MIRAMAR.ROCKMAGAZINE: febrero 2011

26 feb 2011

Dreaming in Stereo "Steal This Song"

Dreaming in Stereo - "Fill My Sky

Dreaming In Stereo "Dreaming In Stereo 2"
Fernando Perdomo returns after a wonderful debut, and there is no sophomore slump here. Fernando balances his guitar virtuosity with equally strong melodies. A variety of instruments and even guest vocalists (Marisol Garcia) support Fernando's mix of Todd Rundgren, Pink Floyd and Jason Falkner. "Fill My Sky" features his exceptional guitar work and solid hook. The gorgeous pyche-pop of "Enough's Enough" is filled with his swirling melody, dreamlike background vocals and strings. Marisol's vocal leads the ballad "Saturday Song" and the Gilmour-esque guitar reverb brings us to the goose bump inducing chorus.

"The Traveler" is a little ear worm that simply won't leave your head with it's "Woah, oh oh" refrain. Every song here leaves an impression, and although some tunes seem a bit derivative, they never get boring. "Standing Still" is a Ringo-ready melody that opens up to rich orchestration. "Open The Door" is a haunting Brian Wilsonesque chant that is both creepy and compelling. Another gem here is "Music All Around Me (Dudley Moore's Last Words)" with a Harrison slide riff and ELO styled arrangement. As long as Perdomo can take those classic power pop influences and wrap them in an intoxicating original package, he'll get my attention. The band definitely deserves a top ten of 2011 mention.

25 feb 2011

Happy 68th Birthday George Harrison!

Happy 68th Birthday George Harrison! Watch the Concert For George here: http://www.concertforgeorge.com/

23 feb 2011

Edmonton Block Heater

acaban de sacar disco mars, massachusetts

Do they know it's christmas Live aid 1985 london

Martín , buscando si había algo mejor que The Last Waltz ......

Alguien ha visto algo más horroroso que esto ??!!!!, no me extraña que The Band hicieran su Last Waltz ya se olían cosas de estas 10 años después , lo bueno es ver los caretos, Bono, Bowie, Sting, Captain Fantastic, Whaaammm!!!! el cantante de los Queen, Freddie no se que , Super Mod Townsend y Adam de los Ants entre otros (Por cierto no he visto a Alaska y Dinarama). Suerte que gracias a estas acciones Africa esta mucho mejor 25 años después y si no que lo pregunten a los de Burkina Fasso , Chad , Niger , Bravo Muchachos/as!!. Gracias por vuestro soporte!

22 feb 2011

Deep Purple - smoke on the water (live 1974)

MOMENTOS DE GLORIA EN EL ESCENARIO !!! 8 minutos DE PASION !!

LUCINDA WILLIAMS Blessed

Aqui puedes escuchar el proximo disco de Lucinda Williams BLESSED

First Listen: Lucinda Williams, 'Blessed'

21 feb 2011

The Band - It Makes No Difference (1975) Live

Después de Deep Purple y ver lo del tío este de Radiohead , necesitaba una cura escuchando una canción tan extraordinaria , como esta .

Jordi

The Smiths' Year Of Living Dangerously

The Smiths' Year Of Living Dangerously

In the current issue of MOJO, Martin Aston chronicles the remarkable on-the-road metamorphosis that Morrissey, Marr, Rourke and Joyce underwent in 1985, transforming them from fey, indie janglers into a world-conquering rock band. As a video companion to the magazine feature, Andrew Male selects some choice snippets of dramatic theatrics from the greatest 80s band of them all.

VER VIDEOS

Radiohead - Lotus Flower

Video de su último disco

Deep Purple - Smoke On The Water

19 feb 2011

Recomendaciones 2011

En la larga carrera de los mejores de 2011 ya se pueden entrar dos
álbumes que he comprado recientemente y me han causado muy buena
impresión, al menos a mí me parecen excelentes y seguro que estarán en
mi lista final. De ambos ya hubo un avance en Miramar realizado por
Martín pero para mí era necesario escuchar todo el álbum para valorar.

1- IRON AND WINE / HISS EACH OTHER .: Una grabación muy interesante de
este grupo o banda unipersonal de Sam Beam , influencias diversas desde
Nick Drake, Elliott Smith, Beach Boys, folk , hasta jazz y funk de los
70 , pero con un tratamiento siempre integrado a la canción de formato
pop. El álbum se inicia con un hermoso tema titulado "Walking far from
home" en donde uno ya se da cuenta de que estamos ante ungran trabajo y
cierra con "Your Fake Name is Good Enough for Me" un tema épico/
apocalíptico en donde la repetción de la estrofa se convierte en un
final angustioso a seguir especialmente la intervención del batería.
Gran disco!.

