miércoles, 18 de octubre de 2017

Nuevo disco de Robert Plant


Carry Fire es el undécimo álbum en solitario del cantante, compositor y músico inglés Robert Plant, lanzado el 13 de octubre de 2017 en Nonesuch / Warner Bros. Records. Es el segundo álbum de estudio de Plant con Sensational Space Shifters sirviendo como su banda de acompañamiento, aunque el nombre de la banda no está acreditado en la portada. Al igual que un jubilado que, después de un período sin rumbo, descubre nuevos pasatiempos y una relación mejorada con la vida, Plant ha llegado a ser el suyo. Siempre será recordado como el cantante de Led Zeppelin, pero ahora es claramente su propio hombre también. Aunque su voz no puede alcanzar las cimas doloridas de su estrella de rock, en recompensa ha ganado un registro más oscuro y  un tono idealmente adecuado para evocar la maravilla y encarnar el peso del paso del tiempo. A los fanáticos les disgusta su negativa a reunir a Zeppelin para una gira de reunión cuando Page y Jones están dispuestos, pero la verdad es que lo que hizo a esa banda genial fue su disposición a enfrentarse. No es casualidad que muchas de sus letras se centren en la partida y la euforia de los viajes interminables, ni una coincidencia que Plant fuera el responsable de la mayoría de esas letras. Mientras ese impulso de búsqueda permanezca fuerte en su propia música, honrará el espíritu de la banda mucho más que cualquier reunión posible.

Carry Fire is the eleventh solo album by English singer, songwriter and musician Robert Plant, released on 13 October 2017 on Nonesuch/Warner Bros. Records. It is Plant's second studio album with the Sensational Space Shifters serving as his backing band, although the name of the band is not credited on the front cover. Like a retiree who, after a period of aimlessness, discovers new pastimes and an improved relation to life, Plant has come into his own. He’s always going to be remembered as Led Zeppelin’s singer, but now he’s clearly his own man as well. Though his voice can’t reach the aching summits of his rock-star prime, in recompense he’s gained a lower, darker register, a tone ideally suited to evoke the wonder, and embody the weight, of passing time. Fans may dislike his refusal to reunite Zeppelin for a reunion tour when Page and Jones are plenty willing, but the truth is that what made that band great was its willingness to face forward. It’s no accident that so many of their lyrics focus on departure and the exhilaration of endless travels, nor a coincidence that Plant was responsible for most of those lyrics. So long as that questing impulse remains strong in his own music, he’s honoring the spirit of the band far more than any reunion ever could.

domingo, 15 de octubre de 2017

Roger Waters Amused to Death


Amused to Death es un álbum unipersonal del bajista y compositor de Pink Floyd Roger Waters. El disco fue editado en 1992 y no fue seguido de una gira, por lo que las primeras representaciones en vivo de estas canciones fueron en la gira In the Flesh (1999-2002). El disco fue un éxito en su crítica y es considerado por muchos como el mejor disco de Roger Waters como solista. El disco trata temas que son naturales en Waters, como las críticas a la guerra y a la sociedad consumista. Éste explota la idea de un mono contemplando un aparato de televisión y sacando conclusiones a partir de ello, mostrando así la estupidez humana desde un punto de vista irónico. El álbum tiene un sonido claro y letras muy elaboradas, acompañadas por la guitarra de Jeff Beck, que se destaca en "The Ballad of Bill Hubbard", "What God Wants", "The Bravery of Being out of Range" y "Three Wishes". Se destaca en el disco "Amused to Death", "It´s a Miracle" y sobre todo la ópera prima del disco "Perfect Sense". Las ventas no lo acompañaron del todo y el hecho de que no fuese acompañado de una gira se puede explicar por la decepción de las giras anteriores, ya que Waters no era muy conocido fuera de Pink Floyd. Waters tiene un cariño especial por este disco, al que considera al mismo nivel que "The Wall" o "The Dark Side of the Moon" según su comentario emitido en una entrevista concedida a la BBC en el programa HARDTalk del 19/09/2013. En 2015, el álbum fue remaste-rizado, incluyendo otra portada (esta vez, de un niño viendo una televisión con el ojo de Roger Waters en la pantalla), hubo un pequeño cambio en "Perfect Sense Part I" (cambiando la línea del soldado fallecido, ya que en el original estaba al revés, y ahora pusieron la cinta normal) y el álbum incluyó un Disco Blu-ray con sesiones de grabación del álbum. En los Premios Grammy del 2016, el álbum recibió el premio a mejor producción de sonido, y al día de hoy, este álbum ha sido el único de la carrera en solitario de Roger Waters en ganar un premio Grammy.

