a CD counter by Pram's CD that I always visit the counter before the gigs of Indonesian prog bands. And, this progarchives website has really helped broadening my knowledge of bands that I have never heard before including Samla. I remembered there was excellent review by colleague collaborator Trouserpress about this album. When I saw this album was displayed at that CD counter, I wanted to give it a try. My first question to some progmates who were there around me was: "what kind of music this band plays?". Most of them said that the music of Samla is excellent. So, I did purchase the CD. Eventhough, I hate the cover! It does not project any prog music at all if I'm judging the album by its cover.

You know what happened when I first spin the CD? Strange! Weird! It's not the kind of Banceuy coffee that I used to sip, I would say. What is this? Uugghhh ..!!!! But hey . hold on a second . the music is neatly arranged, the harmony is great, the musicianship is excellent as they can deliver this relatively complex music flawlessly. Yoohaaa . man . I started loving the music. I gave another spin and . it grew significantly from second spin onwards! This is truly progressive: the band offers different kind of prog music far away from what it was available at the time of release. Yes, there is mellotron - that would favor those who love classic prog rock - but that's not the soul of Smala music, I think. Samla's music (especially this album, of course, because this is the only one I have now) is a perfect blend of Canterbury, symphonic prog, and classic rock performed mostly in comedy style. Well, I guess . because I can sense the music sounds this way to my ears. The piano / keyboard sounds remind me sometimes like Dave Stewart (Khan) or Cuby's + Blizard (Dutch blues band) piano style. The guitar work is a marriage of classic rock style and Canterbury.

Overall, enjoying this music is truly rewarding. I have difficulty to find any comparison with the music of other bands as this kind of music is something new for me. And.. I do enjoy it. I consider this album as an excellent addition to any prog collection. Recommendation for you? I don't think I dare to do so as this one is different. Unless, you are open mind to prog music. This album may favor those who love Canterbury kind of music because there are elements of it blended in fusion style.
W. Arthur

Snorungarnas symfoni from 1976 is Samla mammas mannas fourth studio album, the last before guitar player Coste Apetrea quit and they changed name to Zamla mammaz manna. This is a composition by Gregory Allan FitzPatrick, an american living in Sweden since the sixties who was very innovatory in the Swedish music scene in the seventies and eighties. He sung and played on many swedish left wing and flower power records (with progressive tendencies) in the early seventies. He doesn't appear on this disc though. The disc is a symphony divided in four pieces and lasts for thirty-four minuts. The gruop is claimed to be an avant-garde group but this record is best describes as symphonic progresssive rock.
Yeah, this is symphonic rock as it should be. I was totally surprised by this record's perfection. This was the first time I listened to it and I could be nothing but amazed. Here we have so strong and driving meldies, mostly in form of guitar and piano and a terrific drum play. What is visible here is the gamesome but very professional attitude they hade to their music. That reminds us of Frank Zappa. In the seconds movement there is a mix of thriller, nursery music and children teasing chants. The third piece is the most jazzy but the piano also reminds me of Renaissance. In the fourth and ending part we return to a known melody that evolves slowly and ends in euphoria.
Nothing here is clumsy or poorly done. This is just as pretentious I want it to be. Symphonic avant-garde rock meets perfection. I didn't thought it to be a five star record, but here you have one. Highly recommended.
Gatot

Samla Mammas Manna's second release, "Måltid", is a very fine output and a major improvement over their debut. It's definitely a grower for some people but it's incredibly rewarding nevertheless. The production could have been better (it's a bit thin and raw) and steadier but the entertaining, creative and convincingly original songs makes up for it. Like all other Samla albums "Måltid" shows it's styles well, including Jazz-Rock, RIO and Folk among others, and they manage to mix and balance them out without problems at all together with a nice touch of the eclectic and nearly flawless instrumentation of these crazy Swedes. Keyboardist Lars Hollmer in particular is a standout here with his entertaining yet serious playing on the tangents. The rest of the band does an impressive performance throughout the rest of the album, notably guitarist Coste Apetrea's floating but sharp guitar playing and Hasse Bruniusson's hectic but controlled drumming. The album have lot's of diversity and humoristic playfulness and is very addictive when you first get "into" it. The vocal parts are high-pitched and downright silly throughout most of the album and adds a very joyful mood to the music, although it might not appeal to everyone. There's rarely any actual lyrics on the album. The best track here is obviously the opener, "Dundrets Fröjder", a 10 minute masterful track combining everything that makes this band so great; jazzy textures with a good dose of wacky humor and great variation within minutes. It's quite possibly the most representative track from the band and an amazing achievement overall.
There's very few weak moments on this album, the last track "Værelseds Tilbud" is the only one I don't enjoy as much as I did with the other songs. Overall, I would say that this is an important addition to your prog-collection if you like either Jazz-Rock/Fusion or RIO (or both for that matter). SMM's "Måltid" is a entertaining and adventurous release that every open-minded person should try. Me personally think it could have been slightly better, especially the production, but I would still highly recommend it. 4.5/5. Not as good as "Familjesprickor", but up to pair with "Klossa Knapitatet".
Björnar Lunde

