sábado, 4 de diciembre de 2010

Alphaville - Catching ray on giant - 2010


"Catching Rays on Giant" es el sexto álbum de estudio de la banda alemana Alphaville, el primero tras un largo paréntesis (13 años desde su último trabajo de estudio), y fue publicado en el año 2010.
En realidad se trata de Marian Gold al frente de una formación completamente nueva, manteniendo la calidad del sonido Alphaville, sintético y romántico, con un pulso atractivo y un saludable aire atemporal que bebe de las décadas anteriores de mayor gloria de la banda.


SONG FOR NO ONE






PROGRAMA
01.«Song for No One» 3:32
02.«I Die for You Today» 3:47
03.«End of the World» 3:59
04.«The Things I Didn't Do» 4:40
05.«Heaven on Earth (The Things We've Got to Do)» 4:45
06.«The Deep» 4:23
07.«Call Me» 3:47
08.«Gravitation Breakdown» 4:15
09.«Carry Your Flag» 4:53
10.«Call Me Down» 4:31
11.«Phantoms» 3:39
12.«Miracle Healing» 5:04


I DIE FOR YOU TODAY

ALPHAVILLE 2010
Marian Gold - Vocals
Martin Lister - Machines
David P. Goodes - Guitars
Jakob Kiersch - Drums

CATCHING RAYS ON GIANT FULL ALBUM


miércoles, 24 de noviembre de 2010

Propaganda - A secret wish (Edición 25 aniversario) - 1985/2010


Propaganda fue fundada en Düsseldorf hacia 1982 por Ralf Dörper, miembro de la banda de ebm y rock industrial Die Krupps, junto a Andreas Thein y la vocalista Susanne Freytag.
Más tarde se incorpora el músico y compositor de formación clásica Michael Mertens y a la cantante Claudia Brücken.Con esta integración editaron en 1984, su primer sencillo, "Dr. Mabuse", sobre el personaje cinematográfico de Fritz Lang.
Thein dejaría la banda poco después.

DR.MABUSE 
DR.MABUSE
Mabuse

Why does it hurt when my heart misses the beat?
The man without shadow promises you the world
Tell him your dreams and fanatical needs
He's buying them all with cash

Sell him your soul, sell him your soul, sell him your soul
Never look back, never look back
Sell him your soul, sell him your soul
Never look back, never look back, never look back
Sell him your soul, Mabuse

He's devoted to the devil, fascinated by crime
Glamorous death is his destination, eternal passion his gain

Sell him your soul, sell him your soul, sell him your soul
Never look back, never look back
Sell him your soul, sell him your soul
Never look back, never look back
Sell him your soul, sell him your soul
Never look back, Mabuse

Why does it hurt? Why, why does it hurt?

He's a satanic gambler, a beautiful fool
And you've already lost the chance of your lifetime
So don't be a fool, don't be a fool
Kein Zurueck fuer dich, there's no way back
Sell him your soul

Warum schmerzt es
Warum schmerzt es
Wenn mein Herz den Schlag verpasst?

Don't be a fool
Never look back


SORRY FOR LAUGHING



.
El primer álbum llegaría en 1985 a través del sello de Trevor Horn, ZTT: "A Secret Wish", y producido por Stephen Lipson.
Contaron además con la colaboración de músicos de la talla de David Sylvian, Stewart Copeland y Steve Howe.
Impregnado de un concepto fuerte y con un diseño (de imagen y sonido) particularmente elegante, el álbum alcanzaría el puesto 16 del ranking británico.
La banda recibió el apelativo de "Abba from Hell" por parte del periodista de NME, Matt Snow y también "the children of Fritz Lang and Giorgio Moroder".
"A Secret Wish" fue seguido al poco tiempo, en el otoño de 1985, por el állbum de remixes "Wishful Thinking".




Por razones totalmente subjetivas, éste es uno de mis discos favoritos de todas las épocas, y en mi opinión, uno de los mejores álbumes de la década de los ochentas.
El tema de apertura es "Dream within a dream", en el que Sussane Freytag recita el poema de Edgar Allan Poe sobre un tema musical exquisito y sofisticado (lo dije otra vez pero...es que lo es), composición de Michael Mertens; con toques jazzísticos y a toda "orquesta" y que va creciendo; y emociona.Pone los pelos de punta.
DREAM WITHIN A DREAM


El single "P:Machinery" fue un gran éxito en Europa.
Llegó a incluirse en la banda sonora de un episodio de Miami Vice, exitosa serie de tv de la época.