Amused to Death is the third studio album by English musician Roger Waters. It was released in September 1992, through record label Columbia. A remastered remix for which Waters worked with James Guthrie was released in 2015. Roger Waters started working on Amused to Death in 1987 when he first wrote "Perfect Sense". It was several years before the album was released and it is unknown how much the material was changed in the interim. Amused to Death was produced by Patrick Leonard, Waters, and was co-produced with Nick Griffiths in London at The Billiard Room, Olympic Studios, CTS Studios, Angel Studios and Abbey Road Studios. The album was engineered by Hayden Bendall, Jerry Jordan, and Stephen McLaughlan and mixed by James Guthrie. The album is mixed in QSound to enhance the spatial feel of the audio, and the many sound effects on the album – rifle range ambience, sleigh-bells, cars, planes, distant horses, chirping crickets, and dogs – all make use of the 3-D facility. The album's artwork features a chimpanzee watching television in reference to Stanley Kubrick's 2001: A Space Odyssey. The image on the TV is a gigantic eyeball staring at the viewer. According to Waters, the ape was "a symbol for anyone who's been sitting with his mouth open in front of the network and cable news for the last 10 years." The album's title was inspired by Neil Postman's book Amusing Ourselves to Death (In Postman's later book The End of Education, he remarks on the album: "(...) Roger Waters, once the lead singer of Pink Floyd, was sufficiently inspired by a book of mine to produce a CD called Amused to Death. This fact so elevated my prestige among undergraduates that I am hardly in a position to repudiate him or his kind of music."). The album is organised loosely around the idea of an ape randomly switching channels on a television, but explores numerous political and social themes, including critiques of the First Gulf War in "The Bravery of Being Out of Range" and "Perfect Sense". The first song, "The Ballad of Bill Hubbard", features a sample of World War I veteran Alfred "Raz" Razzell, a member of the Royal Fusiliers (much like Waters' father Eric Fletcher Waters had been in World War II) who describes his account of finding fellow soldier William "Bill" Hubbard, to whom the album is dedicated, severely wounded on the battlefield. After failed attempts to take him to safety, Razzell is forced to abandon him in no-man's land. This sample is continued at the end of the title track, at the very end of the album, providing a more upbeat coda to the tragic story. The track also features the sound of several animals. The second song, "What God Wants, Part I", follows and contrasts the moving words of Razzell by opening with the TV being tuned instead into an excerpt that sounds like it's taken from a vox pop of a child who says, "I don't mind about the war. That's one of the things I like to watch – if it's a war going on. 'Cos then I know if, um, our side's winning, if our side's losing..." he is then interrupted by the channel change and a burst of ape-chatter. "Perfect Sense" is a two-part song about a world where live transmissions of wars are the main form of entertainment. The first part of the song begins with a loud, unintelligible rant, and then a backwards message voiced by Waters: "Julia, however, in the light and visions of the issues of Stanley, we changed our minds. We have decided to include a backward message. Stanley, for you, and for all the other book burners." The message climaxes with Waters yelling in the aggressive Scottish voice he used to depict the character of the teacher in The Wall. In the second part, famed sportscaster Marv Albert narrates a war as if it were a basketball game. "The Bravery of Being Out of Range" includes a reference to a song written by Waters on Pink Floyd's 1977 album Animals, "Sheep" (and "Swing Low, Sweet Chariot"[7]). (In "Sheep", Waters sings "I've looked over Jordan and I have seen/Things are not what they seem"; in "The Bravery of Being Out of Range", he sings "I looked over Jordan and what did I see/I saw a U.S. Marine in a pile of debris".) "Late Home Tonight, Part I", which opens with the song of a Skylark, recalls the 1986 US air strike against Libya from the perspective of two "ordinary wives" and a young American F-111 pilot. The lyrics about "removing the jeans from the refrigerator" reference a 1988 Levi's 501 commercial. At the beginning of "What God Wants, Part II", Charles Fleischer (better known as the voice of Roger Rabbit) performs the greedy evangelist's sermon. "What God Wants, Part III" musically references the Pink Floyd songs "Shine On You Crazy Diamond (Part I)", "Echoes", and "Breathe (In the Air)" The song "Watching TV" (a duet with Don Henley) explores the influence of mass media on the Chinese protests for democracy in Tiananmen Square. In the song "It's a Miracle", Waters makes a scathing reference to Andrew Lloyd Webber (whom he would accuse elsewhere of having plagiarised music from Pink Floyd's "Echoes" for sections of the musical The Phantom of the Opera) We cower in our shelters, with our hands over our ears Lloyd Webber's awful stuff runs for years and years and years An earthquake hits the theatre, but the operetta lingers Then the piano lid comes down and breaks his fucking fingers It's a miracle "It's a Miracle" features a sample from the 1977 low-budget zombie film Shock Waves in which the film's characters wrestle over a flashlight. The title track begins with the lyric, "Doctor, Doctor". "Take Up Thy Stethoscope and Walk" on The Piper at the Gates of Dawn, the first song written by Waters, opens with the same line. Waters stated in an interview with Rockline on 8 February 1993 that he had wanted to use dialogue samples from 2001: A Space Odyssey on the album, specifically HAL 9000's 'dying' monologue. Stanley Kubrick, the film's director, turned him down on the basis that it would open the door to many other people using the sound sample. Others think that Kubrick refused because Pink Floyd had not allowed him to use music from Atom Heart Mother in his film A Clockwork Orange. Waters did use the samples of HAL describing his mind being taken away when performing live – specifically at the beginning of "Perfect Sense, part I" during his In the Flesh tour, after Kubrick's death, and it was finally incorporated into the Amused to Death album for the 2015 remaster / remix release.

