Friday, April 30, 2010
Thursday, April 29, 2010
The Gods" were an English group founded in 1965. The bandmembers included Mick Taylor (later with John Mayall's Bluesbreakers and the Rolling Stones), Brian Glascock and John Glascock (later of Jethro Tull). They were schoolmates from Hatfield and had been playing together as The Juniors (or The Strangers), a band they formed in 1962. Also part of this band were Malcolm Collins and Alan Shacklock. They had a record deal with Columbia. Their first 7" single (Columbia DB7339) appeared in 1964 (There's a pretty girl/Pocket Size). In 1965 the line-up was changed. Mick Taylor continued to play guitar and teamed up with Ken Hensley (organ/vocals) (later guitarist with Uriah Heep). They also added Joe Konas (guitar/vocals) and changed their name to "The Gods". In 1966 The Gods opened for Cream at the Starlite Ballroom in Wembley, London. A single (Come On Down To My Boat Baby/Garage Man) was recorded in early 1967. At this point the line-up included Mick Taylor, Ken Hensley, John Glascock, Brian Glascock and Lee Kerslake.
In May 1967 Mick Taylor got a call from John Mayall who was looking for a new guitarist. When Taylor joined the Bluesbreakers, he left behind a faltering bluesband. The band sought to revive their fortunes on the club/college circuit. They relocated to London and secured a residency at The Marquee. John Glascock (bass) was replaced by Greg Lake in June 1967. The problem was that Greg Lake was too talented for the background role the rest of the band had in mind for him and in the Summer of 1968 he split to join King Crimson. The band had to re-group again and John Glascock was asked to return.
With John Glascock back in the fold they recorded a couple of interesting progressive rock albums and a few 45s. Of their 45s, "Hey! Bulldog", the Beatles track, is their best known, and both sides have been included on compilation CD "The Great British Psychedelic Trip Vol. 3". The band played an imaginative amalgam of psychedelia and progressivism. Tracks like "Towards The Skies" and "Time And Eternity" from their 1968 album Genesis are full of heavy ploughing Hammond organ and distorted guitar riffs and Ken Hensley's unique and rather dramatic vocals add a further dimension.
Most of The Gods' material is pretty typical late sixties pop/rock, epitomised by songs like "Radio Show" and "Yes I Cry". The compilation album The Best Of The Gods offers a good way to get to know the band's music. There are shades of Vanilla Fudge on their cover of West Side Story extract "Maria". On a few tracks like "Candlelight" and "Real Love Guaranteed" there is an inkling of the heavier sound Hensley and Kerslake would propagate in their next venture, Uriah Heep.
The Gods were the successors of the Rolling Stones at the famous Marquee Club in London. After recording two albums, Genesis (1968) and To Samuel a Son (1969), they signed with a new record company, recruited Rebel Rousers singer Cliff Bennett and changed their name to Toe Fat which also lasted two years and two albums.
When it came out in 1968, the LP consisted of 10 tracks. The 1994 CD version has an additional four songs. It features both sides of the band's extremely rare 45's singles "Baby's Rich" and "Hey Bulldog".
The cover of the CD shows the original sleeve artwork which was designed by Hipgnosis. "Hipgnosis" was a British art design group that specialized in creating cover art for the albums of rock musicians and bands, most notably Pink Floyd, Genesis, Led Zeppelin, Def Leppard, Yes, Styx, Scorpions, and Black Sabbath. Hipgnosis consisted primarily of Storm Thorgerson, Aubrey Powell and, later, Peter Christopherson. The group dissolved in 1983, but Thorgerson still works on album designs. In 1968 Thorgerson and Powell were asked by their friends in Pink Floyd if they were interested in designing the cover for their second album, A Saucerful of Secrets. They did, and did additional work for EMI, including photos and album covers for Free, Toe Fat and The Gods. Being film and art school students, they were able to use the darkroom at the Royal College of Art, but when they completed school, they had to set up their own facilities. They built a small darkroom in Powell's bathroom, but shortly thereafter, in early 1970, rented space and built a studio.
When first starting out, Powell and Thorgerson adopted their name from graffiti they found on the door to their apartment. They liked the word, not only for sounding like "hypnosis," but for combining two somewhat contradictory terms, "hip", or new and cool, with "gnosis," relating to ancient learning.
