Wednesday, July 17, 2013

Jethro Tull-Crest of a Knave (1987)

With this work, the sizzling Jethro returned to find the right path that had separated slightly mid 80 discs as loose as "A" or "Under Wraps" discs too "electronic" and uninspired. However, and without Peter-John Vetesse (whom I consider guilty and a bad influence musically Anderson) getting both synthesizer, the great Ian Anderson finally managed to become close to classic and traditional sound of the band and produce a handful of great songs, as always superbly accompanied by his faithful squire Martin Barre, who also performs work as always very noticeable on guitars. Surprisingly is appreciated resemblance to Dire Straits on tracks like "Budapest", "Said she was a dancer" or "The Waking Edge" especially in the vocal aspect, as Anderson suffered a throat operation and closely resembles vocal that of Mark Knopfler. This work received a Grammy for best album of Hard Rock-Metal in 1989, I think more in recognition of his long career, which was relaunched and strengthened. In short, it's a very appealing, with that exquisite style as always, mixing elements of Blues, Hard Rock and Folk to create a delicious work.

Friday, June 7, 2013

Rainbow-Rising (1976)

A Ritchie Blackmore, the man in black, one of the geniuses of Deep purple (because in that mythical charanga, which is not an absolute genius owed to steal collejas and snack), perhaps the most famous guitarist of unbearable that rolled balls at the time, was put in in 1975 cataplines get out the map and form their own group, called Rainbow. Among cheers and sighs of the audience, tried to lift the Purple head who was supposed to replace irreplaceable, but everything went smoothly until the mid-80s, joined again around diva of yore and the ship refloated with the great album Perfect strangers. All these factors should contribute to swell more Blackmore's chest, peacock whose tail was no longer fit through the doors. Fortunately for the cosmic order, after his final departure in 90, came and stayed the incredible Steve Morse, proving once and for all that no one is irreplaceable in this world.
But let the parentheses at hand, which in this talk about the Olympian gods is hard not to be cumbersome. Our man reunited with each other, firing and hiring people again and again with the ease of a Burger King. The first singer was none other than He (who thereafter would not leave and the well deserved fame), and he recorded a few albums. Rainbow Rising is the one I like by far, it is a piece of music full of both Dio and Blackmore, accompanied by a rhythm both luxury among which I can not but highlight the impressive Cozy Powell. The album was produced by Martin Birch and is, as usual, amazing, but perhaps was a little less planted than at other times. They are worthy to hear the flanger churretones that gave the battery spectacular chunky Cozy Powell, so explosive, so "touched by hand". What in other producer could have gone down in history as an experiment Excessive or reloaded, it has remained as one more example of their mark, like when Picasso was put in use many blues cataplines. To see who rechista.
The Rainbow rising environment, but also momentous and solemn, it is much more festive, breathable and livable than monastic sobriety Purple ecstatic. Less pain in the ass, if I lovers of all these "metal Ribera del Duero". He always knew, with just sing a couple of syllables, both permeate the air of elegance and seriousness as vital blast of pure sincere, sociable and outgoing. First entroncaba very well with his new "foreman", the second good kick to it made him. Especially when, as is the case, he made himself comfortable continuously and made room for one of their (real good) alone for several minutes. Why go alone piece of this album, as dirty and "easy" for any kid who stand around with your technique within the current heavy, but so inspired, melodic and unique, always with that big sign in every note that reads: "Ole my balls". And ever so long, after hearing one of these verbal diarrheas guitar masters, Dio's voice came again as an oxygen tank, like a St. Bernard in the snow.
The album comes to kill with Tarot woman, who after a long career He can hear now, and with good perspective, as a song of many that has lent his amazing voice and his style can not be imitated, but I I get that once more had to leave one speechless. Produce an injection of optimism and strength able to convince a suicidal not to jump (or well, maybe it is decided during the solo, but if it survives expect a euphoric final stanza yet).
Continue the ride with three great songs: Run with the wolf, Starstruck and Do you close your eyes, all energetic and happy also to a greater or lesser extent. The second one has a certain atmosphere Purple Strange kind type of woman, but in the hands of these songs Dio make Gillan's voice, by inevitable comparison, seems a sort of Gregorian chant and elegantly pale sad. I really like Dio, do not know if I've said already.
Side B arrives and scares one. There goes two eight-minute songs. Not sure you throw yourself off the cliff, but once you decide it takes half a minute to get convinced by Stargazer: a monumental and epic unnerving is undoubtedly one of the first manifestations, if not the first, of something I like to call " Heavy cardboard ". I mean those songs mythical, long, featuring some remote fact real or imagined but always heroic ... and that given the time they were composed film associate the type inevitably Ben Hur, Cleopatra or Spartacus (the movie, not the bullfighter). Stargazer can almost be listening to on the couch with a big bowl of popcorn, enjoying extensive repetitive riffs. This time, only the corresponding massive melts a particularly happy with the other elements of the structure.
And another long song, A light in the black, finally closes with a hard fast pace that if other people had done, would have been pretentious or a bit heavy. But done by those who did, and also in 1976, has left to posterity as a unique and magical work, apart from being one of the most valuable and exemplary germs of heavy metal.

