Bowerbirds - "Northern Lights"

Review
by Jesse Jarnow
The Clearing, North Carolina's Bowerbirds' third album, moves the band one broad step away from the rough-edged gothic ruralisms that characterized their first two full-lengths. The band and mood of the arrangements are the same -- an acoustic-leaning trio, strings -- but there is a far glossier edge to the proceedings. Once associated with the vague edge of the freak folk revival of the early- to mid-2000s, The Clearing places Bowerbirds squarely in a more considered place. On "Stich the Hem," hard hand percussion tapes and snare hits propel singer Philip Moore to a full-on indie rock explosion that blossoms into a bed of Beth Tacular's layered vocals while string swells gather in silvery pools beneath it all. For the most part -- as per usual -- there are few standard drum kits, but newfound drama and modern propulsion are everywhere. It's not quite a rock & roll backbeat, but the muted thump and minor chords that pulse behind the first verses of "In the Yard" and "Stitch the Hem" owe far more to Radiohead than Dock Boggs. And, for the most part, Bowerbirds are a better band for it, their sometimes winding songs seeming more taut than ever. The lyrics and general textures of the work remain as earthy as ever, swarming natural forces flowing in and out of their metaphors (and potential descriptors for the music) like rivers. But these are no campfire songs, if ever Bowerbirds even aspired to that. Rather, they are well-considered and emotional slabs of art-folk that owe Van Dyke Parks, the Weavers, and anybody else who sang lines like the title lyric of "Walk the Furrows," to audiences who wouldn't necessarily recognize a furrow if they tripped on one and fell in. Nearly all the tracks build to rousing, rock-like finales. But it is a far-away and lustrous America that Bowerbirds invite their listeners to, one where pyres burn in the yard ("This Year") and people elegantly consider their life problems as weighted branches ("Sweet Moment") -- one as far away as the crow flies.

Un gracioso Ryan versioneando a Bob Mould

William Cleere and the Marvellous Fellas “s/t”

The Magnetic Fields -Love at the Bottom of the Sea

by James Christopher Monger
The Magnetic Fields' synth pop-saturated tenth studio album arrives after a trio of harder-edged, electric guitar-oriented offerings (I, Distortion, and Realism). While Love at the Bottom of the Sea does feel like an amalgamation of Stephin Merritt's epic 69 Love Songs and his excellent work under the 6ths moniker, especially on the giddy and typically infectious first single "Andrew in Drag," overproduction and a general (and oddly generic) sense of overarching silliness keeps the 15-track set from achieving the lovely balance of dirty wit and sincere heartache that made albums like Wayward Bus and Charm of the Highway Strip so immediate and life affirming. Opener "God Wants Us to Wait," a bouncy electro-pop parody of purity ring pathos, suffers from a grating, relentless hook and Shirley Simms terse delivery, while cuts like "Infatuation (With Your Gyration)," "You're Girlfriend's Face," and "'I've Run Away to Join the Faeries" feel like second-rate comedy rock songs as opposed to the bar napkin-composed gems we've grown so used to over the years. That said, Merritt can still work his subversive magic, as evidenced by the Ian Curtis-lite "Born for Love," the aforementioned "Drag," and the typically deadpan closer "All She Cares About Is Mariachi", the latter of which manages to rhyme "Hibachi" and "Liberace" with famed ad agency "Saatchi & Saatchi."

Kaiser Chiefs - Little Shocks

Weller us Richard P. Havens

Siguiendo con el tema Weller. De su último trabajo se comenta mucho sus influencias que si Neu tal y cual...Pero de sus primeros discos no he oído hablar de la influencia de este disco del año 69 y a mi me parece que se lo ha oído unas cuantas veces. ¿Que os parece?

Paul Weller - Above the Clouds

Paul , esto es , no lo eches todo a perder, tu eres tu y Bowie es Bowie, el Kautrock ya llegará y si no llega no pasará nada y por qué ese tema a lo Augustus Pablo ??!! pero si ya no se lleva !! Y esa canción final con los niños como si fuera Nikka Costa!!!.

No seas tan atrevido , no merece la pena ...Neil Young, Dylan , Van , Petty no lo intentan con el Kautrock y no les pasa nada.

Hay muchos Weller , pero a mí el que musicalmente me gusta más es este , el del vídeo.

