31 dic 2011


Hola Jordi

Estoy de acuerdo contigo. Pero a mi Ryan me tiene robado el corazón haciendo canciones como esta. Creo que es un genio. De todas maneras me parece un disco mas redondo el último

30 dic 2011

Ryan Adams - Everybody Knows (2007)

Martín ,

esto es un poco lo que comentabamos ayer del disco nuevo de Ryan Adams , a mí me gusta mucho más este tipo de canciones y estilo más rock y también está bien tener intercalada alguna canción acústica, pero el nuevo álbum entero me aburre un poco. Bueno cada uno tenemos nuestros gustos!
Este Everybody Knows del gran "Easy Tiger" del 2007, es un tema muy bueno!

Alabama Shakes

Despedimos el año con esta maravilla, esperando su disco para este próximo año

by James Christopher Monger
Muscle Shoals-inspired, Athens, Georgia-based quartet the Alabama Shakes formed in 2009 around the talents of Brittany Howard, Zac Cockrell, Steve Johnson, and Heath Fogg. Originally simply called the Shakes, the band’s not-so-subtle blend of fiery blues-rock and hard-hitting Southern soul has drawn comparisons to the Black Keys, the Drive-By Truckers, the Detroit Cobras, and even Sharon Jones & the Dap Kings. The band released an eponymous debut EP in September 2011, with plans to record a full-length album later in the year.

11 dic 2011

LO MEJOR DEL 2011 (Martin)

cliquea para escucharlos en Spofity/ (v) para ver video
(si necesitas invitaciones para Spofity pidelas aquí Spofity)

1 - Ryan Adams – ashes and fire (v)
2 - Iron & Wine - kiss each other clean (en Spofity en directo) (v)
3 - Wilco-TheWholeLove (v)
4 - Brett Dennen - loverboy (v)
5 - Tony Cox - on the way
6 - Amos Lee - mission bell (v)
7 - Fountains Of Wayne - Sky Full Of Holes (v)
8 - Deadman - take up your mat and walk (v)
9 - John Hiatt - dirty jeans and mudslide hymns (v)
10- Danny & the champions of the world - hearts and arrows (v)
11- Timothy Nelson & the infidels - i know this now
12- Blitzen Ttrapper - american goldwing (v)
13- The Black Keys - El Camino
14- Megafaun (v)
15- Tim Knol - days (v)
16- Dawes - nothing is wrong (v)
17- Okkervil River - i am very far (v)
18- Patrick Sweany - _that old southern drag (v)
19- Sloan - the double cross (v)
20- Yep - once
21- Neal Casal - sweeten the distance (v)
22- Jason Isbell & the 400 unit - here we rest (v)
24- The Silos - florizona
25- Sam Roberts - collider (v)
26- Jon Fratelli - psycho jukebox (v)
27- Nick Lowe - The Old Magic
28- Buffalo Killers - 3 (v)
29- Israel Nash Gripka - barn doors and concrete floors (v)
30- Rodney Decroo - Idem (v)
31- Bryan Estepa - vessels
32- Jimbo Mathus - confederate buddha (v)
33- 77 Bombay street - up in the sky (v)
34- The Jayhawks - mockingbird time (v)
35- The del toros - young blood rising
36- Ivy - all hours (v)
37- The Decemberists - the king is dead (v)
38- The War on drugs - slave ambient (v)
39- Tommy Flake - second skin
40- Bon Iver - bon iver (v)
41- Nils Lofgren - Old School
42- Noel Gallagher - noel gallaghers high flying birds (v)
43- Steve Cradock - peace city west (v)
44- Stephen Malkmus and the jicks - mirror traffic (v)
45- Bobby Long - a winter tale uk roots (v)
46- American babies - flawed logic (v)
47- The Donkeys - born with stripes (v)
48- Dwight Twilley - soundtrack (v)
49- The Feelies - here before
50- Matthew Sweet -modern art

10 dic 2011

Marshall Crenshaw

by Cub Koda
The pop-minded singer/songwriter Marshall Crenshaw built up an impressive body of work over the course of his career, showing a fine craft for everything he approached while stubbornly following his own creative muse to reach that end. To call Crenshaw's career "interesting" would be putting things mildly. He starred in several movies and portrayed John Lennon in the road-show version of Beatlemania. His songs were featured on several film soundtracks and covered by such diverse artists as Robert Gordon, Bette Midler, Kelly Willis, Marti Jones, and the Gin Blossoms. He assembled a bunch of like-minded show business acquaintances and issued a book about rock & roll movies entitled Hollywood Rock & Roll. He assembled compilations for record companies (most notably Hillbilly Music...Thank God! for the short-lived Bug Music label) and contributed chapters to books on vintage guitar collecting. In short, Crenshaw is a true rock & roll renaissance man, and his own music remains as commendable as his alternate projects.

Born in Detroit and raised in the surrounding area, Marshall played in a number of different bands in high school, eventually landing in his first professional combo, ASTIGAFA (an acronym for "A Splendid Time Is Guaranteed for All," cribbed from the back of Sgt. Pepper's). Although nothing releasable came from this venture, the experience cemented the basic ingredients of Crenshaw's style that would surface full bloom at the dawn of his solo career. According to Crenshaw, "That band really didn't have a high profile in Detroit, but I was using that time, working alone, woodshedding, gathering information. Around '73, I just stopped listening to the radio and just became immersed listening to old 45s from the '50s and early '60s. It seemed to me that there was more immediacy in those records than the stuff that was on the radio at that time." But just as his ears learned to love echoey mono '50s records, his songwriting influences went in an opposite direction: "One batch of stuff that I really feel that I was strongly influenced by was a lot of the R&B-pop kind of stuff that was around in the early '70s. I just love that romantic kind of R&B kind of sound, all those chord changes in those tunes."

Unfortunately, Detroit was not a musical hotbed during the late '70s, so Crenshaw responded to an advertisement in Rolling Stone and auditioned for the Broadway musical Beatlemania instead. Hired as a John Lennon understudy, Crenshaw moved to New York City and quickly found himself in a heady, competitive situation. After completing his six-month "Beatle boot camp" training, he appeared in the show for six months in Hollywood and San Francisco, then finished up his remaining six months with the production on the road. Though he found the show creatively stifling, it made him sit down and figure out what kind of music he wanted to create. After buying a four-track recorder, Crenshaw began making demos whenever he was home.

Marshall was soon armed with demos galore and began dropping them off to any show business connection who might listen. Additionally, his younger brother was playing drums in Crenshaw's trio, which was starting to plug into New York City's burgeoning new wave club scene. An early fan of the trio's music was local scenester Alan Betrock, who had recently launched his own label, Shake Records. It was Crenshaw's debut single, "Something's Gonna Happen," on Betrock's label that kicked up enough noise to bring major-label interest knocking at his door. Signing with Warner Bros. in 1982, Marshall recorded five well-crafted studio albums before parting ways seven years later to sign with MCA for one album, Life's Too Short. During this flurry of activity, Crenshaw also flexed his acting muscles, portraying a high school bandleader in Peggy Sue Got Married, Buddy Holly in La Bamba, and making a guest appearance on the Nickelodeon series Pete and Pete.

Emerging from a three-year hiatus, Marshall then signed with the independent label Razor & Tie and released a live album, Live: My Truck Is My Home, in 1994. He also penned the Top 10 single "Til I Hear It from You" for the Gin Blossoms, providing the band with their highest-charting single to date. A new studio effort, Miracle of Science, followed in 1996. The 9 Volt Years, a collection of demos and home recordings, appeared in 1998, and a year later Crenshaw returned with a new studio effort, #447. Although Crenshaw's audience had waned considerably since his '80s heyday, his albums still received critical accolades for their power pop prowess, and he was enlisted to write the humorous title track for the film Walk Hard: The Dewey Cox Story in 2005. Following the movie's release two years later, Crenshaw returned to his own work with 2009's