2- THE DECEMBERIST/THE KING IS DEAD :Como ya me temía en el avance del
tema "Down by the Water" la influencia de REM en esta banda parecía que
sería importante y así lo es , como también lo es la influencia de los
Smiths , ambos grupos fueron y han sido favoritos de lider y creador de
la banda Colin Meloy y esto se nota bastante en su música. Pero no todo
queda ahí , podemos disfrutar de un grupo que musicalmente recupera la
mejor tradición del folk británico llevado a terreno americano , por
esta razón a mi me recuerda en ciertos momentos a The Band , tanto por
la música como por parte de la instrumentación utilizada por el grupo:
violín , acordeón, pedal steel, Wurtlitzer, fiddle, etc + los
intrumentos tradicionales de un grupo rock, otra obra magnífica en donde
se destacan varios temas pero quizás por encima de todos ""Rise to Me"
que dedica Colin a su hijo autista, el tema cuenta con la voz de Gillian
Welch .
El título del disco va dedicado a los Smiths "The Queen is Dead" en este
caso "The king is...."

Recomendaciones 2011

16 feb 2011

North Mississippi All Stars - Hear the Hills

el mes que viene en Bikini presentado nuevo trabajo

CAN

Biography
by Stephen Thomas Erlewine
Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

Throughout their career, Can's lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the '70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music.

Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. 1970's Soundtracks, a collection of film music, introduced Japanese singer Kenji "Damo" Suzuki, and featured "Mother Sky," one of the group's best-known compositions. With 1971's two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures.

1972's Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzuki's swan song, traveled even further afield into minimalist, almost ambient territory. With 1974's Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karoli's shrieking violin. 1976's Unlimited Edition and 1977's Saw Delight proved equally restless, and drew on a wide range of ethnic musics.

When the band split in 1978 following the success of the album Flow Motion and the hit "I Want More," they left behind a body of work that has proven surprisingly groundbreaking; echoes of Can's music can be heard in Public Image Limited, the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Can's music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded.

The Cubical - Like Me I'm a Peacock

The Greenhornes

Una muestra de estos chicos de Cincinnati, OH de su último trabajo

Biography
by Mark Deming
Cincinnati, OH's the Greenhornes earned a devoted following during the garage rock boom of the 2000s, but while the band was clearly influenced by classic blues-based acts of the '60s (the Yardbirds, the Rolling Stones, the Kinks) and first-era garage rock (the Sonics), their instrumental skill and songwriting chops put them well ahead of most of their peers. The Greenhornes were formed in 1996 by Craig Fox (guitar, lead vocals), Brian Olive (guitar), Jared McKinney (keyboards), Jack Lawrence (bass) and Patrick Keeler (drums); several members of the band had been friends since high school, and they recorded their first demo tape under the name Us and Them. After adopting the handle the Greenhornes, the band cut their debut single in 1998, "The End of Night" b/w "No More," and their first full-length album, Gun for You, appeared in 1999. In 2000, Olive left the Greenhornes to join the Soledad Brothers (where he changed his stage name to Oliver Henry), and Eric Stein became the band's new guitarist. The new lineup of the band recorded their second LP, simply titled the Greenhornes, but by the time they cut 2002's Dual Mono, Jared McKinney was out of the group, and Stein would leave before the year was out. However, the Greenhornes had a valuable ally in Jack White of the White Stripes; he had helped produce a Greenhornes single in 2000, and when the White Stripes' third album became an unexpected breakthrough hit, White championed the band and brought them to the attention of the White Stripes' label, V2 Records. In 2005, V2 released an EP of new material from the Greenhornes, East Grand Blues, as well as a career-spanning compilation, Sewed Soles. A year earlier, White had recruited Jack Lawrence and Patrick Keeler to play on Van Leer Rose, the album he produced for country icon Loretta Lynn, and when White and Brendan Benson (who produced East Grand Blues) formed their side project the Raconteurs, Lawrence and Keeler were invited to be their rhythm section. The Raconteurs released albums in 2006 and 2008 and toured extensively, while Lawrence also recorded and toured with another White project, the Dead Weather, and as part of the acclaimed Detroit alt-country band Blanche. However, Fox, Lawrence and Keeler reconvened the Greenhornes in 2010; they went into the studio to record a new album, **** (released by White's Third Man Records imprint), and hit the road in support of its release late in the year.