David Bowie - Thursdays child (1999)

Qué he oído ? La mujer de Weller admiradora de Bowie ? Pues si podéis hacerle llegar este vídeo y que le pase a su marido Paul a ver si se inspira . Esta magnífica canción está en su disco "Hours..." (1999).

Jack White on German Late-night show

The Style Council - Speak Like A Child

Después de escuchar el ( a mi entender)insulso "Sonic Kicks" (sí ahora lo puedo decir) hay un montón de temas FLOJOS, PERO QUE MUY FLOJOS y más ruídos de máquinas de marcianos que el disco de DJANGO DJANGO ! , me voy a buscar a Paul en la época que al menos tomaba una copa de ron y nos divertía con estas canciones pop.

dr john the night tripper

Mira esto: el DR. Back Home to New Orleans , el duro início de algunos artistas.
Así se hacia un vídeo promocional.

Hijos respetuosos y padres reticentes

Interesante articulo:

Hijos respetuosos y padres reticentes
Por: Diego A. Manrique | 16 de abril de 2012



Por lo que sé, todavía no existe el Manual de la perfecta estrella de rock pero, cuando lo escriban, seguro que dedicarán un capítulo a esa maravillosa opción del triunfador: la de tocar con tu dedito mágico a alguien menos afortunado. Eso se suele traducir por “producir a una leyenda”. Clara señal de tu poder: obligas a la discográfica a invertir en un artista veterano al que, en circunstancias normales, no dejarían pasar de la recepción. Además, marcas la agenda cultural: fuerzas a los medios a salir del bucle del presente para atender a un histórico.


Una jugada que también potencia tu reputación: participas de la autenticidad del elegido; creces en estatura, profundidad, sabiduría. ¡Credibilidad por asociación! Eso explica que una criatura tan arisca como Jack White trabaje con damas (supuestamente) desvalidas del country, como Loretta Lynn o Wanda Jackson. Jeff Tweedy, de Wilco, produjo a Mavis Staples. Otra soul diva, Bettye Lavette se ha beneficiado de los servicios de Joe Henry y los Drive-By Truckers. El lance no es exclusivo de los chicos listos del rock alternativo: Questlove, inagotable baterista de The Roots, ha firmado producciones de Betty Wright, Al Green o Booker T. Jones.

Hay riesgos, cierto. Rockeros de generaciones anteriores vivieron pesadillas. Recuerden: Keith Richards pretendiendo domesticar a Chuck Berry, Elvis Costello intentando inútilmente actualizar el cancionero de George Jones. El más listo, Bob Dylan, prefiere honrar a los muertos, que no dan la lata: ha promovido homenajes colectivos a Jimmie Rodgers o Hank Williams.
Con todo, Dan Auerbach ha decidido redimir una de las fichas ganadas como miembro de los Black Keys en la ruleta del éxito: figura como productor y cabeza conceptual de lo nuevo de Mac Rebennack, más conocido como Dr. John. El malaje de turno dirá que no hay mucho mérito en hacer de hada madrina de Dr. John: la tragedia del Katrina y la serie Treme ya le habían devuelto a los focos. Que nos van a contar a nosotros: Siniestro Total le invocó en 1995 con Doctor Juan (“doctor Juan, doctor Juan/ cúrame de todo mal/y del mordisco del caimán”).

Aunque Dr. John tenga cinco premios Grammy y saca discos con regularidad, Auerbach le ha convencido para que recupere el espíritu de sus primeros elepés para Atlantic. Y no debió ser fácil. En las distancias cortas, el Doctor es un gigante frágil, damnificado por décadas de mala vida. Hablando con él, resulta evidente que se siente muy cómodo en su papel de clasicista, un chef que espolvorea especias de Nueva Orleáns sobre añejos standards o el repertorio de Duke Ellington.


Pero la referencia de Auerbach eran Gris-gris, Babylon o Sun,the moon and herbs, donde Mac Rebennack se inventó el personaje de Dr. John, exagerado brujo de Nueva Orleáns que operaba sobre públicos acostumbrados a lo psicodélico. Una propuesta tan salvaje que se fue desintegrando, en el estudio y en directo. El Doctor recuerda un concierto en St. Louis, donde dos de sus acompañantes terminaron en comisaría: uno por matar a un pollito para alimentar a una serpiente, otra por bailar desnuda (bueno, con pintura corporal). Y todo con un jefe yonqui, habría que añadir.