P:MACHINERY

P: MACHINERY

Motor - power -
forks - motion -
drive - motor -
forks - motion -
drive - motor -
forks - motion -
drive - power -
forks - motion -
drive - propaganda -

On joyless lanes we walk in lines
a calm but steady flow.
Accompanied by loud commands
our strength is running low.

Another hope feeds another dream

another truth installed by the machine.
A secret wish
the marrying of lies

today comes true what common sense denies.

Rotating wheels are destiny
in flame the city lies.
Machines call out for followers far out into the night.
The calls of the machines drowning in the steam.
Another hope feeds another dream

another truth installed by the machine.
A secret wish
the marrying of lies

today comes true what common sense denies.

The calls of the machines drowning in the steam.
On joyless lanes we walk in lines
a calm but steady flow.
Our strength is running low.
Another hope - another dream - another truth -
installed by the machine - installed by the machine.





La exquisita "Duel" fue otro single exitoso, y con justicia ya que es una canción de pop sofisticado y elegante; y a mi juicio, perfecta.

DUEL

DUEL
Eye to eye stand winners and losers
Hurt by envy, cut by greed
Face to face with their own disillusion
The scars of old romances still on their cheeks

And when blow by blow the passion dies
Sweet little death just have been lies
The memories of gone by time
Would still recall the lie

The first cut won't hurt at all
The second only makes you wonder
The third will have you on your knees
You start bleeding, I start screaming

It's too late the decision is made by fate
Time to prove what forever should last
Whose feelings are so true as to stand the test
Whose demands are so strong as to parry all attempts

And when blow by blow the passion dies
Sweet little death just have been lies
The memories of gone by time
Would still recall the lie

The first cut won't hurt at all
The second only makes you wonder
The third will have you on your knees
You start bleeding, I start screaming

The first cut won't hurt at all
The second only makes you wonder
The third will have you on your knees
You start bleeding, I start screaming

The first cut won't hurt at all
The second only makes you wonder
The third will have you on your knees
You start bleeding, I start screaming

The first cut won't hurt at all
The second only makes you wonder
The third will leave you on your knees
You start bleeding, I start screaming

THE CHASE

El final del álbum original, es una variación instrumental de Dr.Mabuse, que remata con la frase inicial del poema de Poe.

STRENGHT TO DREAM

A Secret Wish fue reeditado varias veces a lo largo de los años. En julio de 2010 sale la edición de lujo doble con motivo del 25 aniversario, con material original y varias remezclas

2010 2 CD Deluxe "Element Series" Edition
CD 1: "The Dark Religions Depart..."
No. Title Lyrics Music Length
01. "Dream Within A Dream"   Edgar Allan Poe Mertens 9:09
02. "The Murder Of Love"   Brücken/Dörper Brücken/Mertens 5:14
03. "Jewel"   Dörper Brücken/Dörper/Mertens 6:21
04. "Duel"   Dörper Brücken/Dörper/Mertens 4:42
05. "Frozen Faces"   Brücken/Freytag/Mertens Brücken/Freytag/Mertens 4:24
06. "p:Machinery"   Dörper Mertens 3:49
07. "Sorry for Laughing"   Haig Haig/Ross 3:28
08. "The Chase"   Dörper Mertens 3:55
09. "Dr. Mabuse"   Dörper Dörper/Mertens/Thein 10:42
10. "Dream Within A Dream" (Analogue Variation) Edgar Allan Poe Mertens 8:04
11. "Jewel" (Analogue Variation) Dörper Brücken/Dörper/Mertens 3:10
12. "Duel" (Analogue Variation) Dörper Brücken/Dörper/Mertens 4:42
13. "p:Machinery" (Analogue Variation) Dörper Mertens 3:49
14. "Dr. Mabuse (First Life)" (Analogue Variation) Dörper Dörper/Mertens/Thein 5:03
15. "The Last Word (Strength To Dream)" (Analogue Variation)
CD 2: "...And Sweet Science Reigns"
No. Title Lyrics Music Length
01. "Do Well" (The First Cut/Duel/Jewel (Cut Rough)/Wonder/Bejewelled) Dörper Brücken/Dörper/Mertens 20:06
02. "Testament One"   (instrumental) Brücken/Dörper/Mertens 1:20
03. "Die tausend Augen des Mabuse"   Dörper Dörper/Mertens/Thein 9:47
04. "Sorry For Laughing" (Unapologetic 12" Version) Haig Haig/Ross 10:12
05. "Thought (Part I)"   (instrumental) Dörper/Thein 2:08
06. "Thought (Part II)"   (instrumental) Dörper/Thein 0:29
07. "p:Machinery" (Goodnight 32 Mix) Dörper Mertens 4:12
08. "The Chase" (The Goodnight Mix) Dörper Mertens 3:55
09. "(Echo Of) Frozen Faces"   Brücken/Freytag/Mertens Brücken/Freytag/Mertens 10:20
10. "p:Machinery (p:Polish)"   Dörper Mertens 9:24
11. "Testament Three"   (instrumental) Brücken/Dörper/Mertens 0:26
Total length:
72:28
Do Well is the cassette single version of Duel. Die Tausend Augen Des Mabuse is an extended version of the 6'31" twelve-inch mix (aka "13th Life"), without the early fade out. Thought (parts one and two) appeared together on Wishful Thinking (part two is the p:Machinery reprise). The Goodnight 32 mix of p:Machinery was released in 1985 on a 7-inch single as "p:Machinery (reactivated)".