6 dic 2011

The NME Greatest Albums of The 60's, 70's & 80's

¿Con que década os quedáis

The 60’s

1. Revolver - The Beatles ‘66
2. Pet Sounds - The Beach Boys ‘66
3. The Velvet Underground & Nico - The Velvet Underground ‘67
4. The Beatles -The Beatles ‘68
5. Highway 61 Revisited - Bob Dylan ‘65
6. Astral Weeks - Van Morrison ‘68
7. Forever Changes - Love ‘68
8. Let It Bleed - The Rolling Stones ‘69
9. Blond On Blond - Bob Dylan ‘66
10. Otis Blue - Otis Lifts ‘66
11. Beggars Banquet - The Rolling Stones ‘68
12. The Doors - The Doors ‘67
13. Rubber Soul - The Beatles ‘67
14. Live At The Apollo - James Brown ‘63
15. Are You Experienced - Jimi Hendrix Experience ‘67
16. Sergeant Pepper - The Beatles ‘67
17. Younger Than Yesterday - The Byrds ‘67
18. Bringing It All Back Home - Bob Dylan ‘65
19. Scott - Scott Walker ‘67
20. White Light/White Heat - The Velvet Underground ‘68
21. The Stooges - The Stooges ‘69
22. Ogden’s Nut Gone Flake - The Small Faces ‘68
23. A Love Supreme - John Coltrane ‘67
24. A Hard Days Night - The Beatles ‘64
25. Dusty In Memphis - Dusty Springfield ‘69
26. The Songs Of Leonard Cohen - Leonard Cohen ‘68
27. Kick Out The Jams - MC5 ‘69
28. Abbey Road - The Beatles ‘69
29. Everybody Knows This Is Nowhere - Neil Young ‘69
30. The Gilded Palace Of Sin - The Flying Burrito Brothers ‘69
31. The Velvet Underground - The Velvet Underground ’69
32. Fifth Dimension - The Byrds ‘66
33. My Generation - The Who ‘65
34. Piper At The Gates Of Dawn - Pink Floyd ’67
35. We’re Only In It For The Money - Mothers Of Invention ‘67
36. Trout Mask Replica - Captain Beefheart & His Magic Band ‘69
37. Five Leaves Left - Nick Drake ‘69
38. Beatles For Sale - The Beatles ‘64
39. Music From Big Pink - The Band ‘68
40. John Wesley Harding - Bob Dylan ‘68
41. Johnny Cash At San Quentin - Johnny Cash ‘69
42. Johnny Cash At Folsom Prison - Johnny Cash ‘68
43. Portrait - The Walker Brothers ‘66
44. The Who Sell Out - The Who ‘68
45. Nancy & Lee - Nancy Sinatra & Lee Hazelwood ‘68
46. A Kind Of Blue - Miles Davis ‘60
47. Smiley Smile - The Beach Boys ‘67
48. Scott 2 - Scott Walker ‘68
49. Turn, Turn, Turn - The Byrds ‘66
50. Led Zeppelin II - Led Zeppelin ‘69

The 70’s

1. What’s Going On - Marvin Gaye ‘71
2. Never Mind The Bollocks - The Sex Pistols ‘77
3. The Clash - The Clash ‘77
4. Unknown Pleasures - Joy Division ‘79
5. Exile On Main Street - The Rolling Stones ‘72
6. London Calling - The Clash ‘79
7. The Rise And Fall Of Ziggy Stardust.. - David Bowie ‘72
8. Horses - Patti Smith ‘75
9. Blue - Joni Mitchell ‘72
10. Marquee Moon - Television ‘77
11. All Mod Cons - The Jam ‘78
12. Hunky Dory - David Bowie ‘71
13. Surf’s Up - The Beach Boys ‘71
14. Bryter Later - Nick Drake ‘70
15. Innervisions - Stevie Wonder ‘73
16. Parallel Lines - Blondie ‘78
17. Moondance - Van Morrison ‘70
18. Lust For Life - Iggy Pop ‘77
19. After The Goldrush - Neil Young ‘70
20. Grievous Angel - Gram Parsons ‘74
21. Who’s Next - The Who ‘71
22. Harvest - Neil Young ‘72
23. Metal Box - Pil ‘79
24. Low - David Bowie ‘77
25. The Specials - The Specials ‘79
26. John Lennon & The Plastic Ono Band - John Lennon & The Plastic Ono Band ‘71
27. For Your Pleasure - Roxy Music ‘73
28. The Idiot - Iggy Pop ‘77
29. Blood On The Tracks - Bob Dylan ‘75
30. There’s A Riot Goin’ On - Sly And The Family Stone ‘71
31. Pink Flag - Wire ‘77
32. Clear Spot - Captain Beefheart ‘72
33. Berlin - Lou Reed ‘73
34. Imagine - John Lennon ‘71
35. Saturday Night Fever - Original Soundtrack ‘78
36. Another Green World - Brian Eno ‘75
37. Setting Sons - The Jam ‘79
38. King Tubby Meets Rockers Uptown - Augustus Pablo ‘76
39. Third/Sister Lovers - Big Star ‘78
40. The Kick Inside - Kate Bush ‘78
41. LA Woman - The Doors ‘71
42. Entertainment - Gang Of Four ‘79
43. Tonight’s The Night - Neil Young ‘75
44. Diana Ross Presents - The Jackson Five ‘73
45. Let’s Get It On - Marvin Gaye ‘73
46. If Only I Could Remember My Name - David Crosby ‘71
47. Marcus Garvey - Burning Spear ‘75
48. Funhouse - The Stooges ‘70
49. First Issue - Pil ‘78
50. The Undertones - The Undertones ‘79

The 80’s

1. The Stone Roses - The Stone Roses ‘89
2. The Queen Is Dead - The Smiths ‘85
3. Three Feet High And Rising - De La Soul ‘89
4. Sign ‘O’ The Times - Prince ‘87
5. It Takes A Nation Of Millions To Hold Us Back - Public Enemy ‘88
6. Psychocandy - Jesus And Mary Chain ‘85
7. Hatful Of Hollow - The Smiths ‘84
8. Closer - Joy Division ‘80
9. Sound Affects - The Jam ‘80
10. Low-Life - New Order ‘85
11. Remain In Light - Talking Heads ‘80
12. Searching For The Young Soul Rebels - Dexy’s Midnight Runners ‘80
13. Bummed - Happy Mondays ‘89
14. Surfer Rosa - Pixies ‘88
15. The Lexicon Of Love - ABC ‘82
16. Swordfishtrombones - Tom Waits ‘83
17. Kilimanjaro - The Teardrop Explodes ‘80
18. Dare - The Human League ‘81
19. Parade - Prince ‘86
20. 16 Lovers Lane - The Go-Betweens ‘88
21. Rain Dogs - Tom Waits ‘85
22. This Nation’s Saving Grace - The Fall ‘85
23. Rum, Sodomy And The Lash - The Pogues ‘85
24. The Smiths - The Smiths ‘84
25. Blood & Chocolate - Elvis Costello ‘86
26. Don’t Stand Me Down - Dexy’s Midnight Runners ‘85
27. The Eight Legged Groove Machine - The Wonder Stuff ‘88
28. Crocodiles - Echo And The Bunnymen ‘80
29. Nebraska - Bruce Springsteen ‘82
30. The Nightfly - Donald Fagen ‘82
31. Talking With The Taxman About Poetry - Billy Bragg ‘86
32. Miss America - Mary Margaret O’Hara ‘88
33. Rattlesnakes - Lloyd Cole & The Commotions ‘84
34. George Best - The Wedding Present ‘87
35. Atomiser - Big Black ‘87
36. My Life In The Bush Of Ghosts - David Byrne & Brian Eno ‘81
37. Sister - Sonic Youth ‘87
38. Straight Out Of The Jungle - The Jungle Brothers ‘88
39. Heaven Up Here - Echo And The Bunnymen ‘81
40. Green - REM ‘88
41. Imperial Bedroom - Elvis Costello ‘82
42. You Can’t Hide Your Love Forever - Orange Juice ‘82
43. Midnight Love - Marvin Gaye ‘82
44. Like A Prayer - Madonna ‘89
45. Beautiful Vision - Van Morrison ‘82
46. Infected - The The ‘86
47. Meat Is Murder - The Smiths ‘85
48. New York - Lou Reed ‘89
49. Yo! Bum Rush The Show - Public Enemy ‘87
50. Warehouse: Songs And Stories - Husker Du ‘87

Creedence Clearwater Revival

by Richie Unterberger
At a time when rock was evolving further and further away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. Though CCR was very much a group in their tight, punchy arrangements, their vision was very much singer, songwriter, guitarist, and leader John Fogerty's. Fogerty's classic compositions for Creedence both evoked enduring images of Americana and reflected burning social issues of the day. The band's genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble.

The key elements of Creedence had been woodshedding in bar bands for about a decade before their breakthrough to national success in the late '60s. John's older brother Tom formed the Blue Velvets in the late '50s in El Cerrito, CA, a tiny suburb across the bay from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, they'd signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's little promise to be found on those early efforts, primarily because Tom, not John, was doing most of the singing. The group only found themselves when John took firm reigns over the band's direction, singing and writing virtually all of their material.

On their first album as Creedence Clearwater Revival in 1968, the group played it both ways, offering extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie Q." The latter song became their first big hit, but the band didn't really bloom until "Proud Mary," a number-two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural ease. It was the start of a torrent of classic hits from the gritty, Little Richard-inspired singer over the next two years, including "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door."

Creedence also made good albums, but their true forte was as a singles band -- their LPs contained some filler, both in the forms of average original material and straightforward covers of rock & roll chestnuts. When the Beatles broke up in early 1970, CCR was the only other act that provided any competition in the fine art of crafting bold, super-catchy artistic statements that soared to the upper reaches of the charts every three or four months. Although they hailed from the San Francisco area, they rarely succumbed to the psychedelic indulgences of the era. John Fogerty also proved adept at voicing the concerns of the working class in songs like "Fortunate Son," as well as partying with as much funk as any white rock band would muster on "Travelin' Band" and "Down on the Corner."

With John Fogerty holding such a strong upper hand, Creedence couldn't be said to have been a democratic unit, and Fogerty's dominance was to sow the seeds of the group's quick dissolution. Tom Fogerty left in 1971 (recording a few unremarkable solo albums of his own), reducing the band to a trio. John allowed drummer Doug Clifford and bassist Stu Cook equal shares of songwriting and vocal time on the group's final album, Mardi Gras (1972), which proved conclusively that Fogerty's songs and singing were necessary to raise CCR above journeyman status.