Written by American born Greg Allan Fitzpatrick for SMM to record, this is the last and maybe one of the most popular records of the bands classic line-up. It's a "symphony" split up in four movements and in total 33 minutes long, the first movement being the longest part of eleven minutes long. A bit short at a first glance but it's actually a perfect length. It's half an hour of happy music to make your day!
SMM plays a lot of styles on this one, like Funk, Jazz and Symphonic Prog. Most of the music is variations on a theme, sometimes played loud and sometimes sounding rather basic. On this album SMM makes use of field recordings, a lot of percussion and two guest musicians are employed on trumpet and saxophone.
Production-wise this is a quite good recording, especially when compared to other Swedish Prog records of the time which often has a somewhat unclean production. It's an even affair too. No part is particularly better or worse than the album as a whole. A solid four stars may fit.
It also sports a lovely sleeve cover (Done by Maria Persson.) of a fantasy town whish looks to be based on pre-60s small Swedish towns.
Anders Franzén

At the end of the liner notes they wrote "Remember-joy is contagious !" Lets just say that this band has made a lot of people smile over the years. I laughed right out loud a couple of times while listening to the insane vocals. I'm sure they are singing some funny lines too, but it's all sung in Swedish. I had a hard time finding this cd but thankfully I finally got it and it was well worth the search. As a side note the Zeuhl band UPPSALA (great band) named their band after the city that guitarist Coste Apetrea is from. They met him and another Swedish guitarist while on vacation and were so affected by this meeting that they thus named their band UPPSALA and even named a song after the two guitarists. Like they said "Joy is contagious", they caught something special from that meeting anyway. Another side note is that the drummer (Hasse) has been the percussionist for the FLOWER KINGS for a long, long time.
The first song "Dundrets Frojder" really embodies what this band is all about.This is also my favourite song off of the album. It features a catchy, uptempo melody with keys and drums leading the way. The guitar is fantastic ! The tempo picks up as these crazy vocals come in. It gets heavy before 7 minutes with some excellent drumming followed by mellotron. Nice. Scorching guitar late, on this the longest track. "Oforutsedd Forlossning" features funny vocals and light drums. The sound gets louder as the guitar comes in.
"Den Aterupplivade Laten" opens with odd sounds before we get a melody. The piano reminds me of GENESIS as the soundscape does have a symphonic flavour. Nice piano to end it. "Folkvisa I Morse" is a short and catchy folk song. "Syster System" has these hilarious vocals with piano and drums. "Tarningen" is a great uptempo track with outstanding piano, drumming and guitar. "Svackorpoangen" is led by piano and theatrical vocals. "Minareten" is bright and uplifting for 2 minutes before settling down as we get some more lunatic vocals.There is a fantastic sound the rest of the way until the mood changes after 7 minutes. The final song "Vaerelseds Tilbud" is made up of mostly piano melodies.
This is like the polar opposite of UNIVERS ZERO, it's bright, fast and catchy, but most of all it will make you smile.
John Davie

