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14 Jan 2017

MIA “Transparencias” 1977 Atgentina Prog Symphonic

MIA “Transparencias” 1977 Atgentina Prog Symphonic 
Beside Crucis, Espíritu and La Máquina de Hacer Pájaros, MIA had the authentic progressive rock sound in the Argentinian 70's background. Really, MIA was more than a rock band: it was an independent project with many musicians participating in, doing their own productions and conforming an ensemble clasically oriented. We can see Lito Vitale in the line-up, who played keyboards in MIA when he was only 12 years old (actually, Vitale is a very well known keyboardist in Argentina, with a lot of non progressive but very good folk albums). "Transparencias", the first MIA performance, is a very enjoyable effort with many classical touches, complex arrangements, essentially instrumental. We can detect classical musicians and great prog bands influences, while the sound continues appearing fresh and original. One of the greatest albums of Latinamerica prog music. Some cd editions includes, like bonus track, a Vitale live piano concert... by Marcelo .....

M.I.A. was the first band in the Argentinean rock circle to pursue an integrally independent procedure for the dissemination of their musical art among potential audiences eager to hear and enjoy an eclectic, experimental approach to rock music, i.e., what we usually label as progressive rock. Released in 1976 in a homemade album package, "Transparencias" is this ensemble's first statement, and the only one with the two keyboardsmen Lito Vitale and Juan del Barrio sharing and/or alternating role on the keys and drum kit. While not as perfectly crafted as the band' third effort "Cornonstipicum" (their ultimate masterpiece), "Tranparencias" manages to convey a very inventive and amazingly colorful mixture of art-rock sources: symphonic, Cantebury-related jazz-prog, pastoral, sheer classicism Baroque-style, fusion and symphonic-friendly psychedelic rock. It is a pity that at this early point of M.I.A.'s career, the ensemble's musical vision is not as fluidly amalgamated as on the aforesaid third album, since the album's repertoire in itself is heavily benefited from the combination of Vitale and Del Barrio's writing talents (let alone their refined performing skills, which serve as leading forces for the tracks' instrumental developments). 'Reencontrando el Camino' is a lovely yet arguably too short introduction to the dynamics of symphonic melodic drive merged with Cantebury dynamics: the opening motif, reprised at the end, is very joyful, while the interlude brings an effective aura of contemplative serenity. 'El Casamiento de Alicia' bears a similar formal structure, but it is more properly expanded (lasting almost 7 ½ minutes), in this way developing a more epic feel than on the opener. Here is the first appearance of the ARP Odyssey synthesizer in the album: being as young as he was back then, it is unbelievable how well Vitale could find and handle this instrument's potential to provide a magical sound that somehow stands between Emerson's prototypical Moog excursions and Gowan's soaring solos in the Gilgamesh albums. This is what a keyboard-based power trio is all about in a prog rock context - through their evident influence, these guys nailed it instantly! The interlude, based on a quotation of one of the most popular sections from Elgar's "Pomp and Circumstance", brings a schematic moment of sonic repose among the muscular vibe provided by the main motif. This one might be the album's highlight, but again, there is much more to enjoy as the album goes on. 'Imagen II' is a delicate instrumental with a Baroque foundation - after all, this is a pastoral translation partially inspired by the original ceremonious spirit of Bach's Prelude No. 1. Daniel Curto's classical guitar and Liliana Vitale's chanting/recorder duties manage to handle the tranquil mood very efficiently. 'Contrapunto Rítmico' is the most openly jazz-oriented piece in the album, including bass and drum solos strategically located in the flow of the jamming procedure. The namesake track is a 20 minute epic that occupies the vinyl's B-side. It is constructed in a symphonic space-rock mould, giving preferential room to the expansion of ethereal motifs and introspective developments (a standard traced by Pink Floyd from their "Meddle" days). The two keyboardists are cleverly joined in a fluid alternation with Nono Belvis' acoustic guitar, while Liliana goes wandering around with her chanting (she plays drums on this on, too). Some bass and percussion ornaments add bits of controlled tension before a certain chorale section and recorder lines bring back the dreamy atmosphere. At first listen this epic may sound like a not-so-ordained collage of various melodic ideas, and the impression of being a bit flawed doesn't really disappear with further listens. But what further listens can create is the awareness of a tight harmonizing sense that leads the epic's delivery and prevails through its variations. Passing the 12 ½ minute mark, a rock section emerges on a taciturn tempo, very Floydian indeed. Belvis' guitar lead is properly constructed, powerful enough to bring a moment of emotional enhancement, yet not overblown with exaggerated flourishes as to kill the epic's overall spirit. You can tell that there is much technical skill there, joined with a sense of texture and atmosphere. Once the drumming stops, the guitar becomes more relaxed, yet retaining the conquered center stage. For a minute, the rockier motif remerges with a final lead guitar expansion, before the last passage brings a dreamy combination of organ, piano and female chanting. This climax is clearly the moment for which the first 12 minutes of languid introspection had been working on. The CD edition includes some Vitale piano pieces plus a power-trio track, all of thm recorded live: great bonuses, indeed. "Tranparencias" is an excellent starting point for one of the most creative bands of 70s Latin American prog rock. M.I.A. - all collectors, note down this name on a preferential spot on your lists.... by Cesar Inca ...........

