Thursday, July 7, 2016

Eloy-Ocean (1977)

Eloy is perhaps the best band of German progressive rock, whose musical style includes symphonic rock and space rock, the latter with a higher prevalence in previous albums. Despite their nationality and period of activity, the band is not generally considered krautrock due to their sound, which has much more in common with English progressive rock bands like Pink Floyd, King Crimson and Yes. Moreover, the band that was always considered by the world music critics as the "German Floyd" because of its sound parallel to that of the British in many moments. It is true that sometimes sound similar, but the Germans have their unique sound, mixing rock with symphonic air space memorable.
"Ocean" is the sixth album released by the Germans. It was launched in 1977 and is considered by many their best album, a classic of the genre in Germany. 200,000 copies were sold, making it better than Genesis or Queen in the German charts at that time.

Monday, February 8, 2016

Deep Purple - Perfect Strangers (1984)

Undoubtedly the formation of Deep Purple called Mark II is the most successful and classic group that is formed by Gillan, Backmore, Glover, Paice and Lord. (I say successful and classic, not to be the best, because Coverdale and Hughes also gave great moments to the group at the time.) The Mark II was the cradores parts so fundamental in the discography of the group as In Rock and Machine Head. The success and exhausting tours put paid to the friendship of Blackmore and Gillan and the latter left the group in 1973.
In the following years some of them remained in Purple a time, then came Rainbow, Whitesnake, Gary Moore Band, production records and solo albums. We had to wait until 1984 so that the mythical formation Purple back together to offer a new album. Of course the news was a bombshell and a great joy for the world of rock and heavy metal, even if the disc would be something different for the public to expect issues like Smoke on the Water and Highway Star.
Obviously all the influences of the groups in which musicians Purple had fought were felt somehow apart from that we were in the middle of the 80s, very different in all those distant early 70s.
However, the Deep Purple billed one of the best albums of his career and showed that they still had much to say. A more elegant, leisurely and even dark disk would say for what was the sound Purple. Hard wonderful themes of classic and melodic rock musicians in grace, as always.
The album opens with a whiplash called Knocking at you back door, where we see a Jon Lord in great shape and great Blackmore, I say that this will be the trend of the entire disk. The video also is a small marvel of aesthetic Mad Max where archaeologists of the future are the old instruments of the band.
Under the Gun perfectly continuous the proposal of the first theme, Nobody's Home is one of the best on the disc, more direct and vacilona with intro Synthes very 80's, more like Don Airey (current keyboardist for the band!) And that vacilón pace groovie and Paice with cowbell incl. The Lord only returns to academic as far as execution of Hammond organ is concerned.
Perfect Strangers the song that gives title track, great title loaded with double meanings, is wonderful, with that classic keyboard intro, warm Gillan's voice and some echoes of Led Zep, the lyrics are great too and these phrases Oriental Blackmore found as well, all with the perfect bass / drums of some teachers called Glover and Paice rhythm. Epic!
The pace of A Gypsy's Kiss 100% Blackmore and Gillan enjoying the song and that fantastic butt with those stops just neoclassical house brand that had such an influence at the coming European heavy or power metal.
Wasted Sunsets is a wonderful ballad, the kind that can give us only Blackmore, with riffs that will make you mourn. A subject for even more class this record. Essential.
Running out of disk another issue with neoclassical taste, very Rainbow, as Hungry Daze with references in the letter to the past: "In a dark and sweaty room in 69 tables turning ... We all came out to Montreux but that's another song , You've Heard it all before ... "and the last Responsible Not very modern structure, ahead of its time I would say, great song with a lot of groove.
Great album of return of Deep Purple in the 80, elegant and sober as the album cover, another wonder, were left behind wildest years, but nothing lacking quality and inspiration for this masterpiece of hard rock.