I have to thank SAMLA MAMMAS MANNA, because they opened more my eyes, I had the preconception that all Avant bands where extremely weird, extremely technical and with a total lack of sense of humor. Well, this band has made me travel from the late 60's inspired debut to the incredibly strange "Dear Mamma" and now is the turn o review their second release "Måltid".
If SMM is almost Psyche and "Dear Mamma" is one of the most characteristic expressions of Avant Garde, "Måltid" is a beautiful fusion of different sounds and styles that go from Fusion top the most experimental forms of Electronic.
"Dundrets Fröjder" starts with a strange intro that leads immediately to a strong passage reminiscent of EMERSON LAKE & PALMER which without even noticing morphs into a guitar oriented Jazz section, without losing their sense of humor they continue exploring this trilogy of influences for the almost eleven minute's that the song lasts. Am incredible experience that broadens the horizons of melodic fans like me, but without scaring us with almost impossible to understand experimentations. The frantic ending when they go a step back towards some form of Acid Psychedelic Jazz is simply amazing.
In "Oförutsedd F¢rlossning" they start joking with their voices, but in contrast a very sober piano makes a fantastic melody, first in the background and then takes the lead, but the vocal jokes follow, this time with a powerful guitar supporting them, at the end all the band together play some sort of ultra elaborate fusion.
"Den Återupplivade Låten" starts weirder than ever but now a very dramatic and strong section irrupts out of nowhere, somehow Symphonic with Jazzy and Hard Rock leanings, this proves how versatile this guys are. The last section blows minds, is completely unexpected, but when you are used to this band, you should expect anything. When explained with poor words may sound confusing but when you listen it, everything is in it's place.
"Folkvisa I Morse" begins Medieval oriented with a troubadouresque tune that goes for a long period of time with soft humming in the background, by moments they enter into a delightful cacophony, but just for a few seconds before they return to the main tune.
"Syster System" is hilarious, I dare anybody to listen the vocals and not to laugh, but the take the music seriously, because the piano is fantastic, even when a bit repetitive, no radical changes until the end, just screams and the constant piano.
"Tärningen" is a mixture of Rock and ...anything, SMM seems to get more adventurous as the album advances, but this time reminds me a bit of the radical changes in some of the most elaborate FOCUS tracks. But the most interesting feature is how the song evolves through different sounds and moods with no effort, as if it was something easy and natural.
"Svackorpoängen" begins with a very Classical oriented piano intro that grows in intensity as it advances, again the voices join with their high pitched tones and conversations taking us a few centuries back to the late Medieval era, but radically change into some form of Modern classical, Lasse Hollmer does a brilliant work in the piano. Can't help feeling the strong FOCUS reminiscences in "Minareten" but of course much more complex, the melody is lead by the guitar in a perfect Jan Akkerman style. For the first time in the album, the song flows gently without surprises until almost the middle, when they start with a controlled experimentation and screams, you must listen this track, because words can't describe it.
The official release ends with "Værelseds Tilbud" which starts incredibly dramatic, with a mysterious Avant (the real Avant Garde) piano which takes the central role and makes all the changes and experiments almost alone, wonderful ending.
The album has three more bonus tracks, but as always I stay with the original song list, because that's the way the author released it and how IMO should be listened.
Even when more mature than the self titled debut, I feel they lost some of the beautiful naïve sound that was so pleasant, but instead we get a more solid musical expresion.
A fantastic album for people who are willing to take the risk with more adventurous musical forms, that I can't rate with less than 5 stars.
Ivan Melgar

Måltid ( translates into Meal)is the second studio album from Swedish avant garde rock act Samla Mammas Manna. Their debut was a brilliant album and with this second album Samla Mammas Manna really shows that they have developed their unique sound even further. The biggest difference between Måltid and the debut is the addition of guitarist Coste Apetrea. As a consequence of his addition to Samla Mammas Manna Måltid sounds much more complete than the debut which had no guitars.
The music generally has a happy mood and besides the new addition of a guitar to the bands sound there are lots of enthusiastic piano parts and even more challenging drum and percussion parts from Hasse Bruniusson ( The Flower Kings). The music on Måltid is very rythmic. The music is generally instrumental but there are a few vocal parts which are mostly high pitched and hystarical. Just hilarious moments IMO. There are lots of jazz influences in the music, but thankfully it never evolves into ordinary jazz music.
The musicianship is one of the biggest assets on the album as every musician playing on the album are very accomplished.
The production is much better than the unpolished sound of the debut.
Måltid is a step forward for the band and a really excellent avant garde rock album. This is the kind of album you put on if you´re in a good mood or if you want to be in a good mood. That´s the impact it has on me anyway. A very deserved 4 star album IMO.
Umur