Pegasus

Pegasus es una grupo musical español de jazz-fusión formado en 1982 por Josep Mas "Kitflus", Max Sunyer, Rafael Escoté y Santi Arisa. Sunyer y Kitflus, habían estado juntos en Iceberg, con unos planteamientos similares. Con su primer LP "Nuevos encuentros" (Pegasus Records, 1982), el título del cual evoca el encuentro de los sus miembros, el grupo encina un estilo a través del rock simbólico y el jazz progresivo instrumental que continua al siguiente disco " Comunicació-Comunicación-Comunicación "(Pegasus Records, 1983). El año siguiente Pegasus actuar con gran éxito al Festival de Jazz de Montreux, del cual se edita un disco en "directe" (Pegasus Records, 1984). El grupo continúa la actividad real diversa gira nacional e internacional y en 1985 publica el tercer disco "Searching", más electrónico, utilizan sintetizador e inspirado en la popularizar de ordenadores personales. El disco se presenta en directo al Carnegie Hall de Nueva York en el Festival de Jazz de Kool, en actas también Tete Montoliu y Paco de Lucía. El 1986, por encargo de la Setmana de Cine de Barcelona, ​​cree una banda sonora para la película alemana del 1927, "Berlín, Simfonia d'una Gran Ciutat", de Walter Ruttmann, y que publican en el álbum del mismo titulo (Pegasus Records). Pegasus va a continuar actuando el 1986 y 1987, y el 1988 editó el segundo disco de estudio, "Còctel", editado por Horus más que nada de Pegasus Records. El 1990 aparece su séptimo disco,"El setè cercle", en el que abandonan la electrónica y se vuelven tan originales. El 1996 edita "Selva Pagana" (Registros reales),desaparece el grupo que no se recupera hasta el 2007, con un concierto en las fiesta mayor de Vilafranca del Penedès, punto de partida de una actividad renovada en directo en Catalunya y España . El 2008 inicien una pequeña gira en Vic en el mercado del Mercat de Música Viva y el 6 de desembarque actuó en el Auditori de Barcelona, ​​en la programación del Festival Internacional de Jazz. En esta nueva etapa el percusionista Dan Arisa, hijo de Santi Arisa, se une al grupo, que continua activo con giras y conciertos en el país.