It was John Fogerty, of course, who produced the only notable work after the quartet broke up. Even his solo outings, though, were erratic and, for nearly ten years, nonexistent as he became embroiled in a web of business disputes with Fantasy Records. His 1984 album Centerfield proved he could still rock in the vintage Creedence mode when the spirit moved him, but Tom Fogerty's death in 1990 ended any hopes of a CCR reunion with the original members intact.

5 dic 2011

NME – The 50 Druggiest Albums Ever

Ideal para estas fiestas con la familia, entre copa, puro ...

1. Screamadelica – Primal Scream
2. Exile On Main Street – The Rolling Stones

3. White Light/White Heat – The Velvet Underground
4. There’s A Riot Going On – Sly And The Family Stone

5. In Utero – Nirvana
6. Revolver – The Beatles
7. Kind Of Blue – Miles Davis
8. The Carter III – Lil Wayne
9. Are You Experienced – The Jimi Hendrix Experience
10. Piper At The Gates Of Dawn – Pink Floyd

11. Antichrist Superstar – Marilyn Manson
12. Black Sunday – Cypress Hill
13. Psychocandy – The Jesus And Mary Chain
14. Ladies And Gentlemen We Are Floating In Space – Spritualized
15. Raw Power – The Stooges

16. Dog Man Star – Suede
17. Madman Across The Water – Elton John

18. Loveless – My Bloody Valentine
19. …Yes Please – Happy Mondays
20. Untitled – Factory Floor
21. Stationtostation – David Bowie
22. Lamf – Johnny Thunders & The Heartbreakers

23. Taking Drugs To Make Music To Take Drugs To – Spaceman 3
24. Nigga Please – Ol’ Dirty Bastard
25. Surrealistic Pillow – Jefferson Airplane
26. Locast Abortion Technician – Butthole Surfers
27. Metal Machine Music – Lou Reed
28. Doggystyle – Snoop Doggy Dogg
29. Tusk – Fleetwood Mac
30. Exit Planet Dust – The Chemical Brothers
31. Bufo Alvarius – Bardo Pond
32. Down In Albion – Babyshambles
33. On The Beach – Neil Young
34. Master Of Reality – Black Sabbath
35. Easter Everywhere – 13th Floor Elevators
36. Wowee Zowee! – Pavement
37. Junk Yard – The Birthday Party
38. Ritual De Lo Habitual – Jane’s Addiction
39. Maxinquaye – Tricky
40. Twin Infinitives – Royal Trux
41. Appetite For Destruction – Guns N’ Roses
42. Miss E.. So Addictive – Missy Elliott
43. Methodrone – Brian Jonestown Massacre
44. The Doors – The Doors
45. Surfing The Void - Klaxons
46. The Chronic – Dr Dre
47. Never Mind The Bollocks…. Sex Pistols
48. Oracular Spectacular – MGMT
49. Be Here Now – Oasis
50. The Libertines – The Libertines

Mojo – End Of Year Lists 2011

¿ya se ha acabado el año? joder y yo sin enterearme...

1. PJ Harvey – Let England Shake
2. The Horrors – Skying
3. Fleet Foxes – Helplessness Blues
4. Jonathan Wilson – Gentle Sprit
5. Kate Bush – 50 Words For Snow
6. White Denim – D
7. Josh T. Pearson – Last Of The Country Gentlemen
8. Anna Calvi – Anna Calvi
9. Tom Waits – Bad As Me
10. Wild Beasts – Smother
11. Laura Marling – A Creature I Don’t Know
12. Kurt Vile – Smoke Ring For My Halo
13. Cat’s Eyes – Cat’s Eyes
14. King Creosote & Jon Hopkins – Diamond Mine
15. Paul Simon – So Beautiful Or So What
16. Bon Iver – Bon Iver
17. Bill Wells & Aidan Moffat – Everything’s Getting Older
18. Thurston Moore – Demolished Thoughts
19. James Blake – James Blake
20. My Morning Jacket – Circuital
21. The War On Drugs – Slave Ambient
22. Beirut – The Rip Tide
23. Bill Callahan – Apocalypse
24. Ema – Past Life Martyred Saints
25. The Stepkids – The Stepkids
26. Drive-By Truckers – Go-Go Boots
27. Arbouretum – The Gathering
28. Lykke Li – Wounded Rhymes
29. Wilco – The Whole Love
30. Girls – Farther, Sons, Holy Ghost
31. Nick Lowe – The Old Magic
32. Bjork – Biophilia
33. Glenn Jones – The Wanting
34. Gillian Welch – The Harrow And The Harvest
35. Tinariwen – Tassili
36. Shabazz Palaces – Black Up
37. Duane Eddy – Road Trip
38. The Sand Band – All Through The Night
39. Arctic Monkeys – Suck It And See
40. Charles Bradley – No Time For Dreaming
41. Destroyer – Kaputt
42. Booker T. Jones – The Road From Memphis
43. Gwilym Simcock – Good Days At Schloss Elmau
44. Glen Campbell – Ghost On The Canvas
45. Tune-Yards – Whokill
46. Noel Gallagher’s High Flying Birds – Noel Gallagher’s High Flying Birds
47. Radiohead – The King Of Limbs
48. Wire – Red-Barked Trees
49. Frank Ocean – Nostalga, Ultra
50. Joe Henry – Revive

Mojo – The 70 Best Soul Albums Of The 70’s

Crees que falta alguno?
1. Stevie Wonder – Innervisions
2. Marvin Gaye – What’s Going On
3. Sly And The Family Stone – There’s A Riot Going On
4. Isaac Hayes – The Isaac Hayes Movement
5. The Temptations – Sky’s The Limit
6. Bobby Womack – Understanding
7. Aretha Franklin – Sprit In The Dark
8. James Brown – There It Is
9. Funkadelic – Maggot Brain
10. Chic – C’est Chic
11. Barry White – Can’t Get Enough
12. The Commodores – Machine Gun
13. Millie Jackson – Caught Up
14. Michael Jackson – Off The Wall
15. Earth Wind And Fire – I Am
16. Parliament – Motor Booty Affair
17. Eddie Hinton – Very Extremely Dangerous
18. The Isley Brothers – 3 + 3
19. Gil Scott-Heron – Pieces Of A Man
20. Curtis Mayfield – Curtis
21. Al Green – Call Me
22. Ann Peebles – Straight From The Heart
23. Donny Hathaway – Extension Of A Man
24. Gladys Knight And The Pips – Imagination
25. The Detroit Spinners – Spinners
26. Lady Hutson – Hutson
27. Bill Withers – Still Bill
28. War – The World Is A Ghetto
29. Minnie Riperton – Perfect Angel
30. Shaggie Otis – Inspiration Information
31. Johnnie Taylor – Taylored In Silk
32. Terry Callier – What Colour Is Love?
33. Labelle – Nightbirds
34. The Soul Children – Friction
35. Teddy Pendergrass – Teddy Pendergrass
36. Bootsy’s Rubber Band – Aah..The Name Is Bootsy, Baby!
37. Wilson Picket – In Philadelphia
38. Shirley Brown – Woman To Woman
39. Syreeta – Stevie Wonder Presents
40. Laura Lee – Woman’s Love Rights
41. Tyrone Davis – Turn Back The Hands Of Time
42. Chaka Khan – Chaka
43. Chairman Of The Board – Skin I’m In
44. Sister Sledge – We Are Family
45. Ohio Players – Skin Tight
46. Willie Hutch – The Mack
47. The Last Poets – This Is Madness
48. 24 Carrt Black – Ghetto: Misfortune Wealth
49. Allen Toussant – Southern Nights
50. Esther Phillips – From A Whisper To A Scream
51. Kool And The Gang – Light Of The World
52. The O’jays – Ship Ahoy
53. Smokey Robinson – A Quiet Storm
54. Denise Lasalle – Trapped By A Thing Called Love
55. Donna Summer – Bad Girls
56. Maggie Joseph – Makes A New Impression
57. Honey Cone – Sweet Replies
58. Lee Dorsey – Yes We Can
59. Rose Royce – Car Wash
60. Sam Dees – The Show Must Go On
61. Roberta Flack – Chapter Two
62. Billy Paul – War Of The Gods
63. Barbara Mason – Give Me Your Love
64. Betty Davis – Nasty Gal
65. The Staples Singers – City In The Sky
66. Candi Staton – Young Hearts Run Free
67. The Jacksons – Destiny
68. Lee Moses – Time And Place
69. Eugene Mcdaniels – Headless Heroes Of The Apocalypse
70. Cymande – Cymande

The Black Keys - el camino

by Stephen Thomas Erlewine
Picking up on the ‘60s soul undercurrent of Brothers, the Black Keys smartly capitalize on their 2010 breakthrough by plunging headfirst into retro-soul on El Camino. Savvy operators that they are, the Black Keys don’t opt for authenticity à la Sharon Jones or Eli “Paperboy” Reed: they bring Danger Mouse back into the fold, the producer adding texture and glitter to the duo’s clean, lean songwriting. Apart from “Little Black Submarines,” an acoustic number that crashes into Zeppelin heaviosity as it reaches its coda, every one of the 11 songs here clocks in under four minutes, adding up to a lean 38-minute rock & roll rush, an album that’s the polar opposite of the Black Keys’ previous collaboration with Danger Mouse, the hazy 2008 platter Attack & Release. That purposely drifted into detours, whereas El Camino never takes its eye off the main road: it barrels down the highway, a modern motor in its vintage body. Danger Mouse adds glam flair that doesn’t distract from the songs, all so sturdily built they easily accommodate the shellacked layers of cheap organs, fuzz guitars, talk boxes, backing girls, tambourines, foot stomps, and handclaps. Each element harks back to something from the past -- there are Motown beats and glam rock guitars -- but everything is fractured through a modern prism: the rhythms have swing, but they’re tight enough to illustrate the duo’s allegiance to hip-hop; the gleaming surfaces are postmodern collages, hinting at collective aural memories. All this blurring of eras is in the service of having a hell of a good time. More than any other Black Keys album, El Camino is an outright party, playing like a collection of 11 lost 45 singles, each one having a bigger beat or dirtier hook than the previous side. What’s being said doesn’t matter as much as how it’s said: El Camino is all trash and flash and it’s highly addictive.