I just realized that it has been exactly a year since the death of Lars Hollmer who I consider to be the greatest progressive rock artist that has ever emerged from the Swedish music scene.
Måltid is probably the most accessible Samla Mammas Manna releases and my first experience of this bands unique sound. Although the band takes some elements from the Swedish Progg-movement (not to be confused with Progressive rock) this is far from the left-wing mambo jumbo that was played by bands like Blå Tåget, Hoola Bandoola Band and Nationalteatern. This is creative Avant-Prog at it's finest.
There are just so many real classics featured on this album that regardless of any personal opinions this release just has to be recommended to anyone interested in exploring this exciting band. Compositions like Dundrets Fröjder, Syster System and Tärningen are easily some of the most well recognized highlights that have become Samla Mammas Manna's definitely live classics for years to come.
My personal favorite instance here comes in the form of Den Återupplivade Låten. The composition does start slow but once it starts rolling there's just so much energy and excitement embedded into these six minutes that I always want to hit the replay button right after hearing it!
Alexander Peterson

As my stockpile of music has kept expanding, it's been harder for music new to me to bowl me over. Pretty much that amounts to what it takes for me to hand out a masterpiece rating to some album now; it has to really blow me away or catch me off guard in a positive way, and that's exactly what MALTID did.
It's hard to really describe the overall sound on this album, but to call this ''serious music'' would be a big mistake. There's hardly a moment where SMM doesn't sound like they're having fun, even if pieces like ''Dundets Frojder'' and ''Tarningen'' sound like works of art. The vocals are the key component in their humour; very chirpy, high-pitched and annoying, they only add to the enjoyment, particularly on ''Sister System''.
The two longer songs are more likely to attract the typical proghead, and rightfully so as both are the best on the album. The two are loaded with precise lead guitar work, effective electric piano bits, crazy percussion and the occasional divergence into carnival music. The music is very likely to shift directions in both pieces, but themes are developed well enough to the point where any transition is natural. Hasse Bruniusson's percussion work is also of note because of the odd-sounding blocks used and his fluidity of using the kit as its own independent instrument.
However, there are plenty of joys in the shorter songs. ''Sister System'' and ''Svackorpoangen'' sound like they could be played in ballrooms to get the patrons to start dancing, but the vocals on top are pure hilarity. Songs like ''Folkvisa I Morse'' and the last one are nice quiet little things that don't demand too much from the listener. All of the songs are very melodic, so those that hate avant-garde stuff don't have to worry too much. MALTID has stuff that all sorts of progsters would like, so if you're looking to test out the RIO/Avant subgenre, try this one out. It's at least an interesting experience.
For bonus laughs, there's a bonus extension to ''Minareten'' called ''Minareten II'', and if you're not ready, the screams will scare the pants off you.
David Carr

'Maltid' is one of those unique and obscure sounding prog gems that sticks for quite a while.
Samla Mammas Manna are probably the most popular (or less unknown?) Avant Garde band from Sweden, and 'Maltid' is their most famous album, released in 1973. The album has been a little left in the shadow, and still is today. But when talking about Avant Prog bands and albums, and it's development over the years, it's hard to omit this strange sounding band and this even stranger sounding album.
Samla Mammas Manna have quite a few influences under their sleeves, and they aren't hard to find. The most noticeable influence is probably Frank Zappa, it almost feels like 'Maltid' is the Scandinavian response to the crazy American guitarist's work. But there's also a lot of progressive, from the more Symphonic side to the kind of prog some call 'Eclectic Prog'. Despite this, Samla Mammas Manna have a totally peculiar sound, that can be recognized immediately when listened. What musically makes the bulk of their style is the magical chemistry and duets between the electric piano and the electric guitar, both paced by an extremely and almost constantly dynamic rhythm section, that has an obvious crush for cowbells. A more schizotype version of traditional progressive rock. Not to forget the vocals, that are used like an instrument, coming along every now and then, and when they are present, they completely dominate the music; these vocals are of an amazingly intense falsetto, like you'll never hear.
Listening to 'Maltid' is like being in front and meeting a utterly strange and extravagant person; at first, you're not sure what to think, but then you can't help loving him, or at least being very fascinated. What makes this album sort of human is also the alternation of different moods; some songs sound extremely cheerful, quirky and playful. In some other songs, the atmosphere is a little more serious sounding, even though the instrumentation and the style of the music remains pretty much the same, except for the fact that these songs are always instrumentals(or almost), while the first type always have them.
The more cheerful songs are probably the ones I prefer most of the time; the opener 'Dundrets Fojder' is ten minutes of crazy time changing, showing a lot of free music influences, even though the second part of the track is a little more tense and controlled thanks to the mellotron entry. But usually the more wild songs are around two, maybe three minutes long; 'Outf'rsedd F'rlossning' is cheerful as well, but the hook sounds a little more dramatic and less playful, while 'Folkvise I Morse' is a folked-out, two minute absurdity, and 'Svackopoangen' sounds like an SMM arrangement to a traditional Swedish song. But even in the serious tracks the quality is just as good; 'Den Aterupplivade Laten' and 'Tarningen' sound like more crazy sounding versions of Symphonic Prog pieces, and the other mini epic of the album, the eight minute 'Minareten', is a more chilled out tune, that features in the middle of the song vocals, and still maintains it's miraculous chillness.
'Maltid' is one of those unique and obscure sounding prog gems that really impresses you and sticks with you for quite a while. A great album, to listen to with an open mind, and with a little bit of absurdity inside.
Nick

