Главная » 2012 » Март » 17 » Wailing Wall, предупреждавшие, что у рэпперов не все дома...
Wailing Wall, предупреждавшие, что у рэпперов не все дома...
14:22
Wailing Wall "Wailing Wall" (1970)
Wailing Wall - американский квартет, образовавшийся в Эль Пасо в конце 60-х годов. В состав группы входили Mike Cancellari (гитара), Doug Adams (вокал), Darrel Adams (бас-гитара), David Rutledge (ударные). Наибольший успех группы - частое присутствие её песен в радио-эфире. Постепенно у группы появилось солидное число поклонников и поклонниц, безропотно следовавших за ней, куда бы она ни направилась с гастролями. Не сказал бы, что альбом "Wailing Wall" шедеврален, но слушать его приятно, тем более, что музыканты в некоторых своих песнях выступили прорицателями...
Приват-доцент
"Scissor-Tailed Swallow"
"Mad Rapper"
Released in 1970 by the El Paso, TX, label Suemi, Wailing Wall's sole LP is mostly an item for the psychedelic rock collector's wish list, but it delivers an interesting enough listen for more casual fans of obscure American '70s rock. Mike Cancellari (guitar), Doug Adams (vocals), Darrel Adams (bass), and David Rutledge (drums) were not the best of musicians, but what they lacked in tightness (and they did) they almost made up in feeling and a certain level of creativity. Cancellari was obviously a quick learner of Jimi Hendrix's chops, but while other guitarists at the time were focusing on the genius' sound and riffs, Cancellari picked up his bluesy soul ("Meet My Dreams" borrows the moody feel of "Rainy Day, Dream Away"). Doug Adams misses a few easy notes, but he has a deep soul-blues voice, between the range and strength of Chicago's Robert Lamm and Terry Kath. The vocal harmonies in "Scissor-Tailed Swallow" and the addition of two trombones in "Meet My Dreams" provide extra similarities with early Chicago, although Wailing Wall's brand of rock is heavier and definitely Southern. The heartfelt delivery and hard-thumping grooves ("Mad Rapper" crosses Hendrix's "Red House" with the rootsier moments of early Captain Beefheart) compensate for some awful lyrics, especially in "Country of the Goose," which could have been a strong song at four or five minutes, but becomes embarrassing at nine. Still, this album deserved to receive a wider audience than the El Paso locals. Shadoks reissued the album in 2004 with decent sound quality.~ François Couture, All Music