P MACHINERY(POLISH)



*****

The Power Of Propaganda: A Secret Wish 25 Years On...
Wyndham Wallace , August 5th, 2010 10:22

Celebrating 25 years since its release, Propaganda’s A Secret Wish has just been reissued with a bonus disc of rarities. Wyndham Wallace confronts their Sturm und Drang 



The vinyl spins and the needle drops. There's a brief crackle, like fat spitting in a frying pan, and then there's a voice. "All that we see or seem," it says, its vowels clipped, "is but a dream within a dream". A lone horn calls out a melancholic fanfare before the curtain rises and a rhythm track begins, sparse and rigid, layers of cocooning synth slowly proliferating around it, that horn repeating its call to arms. "Take this kiss upon the brow," the voice continues, its accent frigid yet inviting, "And, in parting from you now / This much let me avow: / You are not wrong, who deem / That my days have been a dream." The sound continues to intensify, its insistent bassline occasionally growling fiercely, piling on synthetic brass, church organs, wave after wave, layer after layer, the voice back again intoning words about a "surf-tormented shore" and "pitiless waves", then gone once more amidst a maelstrom of thundering drums and squealing guitars. The tempest settles in, ferocious, merciless, seemingly eternal until at last the storm clears, the keyboards placid once more, the horn forlorn but still bold, those synthetic strings now shimmering in the sun, the propulsive rhythm of the drums and bass moving us forward. Finally, amidst the same dramatic landscape in which we began, the song reaches its gentle conclusion.

The vinyl pops again. I lift the tone arm and return it to the start once more. This is how I want to remember Propaganda.

The words are by Edgar Allen Poe. The song is 'Dream Within A Dream', the unapologetically colossal, grandiose opening to Propaganda's A Secret Wish, a debut album so deliciously ambitious that to this day it remains one of my most played records. The first band that journalist Paul Morley wanted to sign to the nascent ZTT Records that he'd set up with Trevor Horn and Horn's partner, Jill Sinclair, Propaganda were German, from the same city – Düsseldorf – that had given us Kraftwerk. But they couldn't have been more different, despite their festishisation of industrial machinery and technology: Kraftwerk were all about repetition, about minimalism, whereas Propaganda were almost their polar opposite, bombastic and theatrical, Shostakovich to Kraftwerk's Stockhausen. They fitted the ZTT vision perfectly, however. Founded with vocalist Susanne Freytag and artist Andreas Thein, by Ralf Dörper, a member of industrial act Die Krupps, they combined limited traditional musical abilities with a love of the avant-garde and art, the perfect playthings for a conceptualist like Morley and a studio virtuoso like Horn. Signed on the back of 'Disziplin', a track inspired by Throbbing Gristle's 'Discipline', they immediately regrouped, bringing in Freytag's friend Claudia Brücken to sing – something that led Dörper to admit recently that "too much of Susanne (Freytag) somehow got lost in production" – and Michael Mertens, a classically trained percussionist for the Düsseldorf Symphony Orchestra. Thein, meanwhile, made a quiet exit after their first recording sessions in the UK at Horn's Sarm Studios.