Saturday, April 6, 2013

Fleetwood Mac-Rumours (1977)




One of the disks (if not the) top-sellers of all time by a rock band (along with "The Dark Side of the Moon" by Pink Floyd), "Rumours" by Fleetwood Mac The work takes all the credit , not only for its quality but also for the miraculous conception and that was because it was conceived launch amid countless marital problems and addictions among the members of the band, which gave him a particular theme and intention to songs.

Fleetwood Mac is a British band in the beginning, but over the years changed formations often today to be a joint British / American. Members who always remained were precisely those that make up the name of the band: drummer and percussionist Mick Fleetwood and bassist John McVie to which were added after the wife of the latter composer, keyboardist and singer Christine Perfect ( McVie). From 1971-1975 the band traverse times of crisis artistic level was clearly needed a change of 360 º. So in full pursuit of sound engineer and after listening to the album the duo Buckingham / Nicks 1974, Mick Fleetwood offers the guitarist and songwriter Lindsey Buckingham joined the band as a guitarist just looking. Lindsey agrees but on the condition of entering the training with your partner then the singer-songwriter Stephanie "Stevie" Nicks. Marriage would make a monthly payment and a soft country pop stylized and especially the important work of composition and polishing of Buckingham contributed songs, and of course all the angel voice and histrionic Stevie debauchery. This can be seen with the namesake of the new line of 1975 "Fleetwood Mac". Hits like "Rhiannon," "Say You Love Me" and "Over My Head" attest to this.


For when they began the recording sessions of "Rumours", at the Record Plant in Sausalito, marriages Nicks / Buckingham and McVie / Perfect (Christine McVie) were in the process of divorce, as well as Mick Fleetwood of his wife Jenny .
Very nevertheless with "Rumours" compositional confirm the great moment, and especially the mood factor influencing both the same. It was recorded in 1976 at various studios in Miami, Los Angeles and Hollywood producers and as Ken Caillat and Richard Dashut. Would go on sale in February 1977.
In letters and climates of the songs are reflected the ongoing tension of the recording sessions. These experiences give him a climax like no one had been able to capture, then to the overwhelming success of the placa.Y hence also the name "Rumours" because in their full conception never stopped "rumored" dissolution ... Fortunately, as in many other cases, imposing finished art.
Buckingham say about it: "If you look at the huge success it enjoyed" Rumours ", I think the impact goes beyond the purely musical. Expressed Something with music: human interaction, and that a whole is greater than the sum of its parts. could be felt in the talks that were given to members of the group who tried things that were happening at that time. "

Musically Fleetwood Mac does not lose its mark bluesy / rock has always provided by McVie and Mick, but this time you inject a stylized pop, with influences of country music also from the hand of Nicks and Buckingham. The latter of untiring perseverance squeeze every topic from production. Another item to mention is the delicious vocal harmonies that achieved the treble voice McVie / Buckingham / Nicks. Their voices intertwined and exquisitely congenial.