4 dic 2011

Bob Dylan & Tom Petty / Like a Rolling Stone


by Stephen Thomas Erlewine
In many ways, Stanley Road is Wild Wood -- Part Two, a continuation of the laidback, soul-inflected rock that dominated his previous albums. Named after the street where he grew up, Stanley Road could be seen as a return to Paul Weller's roots, yet his roots were in The Who and the Kinks, not in Traffic. (At this point, the sound of The Jam matters little in what his music sounds like.) Weller's music has always had R&B roots -- the major difference with both Wild Wood and Stanley Road is how much he and his band stretch out. Stanley Road in particular features more jamming than any of his previous work. That doesn't mean he has neglected his songwriting -- a handful of Weller classics are scattered throughout the album. Unfortunately, too much of it is spent on drawn-out grooves that are self-conscious about their own authenticity. Still, he has the good sense to revive Dr. John's "I Walk on Gilded Splinters" and invite his disciple Noel Gallagher (Oasis) along to jam.

1 dic 2011

Jimbo Mathus & The Tri-State Coalition - Confederate Buddha

Una pantanosa recomendación antes de que acabe el año

by Mark Deming
Jim Mathus enjoyed a brief fling with fame in the 1990s as the founder of retro-jazz combo the Squirrel Nut Zippers, but fronting a new band, the Tri-State Coalition, Mathus (who has rechristened himself Jimbo) is striking out in a new direction; or more accurately, several directions at once. On his solo debut, Confederate Buddha, Mathus lets loose with some boogie-friendly Southern rock ("Jimmy the Kid"), straight-up country twang ("Town with No Shame"), funky Dixie-fried shuffles ("Kine Joe"), deep blues grooves ("Leash My Pony"), murder ballads ("Aces and Eights"), and swampy pop/rock story songs ("Walks Beside"), with Mathus' rich, passionate vocals and a decisively Southern outlook tying together the various stylistic elements. Mathus is content to jump from genre to genre on these sessions, and he sounds enthusiastic and very much at home on every track, while he's put together a band that's capable of just as much creative shape-shifting as he is, with guitarist Matt "Pizzle" Pierce, drummer Austin Marshall, and Eric "Carlos" Carlton on keyboards earning especially high marks on these sessions. Mathus sings well and fronts a fine band on Confederate Buddha, but his songwriting isn't quite as impressive; he can stitch together a nice melody, but they don't tend to stick in the ear, and there's a fine line between embracing a traditional archetype and sinking into clichés, and while the latter would be a bit too harsh a judgment for these songs, it's closer to the truth than the former. Confederate Buddha offers clear evidence that Mathus has a genuine feel for Southern music of all stripes, and knows how to bring it to life, but collaborating with a stronger songwriter might be a good idea before he begins work on his next album.

25 nov 2011

IKO IKO / Dr. John

Quería compartir esta fabulosa versión de un clásico de mi admirado Dr.Vaya músicos!!!!


by Richie Unterberger
Although Cream was only together for a little more than two years, their influence was immense, both during their late-'60s peak and in the years following their breakup. Cream was the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s. It was with Cream, too, that guitarist Eric Clapton truly became an international superstar. Critical revisionists have tagged the band as overrated, citing the musicians' emphasis upon flash, virtuosity, and showmanship at the expense of taste and focus. This was sometimes true of their live shows in particular, but in reality the best of their studio recordings were excellent fusions of blues, pop, and psychedelia, with concise original material outnumbering the bloated blues jams and overlong solos.

Cream could be viewed as the first rock supergroup to become superstars, although none of the three members were that well-known when the band formed in mid-1966. Eric Clapton had the biggest reputation, having established himself as a guitar hero first with the Yardbirds, and then in a more blues-intensive environment with John Mayall's Bluesbreakers. (In the States, however, he was all but unknown, having left the Yardbirds before "For Your Love" made the American Top Ten.) Bassist/singer Jack Bruce and drummer Ginger Baker had both been in the Graham Bond Organisation, an underrated British R&B combo that drew extensively upon the jazz backgrounds of the musicians. Bruce had also been, very briefly, a member of the Bluesbreakers along Clapton, and also briefly a member of Manfred Mann when he became especially eager to pay the rent.

All three of the musicians yearned to break free of the confines of the standard rock/R&B/blues group, in a unit that would allow them greater instrumental and improvisational freedom, somewhat in the mold of a jazz outfit. Eric Clapton's stunning guitar solos would get much of the adulation, yet Bruce was at least as responsible for shaping the group's sound, singing most of the material in his rich voice. He also wrote their best original compositions, sometimes in collaboration with outside lyricist Pete Brown.

At first Cream's focus was electrified and amped-up traditional blues, which dominated their first album, Fresh Cream, which made the British Top Ten in early 1967. Originals like "N.S.U." and "I Feel Free" gave notice that the band were capable of moving beyond the blues, and they truly found their voice on Disraeli Gears in late 1967, which consisted mostly of group-penned songs. Here they fashioned invigorating, sometimes beguiling hard-driving psychedelic pop, which included plenty of memorable melodies and effective harmonies along with the expected crunching riffs. "Strange Brew," "Dance the Night Away," "Tales of Brave Ulysses," and "S.W.L.A.B.R." are all among their best tracks, and the album broke the band big time in the States, reaching the Top Five. It also generated their first big U.S. hit single, "Sunshine of Your Love," which was based around one of the most popular hard rock riffs of the '60s.

With the double album Wheels of Fire, Cream topped the American charts in 1968, establishing themselves alongside the Beatles and Hendrix as one of the biggest rock acts in the world. The record itself was a more erratic affair than Disraeli Gears, perhaps dogged by the decision to present separate discs of studio and live material; the concert tracks in particular did much to establish their reputation, for good or ill, for stretching songs way past the ten-minute mark on-stage. The majestically doomy "White Room" gave Cream another huge American single, and the group was firmly established as one of the biggest live draws of any kind. Their decision to disband in late 1968 -- at a time when they were seemingly on top of the world -- came as a shock to most of the rock audience.

Cream's short lifespan, however, was in hindsight unsurprising given the considerable talents, ambitions, and egos of each of its members. Clapton in particular was tired of blowing away listeners with sheer power, and wanted to explore more subtle directions. After a farewell tour of the States, the band broke up in November 1968. In 1969, however, they were in a sense bigger than ever; a posthumous album featuring both studio and live material, Goodbye, made number two, highlighted by the haunting Eric Clapton-George Harrison composition "Badge," which remains one of Cream's most beloved tracks.

Clapton and Baker would quickly resurface in 1969 as half of another short-lived supergroup, Blind Faith, and Clapton of course went on to one of the longest and most successful careers of anyone in the rock business. Bruce and Baker never attained nearly as high a profile after leaving Cream, but both kept busy in the ensuing decades with various interesting projects in the fields of rock, jazz, and experimental music.

John Ralston - Shadows of the Summertime

Novedad 2011

by Marisa Brown
As lead singer of the Legends of Rodeo, John Ralston found himself with no money and no contract after label problems plagued the release of his band's first album, A Thousand Friday Nights. The Florida native suddenly had no public outlet for his music, but a chance encounter with recording engineer Michael Seaman brought back the luck that Ralston had recently lost in the label split. The two hit it off immediately, and Seaman subsequently invited Ralston to spend some time at his home in Knoxville, TN. Accompanied by former bandmate and drummer Jeff Snow, Ralston traveled to Tennessee, and in the span of a week had recorded what would become his debut album, Needle Bed. Ralston released the album himself; shortly thereafter, he went to Chicago with the intention of overdubbing several tracks with Wilco's Jay Bennett, who had become a fan of Ralston's songwriting during the Legends of Rodeo days. Instead, Ralston ended up recording an entirely new album, There's Always an Ambulance Around the Bend. Although the album was not released, April 2006 saw the re-release of Needle Bed on Vagrant Records, who had signed Ralston to their roster the previous January. Ralston chose a more expansive approach for his next record, employing a backing band and layering upward of 100 individual tracks on each song. The resulting album, Sorry Vampire, was released in October 2007.