Another enjoyable album from Samla Mammas Manna, Maltid generally attempts to refine the approach of their debut album - so expect circus music, Canterbury, and the first incarnation of the Mothers of Invention all tossed in a bowl and mixed together. This time around the band do a better job of melding these sounds into a seamless whole, the transitions between styles being handled with more finesse. Otherwise, if you enjoyed the first Samla album, there's more of the same here, and if you couldn't stand it you're not likely to be too enthused by this one. Four and a quarter stars, rounded down to four.
W. Arthur

Henrik "Bebben" Öberg left Samla Mammas Manna shortly after the release of their self-titled debut and in a clevef move the remaining trio hired guitarist Coste Apetrea the following year in his place.The next move for the fresh line-up was to enter the Decibel Studios and record a new album, produced by Anders Lind.This was again released on Silence Records in 1973 under the title ''Måltid''.
The new musical direction of Samla Mammas Manna was simply intricate, powerful and extremely cohesive all the way, offering a quirky, mostly instrumental Progressive Rock with influences from Classical, Jazz and Swedish Folk Music in equal portions.This fact can be recognized already from the long opener ''Dundrets froejder''.Groovy and frenetic Progressive Rock with shining guitar hooks by Apetrea, bombastic breaks and an impressive, rich sound with dominant keyboard (including organ, Mellotron and electric piano), bass and drums, only interrupted by humurous, wordless vocals.The rest of the tracks are also pretty outstanding, created by a band that now has found its own style and tight receipt.Crazy short- and mid-length instrumentals with a superb balance between loose moments and extremely tight interplays, characterized by rhythmic heaviness, jazzy improvisations, Classical melodies and folky soundscapes.A new star seems to shine on Apetrea, while Hollmer offers a mature and infallible performance.The words about the rhythm section are needless.Strong, solid and highly technical playing all the way in full collaboration with guitars and keyboards.
Simply awesome release.Every fan of Progressive Rock, who doesn't mind a fair dose of complexity, should own this classic.Highly recommended.
apps79

I don't really want to put a rating to an album like this.... no rating can really be put to music, all ratings are just opinions.....
Personally I enjoy this music alot. It shows alot of originality and happiness to me, it displays influence from other bands which i relate to in a similar way, although it has gone off in completely it's own direction, which i believe is the most interesting, thought provoking and satisfying type of music.
Find your own music to help you through your way of life.
J. Kink Brealo