Auerbach ha evitado recrear la onda vudú: Locked down no es un proyecto retro. El guitarrista, al frente de otros cuatro músicos, se encerró con el Doctor en su estudio de Nashville y empezaron a crear (de hecho, las diez canciones tienen autoría colectiva). El Doctor fue invitado a usar órganos Farfisa y Wurlitzer, para alterar la tímbrica.

Los instrumentistas vienen de Antibalas, Menahan Street Band, Poets of Rhythm, los Soledad Brothers: blancos educados en los misterios del groove intercontinental. Seguramente escucharon viejos discos de Etiopía o Nigeria, para invocar a la inspiración. Y la musa llegó. En nueve días,tenían el armazón de Locked down. Un mes de parada y volvieron para meter letras más el indispensable coro femenino,las McCrary Sisters.

¿Funciona? Hasta cierto punto. Locked down (Nonesuch) entra exótico y vigoroso pero pierde fuelle en su segunda mitad. Existiendo el excepcional filón de piezas cubanas para los orishas, decepciona que Eleggua sea una nadería funk. O que las canciones más personales se queden en la banalidad: My children, my angels, donde Dr. John se disculpa por haber sido un padre absentista; God’s sure good tampoco alcanza el fervor del gran repertorio gospel. Pero hay que agradecer a Auerbach que tengamos un Doctor Juan africanizado, natural, protestón. A los 71 años.

Una plegaria por Levon Helm

con el permiso de Ruta66
Una plegaria por Levon Helm. Acabamos de enterarnos que se halla en la última fase del cáncer que padece. Siempre en nuestros corazones; que tengas una plácida travesía al otro lado, amigo.

We Take Care Of Our Own - Bruce Springsteen

Sloan - Between the Bridges

Review
by Gina Boldman
Sloan managed to tinker with its signature sound -- '60s pop meets '90s indie pop -- while pleasing its current fans and gaining new ones. The band's fifth studio album, Between the Bridges, is one of its best and most consistent -- it's Navy Blues with better production, higher-quality songs, and a polished (but definitely not slick) sound. Sloan returns to producer/engineer extraordinaire Brenndan McGuire, who produced Twice Removed and One Chord to Another, to illustrate how the band's sound has improved and evolved since OCTA and even Navy Blues. The tighter arrangements and the band's naturally engaging songwriting make Between the Bridges a standout in the band's already impressive discography. This progression is most obvious on tracks like Andrew Scott's blues-rock anthem "Sensory Deprivation," Patrick Pentland's rocking "Friendship," Chris Murphy's Television/Halifax club ode "The Marquee and the Moon," and Jay Ferguson's mellow and bouncy "Waiting for Slow Songs." Sloan is making harder-edged, bluesier albums, but the guys still sound like a pop band: innovative, pure, and energetic. Scott's tracks, in particular, have developed from simple Beatlesque numbers into astonishingly genuine, multi-layered pop songs. Between the Bridges sounds eclectic, energized, and cohesive, even if the individual artists don't always stretch out their own compositions. Somehow the group gets better and better while still experimenting with new concepts and sounds, which is not something many bands do gracefully.

Mull Historical Society 'Must You Get Low' Official Video (2012)

Mull Historical Society AKA (Colin MacIntyre) y su nuevo disco , pop brillante de arreglos frescos reminiscentes a grupos de los 80's como Teardrop Explodes, Microdisney, Friends Again y por supuesto Aztec Camera. El disco es magnífico en donde destaca el tema "The Lights" (que melodía , que estrofa, !!), imposible encontrar el vídeo , por eso he colgado la canción (que por cierto tiene la portada del disco "US" 2003 que recuerdo haber visto por 0.50 euros en algún lugar) y este "Must You Get Low" un auténtico clip indie con pocos medios económicos. Magnífico pop escocés .

Bruce Springsteen - We Take Care Of Our Own (2012)

El Sr.Ignacio Juliá en su editorial del último número rutero comenta que este es el mejor disco de Springsteen desde "Born in the Usa", me encanta esta editorial tan rutera en que pone en los más alto al disco mencionado y al "Born to Run" (no podía faltar) , pero que también da estos dos palos a los discos de Bruce, "Magic" (le llama mediocre chatarra)y "Working on a Dream" (le llama, melodiosa banalidad).Una editorial o columna de opinión marca de la casa , si señor.