23 nov 2011

Are Major Labels About To Abandon The CD?

¿Cual es el futuro formato de la música?
Yo creo que el directo, ¿que opinais vosotros?

Are Major Labels About To Abandon The CD? Er, No
By Luke LewisPosted on 23/11/11 at 12:28:39 pm

'CD-format to be abandoned by major labels by the end of 2012', thundered the headline. You'd click on that, wouldn't you? Thousands did.

In the article, an anonymous writer for music site Side-Line , claimed that the music industry had hatched a secret plan to phase out the CD, "and replace it with download/stream only releases via iTunes and related music services."

The piece was poorly written, and named no expert sources (beyond its own "chief editor"), but that didn't stop it spreading faster than the "FENTOOOON!" meme .


It's since had 30,000 Likes, been parroted as fact by tech blogs , and generated fiery discussion on forums such as Drowned In Sound .

I even posted it on Facebook myself. That was before I actually read the article, at which point I thought, 'Hang on, this is total bollocks, isn't it?'

The writer claimed that he'd contacted EMI, Universal and Sony, all of whom "declined to comment". Which is a puzzle, because when I tried to get a comment from a major label it took precisely 30 seconds for them to reply saying the whole thing was "nonsense".

"We have no intention of stopping the production of CDs”, said Selina Webb, director of communications for Universal, pointing out that, although digital sales are growing fast, across the entire industry 74% of all album sales in 2011 have been on CD.

Meanwhile Chris Scott, a product manager for the same label, confirmed the continuing supremacy of the format, telling me:

The physical single might have become a niche product, but the physical album is a very important product indeed.
The labels would have to be frothing nutjobs to willingly discontinue their most profitable activity. Sure, everyone knows revenues from physical music are declining. But not as fast as you might think.

The market is currently worth around £10 billion. According to analysts , that will whittle down to £7.5 billion by 2015. But even then, physical sales will still bring in 30% more cash than digital.

As for Side-Line's claim that CDs will soon be replaced by "stream-only releases", that's laughable. Until the day when buying a monthly music subscription becomes a truly mainstream activity (hey, it could happen), no-one's going to make any serious money from streaming. As the musician Jon Hopkins put it on Twitter the other day:

Got paid £8 for 90,000 plays. Fuck Spotify.
So - the CD age is far from over. Still, Side-Line's article did at least ignite an interesting debate. If CDs ever do disappear, will we miss them? In the future will we fetishise them in the same way some people do vinyl today? So far the format has proved resistant to nostalgia, but for all the reasons I outline here, I'm convinced that will change.

Then again, the runaway popularity of the Side-Line piece also raises another question: why bother with actual journalism online, when you can guff out a load of wafty half-arsed nonsense, and watch the traffic roll in?

Electric Light Orchestra - It's Over (1977)

Esta genial canción...¿ no os recuerda esos arreglos de piano los que hacía Costello en mucho discos suyos?

22 nov 2011

Paul Weller to release new studio album 'Sonik Kicks' in March 2012

Paul Weller to release new studio album 'Sonik Kicks' in March 2012 Paul Weller Tickets Graham Coxon and Noel Gallagher feature on the Modfather's 11th solo studio LP
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Photo: PressPaul Weller has announced that he will release his 11th solo studio album 'Sonik Kicks' in March next year.

The album will be released on March 26 and contains a total of 14 tracks. It also includes guest appearances from Noel Gallagher and Blur's Graham Coxon. You can hear a track from the album, which is titled 'Around The Lake', by visiting the singer's official website Paulweller.com . The track is also available to be purchased now via iTunes.

The album, which is the follow-up to his critically acclaimed, 2010 album 'Wake Up The Nation', will apparently include "pop art punch with soulful communication, jazzy explorations into psychedelia and dub with razor-sharp melodies, abstract soundscapes with clear-eyed forest-folk".

Weller has also announced two new London shows to promote the album's release. He will headline the UK capital's Roundhouse venue on March 18 and 19, with support from Baxter Dury. Weller will perform 'Sonik Kicks' in full at both shows.

The tracklisting for 'Sonik Kicks' is as follows:

'The Attic'
'Kling I Klang'
'Sleep Of The Serene'
'By The Waters'
'That Dangerous Age'
'Study In Blue'
'When Your Garden's Overgrown'
'Around The Lake'
'Be Happy Children'

20 nov 2011

Graham Parker Struck by Lightning


by Stephen Thomas Erlewine
Struck By Lightning was the culmination of Graham Parker's previous two records, where he increasingly began to chronicle domestic tasks and affairs of the married heart. For such an intimate subject, Parker wisely decided to scale back the musical ambition of Human Soul on Struck By Lightning, recording a lean, stripped-down album that relies heavily on acoustic guitars. Appropriately, his lyrics were some of the most concise he has written in years, breathing life into tales like "The Kid With the Butterfly Net" and "Wrapping Paper." Parker's music is similarly simple and tuneful, making Struck By Lightning his best effort since the early '80s.

gruff rhys - hotel shampoo

by Stephen Thomas Erlewine
Nominally inspired by Gruff Rhys' habit of collecting sample bottles of shampoo at every hotel he’s stayed at over the years, Hotel Shampoo is decidedly not a cosmetic concept album, yet it does have an underlying musical theme. Rhys uses this third solo album to slide into his softer side, creating a sweetly hazy, soft pop fantasia that recalls both Bacharach and the sunnier side of ‘60s psychedelia. Such softly swirling spaciness has been Rhys’ specialty ever since Super Furry Animals hit their stride, but the noteworthy thing about Hotel Shampoo is that he sustains his mood while serving up one of his strongest set of songs. The textures are tunes that are familiar yet not comfortable; they take twists and turns, with the melodies following unexpected contours and the arrangements colored with contrasting hues and textures. There’s a lot going on, but Hotel Shampoo never seems cluttered. It flows easily, so easily that it becomes an album to get lost in.

Rival Sons - Pressure And Time

Un poco de hard rock para el domingo

by William Ruhlmann
Earache Records is nominally a label devoted to death metal, but anyone who buys Rival Sons' Pressure & Time expecting an album in that style is likely to be disappointed, just as any rock fan who avoids it with the same expectation will be missing out. The Los Angeles quartet consisting of singer Jay Buchanan, guitarist Scott Holiday, bassist Robin Everhart, and drummer Mike Miley doesn't play death metal, though its music might be called early or pre-metal. Simply put, Rival Sons are a power trio plus singer in the traditional style, who might have made this album after listening to the first Led Zeppelin LP over and over for a day or two. Songs like the title track and "Gypsy Heart" find Buchanan wailing away in a piercing tenor reminiscent of Robert Plant, while Holiday plays Jimmy Page-like power chords, and even the closing power ballad "Face of Light" is a Zeppelin-esque change of pace. Rival Sons do exhibit some other influences on Pressure & Time (which is their first album for a proper record label following the self-released full-length Before the Fire and an EP called Rival Sons). "All Over the Road," for example, calls to mind Deep Purple's early days (the days of "Hush," not "Smoke on the Water"), while Buchanan, despite singing in a higher register, demonstrates an Eric Burdon-like swagger on "Young Love." Of course, the band also calls to mind groups of subsequent generations that built on the hard rock sound of the late ‘60s, such as the Cult, the Black Crowes, Jet, and the White Stripes. So, anyone who likes that kind of music should overlook the implications of the record label and check out Rival Sons.

19 nov 2011

high fidelity distribution co. - album name analog style for a digital world

Interesante banda de powerpop aquí podéis disfrutar de su último lanzamiento.

ll words | music:
2011 © bruce reinfeld/BMI
released 01 November 2011
hi-fi disco. recordings:
bruce reinfeld - guitar, vocal
tommy ciccone - guitar, bass, vocal
brian cristinzio - piano, organ, rhodes
patrick berkery - drums
produced by brian mctear
engineered by amy morrissey
and jonathan low
@ miner street recordings
cd layout design etc. - bruce reinfeld

tommy stinson - one man mutiny

by Erik Hage
Tommy Stinson is best known as the spiky-haired charismatic bass player of legendary garage punkers the Replacements. Stinson had barely hit puberty in 1979 when his 20-year-old brother, guitarist Bob Stinson, and drummer Chris Mars coerced him into learning bass and joining their fledgling group in the basement of the Stinson household. Soon, defining member Paul Westerberg would join and the Replacements would be born. In the boozy dynamics of the group, the youthful Stinson would play a sort of Hal to Westerberg's Falstaff. (Tommy's brother Bob was forced to leave the group in 1986 because of his debilitating addictions, and Bob died in 1995, his health worn down from years of drug and alcohol abuse.) After the demise of the group in 1991, Tommy went on to form the group Bash & Pop, releasing Friday Night Is Killing Me in February 1993. After that group folded, Stinson formed Perfect, which released the When Squirrels Play Chicken EP in 1996. In 1997, Tommy was featured on the rock remix of Puff Daddy's "It's All About the Benjamins." That same year, Perfect recorded a full-length album, Seven Days a Week, with producer Jim Dickinson, but record company snafus prevented it from being released. (It was belatedly issued by Rykodisc in 2004 under the title Once, Twice, Three Times a Maybe.) In 1998, the former Replacements bassist joined Axl Rose's revamped Guns N' Roses, but during the band's frequent time off, Stinson continued to work on solo projects, and in 2004 he released his first proper solo album, Village Gorilla Head. Seven years later in 2011, a second solo album, One Man Mutiny, appeared on Stinson's own Done to Death imprint, this time featuring background vocals from his fiancée, Emily Roberts.