* Brian Glascock (drums) (later with The Motels and with the Bee Gees)
* Mick Taylor (guitar) (later with John Mayall's Bluesbreakers and the Rolling Stones)
* Ken Hensley (organ and vocals, occasional guitar) (later with Uriah Heep)
* Joe Konas (guitar/vocals)
* Lee Kerslake (drums) (later with Uriah Heep)
* Paul Newton (bass) (later with Uriah Heep)
* Greg Lake (bass) (later with King Crimson and Emerson, Lake and Palmer)
* Cliff Bennett (vocals)
02. Candles Getting Shorter
03. You're My Life
04. Looking Glass
05. Misleading Colours
06. Radio Show
07. Plastic Horizon
08. Farthing Man
09. I Never Know
10. Time And Eternity
11. Baby's Rich
12. Somewhere In The Street
13. Hey Bulldog
14. Real Love Guaranteed
Saturday, April 24, 2010
List of Songs:
01- Long Live Man Dead
a- Long Live Man Dead
04- Time and Space
05- Who Spoke
06- In Spite of Harry's Toe Nail
a- Goodbye- Farewell- Adieu
b- Harry's Toe Nail
07- I Could Never Be A Soldier (Bonus)
08- Social Embarassement
Tracks 07 and 08 are rare, previously unrealised, acetate alternate versions of two songs from "Lady Lake"
Colin Goldring- Lead vocals, guitar, recorders, tenor sax, horn, harmonica
Stewart Goldring- Lead guitar, vocals
Peter Cowling- Bass, cello
Nigel Pegrum- Percussion, flute, oboe, piano
First album from this band, that i post for second because, in my opinion, this is a little more difficult to listening that "Lady Lake", their second album. I post that for first because i think that "LL" was the right album to entering in touch with Gnidrolog sound.
Friday, April 23, 2010
From Musictraveller blog: "The show was originally scheduled for 13 March 1976. However, the ticket was printed before the tour was cofirmed, and the concert date was then booked for 17 April. The attached ad for the 17 April show states that the tickets for 13 March show would be honored.
Uriah Heep's manager Gerry Bron convinced Hensley to return to the band and give Byron last chance to sober up. Hensley returned to the tour, and the Boston show was re-scheduled for 6 May.
The Boston show was the last night of the 1976 US tour, and the last US show with David Byron in the band. Byron continued with the band for their European tour before he was fired from the band due to his drinking problem. Byron's last show with Uriah Heep was at Sportpalace, Bilbao, Spain on June 25, wich was John Wetton's last show as well."
I download this bootleg from "musictravellertwo.blogspot.com" (The clock that went backawards again) just a few of days ago and i don't resist to post it here (with blogger Liboriofriki's permission- Thank you very much, friend) for a serie of reasons:
1- This is the best bootleg of Uriah Heep that i've ever heared, with a sound quality this time very very good, even if it's a master audience recording (This is one of the famigerates Dan Lampinsky's bootlegs). The mp3 quality is very good too (320 kbs).
2- A few weeks after this show, David Byron was sacked by the band, so this is one of the last UH concerts with him (Listening to this bootleg, this is very hard to believe)
3- A very good selection of songs, with very powerful versions of some"High & Mighty" songs, an album of Heep that i love in a special way, and one version of gipsy very shorter than in live 73 that is very new for me, with a crazy bluesy beginning that, at one time, explodes in the tipical granitic Gipsy riff. And the various good improvisations, unheared for me as well, are only one more reason for listening to this superlativ bootleg
Enjoy so much...