 Pegasus is a Spanish jazz fusion group formed in 1982 by Josep Mas "Kitflus", Max Sunyer, Rafael Escoté and Santi Arisa. Sunyer and Kitflus, had been together in Iceberg, with similar approaches. With its first LP "Nuevos Encuentros" (Pegasus Records, 1982), the title of which evokes the meeting of its members, the group encapsulates a style through symbolic rock and instrumental progressive jazz that continues to the next disc "Comunicació- Communication-Communication "(Pegasus Records, 1983). The following year Pegasus performed with great success at the Montreux Jazz Festival, from which an album was released in "directe" (Pegasus Records, 1984). The group continues the real activity diverse national and international tour and in 1985 publishes the third disc "Searching", more electronic, use synthesizer and inspired in the popularization of personal computers. The disc is presented live to the Carnegie Hall of New York at the Kool Jazz Festival, in minutes also Tete Montoliu and Paco de Lucía. In 1986, by order of the Setmana de Cine de Barcelona, ​​he created a soundtrack for the German film of 1927, "Berlin, Simfonia d'una Gran Ciutat", by Walter Ruttmann, and published in the album of the same title (Pegasus Records). Pegasus will continue to perform in 1986 and 1987, and 1988 released the second studio album, "Còctel", edited by Horus more than anything Pegasus Records. 1990 saw their seventh album, "El setè cercle", in which they leave the electronics and become so original. In 1996, he publishes "Selva Pagana" (Real Records), the group that does not recover until 2007 disappears, with a concert in the main party of Vilafranca del Penedès, starting point of an activity renewed in Catalonia and Spain. In 2008 they started a small tour in Vic in the Mercat de Música Viva market and the 6 of landing took place in the Auditori of Barcelona, ​​in the program of the International Jazz Festival. In this new stage the percussionist Dan Arisa, son of Santi Arisa, joins the group, that continues active with tours and concerts in the country.

viernes, 6 de octubre de 2017

Roger Waters viene a Barcelona en el mes de Abril



La promotora Live Nation acaba de lanzar una campaña de promoción un tanto misteriosa que parece indicar que el británico y ex bajista y compositor de Pink Floyd, Roger Waters, ofrecerá dos conciertos en Barcelona y otros dos en Madrid en abril del próximo año 2018. En un primer comunicado de prensa, Live Nation ha enviado un correo electrónico titulado “¿Lo has visto?” con el único texto de “¡¡¡Así luce el cielo hoy!!!”. Minutos más tarde, la empresa conciertera ha enviado un segundo correo con el asunto “Mira al cielo, Remain Human” acompañado del mismo texto y la imagen que ilustra este texto. Según puede apreciarse, la imagen pueden verse dos cerdos inflables frente a las chimeneas de una factoría y en un plano más cercano un muro de hormigón, lo que remite directamente a la portada de “Animals”, el disco de Pink Floyd de 1977, y a su obra magna, “The Wall”. Cada uno de los cerdos lleva inscritos la frase “Remain Human – BCN 13-14 abril” y “Remain Human – MAD 24-25 mayo”, lo que parecería confirmar dos conciertos en cada una de las ciudades de Roger Waters, que recientemente ha editado un nuevo trabajo titulado “Is This the Life We Really Want?”.
                                                       
Promoter Live Nation has just launched a somewhat mysterious promotion campaign that seems to indicate that British and former Pink Floyd bassist and songwriter Roger Waters will offer two concerts in Barcelona and two in Madrid in April next year 2018. In a first press release, Live Nation has sent an email entitled "Have you seen it?" with the only text of "That's how the sky looks today !!!". Minutes later, the concierge company sent a second mail with the subject "Look to the sky, Remain Human" accompanied by the same text and the image that illustrates this text. As can be seen, the image can be seen two inflatable pigs in front of the factory chimneys and on a plane closer to a concrete wall, which directly refers to the cover of "Animals", the Pink Floyd album of 1977, and his masterpiece, "The Wall". Each of the pigs is inscribed with the phrase "Remain Human - BCN 13-14 April" and "Remain Human - MAD 24-25 May", which seems to confirm two concerts in each of the cities of Roger Waters, which has recently edited a new work entitled "Is This the Life We Really Want?".