18 nov 2011

Crazy Horse

by Greg Prato
Out of all the backing bands Neil Young has recorded and performed with during his long and illustrious career, the best-known of the bunch (and perhaps one of the greatest garage rock bands of all time) remains Crazy Horse. The band's roots lay in the obscure early '60s doo wop band Danny & the Memories, which contained future Crazy Horse members Danny Whitten, Billy Talbot, and Ralph Molina, among others. Although all three would later play instruments in Crazy Horse, the trio focused solely on vocals for this early band, as the group relocated back and forth from the East and West Coasts. After finally settling down in Laurel Canyon in 1966, the members picked up instruments (Whitten the guitar, Talbot bass, and Molina drums) and formed the Rockets.

Joining the trio were additional members Bobby Notkoff (violin), and two other guitarists, Leon and George Whitsell, who all played on the sextet's one and only record, 1968's self-titled debut. Shortly after the album's release, Whitten and Talbot met Neil Young, who had just left Buffalo Springfield and was about to launch a solo career. Young jammed with the Rockets at a gig at the famed Whisky A Go-Go, and immediately asked Whitten, Talbot, and Molina to play on a few new songs he'd written -- "Down by the River," "Cowgirl in the Sand," and "Cinnamon Girl." The trio accepted, playing on the three aforementioned songs and several others for what would become Young's sophomore effort, 1969's classic Everybody Knows This Is Nowhere, resulting in the trio breaking up the Rockets to sign on with Young full-time, under the new name Crazy Horse.

The album established both Young and Crazy Horse as one of the most promising new rock bands, as he enlisted the band once again to play on his third solo release, 1970's After the Gold Rush. But at the same time Young joined up with Crazy Horse, he accepted an invitation to team up with Crosby, Stills & Nash. With extended periods of time between playing with Young, Crazy Horse inked their own recording contract, resulting in their 1971 self-titled debut. Although the record failed to match the success of their work with Young, it turned out to be an inspired effort (as Grin guitarist Nils Lofgren and renowned producer/pianist Jack Nitzsche guested on the album) showing that the group was not merely Young's backing band. But just as their own recording career began, Whitten became addicted to heroin, which hampered his talents and desire to play with the band, resulting in his leaving by 1972.

Crazy Horse continued on with a revolving door of replacement members taking Whitten's place for a pair of lackluster albums in 1972 -- Loose and At Crooked Lake. As Crazy Horse's career appeared to hit a skid, Young's career continued to flourish as he issued the biggest hit of his career, the mellow country-rock classic Harvest, the same year. When Young heard about Whitten's deteriorating condition (Young wrote "Needle and the Damage Done" for him), he wanted to help out his old friend and asked Whitten to be part of his touring band. But when Whitten proved to be too far gone during rehearsals, he was fired. On the same night he left Young and the band (November 18, 1972), Whitten overdosed and died.

Devastated, Young carried on with the tour, but reconvened with the surviving members of Crazy Horse by the summer of 1973, working on a set of dark songs he'd written about the seedier side of life. The band toured Europe later in the year (with Lofgren back on board) and recorded these new compositions, which wouldn't see the light of day until 1975, when the classic album Tonight's the Night was finally issued. The same year, the group named their official replacement for Whitten, newcomer Frank "Poncho" Sampedro, as the newly reinstated Neil Young & Crazy Horse issued their next release, Zuma, following it up with 1977's American Stars 'N Bars, and playing on a few tracks for Young's largely 1978 country effort, Comes a Time. Amid the flurry of recording, Crazy Horse managed to issue a fourth album on their own, 1978's Crazy Moon, which featured Young guesting on a few of the tracks and was easily their finest and most-focused effort since their debut release seven years earlier.

But the best was yet to come -- Young had thought up a surreal theatrical piece to accompany another new set of songs he'd pen (half were acoustic, the other half were pure hard rock), which featured roadies coming on-stage dressed like Jawas from the movie Star Wars, and the band was dwarfed by oversized speaker cabinets and other props. The ensuing tour was one of Young's finest, as the shows were recorded on both tape and film, resulting in 1979's classic Rust Never Sleeps, as well as a movie of an entire show from the tour (the film was also titled Rust Never Sleeps, while its soundtrack was issued under the name Live Rust).

Although Young took a three-year break from the concert stage afterwards, Crazy Horse still appeared on his studio recordings in the early '80s -- 1980's mellow Hawks & Doves and the 1981 rocker Re-Ac-Tor. Throughout the rest of the decade, Young tried a variety of musical styles with other musicians, but would usually include at least one member of Crazy Horse in these projects. After a proposed Neil Young & Crazy Horse tour in early 1984 failed to materialize, the band got back together two years later for a tour, and issued perhaps their weakest release ever (and poorest selling), 1987's inappropriately titled Life. With Sampedro deciding to stay behind and play with Young, Molina and Talbot recruited new members Matt Piucci (guitar/vocals) and Sonny Mone (guitar) and carried on under the name Crazy Horse, issuing their fifth album in 1989, the less-than-stellar Left for Dead.

But as previously in Young's career, it was only a matter of time until he gathered up the old troops, as Crazy Horse (sans Piucci and Mone) rejoined Young and Sampedro in time for the 1990 back-to-basics record Ragged Glory. The ensuing tour was a strong one, resulting in the release of the definitive Neil Young & Crazy Horse live album Weld, a year later (a video of the same name was released as well). The '90s saw further releases by Young and the group, including 1994's Sleeps With Angels and 1996's Broken Arrow, as well as the 1995 home video The Complex Sessions, the 1999 live album/movie Year of the Horse, and of course, numerous tours. 2001 saw another Young/Crazy Horse tour, during which they debuted several newly penned tracks, set to possibly surface on a forthcoming new album. Talbot kept himself busy during his time off around this period by starting the Billy Talbot Band, as well as a projected reunion with the '80s version of Crazy Horse (Talbot, Molina, Piucci, and Mone), this time under the name Raw.

The Cramps

by Mark Deming
Conjuring a fiendish witches' brew of primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex, and the detritus and effluvia of 50 years of American pop culture, the Cramps are a truly American creation much in the manner of the Cadillac, the White Castle hamburger, the Fender Stratocaster, and Jayne Mansfield. Often imitated, but never with the same psychic resonance as the original, the Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, not unlike an enchanted gingerbread house on the Las Vegas strip. The entire psychobilly scene would be unthinkable without them, and their prescient celebration of the echoey menace of first-generation rock & roll had a primal (if little acknowledged) influence on the rockabilly revival and the later roots rock movement.

The saga of the Cramps begins in 1972 in Sacramento, CA, when LSD enthusiast and Alice Cooper fan Erick Purkhiser picked up a hitchhiker, a woman with a highly evolved rock & roll fashion sense named Kristy Wallace. The two quickly took note of one another, but major sparks didn't began to fly until a few weeks later, when they discovered they were both enrolled in a course on "Art and Shamanism" at Sacramento City College. These two lovebirds were soon sharing both an apartment and their collective enthusiasm for the stranger and more obscure sounds of rock's first era, as well as the more flamboyant music of the day. Their passion for music led them to the conclusion that they should form a band, and Kristy picked up a guitar and adopted the stage name Poison Ivy Rorschach, while future vocalist Erick became Lux Interior, after short spells as Raven Beauty and Vip Vop. Ivy and Lux hit the road for Ohio, and after living frugally in Akron for a year and a half, they made their way to New York City in 1975 in search of stardom.

While working at a record store, Interior made the acquaintance of fellow employee Greg Beckerleg, who had recently arrived from Detroit and also wanted to form a band. Beckerleg transformed himself into primal noise guitarist Bryan Gregory, and even persuaded his sister to join the nascent combo as a drummer. However, Pam Beckerleg didn't work out on traps, and so Miriam Linna, an Ohio transplant who had gotten to know Lux and Ivy during their sojourn in the Buckeye State, finalized the first proper lineup of the band they called the Cramps. Between Ivy's twangy single-note leads, Bryan's shower-of-sparks reports of noise, Lux's demented banshee howling, and Miriam's primitive stomp, the Cramps didn't sound like anyone else on the budding New York punk scene, and the foursome soon began attracting both crowds and buzz with their shows at CBGB's and Max's Kansas City. After about a year of gigging in and around New York, Linna left the group (she would later co-found frantic cultural journal Kicks Magazine and exemplary reissue label Norton Records), and another former Ohioan, Nick Stephanoff (known to his fans as Nick Knox and previously a member of infamous Cleveland noise terrorists the Electric Eels) took over behind the drums, and this version of the Cramps released the group's first recordings, a pair of 7" singles recorded in Memphis with Alex Chilton as producer and issued by the band's own Vengeance Records label.