Link to disc 1
Link to disc 2
Wednesday, April 21, 2010
Stewart Goldring- Lead Guitar
Colin Goldring- Rhythm Guitar, Vocals Recorder, Tenor Horn
Nigel Pegrum- Percussions, Flute, Oboe
John Earle- Saxophones, Flute, Lead Vocals on song 06
Peter Cowling- Bass, Cellos
Charlotte Fendrich- Piano on song 05
Tuesday, April 20, 2010
Now far for me to contradict someone else's hard work but I cannot see how Heep could possibly have played this venue, on this night, as they were several miles up the road at the Shepherds Bush Empire I may have had a few drinks that evening but I think I should know which venue I was at(also some one somewhere has written that the mean fiddler is just another name for the Astoria, again not true although they are part of the same building they are different venues)
This was a trully memorable weekend for me with not only Heep on the bill (Twice) but also John Lawton, Focus and Asia amongst others The whole weekend was centered around the Heep Festival Club see below
As well as purchasing my copy of Dave Ling's excellent book Wizards and Demons I also managed to get it signed by Dave himself and both Mick and Trevor who were present at the festival club but also by Phil who I quite literally bumped into an hour or so before the show on Shepards Bush Green. Focus were on before Heep this evening and bloody brilliant they were too
Now this day turned out to be really memorable having failed miserably at the 'Ultimate Heep Fan Quiz' the previous day I was determined to enjoy myself and what better way to do that than by splashing out at the auction
I wasn't particulary bothered which lot I won, I was just determined to win one, and so with a lot of conservative bidding going on at the start, I picked up the signed John lawton gig shirt for the princly sum of twenty quid (This shirt has since been framed and is hanging on my wall as I wright this). I was happy with my purchase and as I went to collect it I was offered severall different ways of paying for it (I had just assumed it would be cash only and I didn't have too much on me) Well when I saw a credit card option my eyes just lit up and I went running back to the auction to see what else I could pick up and i had my sights set on lot 11 which after some fierce bidding that consisted of me just standing there with my hand up untill everyone else had given up I won and that too is hanging on my wall right next to Lawtons shirt. I had about an hour or so to kill between the Heep club and the gig so it was of back to the hotel to store my purchases and then back to the venue for the gig
Uriah Heep opened this evening with the acoustic set wich i am not going to review as you can hear it for yourself and make you own judgments.
Asia were the main act of the evening and unfortunatly I only managed to catch the first 2 or 3 songs as i had been made aware of the fact Lee Kerslake was in the bar (I was upstairs in the seated area) so I took that opportunity to meet him and spent the best part of asia's set drinking with one of my boyhood hero's
Monday, April 19, 2010
SINCE it's launch in june 1981, Kerrang! has grown from a monthly Heavey Metal supplement into a quality bi-weekly mag championing the cause of rock music on an international level.Development has been both strong and steady, and stretching the scope of the editorial base to include Bands and artistes not strictly aligned with the HM cause yet strident enough in attitude and intent to warrent coverage nonetheless.
Big country,U2 and the Alarm,for example - energetic, occasionally downright stirring in attack - as well as those casting seed at what might be termed the more "progressive"end of the field,the likes of Marillion,Genesis and Pallas.Anyone who's successfully carved a niche within the wide world of rock, though the roots of the magazine will continue to rest squarely on the heavey side of the fence ... now and forever.
With mainstream media outlets in the uk having little or no understanding of HM or its audience and with US TV and radio stations suddenly reducing airplay time for music of this ilk, it's clearly important that Kerrang holds its ground;a knowledgeable,sympathetic supporter of both the established and the up 'n' coming, the stars of body and the twinkling lights of tomorrow... which is pretty much the logic behind this double LP and the Komplementary Kerrang video cassette.
The trouble with a lot of compilation albums (and that includes compilation albums highlighting the work of one artiste only) is that individual numbers tend not to stand up too well when taken out of context - unless of course the tracks are all singles anyway, and even then ...But here the strength of material, on a production and content level, and the vigorous outlawing of anything even vaguely resembling a 'filler' successfully overcomes the problem.
If it's not good you can rest assured that it's not featured, and although this particular offering excludes the more extreme ends of the Kerrang! editorial stance, it does encompass bands of ranging nationality and style (not to mention waist and hairlines), clearly undermining the oft aired notion that all heavy rock sounds the same.
It doesn't. There's no more repetition here than in any other musical form - in act probably less, due to the greater skill and versatility of the people involved
Alongside those at the center of the Jazz and classical arenas heavy rock musicians are undoubtedly the most accomplished, and theres plenty to prop up tht belief on this release, traditional British steal rubbing well armored shell with its altogether flashier American cousin, heavy on image as well as beat...
From the UK there is Iron Maiden(Voted Kerrange! readers top band of 84), Whitesnake, Gary Moore and Marillion, tried and trusted artistes of genuine quality, as well as newer names such as burgeoning heart-throb Robin George, already building a pedestal for himself in the States, Irish brothers Pat,John and Tommy McManus, collectively known as Mamas Boys and the melodically muscular Tobruk, a battling six piece currently based in Brum.