Line-up / Musicians 
- Nono Belvis / bass, vocals (5) 
- Daniel Curto / acoustic guitar (3) 
- Juan Del Barrio / piano (1-5), drums (2), organ (4), viboretta (5) 
- Liliana Vitale / flute (2-5), percussion (2), drums, vocals (5) 
- Lito Vitale / drums (1-4), synths (2), keyboards (2-3-5), flute (5), vocals (5)

Songs / Tracks Listing 
1. Reencontrando el Camino (2:42) 
2. El Casamiento De Alicia (7:28) 
a) Las desventuras de Mæse Restifa 
b) Tema de Elgar "Pompa y circunstancia 
c) La trompada 
3. Imagen II (Including Prelude No. 1 by J.S. Bach) (3:14) 
4. Contrapunto Ritmico (6:30) 
5. Transparencias (20:10)

MIA "ransparencias" 1977 Atgentina Prog Symphonic

Classically trained pianist Lito Vitale leads the Músicos Independientes Asociados bunch through one of Argentina's first true symphonic rock albums, when everyone else in the country were still mired in the blues. He mixes complex progressive rock with classical interpretations to create his own brain salad surgery. So yes, of course, Keith Emerson rises to the front of the influence line, as he has for many a budding keyboardist in the rock world. Side 2 brings forth a bit more jamming and hard rock to the mix, and probably could have been tightened a bit. So the album certainly has its flaws - it's painful to sit through Pomp and Circumstance at graduations much less for my own enjoyment. But let's give the kid a break, eh? I mean, he was 15 years old when he showed up on the world stage. What were you doing when you were 15? I most certainly wasn't putting out fully realized progressive rock albums with sick piano chops, that's for sure. It usually took me a few minutes just to take the shrink wrap off the LP. Still does actually.......

MIA (Músicos Independientes Asociados) “Magicos Juegos del Tiempo” 1977 Argentina Symphonic Prog

MIA (Músicos Independientes Asociados)  “Magicos Juegos del Tiempo” 1977 Argentina Symphonic Prog
 In January 77' a slightly refined M.I.A. line-up enters the Netto Studios to record the ensemble's sophomore effort.Juan Del Barrio had parted ways with the rest of the team and Lito Vitale became the responsible man for all the album's keyboards.Instead Nono Belvis was promoted to a full-time member next to Alberto Munoz, thus M.I.A. had now two guitarists/bassists.Daniel Curto's percussion appear only in a couple of tracks.The album was dealing with the life of an imaginery character named Juliana Gabina, from childhood through adolescence, and was released later during the year on Ciclo 3.
The first few tracks follow the path of pastoral Symphonic/Folk Rock, similar to CELESTE and PREMIATA FORNERIA MARCONI, dominated by the work of Vitale on keyboards and piano as well as the acoustic guitars.Very soft and delicate musicianship with plenty of sensitive polyphonic lines and light Classical influences in the piano themes, while the switch between acoustic and electric guitars are numerous, though the later are characterized by a very soft touch, hardly recognizable.With ''Antiguas Campanas Del Pueblo'' M.I.A. shift towards a more keyboard-driven Symponic Rock ala E.L.P. with nice organ moves surrounding a melancholic Liliana Vitale voice, yet Lito Vitale's work on synths and Hammond organ is really remarkable and almost unmistakable.The long ''Archipielagos De Guernaclara'' shows M.I.A's diversity as a group, as the music ranges from Classical piano themes to rural Folk Rock to semi-loose Jazz Rock with different variations throughout.A rather incosistent piece with unrelated moods, yet the technical efficiency of the group is really great.''Romanza Para Una Mujer Que'' is too soft and mellow Folk Rock with measured keyboard passages, elegant flutes and of course acoustic soundscapes, but the middle-placed instrumental part with the powerful keyboards and rhythm section is very good.Closing cut ''Corales De La Cantata Saturno'' is an almost Medieval-flavored choir-type song with Lito Vitale's harsichord and organ in evidence, still deeped in his Classical influences, and a really beautiful choir delivering very emotional and grandiose singing.