Budgie-Never Turn Your Back On A Friend (1973)

Typically, and in a way is normal, we usually think of the legendary Black Sabbath when the interminable debate about who were the parents, so to speak, of the Metal scene emerges.
As I said, for sure both experts and laymen, Black Sabbath has always been typical and less risky response, or at least that's what I thought a while back. Only so far, that years ago, I discovered these Welsh, formed in Cardiff, back in the days of '67. Indeed, when even the gods Led Zeppelin had downloaded its first cartridge.
After four formative years, it was in 1971 (Black Sabbath and carried his self-titled album and the legendary 'Paranoid' behind) when Budgie stuck his face (or peak, rather) at the Hard Rock / Proto-Heavy international arena, his work also titled first 'Budgie' and with MCA label would release all their classic albums (1971-1975). From the beginning, the parakeets monopolize cover all their LPs. Not in vain, "he budgie" is short for budgerigar, parakeet English
The following year, he would 'Squawk' second work of Cardiff returning to leave clear what these people played. Indeed, one need only a couple of minutes to notice the similarity of the characteristic sound Welsh Black Sabbath, namely guitars ultra heavys (perhaps less slow and macabre that Iommi), a rhythm section bass / drums absolutely heavy and devastating, and a sharp and super melodic counterpoint voice. In fact Osbourne records and Burke Shelley, are quite similar, although the Welsh tends to blues giving their notes a deeper tone.
1973 was the year Budgie definitely catapulted to the status of cult band in the British underground. While they did not give the big leap across the Atlantic, as would the Sabbath itself, reaching the mega-stardom incontestable worldwide, the Welsh had already formed a reputation and a legion of fans in Las Islas , far more than considerable.
It was that same year when Budgie and overwhelming 'Turn Your Back On A Friend' would leave their legacy for the rest of time.
From cutting open the plastic, 'Breadfan', until the last record groove, Budgie expressed their clear desire to write the most thunderous music ever written. Obviously, looking back and comparing this code of his music seems the most ordinary, but the correct analysis is obtained contextualizing the work at the time, and 35 years ago this was the most heavy that you could pull a face logically his two little calm ignoring issues such as ethereal 'You Know I'll Always Love You' and the catchy 'Riding My Nightmare'. Until the end of its most glorious days, Budgie always would reserve a place in your drives for calmer issues like these, always reaping brilliant results, which vaguely resemble gems like 'Planet Caravan' or never valued 'Solitude' the excellent 'Master of Reality '; My favorite album of Birmingham.
As I said, 'Breadfan' is the cut that opens fire and if in case any of you did not know, this issue belongs exclusively to Budgie and not Metallica, who were the ones who made famous the issue worldwide sadly. Sadly I say, by the fact that they were not the real perpetrators of these subjects who received the heat from the press and public acclaim. Nothing to reproach Hetfield & cia, but it would be unfair to ignore the fact that versionear bands like Budgie, Diamond Head, Savage, Sweet Savage, Holocaust or Blitzkrieg, he greatly helped Metallica on their first gigs back in 1982-83.