Where people presumably uses to begin their Samla listening I almost end it. "Måltid" from 1973 is Samla mammas manna's second album featuring now a guitarist in Coste Apetrea. That what mostly what I missed on their first record, and with the guitar, also a hugher concentration on the melodies takes form. To give this four or five stars is totally a matter of personal taste. I directly hear we're talking about great music. What's progressive with Samla is especially its progression. Their music developed all the time and on this record it has become clever and brilliant melodical music with a feeling of controlled freedom, humour and youth. I prefer "Klossa knapitatet" before this because I think they on that record had polished away the worst sillyness and developed their symphonic approach, which even is noticeable here.
Måltid (Meal)'s brightest shining stars are three: "Dundrets fröjder", "Den återupplivade låten" and "Folkvisa i morse". "Dundrets fröjder" (The thunder's delight) is a solid compisition with some recurrent themes, flying on the glory wings of Apetrea's guitar, Hollmer's piano, Bruniusson's drums and Krants' bass. It's a perfect Samla song (of which you can here more of on their two next comming discs), proving masterwork instrumentation och crazy songwriting. "Den återupplivade låten" (The revived tune) begins slowly and explodes in cascades. A totally different Samla song. "Folkvisa i morse"(Folk song this morning) is a short "progg hit" I knew from my childhood, with an easy little joyful melody playing around a breakfast table.
The "Tärningen" (The Dice) is a very good composition and "Oförutsedd förlossning", "Svackorpoängen" and "Minareten" are also worth listening. I don't find "Syster System" or "Vaerelseds tillbud" as interesting as the others. The first of those is little annoying(deliberately) and in the other it doesn't happen som much.
A very interesting and good record but not as important as "Klossa knapitatet" which for me is their best. But please check out Samla mammas manna if you haven't done it(2nd, 3rd or 4th records). Four strong stars from me!
Adrian Drömmaren

Samla Mammas Manna's second album, "Måltid" is to me, and many others, the best SMM album. Samla Mammas Manna makes original and interesting music. It's complex-avant garde-jazz-rock with plain silly (mostly wordless) singing. Best songs on this brilliant CD is "Dundrets fröjder", "Tärningen", "Syster System" and the hilarious "Circus Apparatha". I would highy recomend this album to fans of Frank Zappa's wierder works and Nordic 70's prog-rock. Brilliant!
Alexander

I was born a man, I died a boy. This sentence was chosen by the brazilian writter Fernando Sabino to be added to his tablet when he dies. It's so simple and common, but perfect. Already some artists had before said similars brilliant sentences, for examplo, Pablo Picasso, and in such a way they tried mixed the unimaginable quality of their masterpieces with the infantile nature, in order to get the maximum of quality.
In the universal kingdom of music those that can be considered as children playing games are few, if consider boys playing to make art, Samla Mammas Manna is the most infantile protagonists of the progressive rock, a band full of wonderful geniuses like few others dozens born in each century. Maltid has all the taste of childhood, a flavour like a homage to an old country aunt, considering if like she is preparing cakes and pies while boys run around the yard playing games. The album is like a dream, a fantastic youthful world.
Maltid is one of the greaters and more complete masterpieces of progressive rock, and if you still have a little child inside you to play, you must get this album and live as boy again around the beautiful songs that capture the free spirit of childhood, without those kind of massive issues and problems of the day.
For adults and boys, for all, to hear and have fun, an essential masterpiece of progressive music.
Flavio

SAMLA MAMMAS MANNA's 1973 album "Måltid" is a mixture of amazing virtuoso avant-garde prog rock by a bunch of really talented artists and crazy humorous vocal arrangements which only Swedish people are capable of doing. The music is a bit jazzy, but not quite fusion, it's avant-garde, but it's not quite RIO, and for the love of god, it sure isn't symphonic prog.
The musicians are very talented indeed. Guitarist Coste Apetrea can pull an impressive solo from his sleeve anytime and keyboardist Lasse Hollmer is on fire as his piano is all over this album. Lasse Kranius and Hasse Bruniusson back them up solidly on bass and drums respectively.
The music is quite hard to describe and also quite hard to grasp at times, but the epic 10-minute album opener "Dundrets Fröjder" is one you immediately fall in love with; full of wacky instrumental and vocal hooks. But one word of warning for everyone; try singing some of this stuff in the shower and you bloody well might drown in there.
Matti Sillanmaki

Hay muchos más comentarios dando vueltas, pero... ¿hace falta? todos dicen que el disco es muy bueno o excelente, no me hagan trabajar de más.
Otro disco hermoso que nos trae Alberto, indispensable en cualquier colección de rock progresivo. Otro disco de gran creatividad a la hora de hacer música, y otro disco recomendadísimo del blog cabezón. Si no lo tienen ni se les ocurra perdérselo.




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Ideario del arte y política cabezona

Ideario del arte y política cabezona

Autonautas de la Cosmoogpista...