The same album was reissued in 1993 with no less than five bonus tracks as extra material, all coming from M.I.A.'s concert at Teatro Santa Maria in 1978.Nothing very close to the band's classic sound, most of these pieces range from Acoustic Folk to Folk Rock with tons of (quite excellent and mostly female) vocals and basically acoustic instrumentation, even some mandolin can be heard in a pair of tracks.

''Magicos juegos del tiempo'' isn't a flawless album.At moments it seems that it desperately needs some more uplifting mood or additional energy and the music can get too soft.But some magical passages with beautiful melodies and thrilling vocal lines are also present.Recommended, especially if you love Classical-inspired Prog apps79 ..........

 M.I.A.'s second album finds this peculiar ensemble exploring the realms of acoustic folk and Renaissance-inspired pastoral music with particular interest; even if this stuff is not all that is represented in the album's repertoire, it is indeed the most recurrent factor. The Baroque academicism is also very present here, especially in many of the piano parts. The harmonic basis for the first three tracks heavily rely on the arpeggio sequences delivered on classical guitars and/or grand piano, with the female and/or male vocals strongly staging the main melodic lines: the sung parts not only tell tales of sweet princesses and majestic windmills, but they also incarnate the main motifs to the songs, providing an evidently bucolic ambience of ancient enchantments and troubadour stories. Track 2 'Crisálida, Mi Niña' is a bit more surprising than the other two, since it comprises some symphonic nuances on the keyboard department, which add an air of mystery. The more habitual sense of energy of M.I.A. first emerges in track 4, titled 'Antiguas Campanas del Pueblo': starting with a very jazzy motif, it won't be long before it turns into an interlude of bombastic chorale sustained on a series of solemn organ layers - after that, another jazz-oriented comes out, including a very intense synthesizer solo (very much a-la 'Tarkus'). Great stuff. although not as great as the 11-minute 'Archipiélagos de Güernaclara', which is the absolute prog highlight in the album. It starts with a delicate, relaxing piano passage, soon joined and enriched by the classical guitar and Liliana Vitale's singing; next, a jazzy jam comes in and gives room for some excellent alternating guitar and piano solos, as well as the occasional introduction of a clavinet interlude, after which the electric lead guitar returns with a vengeance. Finally, a slower part takes the track to its final climax, which built upon the antagonistic contrast between the eerie Hammond Gothic-inspired layers and the fiery Akkerman-meets-Gilmour-esque guitar solo. This description is basically to let you know about its internal diversity, which is cohesively articulated, with the same level of accomplishment you may find in the longest tracks of the other two M.I.A. albums. Track 6 is pretty much similar to track 2: an acoustic piece with a progressive interlude, while the last song sticks with the old Renaissance subject. All in all, "Mágicos Juegos del Tiempo" is a very good album, but it is only recommended to those prog-heads who don't mind a certain amount of pastoral stuff and female singing in their prog; besides, the previous and posterior albums are more accomplished, and definitely, more according to the nuclear essence of prog rock, so I'll have to label this album as not overtly essential. Anyway, keep this in mind: tracks 4 & 5 are really Cesar Inca ..........

Line-up / Musicians
- Lito Vitale / piano, organ, synthesizer, mellotron, vocals
- Liliana Vitale / drums, vocals, flute
- Alberto Munoz / electric & acoustic guitar, bass, vocals,
- Nono Belvis / electric & acoustic guitar, bass, vocals

1 Lirica Del Sol 3:25
2 Crisalida, Mi Niña 5:24
3 Los Molinos De La Calma 4:23
4 Antiguas Campanas Del Pueblo 6:14
5 Archipiélagos De Gúernaclara 10:59
6 Romanza Para Una Mujer Que Cose 5:40
7 Corales De La Cantata Saturno 3:51
8 Egloga A La Primera Carta De La Mañana 4:26
9 La Caja Del Viento 3:17
10 Las Brujas De Calamita 5:37
11 El Triste De Los Mares I 5:32
12 El Triste De Los Mares II 5:33

Gert Thrue “Sound Painted Pictures Of Cosmic Love” 1977 Denmark Prog Electronic Space Rock