All get something good off their chests here, while upholding the cause of Maple leaf Mayhem are Helix and Triumph, natives of Kitchener and Toronto respectively, hard hitting, hard touring outfits who know how to hold a crowd ... then squeeze a little tighter.
From Europe come the Scorpions, Germany's no 1 rock act, and Krokus, original Swiss based but now looking more US setup than anything else; both, in fat, have spent a lot of time across the water of late so it's interesting to compare them with bona fide Stateside artistes featured on this package, a whole plethora of names veering madly in predilection and pace.
Meatloaf and Manowar, for example, effectively mixing decibels and Drama in two quite different ways, the former with 'Sailor to A Siren, raised several notches by a quite superb Bob Kulick guitr break, and the latter with 'All Men Play On 10', an uncompromising statement of animal intent that could well serve as an anthem for the whole HM movement.
Of similar disposition are Los Angeles outfits Warrior and Armoured saint, loosely militaristic in image and mind-numbing in musical precision, with Seattle-seated Queensryche a brisk hike to the left, combining azure-eyed Teutonic aggression with a warm melodic flare that seems to glow brightest in the realm of the epic,'Take Hold Of The Flame', a number from the band's first album, 'The Warning', is just that, admirably representing what could b described as the 'European' end of the US rock spectrum, with Kiss, Bon Jovi and Keel flying the stadia sized colours altogether more typical of American metal
The 'Big in Japan' looks and the sassy swagger, the sliced up T-shirts and the ever present pout, these three know exactly how to turn a gig into a party (or is it the other way round?);particularly Kiss, out of make-up but never out of mind,who along with a selection of other rock staples including the fan club and the highly powered merchandising system virtually defined this sort of presentation.Not surprisingly, therefore, they still do it better than anyone else, though since their Phoenix-like rising out of costumes and 'mask' others have been slipping on similar shoes down the theatrical end of the store
W.A.S.P. and Madam X to name two, both LA- based and both with an ear for the Metal/pop anthem, though if the OTT approach isn't quite to your taste you can always grab a slice of Stone Fury and Alcatrazz - the latter fronted by ex Rainbow/MSG vocalist Graham Bonnet, of course - who live up to the rocklist implications of their names with considerable aplomb, mind less on image than mainstream power
And what of Billy Idol, the expatriate Englishman in a way, he might be considered the odd man out - in his home country at least.
Through a past association with Generation X and the infernal UK habit of sticking music - all music- with a label' he's constantly been thought of as a 'punk' and as such of zero interest to those more inclined towards long hair and denim than a spiky top and bandaged up bottom.
Well, he's still got short hair, he still curls his lip (a lot) and he still seems to hover on the darker side of the tracks. But in America - where he's now very much a major artist - he's perceived purely and simply as a Rock performer backed to the hilt by the diminutive Steve Stevens, a sensational guitar ace with a calling cad style.
'Rebel Yell certainly needs no help to stand straight and tall, particularly if played at the appropriate volume.
I mean, there's no point being half-hearted about this; rock is clearly meant to be listened to LOUD and is actually structured to sound more dynamic than other types of music, so reinforce the stereo and crank it up! With 24 tracks (almost 100 minutes) of prime rock roast to carve from- cover versions and originals alike - this 'Kerrang! Kompilation' should help make a good party or clear a bad one , and with an artful touch of craft and the assistance of a willing adult the colourful gate-fold sleeve can easily be converted into two equally colourful hats!