'Breadfan' is a true anthem of Hard Rock / Heavy '70s and in it traces more Budgie classic sound characteristics are revealed; The super-sharp riffing of Tony Bourge cutting into slices everything that gets in his way, the dynamics of undervalued percussion Ray Phillips, and in the center of the shed Burke Shelley dividing to right and left with his voice and his unrepentant under crushing. With all due respect to the teacher Geezer Butler, here I do dare say that slightly exceeds Budgie Sabbath.
'Baby Please Do not Go' explodes with Shelley galloping bass and guitars Bourge messing very heeled coupon in the back. It is true that Budgie drink a lot of the bases of Black Sabbath, but with a very own style and ineffably devastating; Check the change of pace (1:35) and do not say nothing at (4:22) where low Shelley takes all ahead.
The third theme 'You Know I'll Always Love You' in the vein of 'Planet Caravan' (as already mentioned before) gives us a break two minutes and takes us to a place that only music is capable of moving. Indeed, the theme is excellent.
'You're the Biggest Thing Since Powdered Milk' (How great the title) opens with a riff full battery Bill Ward plan, until (1:43) three parakeets Cardiff which open fire anti-aircraft battery. Honestly, if you are not able to see the magic bass Shelley, you do not know it it gives me, because it really is a hatchet man. The only running Bourge from (3:34) to almost the end of the song, accompanied by the grinding rhythm section formed by the binomial Shelley / Phillips is simply from another galaxy. Completely overwhelming. It is one of those moments that make you smile it was impossible to put into words what you're hearing. Call registry change in the voice of Shelley at the end of the topic!
'In the Grip of A Tyrefitter's Hand' is started again with one of those trademark riffs. The cadence of the subject is extremely contagious and again the bass lines of Shelley lead the rest of the band until the end of the topic on the Sabbath 100% plan.
'Riding My Nightmare' is another number in a little calm plan, and is the prelude to the longest track (10:25) and closes the album, 'Parents'. Again, it goes without saying that the subject stands instrumental parameters of a 'normal' group but the letters are what really attracts attention. It is true that without his musical genius, hard Sabbath they had become what they are, but despite that, it would also be foolish not to emphasize the high degree of influence that also had their outbursts and the controversy that always left their He passed. Many times, through his lyrics, macabre and grotesque and near the forbidden. In this sense, we can say that Budgie never chose this path, opting for another no less orthodox and closer to the orbit of the psychedelic '70s. This is reflected in the titles of many d their jobs, with predominantly more 'white' theme and lighthearted compared to emerging Pen Ozzy.
The lyrics to 'Parents' (Padres) reflect the generation gap of young late' 60s with their parents and do so in a very melancholy and bitter way. When you have a band playing to full their compositional, creative and letrísticas capabilities, you can ask some more ...
In short, we are facing one of the greatest achievements in the history of the genre, and out of what are the big three, namely, 'Paranoid' 'Sad Wings of Destiny' and 'Iron Maiden', this' Never Turn your Back on a Friend 'is not doing anything big fourth