Gert Thrue “Sound Painted Pictures Of Cosmic Love”  1977 Denmark Prog Electronic Space Rock
Definitely not disco not in the slightest. This music Komiche in the true sense its a little rock drumming and alot of organ drones and Minimoog noodles of the third kind. 
The second tracks is more in a major scale and upbeat lively almost soulful something you would not expect after an earful of that beautiful minor keyed opener. So there is a bit of deviation from the atypical “space” music highway. I guess it just shows if your going to make a one off release just do what you want to and to hell with critics! 
Easy going listening instrumental lp sort of reminiscent of early 1970s Pink Floyd drumming with a hint of Klaus Schulze’s early work pre-sequencer material. Other worldly, spacious, dreamy its all there but it aint jazz or dance pop!………..

Drums – Jan Preus (tracks: A), Per Hoyer 
Organ [Hammond Orgel], Synthesizer [Moog, Roland], Electric Piano [Fender], Keyboards [Logan-Stringers], Composed By – Gert Thrue

A Sound Painted Pictures Of Cosmic Love 18:38 
B1 Travellin’ By Thoughts 7:28 
B2 I Play The Body Electronic 9:15 
B3 Cepheus 4:50 

Midwinter “The Waters Of Sweet Sorrow” UK Prog Acid Folk Demo tape recorded in 1973 but the album was only released in 1993.

Midwinter “The Waters Of Sweet Sorrow” UK Prog Acid Folk Demo tape recorded in 1973 but the album was only released in 1993.
A legendary collection of early '70s UK folk from the equally legendary pre-Stone Angel outfit MIDWINTER. Recorded in 1973, but unissued at the time, this title saw a number of editions through the years, and has by now become an in-demand classic.............

This small band existed during the years 1972-1974 as a separate project of musicians who were deeply involved with the folk music scene. This sole album representing their achievements was recorded in year 1973, but it wasn't released until 1994 as a CD. The sound of the recording is average but still pleasant, and there is some analog hiss audible and few softly muted parts detected, probably due the affections of entropy towards the original tapes. The material is similarly well produced and sincere sounding ancient romanticism. All of the musical possibilities and variations of a small acoustic ensemble are exploited here in professional manner. 
The opener "Sanctuary Stone" presents the pretty voice of Jill Child, and it is immediately clear that this is a quite purist medieval oriented folk record. Some light percussion accompanies the classical guitar chords, and the only modern instrument here is the amplified bass guitar. "To Find a Reason" has tender male vocals, an acoustic guitar, a pretty simplistic flute a totally wonderful descending melody, and is one of the brightest highlights of the album for me. "The Skater" has a Celtic sound on the guitar and vocal melodies. The voices have a slight echo on them creating a feeling of large space, and the droning rhythm is accompanied by a mouth harp, flute and tablas. The "Scarbrough Fair", which was made famous for the bigger audiences by the folk duo Simon & Garfunkel, is here arranged for several vocals in a rustic ancient style. "The Oak Tree Grove" is then a bit similar tune with the album opener, and "Dirge" sounds like an animistic ritual music, having a primitive guitar, tambourine and a flute. Though the basic melodies of "Maids And Gentleman" is also medieval styled, there's some soloing with electric guitar from the blues scales here, slightly breaking the dogmatic line of the record, but still being pleasant for the ear. "The Waters of Sweet Sorrow" is then another beautiful tune for several acoustic guitars, and as it's accompanied with the sweet singing and brilliantly composed verse, it's no wonder that this song's name was selected as the title of this album. "All Things are Quite Silent" is played with raw, ancient sounding mandolins, and when they unite with soft female voice, an interesting contrast is borne. This song brought me a visual association of a small medieval European village covered in wintertime snow. "The Two Sisters" has a nice conversation dialogue with the guitar and tender flute, and it also has both male and lady vocals. Later also distorted but silent solo guitar accompanies this religious themed composition. The album is closed with "Winter Song", which is a quite simple but has very beautiful arrangement for guitar and several voices, bringing up great choral harmonies at the end of it. 

My interest towards this record was caught by its cover, which is a painting named "The Lady of Shalott" from John William Waterhouse. This scene is from a poem by Arthur Hughes, and the basic principle of Pre-Raphaelite artistic movement was to look back in time when seeking inspiration and themes. The romantic folk music of Midwinter does the same, so the cover painting selection fits here better than wonderfully. This record is recommended sincerely to fans of both folk music, and to those who are interested of bands with a lady singer on lead Eetu Pellonpaa ......