In 1979, Miles Copeland signed the band to his fledgling new wave label I.R.S. Records, and their first 12" release was an EP featuring the material from their self-released singles, entitled Gravest Hits. That same year, the band traveled to Europe for the first time, playing as opening act for the Police and stealing the show from the peroxide-addled pop stars many nights. The Cramps returned to Memphis with Chilton to record their first full-length album, 1980's masterful Songs the Lord Taught Us, but what should have been a triumphant U.S. tour following its release was scuttled when Gregory unceremoniously quit the band by leaving unannounced with a van full of their equipment; at the time, a story circulated that Gregory left the Cramps to pursue an interest in Satanism, though in later interviews Lux and Ivy said there was no truth to these rumors and his actions were more likely the result of his addiction to heroin. Lux, Ivy, and Nick opted to move the band to Hollywood, CA, and recruited Gun Club guitarist Kid Congo Powers to take over as second guitarist in time to record their second long-player, Psychedelic Jungle.

In 1981, the Cramps filed suit against I.R.S. Records over unpaid royalties; the court case prevented the band from recording new material for two years, and when they returned to America's record racks, it was with a live album, 1983's Smell of Female, recording during a pair of dates at New York City's Peppermint Lounge. Kid Congo amicably parted ways with the band shortly afterward, and the search for the right record company kept the Cramps out of the studio until the U.K.-based Big Beat label released the ultra-lascivious A Date With Elvis in 1986; while several guitarists had come and gone since Kid Congo, for these sessions Poison Ivy ended up overdubbing herself on bass. In 1987, the group finally found a simpatico bassist in the form of tough gal Candy Del Mar, whom Lux and Ivy met in the parking lot of a liquor store. Del Mar made her recorded debut on the live album Rockin n Reelin in Aukland New Zealand, and she was still on board when the Cramps finally signed a U.S. record deal with Enigma Records and recorded the fine and full-bodied Stay Sick! in 1990.

Only a year later, the Cramps were back with a new studio album, Look Mom No Head!, but in a surprising move Nick Knox had left the band, and was replaced by Jim Sclavunos; after Jim's short tenure with the group, Nickey Beat (aka Nicky Alexander, former timekeeper with the Weirdos) took over the drum throne before one Harry Drumdini signed on. Less startlingly, Candy Del Mar was also out of the lineup, replaced by Slim Chance, a one-time member of the Mad Daddys. Harry and Slim joined Lux and Ivy in 1994 for the Cramps' first major-label album, Flamejob, released by the Warner Bros.-distributed Medicine imprint. As usual, much touring followed, and the band even made an appearance on the popular youth-centric soap opera Beverly Hills 90210 in 1995. The Cramps' major-label period proved to be brief, with Cal-punk indie label Epitaph inking a deal with the group to release 1997's Big Beat from Badsville, which featured the same lineup as Flamejob.

In 2001, Lux Interior and Poison Ivy Rorschach celebrated the 25th anniversary of the Cramps by taking the matters of record-making into their own hands; they revived the long-dormant Vengeance label and reissued their entire post-I.R.S. album catalog (except for Flamejob) on expanded and remastered CDs and colored vinyl LPs. A new Cramps album followed in 2003, Fiends of Dope Island, which (of course) featured yet another personal change, with Chopper Franklin becoming the band's latest bassist. And with the Cramps continuing their unholy mission well into the 21st century, they offered their fans a look back with 2004's How to Make a Monster, a collection of rare live material and demos.


by Greg Prato
During Cracker's heyday in the 1990s, the Virginia-based band molded elements of alternative pop/rock and country into several irreverent, buzzworthy anthems. Singer/guitarist David Lowery made no attempt to mask his affinity for traditional roots music, but his own background was far from traditional, as he spent the '80s fronting the quirky alternative outfit Camper Van Beethoven. Shortly after Camper Van Beethoven embarked on a long hiatus in 1990, Lowery began demoing new material with guitarist Johnny Hickman and bassist Davey Faragher. The three musicians named the project Cracker (although several of those early demos would later surface under the title David Lowery Demo Mixes) and set up their headquarters in Richmond, VA. By 1991, the band had signed a recording contract with Virgin Records and enlisted the help of several drummers (Jim Keltner, Rick Jaeger, and Phil Jones), all of whom helped shape the sound of Cracker's debut album.

Cracker released their self-titled debut in 1992. Filled with guitar-driven rock songs and gravelly vocals, the album established Cracker's presence in the rock arena, and "Teen Angst (What the World Needs Now)" became a number one modern rock single. A year later, the sophomore effort Kerosene Hat spawned another popular MTV/radio hit with "Low," which charted in the U.K. and also cracked the pop charts in America. The album went platinum as a result. By the time Golden Age arrived in 1996, however, the band's hitmaking lineup had begun to splinter. Bassist Faragher was replaced by Bob Rupe, while the drum spot was occupied by a trio of players: Charlie Quintana, Eddie Bayers, and Johnny Hott.

Golden Age spun off another hit with "I Hate My Generation," and the band toured in support of its release. After returning home from the road, Lowery began focusing on his Richmond-based recording studio, Sound of Music, where he produced such artists as Joan Osborne, Lauren Hoffman, Magnet, Fighting Gravity, and Sparklehorse. He also co-produced the Counting Crows along with former Camper Van Beethoven producer Dennis Herring. Lowery's work wasn't limited to the music world, however, as he co-starred in director Eric Drilling's independent film River Red (also composing the film's score) and appeared in another film, director Matt Leutwyler's This Space Between Us.

By the end of the decade, Cracker seemed to have settled on a somewhat permanent lineup comprised of drummer Frank Funaro, keyboardist/accordion player Kenny Margolis, and the preexisting core of Lowery, Hickman, and Rupe. This version of the band issued 1998's Gentleman's Blues, a more reflective album that saw the musicians paying homage to Southern rock and blues. Camper Van Beethoven unexpectedly re-formed shortly thereafter, and Lowery began splitting his time between both bands, whose other members frequently joined whichever group was on the road.

Cracker (along with select musicians from CVB) issued a live album, 2001's Traveling Apothecary Show & Revue, and Cracker followed its release with Forever (2002) and a rowdy set of country covers called Countrysides in 2003. The latter album also marked Cracker's first effort as an independent band, as they had recently left the Virgin roster. Three years later, Cracker returned (this time via the U.K.-based indie label Cooking Vinyl) with Greenland, which featured help from guest artists David Immerglück and Mark Linkous. Another concert release, Berlin (Live in Berlin December 2006), arrived in 2008, and the studio effort Sunrise in the Land of Milk and Honey which cracked Billboard's Top 200 chart, followed one year later in 2009. That same year the band went on a tour of Iraq, playing for U.S. troops while working on the "Yalla Yalla" video which was produced by compiling YouTube videos of American soldiers stationed overseas. Public radio network NPR profiled the tour on their weekly series The Show. A year later the band played a series of sold-out shows with Camper Van Beethoven duubed the 2010 Traveling Apothecary Tour.

17 nov 2011

sloan - the double cross -

Nuevo trabajo de estos veteranos. Dedicado a Jordi

by Stephen Thomas Erlewine
Returning to normal operations after a three-year hiatus, Sloan offer a few new wrinkles on The Double Cross -- the polyester-draped “Your Daddy Will Do” salutes the ‘70s in a suitably spangly disco fashion, there’s a hint of delicate pastoral folk on “Green Gardens, Cold Montreal” -- but the group doesn’t stray from the pop collage of 2006’s Never Hear the End of It. Each of the 12 cuts lands somewhere between an homage and invention, the four singer/songwriters of Sloan splicing together their deep record collections in ways familiar and fresh. An organ may bring Dylan to mind, harmonies may recall the Beatles, yet these allusions are deployed with knowing winks in songs that don’t explicitly sound like their influences. Sloan are craftsman who weld their good taste into charming miniatures, and if The Double Cross retains a hint of familiarity -- not due to the source material but rather the workmanship -- the group’s level of skill assures that this is as comfortably satisfying as its predecessors.

13 nov 2011

Bill Withers - Ain't No Sunshine

Un clasico de los clasicosç

Michael Kiwanuka : I'm Getting Ready

Una prometedora voz que viene de las islas británicas con tan solo 23 años recuerda a Bill Withers. Vuelve es soul de siempre



Otra novedad recomendada y ademas dentro de poco los tendremos por aquí de concierto (Sidecar).Lastima que a no se pueda fumar en los conciertos!!!

by James Christopher Monger
For their third studio album, spacy North Carolina-based, alt-country-folk trio Megafaun dial back the more progressive elements of their sound in favor of a languid, Laurel Canyon-inspired foundation that treads the middle ground between Blitzen Trapper's experimental, neo-Southern rock romancing, and Will Oldham's post-Palace Music infatuation with American Beauty-era Grateful Dead. While the eponymous Megafaun is far less exploratory than its predecessors, that doesn’t mean that the band has forsaken its acid-folk roots. At 15 tracks, some of which clock in at over seven minutes, it’s obvious that brevity is a word best left to grace the studio door mat, but outside of the Phishy, jazz-tinged “Isadora,” there’s little here that isn’t instantly accessible. Richly textured and laden with long, cavernous harmonies, songs like “Real Slow” and “Get Right” feel lived in and highway ready, while simpler, more compact cuts such as “Resurrection” and “State/Meant” wouldn’t have sounded out of place on fellow Carolina crooners the Avett Brothers' elegant I and Love and You.