Pues esto , este tema de John Hiatt , perdón del Bruce , me gusta mucho sobretodo por este inconfundible sabor a rock americano clásico que sólo los grandes músicos pueden componer e interpretar.

You Won't: Skeptic Goodbye

By Emily Tartanella 28 February 2012
As a long winter cedes to an early spring, as youthful protests give way to heating bills, it’s the right time of year for melancholy. And in a place where Simon & Garfunkel meet Bob Dylan at an Occupy Wall Street rally, you’ll find the Boston-born duo You Won’t.

Almost defiantly simple, more bedroom than baroque, vocalist Josh Arnoudse and drummer Raky Sastri have come up with the perfect post-winter pop album, full of lovely, retro riffs with a modern, mournful streak. True, there’s not much variety on Skeptic Goodbye, the band’s debut, and at times it feels deliberately underdone, but that’s part of its threadbare charm. If it sounds rough and unfinished, unsure and new—well, that’s to be expected. If anything, in an era of over-production, it’s to be commended. Charming despite themselves, with the vocals and tunes of a pre-electric Dylan, these two boys have created an album that feels as expansive as it is contemplative.

Lead single “Three Car Garage” is a standout track in an album with few singles; overall it’s an series best listened to in one sitting, as the winter sun sets. Opening with the joyful wailing of a child, “Three Car Garage” backs up its tale of suburban ennui with a strident beat, plaintive vocals, and a killer hook. While the admittedly shoddy production is part of Skeptic Goodbye’s charm, “Old Idea” in particular echoes with the chords of a tune recorded in a best friend’s basement. “Fryer” is almost too lovely, so soft and delicate it makes you crave an edge, a hint of brutality to counteract the sweetness. But then again, it seems awfully pretty to complain about too much of a good thing. The same goes for “Who Knew”, the album’s true highlight, with its enduring promises of love that balance the saccharine and the sarcastic. “If I was a ghost in your halls / I would haunt you and walk through your walls at night”, Arnoudse growls. “But I’m flesh and I’m bone and I’m stiff as a stone”.

It’s that same delicacy that makes the T. Rex riffs on “Dance Moves” seem so incongruous. But that’s the problem with simplicity: When you throw in a hint of richness, it’s overwhelming. Something akin to finding foie gras in a salad – not what we were expecting. Elsewhere, other flourishes bring a hint of glamour to the proceedings, such as the gospel clapping on the rousing “Television”. In the split between simplicity and grandeur lies a glimpse of what You Won’t could be.

As a debut, Skeptic Goodbye offers that sweet and terrifying vertigo of watching a band choose their next move. You Won’t could fade away in a heartbeat, or they could take their raw potential and shape it into critical and commercial triumph. Well, critical triumph at least. It’d be disingenuous to suggest that the band had many hopes beyond the fringes of BK. While they’ve faced more than a few comparisons to Vampire Weekend, You Won’t lacks the sunny accessibility of that band. They’re too eccentric, too defiantly lo-fi. And they seem perfectly content with that.

These boys might as well belong to a newfound genre of Recession-pop: simple, stripped-down, melancholic but utterly resilient. It’s in the mournful album closer “Realize” that we hear the truest echoes of a post-Occupy disillusionment: “Wasn’t there gonna be a riot somewhere? Wasn’t there gonna be a fiery fight?” With the resignation of someone much older, sounding like a post-accident Dylan, Arnoudse halfheartedly admits, “Cast aside all my troublemaking notions / and sailed for the sedentary life in the meadow / where we struggled in the old days”. Disillusionment never sounded so moving.