This album is a chance oddity offered by Paul Corrick and Ken Saul who would later form the only slightly more modern Stone Angel. The other dynamic here is the almost angelic and medieval-sounding Jill Child. As the story goes Corrick and Saul recruited Child to lend a voice for a local show, which later turned into a couple years of sporadic live appearances before Child left to pursue an education. 
Too bad, because this is a charming bit of old Anglo-inspired folk music that would have yielded the group a modest career had they chosen to hang on. There’s no drums here and very little rhythm to speak of; instead, the trio employ mandolin, recorder, Jews harp, dulcimer, acoustic guitars and a banjo for an altogether timeless sound that should appeal to just about any fan of folk music. There’s an electric bass for some reason, but otherwise these songs would have been more at-home a hundred years or more prior to the seventies. 

The tempo is mellow throughout with old-English themes and no sense of urgency whatsoever. The guitars and mandolin set the pace on most tracks, with Child’s recorder and the occasional Jew’s harp for variety. 

Among the more interesting tracks are a rare three-part harmony rendition of the Anglo classic “Scarborough Fair”; a short string- picking ditty named “Dirge” that’s anything but; and an absolutely exquisite and vocal-heavy “The Two Sisters” that suffers only from a slightly muddled mix of Child’s voice midway through. 

These tracks were originally recorded as demos, and languished in Saul’s attic for more than two decades after Child’s left the group and Saul and Corrick moved on to Stone Angel. The sequence of events after that is a bit unclear, but when the Stone Angel albums were reissued by Kissing Spell in the mid-nineties this album managed to make an appearance as well. It has since been released by Si-Wan as well. Unfortunately the band’s later work was never captured on tape, so there’s little hope of any additional material from this little gem of a folk aberration from the early seventies. If you are a folk music fan of any sort, this one is worth seeking out. Four stars and well ClemofNazareth .....

A not much known progressive folk record, with a strong celtic/medieval vein. The songs are based around Jill Child's beautiful, crystalline voice and mostly acoustic entwined guitar, dulcimer, autoharp, mandolin and banjo arpeggios. Occasional flute, electric guitar and male vocals join in here and there, often giving an even more "fairy tale" feeling. 
Some tracks are truly impressive, very delicate but with these very strong medieval atmospheres and melodies which make them so charming and suggestive! ..............

Medieval mystic acid folk as its best. i like this one better than Stone Angel may be because it is less dark. The two guitarists are great composers and i find the musicality contained in this album mind- blowing. Need i speak about the enchanting and fragile voice of the girl singer. I assume the style of this album will not appeal to everyone's ears because it is faraway music..............

Line-up / Musicians 
- Jill Child / vocals, recorders, autoharp 
- Paul Corrick / guitars, recorders, mandolin, vocals 
- Ken Saul / vocals, guitar, banjo, dulcimer 

- Mick Burroughers / percussion, Jews harp 
- Dick Cadbury / bass

Songs / Tracks Listing 
1. Sanctuary Stone (4:17) 
2. To Find A Reason (3:50) 
3. The Skater (3:24) 
4. Scarbrough Fair (2:12) 
5. The Oak Tree Grove (2:23) 
6. Dirge (1:48) 
7. Maids And Gentleman (4:30) 
8. The Waters Of Sweet Sorrow (3:08) 
9. All Things Are Quite Silent (2:32) 
10. The Two Sisters (4:29) 
11. Winter Song (3:59)

Missouri Dirt ‎ "It’s For You" 1977 US Private Southern Blues Rock Rock

Missouri Dirt ‎  "It’s For You" 1977 US Private Southern Blues Rock Rock
Drums – Darryl E. Prince, Esq.
Guitar – Scott Barnett.
Vocals, Bass – Terry Dee Zimmerman

1 It’s For You 5:58
2 Time To Get Loose 6:34
3 Rockin’ Southern Mothers 3:33
4 Nobody’s Fool 2:58
5 Christmas Blues 3:55
6 Me And Ezra Brooks 5:45
7 Gutter Drunk 3:11
8 Got To Do Something 4:30
9 Fellow Man 4:03
10 Missouri Dirt 3:57 

Mike Hanopol ‎ “Awiting Pilipino” 1977 Philippines Pinoy Rock

Mike Hanopol ‎ “Awiting Pilipino” 1977 Philippines Pinoy Rock
Tribu Kemistri, basically the work of one Mike Hanopol, is an Asian pop band with ties to rock but also various ethnic rhythms and new age atmospheres. Hanopol began playing the guitar in the late ‘60s, and he became well-known to Asians and Westerners alike as a frequent show-opener when acts such as Pink Floyd or Led Zeppelin played in the Orient. Tribu Kemistri’s debut album was released in early 1998, followed by a tour of the U.S., complete with multimedia installations. ~ John Bush……….