martes, 3 de octubre de 2017

Van Morrison nuevo disco Roll With The Punches


Roll with the Punches es el trigésimo séptimo álbum de estudio del músico norirlandés Van Morrison, programado para ser publicado el 22 de septiembre de 2017 por la compañía discográfica Caroline International. El álbum, que contó con la colaboración de músicos como Chris Farlowe, Jeff Beck, Georgie Fame, Paul Jones y Jason Rebello, incluirá cinco canciones nuevas y versiones de clásicos de R&B de Mose Allison, Bo Diddley y Lightnin' Hopkins, entre otros. Según Morrison: "Desde muy joven conecté con el blues. Lo que tiene el blues es que no lo diseccionas, simplemente lo haces. Nunca he sobreanalizado lo que hago, simplemente lo hago. La música ha de ser eso, simplemente lanzarse a ello, y es la manera en la que funciona el blues. Tengo la suerte de haber conocido a la gente de verdad – gente como John Lee Hooker, Jimmy Witherspoon, Bo Diddley, Little Walter y Mose Allison. Pude relacionarme con ellos y absorber lo que hicieron. Era gente sin ninguna clase de ego y me enseñaron muchísimo"
Roll with the Punches is the thirty-seventh studio album by Northern Irish musician Van Morrison, scheduled to be released on September 22, 2017 by record company Caroline International. The album, which was co-written by musicians such as Chris Farlowe, Jeff Beck, Georgie Fame, Paul Jones and Jason Rebello, will include five new songs and versions of R & B classics by Mose Allison, Bo Diddley and Lightnin 'Hopkins. others. According to Morrison: "Since I was a young man, I connected with the blues.What the blues have is that you do not dissect it, you just do it.I've never overanalyzed what I do, I just do it.Music has to be that, and it's the way the blues work.I'm lucky to have met real people - people like John Lee Hooker, Jimmy Witherspoon, Bo Diddley, Little Walter and Mose Allison.I could relate to them and absorb what they did They were people without any kind of ego and they taught me a lot "

Nuevo trabajo de CAN

Can fue una banda de rock experimental alemana formada en Colonia, Alemania Occidental en 1968 por el cuarteto principal de Holger Czukay (bajo), Irmin Schmidt (teclados), Michael Karoli (guitarra) y Jaki Liebezeit (batería). El grupo hizo un ciclo a través de varios vocalistas, incluyendo Malcolm Mooney ('68 -70) y Damo Suzuki ('70 -73), así como varios miembros temporales. Dibujo de antecedentes en la vanguardia y el jazz, puede incorporado minimalista, electrónica y elementos de música del mundo en su música a menudo psicodélica y funk-inflexionada. Han sido ampliamente aclamados como pioneros de la escena krautrock alemana. Puede tener éxito comercial ocasional, con singles como "Spoon" y "I Want More" alcanzando las listas de singles nacionales. A través de álbumes como Monster Movie (1969), Tago Mago (1971), Ege Bamyasi (1972) y Future Days (1973), la banda ejerció una considerable influencia en vanguardia, experimental, post-punk, ambient, new wave y música electrónica. The Singles es un álbum recopilatorio de singles y b-sides de la banda alemana de rock experimental Can.
Can was a German experimental rock band formed in Cologne, West Germany in 1968 by the core quartet of Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group cycled through several vocalists, including Malcolm Mooney ('68–70) and Damo Suzuki ('70–73), as well as various temporary members. Drawing from backgrounds in the avant-garde and jazz, Can incorporated minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music. They have been widely hailed as pioneers of the German krautrock scene. Can had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. Through albums such as Monster Movie (1969), Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973), the band exerted a considerable influence on avant-garde, experimental, post-punk, ambient, new wave and electronic music. The Singles is a compilation album of singles and b-sides by the German experimental rock band Can.