There were three acts on ZTT at that time: Frankie Goes To Hollywood, Art Of Noise – Morley and Horn's innovative collaboration with arranger Anne Dudley and studio engineers Gary Langan and J. J. Jeczalik – and Propaganda. If Frankie were the garish cartoon gang and Art of Noise the bespectacled nerds in the science lab, then Propaganda were their fearsome, gothic nemesis. And if Frankie's Pleasuredome was the twin-towered palace that ZTT built and Art of Noise's Who's Afraid Of The Art Of Noise was the air in which they built it, then Propaganda's A Secret Wish was its velvet-lined dungeon, dangerous and erotic. In fact one publication – Morley credits Time Out – christened Propaganda 'Abba-In-Hell', a soubriquet that Andrew Harrison's short but sharply observed sleevenotes clearly endorse: "two girls and two boys, two sides to the music, light and darkness…" But this observation was actually too old-fashioned and simplistic for a label with such a futuristic agenda. There are surely more complex states than Christian visions of heaven and hell, and it was one of these that Propaganda inhabited: largely monochromatic, punctuated by brief bursts of saturated colour; sleek and shiny, but oozing an alien life of its own. If this was an incarnation of Abba then it was in a universe where emotion was largely communicated through its absence, language was constantly mutating, movement was stiff but elegant, glamour and intelligence were weapons to be feared, drama the ultimate goal.

By this point, Horn's involvement with Frankie had become all-consuming, making him unavailable to follow up his production work on Propaganda's ZTT debut single, 'Dr. Mabuse'. David Sylvian was apparently considered, as were Stock, Aitken and Waterman – allowing Morley the opportunity to refer to Propaganda as 'Deutschmark' to SAW's 'Dollar' in Harrison's sleevenotes – but the producer's job eventually fell to Horn's engineer, Steve Lipson. It was an inspired choice: so successful was Lipson at embracing Horn's techniques that it's a shock to remember Horn wasn't behind the console.

25 years later, A Secret Wish is no longer so secret, and this edition – the latest in the reissue of the ZTT catalogue undertaken by Union Square's Salvo imprint – will no doubt further boost its reputation. Curator Ian Peel's exhaustive research, exhibited in his own contribution to the accompanying booklet, match the care and attention he has lavished on other ZTT re-releases, and the wealth of material he has accumulated – 152 minutes in total – shed fascinating light on the working methods of both the band and the label. Just like Frankie, Propaganda were martyrs to studio boffinery, and the album is here presented in both its original form and that of the digital release that followed some months later, a version that saw Lipson elaborate on a number of tracks. A second disc presents further mixes and rarities, including extended ten minute versions of 'p:Machinery' and 'Sorry For Laughing'.

It's the digital version that leads Disc One and, as someone who grew up with the LP, it's slightly disconcerting to get screwed by ZTT's remixology right off the bat. After a quarter of a century with the original analogue mixes, Lipson's subsequent tweaks seem distracting: it's easy to feel cheated by the loss of certain mini-dramas and frustrated by the unnecessary extensions included on 'Dream Within A Dream', for instance. But this was the ZTT aesthetic, as though these fiercely mechanical sounds, bigger than the people who gave birth to them, had a life of their own and a shape that could alter at will. To belittle these variations is to miss the point, especially given how we encourage artists to adapt songs for the live arena, and the six out of nine tracks that were in some way altered are included at the end of Disc One anyway. Furthermore, the bonus tracks show you just how far they were prepared to go in their pursuit of imperfect perfection: the deranged shrieks at the start of the coruscating 'Jewel (Cut Rough)' – taken from 'Do Well', a twenty minute cassingle pieced together by Morley and engineer Bob Kraushaar before album recordings were even complete – are almost worthy of Diamanda Galás, and 'Thought', an instrumental re-recording of the Throbbing Gristle track that got them signed, is a relentlessly cantering assault that understandably set Morley's ambitious mind racing.

These alternative mixes are an admission that much of Propaganda's work is studio trickery, what Andrew Harrison calls "a self-magnifying hall of mirrors", though their success or failure is less important than their existence as experiments in the first place. But does rare tune 'Wonder' – a merger of 'Jewel's percussion track with what sounds like a keyboard audition for Mike Oldfield – add anything to the Propaganda myth? You'd think not, since it's taken from that 'Do Well' cassingle, the sound of Morley faffing around as he fulfils every music journalist's dream by actually being involved in music-making. Since this was the era in which ZTT was arguably as exciting as any band it signed, however, it's at least worth investigating such material on a historical or cultural level once you've immersed yourself in the very heart and soul of A Secret Wish itself. A track like 'Testament One' – obviously simply another element of what made up 'Jewel' – hints at treasure buried within the so-called 'originals', and the joy of 'Die Tausend Augen Des Mabuse', Horn's ten minute take on 'Dr. Mabuse', is not in the version itself so much as the way it peels layers back off the song, shedding new light on the original, opening ears – just as stoners always hope a joint will – to new sounds and phrases never noticed before.