Jonathan Jeremiah - A Solitary Man

He quedado prendado por este cantante poop folk con aires de 60/70s. Recuperamos su disco del año pasado. Que disfruteis
Review
by Jon O'Brien
With the likes of Rumer, Nerina Pallot, and even Ronan Keating bringing orchestral '60s pop back into fashion, singer/songwriter Jonathan Jeremiah's debut album, A Solitary Man, couldn't have been timed any better. Indeed, the London-born vocalist may cite the likes of Nick Drake, John Martyn, and Cat Stevens as his main influences, but while its 11 tracks are undoubtedly steeped in the sounds of the late '60s/early '70s, it's the timeless lounge-pop of Burt Bacharach that draws the closest comparison. Making full use of his impressive array of guest musicians (the Heritage Orchestra, James Brown's brass section the J.B.'s, Roots drummer ?uestlove), the likes of opening track "If You Only," the ironically titled "Happiness," and the gorgeous "Lost" are all drenched in the kind of warm layers of strings, gentle horns, and shuffling brushed percussion that defined the songwriting legend's heyday, while Jeremiah's deep gritty baritone is the perfect foil for the sweet soulful melodies and contrasting tales of relationship woes. The barroom blues of closing track "All the Man That I'll Ever Be" (written at the last minute after his girlfriend became upset that there wasn't a song dedicated to her), the pastoral folk of the title track, and the soothing fingerpicking acoustics of "How Half-Heartedly We Believe" show glimpses of the serious singer/songwriter vibes hinted at through his choice of musical idols. But the album works best when it's in full-on lounge lizard mode, particularly the swaggering soul-blues of "Heart of Stone," which wouldn't sound out of place on a Vegas-era Tom Jones set list, and the big-band swing of "See (It Doesn't Bother Me)." A big voice on young shoulders, A Solitary Man's occasional shifts in direction suggests Jeremiah hasn't quite yet figured out exactly what to do with it. But in a scene littered with ten-a-penny acoustic troubadours, he would be wise to stick with its more charming and prevalent multi-layered sound.

Alejandro Escovedo & The Sensitive Boys, en junio y con disco nuevo

Buenas noticias
Alejandro Escovedo & The Sensitive Boys, en junio y con disco nuevo
Alto ahí: en junio nos visitará Alejandro Escovedo. Con disco nuevo, "Big Station", el undécimo de su carrera, que sale a la venta el 5 de junio, y acompañado por primera vez en España de su banda al completo, The Sensitive Boys. Promete ser es-pec-ta-cu-lar. Hablamos de alguien que ostenta el título -honorífico, oficioso, lo que se quiera, pero bien significativo- de "mejor artista de los 90" para la revista 'No Depression', la publicación seminal en los últimos lustros del rock de raíces estadounidense y de sus aledaños (¿os acordáis del country alternativo?). Un título que nos ayuda a entender delante de quien estamos. Miembro de una saga familiar, los Escovedo, que incluye a Pete (percusionista de Santana), Sheila E (batería de Prince), Mario (miembro del grupo de hard rock The Dragons) y Javier (del de punk-rock The Zeros), Alejandro luce un discurso musical con más treinta años de solera que, como bien ha señalado el músico e historiador Lenny Kaye, se pasea por las deseseperaciones y celebraciones de la vida con una profundidad emocional que trasciende fronteras y géneros. En los 70 formó parte de la ráfaga punk inicial de la Costa Oeste con The Nuns, en los 80 de la del cowpunk con Rank And File y True Believers (ahí también estaba el gran Jon Dee Graham) y en los 90 encontró su voz en primera persona, con discos a su nombre que aún resuenan fuerte -como "Gravity" (1992) y "Thirteen Years" (1994)-. Con cada nueva obra su sombra se alargaba y su influencia en el rock de raíces con parada y fonda en Texas y California crecía y crecía. En esas estaba cuando tuvo que parar, obligado por una hepatitis C que marcó un punto de inflexión en su obra: la hizo, si cabe, aún más profunda. Surgieron entonces homenajes como el tributo "Por vida" (2003), con Calexico, The Jayhawks, Ian Hunter y Cowboy Junkies, entre otros, rindiéndole honores, y se le ofrecieron colaboradores de la talla de Bruce Springsteen, John Cale, que le produjo "Boxing Mirror" (2006), y Chuck Prophet, que ha colaborado intensamente en la composición de "Big Station".

20 Junio: DONOSTI - Teatro Victoria Eugenia (+ PLV Havoc)
21 Junio: BARCELONA - [La 2] de Apolo
23 Junio: MADRID - Día de la Música - Matader

Alabama Shakes: Boys & Girls

by James Christopher Monger
Muscle Shoals-inspired, Athens, Alabama-based quartet 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. 2012's Boys & Girls was produced and mixed by the band at The Bomb Shelter in Nashville.