What more can i say? play hard, play often, and if you never buy another record this year.. you must be in the music business
DANTI BONUTTO (Deputy Editor , Kerrang!1985)
Written By - Steve Harris
02 Kiss - Heaven's On Fire 3:18
Written By - Desmond Child , Paul Stanley
03 Whitesnake - Slow An' Easy 6:08
Written By - David Coverdale , Micky Moody
04 Manowar - All Men Play On 10 3:54
Written By - Joey DeMaio
05 Scorpions - Rock You Like A Hurricane 4:18
Written By - Herman Rarebell , Klaus Meine , Rudolf Schenker
06 Helix - Gimme Gimme Good Lovin' 3:22
Written By - Joey Levine , Ritchie Cordell
07 W.A.S.P. - L.O.V.E. Machine 3:54
Written-By - Blackie Lawless
08 Stone Fury - Break Down The Walls 4:09
Written By - A. Call, Bruce Gowdy , Lenny Wolf
09 Gary Moore - Victims Of The Future 6:11
Written By - Gary Moore , Ian Paice , Neil Carter , Neil Murray
10 Bon Jovi - Runaway 3:54
Written By - George Karak , Jon Bon Jovi
11 Alcatrazz - God Blessed Video 3:28
Written By - Graham Bonnet , Steve Vai
12 Meat Loaf - Sailor To A Siren 4:41
Written By - Paul Jacobs , Sarah Durkee
13 Keel - The Right To Rock 3:22
Written By - Bryan Jay , Kenny Chaisson , Marc Ferrari , Ron Keel
14 Triumph - Follow Your Heart 3:32
Written By - Triumph
15 Tobruk - Wild On The Run 4:25
Written By - Woodward,Mick Newman
16 Marillion - Assassing (Seven Inch Single Version) 3:25
Written-By - Marillion
17 Warrior - Fighting For The Earth 5:29
Written-By - Joe Floyd
18 Robin George - Heartline (12" Dangerous Mix Version) 5:33
Written By - Robin George
19 Billy Idol - Rebel Yell 4:45
Written By - Billy Idol , Steve Stevens
20 Mama's Boys - Don't Tell Mama 4:21
Written By - Pat McManus
21 Queensrÿche - Take Hold Of The Flame 4:54
Written By - Chris DeGarmo , Geoff Tate
22 Armored Saint - Can U Deliver 3:34
Written By - G. Sandova,Dave Prichard , Joey Vera , John Bush , Phil Sandoval
23 Krokus - Ballroom Blitz 4:01
Written By - Chinn And Chapman
24 Madam X - High In High School 3:36
Written By - Bret Kaiser , Christopher Doliber
Friday, April 16, 2010
Monday, April 12, 2010
Kahvas Jute came together from the remnants of Mecca (Bob Daisley and Dennis Wilson) and Tamam Shud (Tim Gaze and Dannie Davidson), and in 1970 they were the first of their kind in Australia, maybe the world. In 2005, they are possibly the last of their kind and, though a series of heavy, guitar-based rock genres has existed in the years between, I would describe Kahvas Jute as one of a kind. Though they started in 1970 with intentions of emulating the music coming out of the UK at the time – The Hendrix Experience and Cream in particular – what they ended up becoming was something as unique as, yet apart from, those major influences.
The Kahvas Jute rhythm section began its journey as Bob Daisley and Dannie Davidson in 1970, experimenting with and extrapolating on Hendrix and Cream power pop constructions. In 2005 it is Bob Daisley and Mark Marriot, invested with a whole new set of influences and experience. This rhythm section exists in a parallel engine room universe of their own making, inhabited only by themselves.
When Kahvas Jute stepped out of the Tardis in 2005 and started playing “Free” from the Wide Open album, my skin tingled. The freshness, the enthusiasm, the clarity of intention, the shear joy of executing a creative vision, poured from the Basement’s little stage. In 1970, the songs on Wide Open represented a departure for Dennis Wilson from the power pop of Mecca, apparent in songs like “Black Sally” and “Side Street Man” from Mecca’s final single.
A progressive hard rock combo based in Sydney and active initially between 1970-74. Their album “Wide Open” is renowned for the stunning guitar playing and the strength of the songwriting. The band went on to become one of the finest acts of the era, but they never recorded again until mid 2005 when they decided to reform and try out a few new songs , much in the vein of their original album.
Musically, the album fits somewhere between the likes of Cream and Blodwyn Pig, with nods in the direction of Led Zeppelin, the Jeff Beck Group etc. It's a very English sound, but far from being a slavish copy of the overseas role-model the album bears a uniquely Australian flavour. The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze combine to place the record head-high in the progressive stakes. Furthermore the whole shebang is held together by the restlessly exploratory bass style of the great Bob Daisley and the muscular, yet agile drum patterns of Dannie Davidson.
There was no hype to the band, just an unpretentious bunch of musicians capable of producing inventive and enduring music. Not only did the band earn a reputation as one of the best live bands of the period, they also released one of the great Aussie progressive albums in Wide open. As the title suggests, Wide Open is a free-flowing, expansive blending of rock, jazz and blues, with a touch of folk thrown in for good measure, a hard-as-nails progressive blues rock extravaganza strong on rhythm and melody, and bristling with exceptional guitar interplay.