Backing Vocals, Drums, Percussion – Edmund Fortuno
Electric Guitar – Vic Naldo
Keyboards – Lito Hanopol (tracks: B-4)
Lead Guitar, Backing Vocals – Vince Duran (2) (tracks: B-1)
Lead Vocals, Keyboards, Bass, Guitar – Mike Hanopol

A1 Awiting Pilipino 4:38
A2 Ano Kayang Mangyayari 3:56
A3 Idilat Ang Mata 4:37
A4 Kayabangan 2:54
A5 Anong Ganda 3:34
B1 Baguhin Ang Mundo 4:29
B2 Mr. Kengkoy 3:15
B3 Huwag Ka Sanang Magbago 3:12
B4 Laki Sa Layaw 2:57
B5 Magkaibigan Tayo 6:04 

Mike Hanopol ‎ “Buhay Musikero” 1977 Philippines Prog Psych, Pinoy Rock

Mike Hanopol ‎ “Buhay Musikero” 1977 Philippines Prog Psych, Pinoy Rock 
Extremely hard to find Solo-album of Ex Juan De La Cruz Member Mike Hanopol "Buhay Musikero", in absolut stunning condition. This mosnter LP has been issued by JEM Rec. Company in 1977. Band is including Wally Gonzalez and JOEY “PEPE” SMITH (on I’m Satisfied and Circuit Rider). Many people have never heard this LP but this is a fantastic album!! "Circuit Rider" and "I’m Satisfied" a truley Psych masterpieces! A real gem.........

When it comes to Pinoy Rock Music, only one male performer reigns supreme up to this day, Mike Hanopol - noted of his black beret and powerful raspy voice.
Long before today’s young showbands, like the Eraserheads, Rockstar, Introvoys, True Faith and Alamid, came to fore, there was already the Juan De La Cruz Band where Mike Hanopol started out in 1974. The group recorded such hits as “Balong Malalim”, “Karagatan”, and “Divisoria”.
In 1976, Mike Hanopol started on a solo career. His hit songs included, Buhay Musikero, with Willy Cruz and Danny Javier (of Apo) as his record producers.
n 1977, Mike Hanopol’s name soared higher as he released “Laki Sa Layaw”, which gives rise to the term “JEPROX”. Mike earned three albums for Blackgold and a reunion LP with the Juan de la Cruz Band.................

Mike Hanopol is a Filipino rock music icon and legend, revolutionary singer, veteran musician, guitarist, pop artist, folk rock star, and recording artist. He was a former bass guitarist for the Juan Dela Cruz Band. He is a pioneer of rock music in the Philippines during the 1970’s, along with Pepe Smith and Wally Gonzales. In his career as a musician, Hanopol produced twenty albums, three of which became Gold prize awardees while another three received the Aliw Awards. Hanopol’s trademark is the beret, leather clothing, and his Steinberger guitar. Hanopol was the mentor and songwriter for the famous Filipino rock band known as HAGIBIS.

Despite being a rock-and-roll figure, Hanopol’s experience in the seminary influenced him to compose song lyrics based on Bible passages. Examples are the first two stanzas for Hanopol’s song Balong Malalim ("Deep Well") which were based on the Book of John, and the Laki sa Layaw song that conveys the biblical message of avoiding arrogance. Laki sa Layaw, also known as Laki sa Layaw Jeproks, is Hanopol’s trademark and favorite song. Some of the songs in Hanopol’s latest album Lagablab, under Warner Music Philippines, were based on the Book of Psalms (Psalm 75: 3-16 and Psalm 37: 1-6) and the Ten Commandments. Hanopol’s Lagablab is a "10-track guitar album" that features "inspiring and original compositions" aimed at imparting life’s lessons to the younger generation of Filipinos. Lagablab is an assortment of jazz, rock, hip-hop, rap, fusion, and ballad music. The rap song in the album was performed with Filipino rapper Francis Magalona..............

A1 Buhay Musikero 4:02
A2 Iron Gate 4:28
A3 I'm Satisfied 5:27
A4 Ganyan Ang Pag-Ibig 3:36
A5 Circuit Rider 4:58
A6 Araw 3:52
A7 Blind Dog 3:51
A8 Rock Your Bones 3:02 

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