Este espacio fue gestado con la intención de compartir sonidos, melodías que nos conmueven día a día, que nos reciben al abrir los ojos, quizás para muchos el primer contacto con la realidad, antes que un mate o un desayuno como la gente. Estos sonidos nos causan extremo placer y por eso queremos convidarles un poquito, para juntos escapar a la dominación del hemisferio izquierdo.
Pasen, vean, lleven lo que gusten. Pero si tienen la posibilidad de hacerse con el material tangible, no lo duden, es la forma que tenemos de colaborar con los artistas para que sigan creando.
Sí alguna persona o ente se siente ofendido por encontrar material en este sitio le rogamos nos lo haga saber, todavía creemos en las palabras.
Si por alguna razón no pueden leer estas lineas, usted ya no es, usted ya no existe, usted tiene un moog en la cabeza.


Aclaración...

Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

Información y estadísticas









Lo más visto de la semana pasada

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Artista: Kül
Álbum: Ait Ve Dair
Año: 2019
Género: Heavy prog
Duración: 40:58
Nacionalidad: Turquía



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Unordered List

"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.

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Esbjorn Svensson Trio - Live In Hamburg (2007)

Artista: Esbjorn Svensson Trio Álbum: Live In Hamburg
Año:2007
Género: Jazz
Duración: 1:58
Nacionalidad: Suecia
Lista de Temas:
1. "Tuesday Wonderland"
2. "The Rube Thing"
3. "Where We Used To Live", 
4. "Eighthundred Streets By Feet"
5. "Definition Of A Dog"
6. "The Goldhearted Miner"
7. "Dolores In A Shoestand"
8. "Sipping On The Solid Ground"
9. "Goldwrap"
10."Behind The Yashmak"
Alineación:
Esbjörn Svensson / Piano
Dan Berglund / Contrabajo
Magnus Öström / Batería
Lino, nuestro cabezón venezolano, se pega una vuelta por el blog y resube este buen disco de jazz contemporáneo. Si te gusta el jazz, no dudes de escuchar este trabajo. Gracias Lino!

Las 100 Mejores Canciones del Prog

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Aquí está la lista de las mejores canciones de rock progresivo del puesto 100 al 1:

100) Inca Roads - Frank Zappa & The Mothers Of Invention
99) The Life Auction - Strawbs
98) In The Ca…

Tool - Fear Inoculum (2019)

Lo presentamos como sorpresa incluso antes de que salga a la calle, gracias a los incomparables aportes del Mago Alberto. Recién salido, ya adelantamos un poco lo que se notaba, Tool aportaba un nuevo / viejo estilo, con los mismos elementos de siempre pero dispuestos de otra manera, lo que generó primero la incógnita, luego la patada en el culo y el desgarro de ropajes de sus seguidores más incondicionales, acérrimos y fanáticos. Pero con un resultado completamente diferentes para aquellos que lo escucharon con las mentes abiertas. En el momento de publicar el disco hablamos aquí de disrrupción. ¿Ocaso? ¿Renacimiento?. En todo caso más bien de alternativa y desafío. Oprobio y quizás nueva gloria. Quizás... Y ahora, más escuchado y con más idea de todo lo que se mueve aquí adentro, le damos una revisión a este disco, que no es ninguna continuación de "Lateralus" (que era lo que todos los fans esperaban). Todo ello igual a lo nuevo de Tool.

Artista: Tool
Álbum: Fear Inoculum
Año…

La Barranca - Eclipse de memoria (2013)

Artista: La Barranca
Álbum: Eclipse de memoria
Año: 2013
Género: Rock poético mexicano
Duración: 45:04
Nacionalidad: México

Lista de Temas:
01. El alma nunca deja de sentir
02. Ante la ley
03. Garzas
04. Flores de invierno
05. En cada movimiento
06. La tercera joya desde el sol
07. El futuro más distante
08. Campos de batalla
09. Sequía
10. Siempre joven
11. El tiempo es olvido


Alineación:
- Federico Fong / bajo, piano, percusión.
- José Manuel Aguilera / voz, guitarras, órgano, charango.
- Adolfo Romero / guitarras.
- Navi Naas / batería.
Invitados;
Enrique Castro / marimba, percusión, piano, kalimba.
Alfonso André / batería.
Cecilia Toussaint / coros.
Yamil Rezc / percusión, juno, batería.
Agustín Bernal / contrabajo.
Darío González / rhodes, mellotron, hammond.
Daniel Zlotnik / sax soprano, sax tenor, flauta, hulusi.
Erick Rodríguez / trombón.
César Barreiro / trompeta.
Magali / piano.
Mónica del Águila Cortés / cello.
Arturo González Viveros / violín.
Erika Ramírez Sánchez / viola.