6 nov 2011

The Best Of George Harrison On Film

The Best Of George Harrison On Film (Mojo)

The Bangles "I Will Never Be Through With You" - NEW SINGLE 2011

Encantadora canción de estas veteranas del pop

by Tim Sendra
When the Bangles re-formed in the early 2000s and released Doll Revolution in 2003, the band seemed split between trying to recapture the jangle pop sound they had when they began and trying to stay current with the times (in terms of production). On the second album to come from their return, 2011’s Sweetheart of the Sun, there are no attempts to stay current. Instead, by hiring Matthew Sweet to co-produce, the band makes it clear that they are ready to embrace their power pop past. The record brims with jangling guitars, tough lead guitar work from Vicki Peterson, rich vocal harmonies, and a layered, live sound that sounds really, really good (and almost exactly what you’d hope the band who recorded All Over the Place in 1984 would sound like 25-plus-years later). The songs that Susanna Hoffs and the Peterson sisters (Debbi and Vicki) wrote for the record are good, too. Solid and gently hooky tunes about kids, relationships, and the realities of middle age life; they too sound like the best you could hope for all these years later. The mix of convincing rockers ("Ball N Chain," "What a Life"), rollickingly tender janglers ("Anna Lee (Sweetheart of the Sun)"), and a handful of introspective ballads is just about right, too, and shows the band is adept at conveying a wide range of moods and styles. And their choice of covers is predictably savvy. They rock out nicely on "Sweet and Tender Romance," an obscure British girl group song originally done by the McKinleys in 1964, and exhibit some amazing harmony singing on the Nazz's "Open My Eyes." The combo of songs, performance, and sound means that anyone who was saddened by the glitz pop turn the band took post-All Over the Place could look at Sweetheart as the true follow-up to their debut. The only thing that gives you a clue to all the time passed is the rough edges around the lead vocals. It’s kind of odd, really. They all sound miraculously ageless when singing in harmony but when singing alone they tend to push their voices past their natural limits and end up hitting some duff, craggy notes. Especially Hoffs, who takes the bulk of the leads. It’s too bad Sweet didn’t clamp down and reign in this small but noticeable problem, as it makes for some jagged moments. Still, Sweetheart of the Sun is a remarkably good record that comes long after anyone may have expected the Bangles to do anything much at all. Credit Sweet's production, but also the trio’s dedication and renewed skills and energy. Hopefully it won’t take another quarter-decade to follow this one up.


Un poco de pop para despertar en domingo

4 nov 2011

Impresionante nuevo disco de los Deadman, Ojala pudiéramos verlos en directo por estos lares. Empieza de nuevo el vals

28 oct 2011


by Tim Sendra
Sam Roberts' fifth album Collider finds the Canadian rocker doing what he does best: cranking out thoughtful, melodic, midtempo rockers that hit the sweet spot between radio-friendly slickness and singer/songwriter intelligence and deliver almost an hour of classic rock-inspired goodness. While some of his records in the past have toyed with alt-rock noise jams or sweeping prog rock concepts, this time out he’s content to stick to the middle of the road. This isn’t a criticism at all. Roberts is so adept at crafting simple, memorable rock songs, and his persona is so charming and direct, that he doesn’t need to do anything too flashy to make an album work. In fact, the only moments that don’t work on the album, like the jittery, horn-filled opener "The Last Crusade" or the jam band-fake funky "Let It In" are the moments when he tries to stretch out a little. The album really gets going when Roberts and his always sympathetic band stick to the basics. The easy choogling "Without a Map" or the driving rocker "Sang Froid" are examples of how they can make a simple song work by added energy and passion, not tricky arrangements. A song like the soaring "No Arrows" could even be a hit if the stars aligned just right. Along with rocking the rockers like a champ, Roberts proves to be a fine balladeer on the handful of songs that slow the tempo; showing great depth of feeling in the quietly rollicking "Twist the Knife" and the weary-sounding "Partition Blues." Like he has through most of his career, Roberts comes off like the guy on a team who doesn’t seem to be doing much, but if you took him out of the lineup, the team’s fortunes would plummet. He rarely makes mistakes, never embarrasses himself, and always turns in a solid performance. He may not win awards or get commercials, but he’ll get the job done. It may not sound very rock & roll when you put it like that, but even rock & roll needs unspectacular sparkplug-types, and with Collider, Roberts proves himself an essential part of the R&R landscape.

24 oct 2011

Israel Nash Gripka - Drown


Para los que el último del borrachin Adams sea demasiado "soft" os invito a descubrir a este peludo,ISRAEL NASH GRIPKA, que si bien no tiene la voz y las producciones del otro, las canciones están francamente bien. Suena al propio Adams, y en algunas canciones a Neil Young o a los Stones de la primera época.En Spotify tiene dos discos, uno en directo de esta primavera. El próximo jueves 3 de Noviembre lo podremos ver con banda en BCN, en el Rocksound.

18 oct 2011

Blitzen Trapper - "Love the Way You Walk Away"

by James Christopher Monger
After nearly a decade of flirtation, Blitzen Trapper finally took the plunge and dove headfirst into the lake in crafting American Goldwing, a straight-up, mid-'70s inspired Southern rock album that fuses the Saturday night swagger of Lynyrd Skynyrd with the stoic peasantry of the Band. Similar in sound and feel to fellow Pacific Northwesterners the Decemberists’ King Is Dead, but sporting a darker patina of authenticity (which is odd, considering neither group has roots in the deep south), American Goldwing comes out of the gate howling with “Might Find It Cheap,” a taut and infectious, summer boot-stomper that sounds tailor-made to buckle the speakers in a second generation Pontiac Firebird. What follows is a lovingly balanced set of rural rockers (“Street Fighting Sun”) and dirt road ballads (“Girl in a Coat”) that sound about as far from the murky introspection of 2010’s Destroyer of the Void as one would expect from a band that continuously tries to reinvent themselves within their own psych-folk/alt-country/indie rock universe, and almost always succeeds.

16 oct 2011


by John Dougan
Many singer/songwriters have been more heralded, but few produced more good work or did so for longer than Kevin Coyne. While virtually unknown in America, Coyne released dozens of records, most of them very good, that dealt primarily with outsiders: men, women, and children arbitrarily shunted to the fringes of society, or worse, locked away and left alone. His songs could be extraordinarily compassionate and, in the blink of an eye, angry, anguished, and accusatory. Perhaps the most durable and telling image of Kevin Coyne is the cover photo of his album In Living Black & White. On the front, Coyne is smiling and politely bowing to an unseen audience; the back of the album jacket is the same photo taken from the rear, with Coyne clutching an open straight razor.

Born in Derby, England, in 1944, Coyne, like many rock & roll performers who came of age in early postwar Britain, was an art school student who fell in love with American R&B. Living a bohemian life in late-'60s London, Coyne was employed for a while as a socio-therapist for alcoholics and the emotionally disturbed, jobs that would profoundly affect his approach to music. In 1969 his first band, Siren, signed to influential BBC DJ John Peel's specialty label, Dandelion. Two years and two excellent records later, Peel dissolved his label and Coyne embarked on a solo career. Married with two children, Coyne supported both his family and musical career by returning to social work. In many ways, his solo debut, Case History, set the tone for his career. Based on his social work experiences, it was a riveting examination of the desperate search for love by those forcibly exiled to the fringes of society. With his bluesy voice wailing almost inconsolably, Case History is a naked examination of people (Coyne included) whose lives are in constant turmoil: betrayed, institutionalized, unwanted, and mostly unloved. The characters in these songs cry out for attention, and Coyne, never one to buy into England's bureaucratic social work system, howls right along with them.

Case History was very nearly Coyne's swan song, but after a self-imposed exile from music, an opportunity to continue recording as a solo act with almost complete artistic freedom proved too powerful an incentive. In 1973, Coyne began a relationship with the then-fledgling Virgin Records label, which seemed willing to embrace the decidedly noncommercial, difficult performer. For the next eight years, he recorded some of his best music and, somewhat surprisingly, attained a modicum of commercial success, albeit in Europe only. These were mostly edgy folk-rock records tinged with an avant-garde feel for performance art (Coyne was a published poet, too), clearly not easy listening by any stretch of the imagination; neither were these records overly pretentious nor unapproachable.

By the early '80s, Coyne was recording for independent labels, making frustrating, semi-successful records that were erratically released and difficult to find. Exacerbating this bad situation were his worsening mental and physical states: chronic depression culminating in a nervous breakdown and alcoholism that, along with ending his marriage, nearly ended his life. In 1985 me moved to Nuremberg, Germany and began to pick up the pieces, improving his health and forming the Paradise Band. The move also re-sparked his passion for painting and writing, resulting in a handful of published books along with well-received exhibitions of his visual work in the cities of Berlin, Amsterdam, and Zurich. By the time the '90s rolled around, Coyne had reestablished himself as a true underground force, releasing a continuous stream of albums of dizzying variety (and availability). In 2002 he was diagnosed with pulmonary fibrosis. He died at his home on December 2, 2004.