"Second Hands News" promises with his charisma pop / rock and folk influences of the Scots and Irish, with a base made of a particularly rhythmic snare (box) and a chair and electric guitar part accompanied vocally, giving it a market share more pop.
Then looks a great success "Dreams" Nicks. Stevie gala in here all the angel of his voice and vocal trio perhaps McVie / Buckingham / Nicks achieves the best harmonies. A theme that shows how well managed Buckingham Nicks topics.
The acoustic "Never Going Back Again" a brief song about a new relationship began to have Buckingham. A positive outlook for the future.

More positive feelings in the future with "Don` t Stop "a dealer shuffle Christine. The serious issue which accompanied the election campaign of Bill Clinton years later. "Go Your Own Way" the big hit of the album as opposed to "Do not Stop" or "Dreams" was not encouraging. Lindsey was basically telling Stevie, Go Now. Something that makes essentially the song is the acoustic guitar accompaniment, which is almost imperceptible but special attention was peculiar thing is that this support provides a cohesive counterpoint between the voices. Of course the chorus is very catchy three voices are brilliant again. The rhythm section of Mick and John is inimitable, the latter's bass is outstanding. A genius of Buckingham would not have been possible without all Fleetwood providing his own.

Christine brings intimacy with the beautiful "Songbird". It was decided that the issue would be recorded live in a concert hall, for its acoustics. In principle would be recorded at the Berkeley Community Theater, where she recorded the great Joni ever Mithchell but was busy. Finally was recorded in Zellerbach Auditorium. Christine would say the same about "Songbird": "... I think that is all and none.'s Like a little song and should be for everyone. Would say it's almost like a little prayer.".
Accredited with authorship of all members of the band "The Chain" boasts a discussion-perfect musical partner. Recorded bass, drums and guitar live, the rest being studied. The issue has long existed for only a fragment unforgettable bass John McVie. Buckingham compose just wanted to finish, but could not close it. Stevie Nicks era material provided Buckingham / Nicks to finish.
"Silver Springs" Stevie Nicks is an issue in the original LP was not included because it is so extensive. Dedicated to Lindsey begins to plan very soft acoustic rock ending too. Topic bellisimo best of the compositions of Nicks. Instead they released "I Don` t Want to Know "very interesting topic where the couple takes the lead vocal duo in the style" Everly Brothers ".

Another great riff Christine is "You Make Loving Fun". Contains a glory and colorful chorus of voices is manifested at its best. She talks about her boyfriend of the time it was the illuminator of the band, which for obvious reasons, was persona non grata in the recording sessions.
"Oh Daddy" is a song for Mick Fleetwood Christine who was then the only member with children. The sample consisted of admiration as the band member with any adversity that always stood firm and served (serves) cohesion and example to all. No wonder Mick exploited to include various percussion instruments, such as castanets. It is also good to note that John McVie includes guitar improvisations.

Closes the eccentric disk "Gold Dust Woman" Nicks. a dark theme, you could say it's like black magic. Represents everything that she was at that moment, a being like a lovely angel, but also full of pain. The theme speaks of drugs, particularly cocaine but with a hint of hope. Stevie would, among other things: "I've never been so tired in my life at that time ... To be in Fleetwood Mac was like being in the army, had to deliver everyday the best, be as strut possible. Although there was nothing to do, you had to be there. "Gold Dust Woman" was my writing about someone who is going through a marriage crisis and takes a lot of drugs. Someone trying to survive and get ahead. ". The structure Stevie topics as "Gold Dust Woman" allowed restless soul musicians such as Buckingham participate more freely. Lindsey joined him several instruments including: harpsichord, dobro and a Fender Rhodes and also a track with a rare howls.