The Sleepy Jackson - Lovers (2003)

by Heather Phares
Like a jukebox loaded with 35 years worth of trippy pop moments, the Sleepy Jackson's debut album Lovers runs the gamut of quirky-yet-catchy music. There's the lush, almost syrupy-sweet "Good Dancers," which, with its melting strings and cryptically affecting lines like "My heart is stronger than you are," proves that the band's comparisons to the Flaming Lips are well-earned; the piano-driven pop of "This Day," which recalls everyone from Badly Drawn Boy to Al Stewart; and "Acid in My Heart," a pretty, off-kilter ballad reminiscent of some of Robyn Hitchcock's quieter moments. While Luke Steele's influences show through on all of Lovers' tracks, somehow the album avoids sounding totally derivative; instead, it just reveals Steele as a pop chameleon and an expert at pastiche. This isn't necessarily a bad thing. The Soft Boys-channeling single "Vampire Racecourse" is Lovers' best song, while the lovely "Come to This" is California country-rock meets George Harrison. (The shiny, trippy sound of Harrison's solo work is another major influence on the Sleepy Jackson's music). Likewise, "Rain Falls for Wind" is a convincing facsimile of moody '80s college rock à la the Church. The album would be full of enough sounds and styles if Steele stopped there, but Lovers also takes detours into electronic music and more experimental fare. "Don't You Know"'s fusion of gooey '70s soft rock and robotic beats works fairly well, especially since guest vocalist Haruka adds an appealing East-meets-West flair to the song. "Tell the Girls That I'm Not Hangin Out," however, feels both bloated and insubstantial, a problem that also plagues the down-home "Old Dirt Farmer." Interludes such as the spoken-word and piano-noodling "Fill Me With Apples" and the rather saccharine, child-sung "Morning Bird" detract from the album's strongest songs, reaffirming the impression that Steele is trying too hard to impress his listeners by cramming in as many different sounds as possible. It's almost as if Steele, feeling hemmed his previous EP-length releases, got carried away with having a whole album's worth of space to fill and sacrificed some substance for stylistic flights of fancy. Nevertheless, Lovers is still a promising full-length debut -- especially if Steele promises to bring more focus and originality to his work in the future. [A special edition of Lovers features the bonus track "Miniskirt," a slice of country-rock that is one of the album's better tracks.]

Destroyer - Kaputt (2011)

LOS MEJORES TEMAS DEL 2011.

Nº 22
DESTROYER
"Kaputt"
Album: Kaputt

He de confesar que antes de 2011 poca idea tenía de quien era Dan Bejar y su grupo llamado Destroyer , seguramente y viendo el nombre de "su grupo" no hubiera hecho demasiado caso . ¿Death Metal , Trash Metal , Heavy Rock? , pues no, resulta que el disco es una mezcla de pop de los 80's con grandísimas influencias de New Order, Spandau Ballet y Prefab Sprout, eso sí con toque indie del siglo XXI.
El tema escuchado de nuevo me parece bastante light/aburrido , y del álbum diría casi lo mismo. Allí queda para mi historia , en el número 22 del 2011.

Dr. John - Revolution

El Dr. ha vuelto para curar todos tus males!!!!!!!!!!!!!

"Le Blues De Memphis"

“Le Blues de Memphis” is an incredibly cool 11-minute video tour of two iconic music studios. Made for French television forty-some years ago, it starts off at a Brook Benton session in Muscle Shoals, Alabama, and then (after a quick stop at Elvis Presley’s Graceland) takes us behind the scenes at Stax Records—where Booker T. and the MGs are recording “Time Is Tight” and a slicker-than-silk, saxophone-playing Isaac Hayes is putting the studio’s horn section through its paces. Blues or no blues, this is joyous, eye-opening stuff.

Jack White - Love Interruption

nuevo single de su trabajo en solitario

WLT - Michael Kiwanuka - I'm Getting Ready (2012)

Hace algo más de un mes Martín "colgó" el clip oficial de este magnífico tema que no para de sonar en mi cabeza. El álbum "Home Again" tiene sus altibajos, pero mantiene un buen nivel por ser un disco de inicio. Espero que disfrutéis otra vez esta gran canción y en este nueva versión. Para mi este será uno de los mejores temas del 2012.
Por cierto Kiwanuka también ha crecido en Muswell Hill (North London).