RYAN ADAMS

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

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


Biography
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.

LO MEJOR DEL 2011 (Manel)

LOS 25 MEJORES DEL 2011 (Jordi)

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

Marshall Crenshaw

Biography
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

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

Biography
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.

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

Review
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.

Bob Dylan & Tom Petty / Like a Rolling Stone

PAUL WELLER STANLELEY ROAD

DISCO RECOMENDADO
Review
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.

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.