The drug is very influential factor in the composition of "Rumours". It was a time that the swirl of drugs threatened to take each of the members. We must accept also the context in which they lived: "The music world had something expansive, and drugs had special significance. Then it was an obligation. Less common today" and described him Buckingham. John McVie bring about his vision: "At that time we did not feel that we were doing something wrong. All we felt part of our lifestyle. Looking back, it was stupid ... then it was just like that."

With regard to sound and music production, is accurate to say that one of the disks that worked most closely, is the height of the "Songs In The Key of Life" by Stevie Wonder and Steely Dan jobs . Keep in mind that at that time there was no CD, and especially producers and Buckingham had noticed that the last process of the tapes, there was a slight rubbing it to lose the treble especially battery such as dishes and all higher frequencies. Luckily they had a backup battery that sounded much better than the latter. So he took the trouble to synchronize all the tracks of the other instruments to this copy of the battery. The great thing is that as there was no SMPTE (serving for two tapes synchronously) had to do it manually with a VSO is a device that regulates the speed of the belts. A painstaking task, especially for producer Ken Caillat it took about 14 hours to synchronize all parts fresh battery.

An unforgettable album, a great commercial success, with over forty million copies sold worldwide. It remained at the top of the Billboard 200 for 31 non-consecutive weeks. A few months after its release and went platinum in Britain and the United States. In 2012 "Rumours" is the fourteenth biggest selling album in history in the UK and the sixth largest in the United States. It is worth mentioning that the famous TV series "Glee" has been influenced by an episode called "Rumours" 'where are some songs on the album, is good value it because it helps new generations know the great music of Fleetwood Mac


Tuesday, February 19, 2013

Klaus Schulze - Timewind (1975)


Klaus Schulze has always been a fan of the musician Richard Wagner. In 1975 he dedicated this Timewind, considered by many experts to be his masterpiece. Clearly this is one of his greatest albums, but this praise usually come from the United States, where he was the only one of his records published for many years, and had not compare it with. Could serve this Timewind, stepping back to observe Schulze's career, as his staff to move the hinge to the call Krautrock Berlin school style that is the second heir to the first, but with a more cosmic and refined.
Again we are, as always with this kind of record, with the countless reviews that focus on the technical side, that was the first album by Klaus Schulze in using a sequencer, there is a Moog synthesizer to create melodies scattered , etc. But I prefer to talk about what sounds each work, and this is a hard Timewind me, say, three-dimensional sound. Like a movie in 3D it were, the album's sound effects (especially the effect of "wind" Bayreuth Return) seems to emerge from somewhere between the listener and the speaker, stretching to maximize the already amazing possibilities of sound in stereo. Other tracks on the album abound in this poignant sound quality because at some point the music seems to become something we can physically touch hands.
Bayreuth Return is a piece improvised in the studio, based on a rhythmic pattern imposed by the aforementioned sequencer, with some string sounds and sound effects spatter. Wahnfried 1883, meanwhile, is a more complex issue and deliberate, with overlapping layers of music and a shade slower.
What Richard Wagner paints in all this, if it was a classical composer who had little or nothing to do with delusions of Krautrock and electronic space? Well first topic titles: Bayreuth is where Wagner was born and where there is the audience that he conceived as the perfect setting for opera cycle Der Ring des Nibelungen, and Wahnfried is the name of the musician's home in Bayreuth, which rests precisely since 1883. And secondly, Wagner is alive in Timewind that the second topic contains an example of "leitmotiv", a theme which Wagner used to identify musically a feeling or even a character, which is undergoing minor changes throughout the piece but in general, all the composition chairs. Do not think this is easy to appreciate, especially considering what these people German electronics seventies meant by melody. What I think is the idea more tangible presiding Timewind: make the listener feel that has been frozen in time, that the universe is static around, at least for the duration of pieces.
Note that the first two pieces that pointed up Timewind were part of the original, and Klaus Schulze added three more to his double CD reissue: Echoes of Time, Solar Wind and Windy Times. Apart from the resemblance of Echoes of Time with Bayreuth Return, not just find more reasons why the musician got the three pieces in the package, but neither is exactly why it should not. It's a great album, much more bearable than earlier proposals from the German.