Monday, November 16, 2015

The odyssey of Jean Michel Jarre in China (1983)

The Concerts in China (or Les Concerts en Chine), is an important part of the history of modern music. So are 800 million people (!!!) who followed the live concerts or radio. And it is that nobody wins Jean Michel Jarre you great mass gathering of people for a single concert, remember 2 million in Paris in 1990. The musical content of the double album is a selection of songs from the last two albums of previously edited Jarre (no Deserted Palace and Les Granges Brulees), plus a few new songs that either were made specifically for the tour (The Overture , Arpegiator, Laser Harp, Night in Shanghai, Orient Express) were either traditional (Fishing Junks at Sunset) or were only included on the disc a posteriori (Souvenir of China). Something to keep in mind is that the issues were very strictly selected for editing, since not all the concerts-given the special circumstances that Jarre had to count on such a juncture, and later explain the why-they had a perfect sound quality. Probably Jarre was asked that he should put special attention to the staging (lasers and others) rather than music, as this surely would sound very strange to the Chinese and had to give them a show if or if. But do a little history ... The French musician went out (and almost ruined) for being the first Western musician to play in post-Mao China. The experience was chaotic and unforgettable, but likely to be worsened. In mid-December 1979, Jean Michel Jarre received a call from the secretary-general of UNESCO, the Senegalese Amadou-Mathar M'Bow. The Chinese Government would be interested in Hua Guofen Jean Michel Jarre travel to Beijing and formalize a series of concerts in communist China, just three years after the death of Mao. Amadou-Mathar had studied in Paris and felt a very special affection for France. At the meeting of the UNESCO headquarters, Secretary General tells Jarre to Radio Beijing has begun to radiate their albums, from 'Oxygene' to the last 'Magnetic Fields'. Jarre almost jumped for joy, because it was a year and a half insistence to the Chinese Embassy in Paris to approve his concerts, at the same time that there was astonished. Moreover, it was clear who was handling all the threads of the recent Chinese Communist economy was Deng Xiaoping. That same month, China had purchased several planes to Boeing and Coca-Cola announced the opening of a factory in Shanghai ... something was changing in the most isolated country in the world, or so it seemed at first glance. The July 13, 1980, the following year, Jean Michel Jarre and his wife Charlotte Rampling reach Beijing. His first meeting with the Chinese authorities occurs at the Conservatory of Music in Beijing China, located in one of the adjacent streets of Tien An Men Square. Jarre had taken the precaution of taking a couple of synthesizers to let them show the Chinese what electronics had changed the face of music. Chinese hallucinated with new sounds. They are excited with all the 'currencies' Western. Jarre himself was surprised at the Conservatory that not a single acoustic piano is not found. During the Cultural Revolution, the piano had been convicted of Western musical decadence. It seems that throughout Beijing, at most, there were only two pianos and controlled cultural apparatus of the communist regime. That evening, Jean Michel and Charlotte attend a concert of Chinese symphonic music. Jarre recorded on a cassette music to compose something about Chinese musical idea, but with synthesizers. At night, dine with Madame Wuang, director of the national radio. The ruling says that over half a million Chinese already know Jarre's music, because he has given orders that are heard as disturbing technological innovation in the culture of a new country, developing. As everything becomes eternal by the civil service, Jarre does not return to that country until February 1981. It flies in the same Concorde, with François Mitterrand, who is about to be president. The presidential candidate says he will talk with the Chinese to get to act, at least in Beijing. Jean Michel tells the president that his idea is to adapt some traditional theme of Chinese classical music with synthesizers and adapt. Something difficult to solve, because in Chinese classical music are not interpreted scores memory and hearing. In June, Jean Michel back again Beijing. last technical details with the huge workforce of Chinese officials, unable to understand each other. The meetings almost mad French artist. Nearly a week after the discussions, it is on the verge of aborting the project, to abandon the business. Charlotte explains that these concerts will be more difficult to achieve a concert at the far side of the moon. And precisely for that time, Jean Michel is impressed by the staging of 'The Wall', the magnum opus of Pink Floyd. So hires Mark Fisher to achieve spectacular staging. The signing of Mark for the project raises morally Jarre, who agreed with the Chinese finally two concerts in Beijing and three in Shanghai. Finally, on October 15, 1981 Paris off a special plane to Beijing. Transported 15 tons of material with boxes labeled 300 and 70 people on board. The plane arrived in the capital 30 hours after China. In the airport, the Chinese authorities forced him to formalize and sign a kind of contract. But soon they begin endless problems, since the decline of the Chinese Communist apparatus causes chaos in the expedition. For starters, the authorities had not provided many rooms in the hotel where they stay. To the extent that Dominique Perrier, one of the technical loses his wife for many hours lost in one of the hotels that have enabled the fly