Y ya p…

Egberto Gismonti & Naná Vasconcelos - Duas Vozes (1985)

Artista: Egberto Gismonti & Naná Vasconcelos Álbum: Duas Vozes
Año: 1985
Género: Jazz Fusión / Latin Jazz
Nacionalidad: Brasil

Lista de Temas:
1. Aquarela do Brasil
2. Rio de Janeiro
3. Tomarapeba
4. Dancando
5. Fogueira
6. Bianca
7. Don Quixote
8. O Dia, À Noite

Alineación:
- Egberto Gismonti / guitar, piano, dilruba, wood flutes, voice
- Naná Vasconcelos / percussion, berimbau, voice



Robert Dimery, Editor - 1001 Albums You Must Hear Before You Die (2006)

Libro de referencia de la música pop aparecida entre 1955 y 2005, abarcando los géneros desde el rock, blues, folk, jazz, pop, electrónica y world music. Las reseñas fueron realizadas por un equipo de unos 90 críticos de distintas latitudes y gustos. El trabajo se basa en discos originales, quedando así por fuera las recopilaciones de varios artistas, quedando excluido así, el mítico álbum de Woodstock. Sin embargo el panorama es muy amplio y uno siempre encontrará artistas que no ha oído.

Editor: Robert Dimery Prefacio: Michael Lydon
Primera Edición: 2005
Cubierta:Jon Wainwright
Género: Catálogo
Páginas: 960
Nacionalidad: EEUU Editorial:Universe Publishing
Reediciones:2008, 2011, 2013 Otros Idiomas: español, portugués, noruego, finés, sueco, y otros.



Presentación del Editor de libros de Amazon.com 

The ultimate compendium of a half century of the best music, now revised and updated.1001 Albums You Must Hear Before You Die is a highly readable list of the best, the most important, and the most in…

La Barranca - Denzura (2002)

Artista: La Barranca
Álbum: Denzura
Año: 2002
Género: Rock alternativo
Nacionalidad: México

Lista de Temas:
01. fascinacion
02. animal en extincion
03. hasta el fin del mundo
04. donde la demasiada luz forma paredes con el polvo
05. la vision
06. no mentalices
07. denzura
08. montana
09. la rosa
10. madreselva
11. minotauro
12. kalenda maya

bonus ep: cielo protector
13. cielo protector
14. rendicion
15. tsunami
16. el agua que cae
17. cielo protector (demo)


Alineación:
- José Manuel Aguilera / guitarra, voz, órgano
- Alejandro Otáloa / guitarra, piano, teclados
- José María Arréola / batería
- Alonso Arréola / bajo, guitarra acústica
Músicos Invitados:
Federico Fong - piano eléctrico (6)
Cecilia Toussaint - voces femenina (2,10)
Marco Antonio Campos - percusiones (2, 4, 9, 10)
Joe D'Etiene - trompeta (8 )
Cherokee Randalph - viola (3, 6, 7)
Mónica del Aguila - chelo (3, 7, 6)
José del Aguila - violín (3, 6, 7)
Arturo González - violín (3, 6, 7)
Eduardo del Aguila - platillo tibetano (1)

Manantial - Manantial (1977)

Nuestro amigo Julio Moya sigue con su tarea de palentólogo del rock latinoamericano y ahora nos presenta la historia de Manantial, algo así como los Arco Iris de Bolivia (incluso en su historia hay puntos de contacto con la banda de Santaolalla). Manantial fue una de las bandas mas representativas del rock boliviano producido en la decada setentera, con una clara influencia inclinada al rock progresivo y experimental, creando una verdadera joya perdida del rock boliviano (no van a encontrar referencia alguna por ningún lado de esto, salvo lo escrito por el cabezón Julio) que ahora presentamos en el blog cabezón gracias al trabajo investigativo de Julio Moya.

Artista: Manantial
Álbum: Manantial
Año: 1977
Género: Rock progresivo / Rock psicodélico
Nacionalidad: Bolivia


Este tiempo Julio estuvo viajando de lado a lado, ahora se encuentra en Bolivia consiguiendo material para "Años Luz", y nos deja la reseña de este disco, una nueva banda que damos a conocer en el blog cabezón, una …