13 feb 2011

Teddy Thompson "Looking For A Girl"

Otra gran canción de su nuevo albúm

12 feb 2011

Gregg Allman - Just Another Rider

Una canción de su último álbum en solitario

10 feb 2011

Camper Van Beethoven - Eye Of Fatima

Biography
by Denise Sullivan
Back in the day, before alternative rock was invented and indie rock was still shy of roots music and other folk elements, Camper Van Beethoven's merging of punk, folk, ska, and world music was truly a revelation. Singer/songwriter David Lowery's smart-aleck lyrics, delivered in laid-back California style, combined with Jonathan Segel's violin as lead instrument were the band's instant trademarks. Twenty years after its inception, the CVB sound is still remarkably fresh and its influence on alternative music undeniable and resounding.

Self-described as "surrealist absurdist folk," the group had its beginnings in the summer of 1983 when Lowery and boyhood friend Victor Krummenacher (bass) started playing music together around Riverside and Redlands, CA. Upon relocating to the Northern California college town of Santa Cruz, they enlisted friends Chris Pedersen (drums) and Chris Molla (guitar) to join the fold; Greg Lisher (guitar) and Jonathan Segel (violins, keyboards, mandolin) were added in 1985, and collectively they created a repertoire built on acoustic and electric, traditional and punky aesthetics. The reissue of the band's self-released 1985 debut, Telephone Free Landslide Victory, which included their signature song, "Take the Skinheads Bowling," made the Top Ten in the 1986 Village Voice Pazz and Jop Poll, as did their second album, the confusingly titled II & III, along with their self-titled third album, both released in 1986. In addition to the punk and ska, II & III dabbled in lo-fi sounds, with touches of country (as in the original, "Sad Lovers Waltz" and the twangy cover of Sonic Youth's "I Love Her All the Time"). The band's forte was its ability to switch styles, from Balkan folk to psychedelic rock on alternate takes and sometimes even within the same song!

The third album, Camper Van Beethoven, continued the thread, as blueprint CVB tracks like "Joe Stalin's Cadillac" and "Good Guys and Bad Guys" fused punk-inspired looseness with more sophisticated melody and rhythm patterns. At the same time, they were blowing minds and ears with their prog rock leanings (check their nearly note-perfect version of Pink Floyd's "Interstellar Overdrive"). By the time of their Virgin Records debut (coinciding with the label's U.S. re-launch in 1988), the band took a more serious tack for its fourth album, Our Beloved Revolutionary Sweetheart. With Molla gone by then, the group was officially a five-piece, though a cadre of friends assisted them at recording sessions, including producer Dennis Herring (eventually, touring guitarist David Immerglück, later of Counting Crows, became an honorary sixth member). Stretching out in larger studio facilities and experimenting with sound, Sweetheart was the first CVB release met with mixed critical response. Following the elegiac Key Lime Pie and amid creative and personal strife, in 1989 the band (then featuring female fiddler Morgan Fichter in place of Segel) called it a night. Krummenacher, Pedersen, and Lisher (with Immerglück) continued to play together in Monks of Doom, a mostly instrumental prog rock concern as well as in other formations that sometimes included Segel in the '90s. Segel released three albums as Hieronymous Firebrain from 1990-1994 and two with Jack & Jill for the Magnetic label. In 2005 he collaborated with Dina Emerson in Chaos Butterfly. Krummenacher has released six solo albums and has collaborated with Eugene Chadbourne, Bruce Kaphan, and members of Tarnation among others, also released through Magnetic. Lisher has two self-released solo albums to his credit. In the wake of the band's dissolution, Lowery formed Cracker, by far the most successful of the post-Camper ventures; it served as a vehicle to keep him on the road as well as a way to keep Camper's name in circulation, though he kept a distance from his bandmates and left California for Richmond, VA. By 1999, Krummenacher, Segel, and Lowery were reunited while compiling an unorthodox rarities collection, Camper Van Beethoven Is Dead: Long Live Camper Van Beethoven, a mash-up of rare cuts utilizing the band's catalog. In 2002, they officially issued their song-for-song version of Fleetwood Mac's Tusk, recorded on a lark in 1987. In the process of reissuing and archiving, the original members (sans Pedersen) quietly reunited for a handful of live shows and began work on a new batch of songs. In 2004 they released New Roman Times (a concept album about a Texas teen who joins the military then leaves ranks to join an anti-government militia) featuring all original members including Pedersen on drums and original guitarist Molla sitting in. CVB continue to tour, often in support of alternative acts who've followed in their groundbreaking indie rock footprints.