in some remote part of the huge city. But the worst is yet to come. Arrived at Beijing Sports Palace, Jarre team is stumped. No electrical outlets and no electricity no concert, after long talks with Chinese-French translators do not translate well, you have to step in China's Ministry of Industry to solve the problem. Every Frenchman has a Chinese technician available, although in some ways are their caretakers and guardians of the Chinese Communist apparatus. Another problem is that the Chinese back their crazy coffee machines that have installed the French team. In a couple of days, there is no 'stock' or coffee or sugar. Who said that Chinese like tea? Dictated by unscrupulous authorities, there are two general technical inspections every day. The first at 11.30 am and the second at 17:30 pm. Jean Michel Jarre talks to the 'bureau' communist and requires them to be free tickets. You receive an insolent no for an answer. They say the tickets are very cheap. 30 cents more expensive and the cheapest 18 (change) cents. But keep in mind that China's average wage was only four hundred and eighty cents (just about five dollars). A Jarre has no choice but to swallow left. As few tickets sold are sold, Jean Michel, with his partner Dreyfuss ensure buy and give away 180,000 tickets three days of performances in Shanghai. A view of the business, the Chinese charge six cents each entrance faces tax issue, they say. Fortunately, the rest of the material, synthesizers and set design time have come to Hong Kong. Comes the big night, on October 21, 1981. Most were soldiers and public officials. In the end, the regime had given the inputs. Like everything is going to film and will have a global propaganda, the regime installed as president of the Palacio de los Deportes in Beijing to Panchan Lama Ederni, which had been the collaborationist Tibetan leader, the friend who had been cast as vice president National Assembly to show that China is crushing the Tibetan people. Jarre premiered in Beijing on Fairlight, the new instrument could sequence and sample any sound. But the Fairlight fails because of the continuing brownouts in electricity. Worse, Frederic Rousseau is wrong to shoot sequences and ends nagging. A musical chaos. The sound is a disaster. After the concert, Jarre learns that more than two near the Palacio de Deportes neighborhoods have been dark for the French to have their electricity. Jarre is also demoralized because, as the concert progressed, people were leaving the premises. Officials say it was because he did not want to lose the last public vehicles only means to return home. Actually, everything is a whimsical game advertisements. A Jarre drove him crazy, excited him become the first Western artist who played in China. For the Chinese regime was widely publicized show the world that were not closed to the world. Quite the opposite. They were the more modern village, open to the Marco Polo mail with a society open to the latest music technology. Pure marriage of convenience. The truth and the only truth was that the Chinese did not understand at all Jarre's music. And neither the lasers, the overwhelming sound and paraphernalia staging of Mark Fisher made them out of indifference. They were forced to concerts, like the entire French team were guarded in a special way. The concert of the second day was much better. In addition, Jean Michel Jarre could play with the Beijing Symphony Orchestra small one of the most famous pieces of traditional Chinese music, 'Fishing with reeds at sunset'. Quite an achievement, but everything sounded out of tune. Chinese-government daily, the next day, Jean Michel Jarre called "the magician of sound and light," the "great master of electricity." But its electronic circus has to travel to Shanghai. We expect three concerts, on 26,27 and 28 October. As had happened in Beijing, a large district of Shanghai remains without light for feeding electricity to the stadium of 60,000 spectators. Or giving away the tickets, the stadium is completed to fill any of the three days. Yes, the public hallucinating with portable synthesizer Jarre and even his famous harp electronic works in Shanghai. Beijing had failed to install due to technical problems. Besides the China National Radio broadcast live across the country each and every one of the concerts. In the end, there is a general feeling happy. All concerts have had great impact worldwide. Jarre had invited more than 20 journalists from many countries. The Chinese offered the possibility of a sixth concert in Beijing before the propaganda success in the world. But Jean Michel prefers to buy a motorcycle to a police officer in Beijing for three thousand francs and return to Paris after the Chinese nightmare. On the plane back, Jarre write the topic of their double album 'The concerts in China'. He calls 'Souvenir de Chine'. A week later, Jarre and his musicians all come into the studio to select the items to be recorded on the disc. For the rest of the five nightmares in China can only assert the footage shot on film. Dreyfuss Jarre and his partner had lost 5 billion francs-about a nearly 400 thousand euros of today on the trip to China. It took nearly five years to recover the money from the venture. Interestingly, Jean Michel back to China in March 1994. Thirteen years later. But what was even more chaotic, because the concert was made in Beijing's Forbidden City. This was even worse than the first adventure. The Chinese had lost oppression of the communist regime and just enjoyed the money. Jarre learned much from a Chinese proverb which read: "The wise man can sit on an anthill, but only the fool is sitting in it." Sure you associated with his second trip to China.