After their demise in 1974 Wilson joined Chariot, Davidson went on to session work and Daisley moved to England and became bassist with outfits like Ritchie Blackmore's Rainbow ,Gary Moore Band, Widowmaker and Ozzy Osbourne 's Blizzard Of Ozz.There is much discussion that Bob Daisley is the highest record selling Australian artist of all time...
Wednesday, April 7, 2010
Paolo "Apollo" Negri- Keyboards
Enrico Garilli- Bass
J.C. Cinel- Lead vocals, guitar
Andrea Cancarotti- Drums
Gianni Azzali- Flute, Saxophone
Tony "Face" Bacciocchi- Congas
01- Trough my love
03- A child and a mirror
04- Here comes the king
05- Before the morning light
06- Burning tree
07- Shadows train
08- Black capricorn fire
09- The court of the satir
10- Sad woman
11- Scorpio odissey
12- Soldiern of fortune (Deep Purple cover)
If you like classic Uriah Heep (73-76), then you'll love Wicked Minds. I mean that they really, really sound like Heep, from the Wah wah drenched guitar to the Hensley like hammond and analog synth. The band does thrown in some mellotron and flute to give some additional flavor. The drumming is even better than in Heep, offering greater variety and technical prowess. I should also mention that the production on those albums is great. Everything is clear when it's supposed to be and a powerful wall of sound when it needs to be. They can definitively play with power in that funky Heep style. But they do have too a lighter side, as reflected in the acoustic tracks.
Twin Barrels Burning saw Wishbone Ash parting company with long time record company MCA Records, with the album being released on AVM Records, a label set up by the band’s manager John Sherry. It also saw the introduction of bassist Trevor Bolder (ex-David Bowie, Uriah Heep), who had toured with the band in support of the Number The Brave album following John Wetton’s departure.
Recording sessions for the album took place at Jimmy Page’s Sol Studio, Cookham between June and August 1982, Berkshire and were produced by Ashley Howe (a colleague of Trevor Bolder’s from his Uriah Heep days) with engineer Stuart Epps. The sessions marked a drastic change in musical direction for the
All four members of the band contributed to the songwriting (although Trevor Bolder’s name was, at his insistence, left off the album credits due to a dispute he had with his publisher). As with Number The Brave, Andy Powell and Laurie Wisefield handled the bulk of the lead vocals (except for "Hold On", which was sung by Trevor Bolder). American Cover
The guitar playing on Twin Barrels Burning was, as always, admirable and Trevor Bolder proved to be a worthy successor to Turner and Wetton in the bass department. Vocally, however, there were real deficiencies, with Powell and Wisefield’s vocal ranges being unsuited to the heavier musical style, both sounding strained and uncomfortable at times. Lyrically, every heavy metal cliché in the book was dragged out with references aplenty to fast cars and chicks on tracks such as "Can’t Fight Love", "Engine Overheat" and "Genevieve". The album’s cover, depicting a fast car accelerating, was designed by Ian Harris, a friend of Andy Powell.
The change of musical direction did not stop the album from achieving Wishbone’s highest chart position since New England, peaking at number 22 on the UK chart. Certain elements of the music press gave the album rave reviews, in particular UK heavy metal magazine Kerrang. However, while the album may initially have seemed a success, the band’s new direction alienated many long-time supporters and would be the band’s final album chart placing.
1) Engine Overheat
Line-up: Andy Powell (guitar/vocals)
Produced by: Ashley Howe, Stuart Epps
Thursday, April 1, 2010
As you can see in the pictures, this is a bootleg taped during a big festival in Germany with all (or so) the biggest english bands. For how i know, this bootleg includes the entire set of UH exhibition. The little gems are, for me, Rainbow Demon and the long version of Gipsy, that is a proto version of the same song from "Live January 1973" with beautiful solos from Hensley, Box and Kerslake
David Byron- Lead Vocals
Mick Box- Lead Guitars, Backing Vocals
Gary Thain- Bass Guitar, Backing Vocals
Ken Hensley- Keyboards, Guitar, Backing Vocals
Lee Kerslake- Drums, Backing Vocals