Tuesday, July 28, 2015

A Chronology of Popular Music (1940´s)

1940


  • Disney's "Fantasia" introduces stereo sound
  • Pete Seeger forms the Almanac Singers to sing protest songs with communist overtones
  • Keynote is founded by Eric Bernay

1941


  • Arkansas' radio station KFFA hires Sonny Boy Williamson to advertise groceries, the first case of mass exposure by blues singers
  • "La Discotheque" opens in paris, a club devoted to jazz music

1942


  • Bing Crosby's White Christmas becomes the best-selling song of all times (and will remain so for 50 years)
  • Los Angeles bluesman T-Bone Walker incorporates jazz chords into the blues guitar with I Got A Break Baby
  • Capitol is founded in Hollywood, the first major music company which is not based in New York
  • Savoy is founded in Newark (NJ) by by Herman Lubinsky to promote black music

1943


  • The first "disc jockeys" follow the American troops abroad
  • The USA army introduces V-Discs that play six minutes of music per side
  • Richard Rodgers and Oscar Hammerstein produce the musical Oklahoma that uses choreographer Agnes de Mille to design the ballets
  • King is founded in Cincinnati by Sydney Nathan to promote black music

1945


  • Les Paul invents "echo delay", "multi-tracking" and many other studio techniques
  • Sam Hoffman plays the theremin in film soundtracks
  • White bluesman Johnny Otis assembles a combo for Harlem Nocturne that is basically a shrunk-down version of the big-bands of swing
  • Mercury is founded in Chicago
  • Jules Bihari founds Modern Records in Los Angeles, specializing in black music
  • Bill Monroe's Kentucky Waltz popularizes the "bluegrass" style 

1946


  • Louis Jordan launches "jump blues" with Choo Choo Ch'Boogie
  • Muddy Waters cuts the first records of Chicago's electric blues (rhythm and blues) 
  • Carl Hogan plays a powerful guitar riff on Louis Jordan's Ain't That Just Like a Woman
  • Damstadt in Germany sets up a school for avantgarde composers
  • Raymond Scott founds "Manhattan Research", the world's first electronic music studio
  • Lew Chudd founds Imperial Records in Los Angeles, specializing in black music
  • The Metro-Goldwyn-Mayer (MGM) film company opens a recording business to sell their movie soundtracks
  • Specialty Records is founded by Art Rupe in Los Angeles to specialize in black popular music

1947


  • Billboard's writer Jerry Wexler coins the term "rhythm and blues" for Chicago's electric blues
  • Roy Brown writes and cuts Good Rockin' Tonight in Texas
  • Six majors control the music market: Columbia, RCA Victor, Decca, Capitol, MGM, Mercury
  • The Hollywood-based tv program of Korla Pandit (John Red), pretending to be an Indian guru and playing a Hammond organ, publicizes exotic sounds
  • Chess Records is founded in Chicago by two Polish-born Jews to promote rhythm and blues
  • Ahmet Ertegun founds Atlantic in New York to promote black music at the border between jazz, rhythm and blues and pop

1948


  • Pete Seeger forms the Weavers, which start the "folk revival"
  • Detroit rhythm'n'blues saxophonist Wild Bill Moore releases We're Gonna Rock We're Gonna Roll
  • Columbia introduces the 12-inch 33-1/3 RPM long-playing vinyl record that can play 20 minutes on each side, invented by Peter Goldmark
  • Pierre Schaeffer creates a laboratory for "musique concrete" in Paris and performs a concerto for noises 
  • Rodgers & Hammerstein's Tale Of The South Pacific introduces exotic sounds to Broadway
  • Leo Fender introduces its electric guitar (later renamed Telecaster)
  • Moe Asch founds Folkways, devoted to folk music
  • Ed Sullivan starts a variety show on national television (later renamed "Ed Sullivan Show")
  • Homer Dudley invents the Vocoder (Voice Operated recorder)
  • Memphis' radio station WDIA hires Nat Williams, the first black disc jockey
  • The magazine "Billboard" introduces charts for "folk" and "race" records

1949


  • Moondog virtually invents every future genre of rock music
  • Fats Domino cuts The Fat Man, a new kind of boogie
  • Hank Williams' Lovesick Blues reaches the top of the country charts
  • Scatman Crothers cuts I Want To Rock And Roll (1949), with Wild Bill Moore on saxophone
  • RCA Victor introduces the 45 RPM vinyl record
  • Fantasy is founded
  • Todd Storz of the KOWH radio station starts the "Top 40" radio program
  • The "Billboard" chart for "race" records becomes the chart for "rhythm and blues" records
  • German physicist Werner Meyer-Eppler publishes the book "Elektronische Klangerzeugung", about making music by purely electronic devices
  • Aristocrat changes its name to Chess