So what of A Secret Wish itself, the reason we're all here? Its heart of darkness is 'Dr. Mabuse', of course, a vast canvas across which they throw dark, sinister shadows. Its theatre and spectacle are heightened by the triumph of Mertens's vision, the merging of his orchestral training with the pop demanded of the band by ZTT, and bear a similar weight of trepidation to the movies of Fritz Lang that inspired it, from Brücken's opening words – "Why does it hurt when my heart misses the beat?" – to her anguished parting shot, "Never look back..." It's synthpop at its finest, a simple bass riff industriously stamped out while a keyboard line that John Carpenter might have created flits deftly in the background. Then there's 'p:Machinery', its initial Atari effects obliterated by a jackhammer beat and Satanic voices booming out the chant, "Power! Force! Motion! Drive!" until the band are officially introduced - "Propaganda!" – and another of those simple but thundering Synclavier basslines kicks in. A simple keyboard melody chimes above – contributed by David Sylvian, and not unlike one of Japan's – ushering in the verse, Brücken's voice intoning lines about a post-human society in which "on joyless lanes we walk in lines / a calm but steady flow". Its bleak outlook is somewhat offset by outbreaks of brass that perhaps only really sounded authentic when we were all blinded by science, but it's still a tour de force, massive, intimidating, especially in the belligerent bridge and the almighty drop that precedes the outro, a moment of almost intolerable tension.

The big hit, of course, was 'Duel', an unexpectedly jaunty number (later covered by Sophie Ellis-Bextor and, oddly, Mandy Smith) which, even though it's introduced with typical ZTT pomp by a grand piano, nonetheless conveys a sense of film noir melancholy off the bat, largely thanks to Brücken's voice, which often sounds like it's squeezing its way past her tonsils. The lyrics she delivers don't hurt either, the chorus enigmatically, perhaps disturbingly, announcing that "The first cut won't hurt at all / The second only makes you wonder / The third will have you on your knees / You start bleeding / I start screaming". But the unexpected return of the piano, and a virtuoso performance that somehow recalls Jools Holland's appearance on The The's 'Uncertain Smile' add some fun - a quality one doesn't often equate with Propaganda. 'Duel' has a dark side, however: 'Jewel', an alternative version of the same tune was – according to Harrison's sleevenotes – provoked by Morley's loan of a selection of punk records to Lipson. So inspired was the producer that 'Jewel' was born the next day, Brücken in the vocal booth "absolutely screaming the vocal'" while Lipson made "wild stabbing movements with his hands" outside. Percussion slams like a factory at peak hours, there are terrifying, futuristic stabs of Phantom Of The Opera keyboard, and then Brücken arrives, her delivery jerky, maniacal yet dispassionate, an impression that, much to its benefit, the record never quite manages to shake off. Her 'Denglisch' adds to the confusion, hinting at times that she's not entirely sure of the meaning of her lyrics, like some automated replicant, something further underlined when her vocal is sped up as though she's malfunctioning. But when that massive keyboard line arrives towards the song's end, and the donner und blitzen rumble in the background, there's no doubt that this is a purely human drama, even if it is inspired by fears for our increasingly industrialised society.

In addition, there's 'Frozen Faces', whose second half could twinkle on a million chillout compilations, and 'The Chase', which, after an unsettling start, shifts into the kind of pop that Talk Talk might have come up with before they decided it was more fun in the studio than on the stage. This still refuses to let us off entirely, however, closing with another sinister marshalling of jackhammer beats. And of course there's the cover of Josef K's awkward 'Sorry For Laughing', an idea so warped as to be inspired (though the bonus 'Unapologetic 12"' mix, all ten minutes of it, reveal the song's Scottish roots a little more clearly with a jangling guitar upfront). Propaganda turn the song into a monolithic tombstone of a tune: Brücken's oddly glottal delivery, swathed in swaddling synths, lends it the air of a Weiman Republic disco, the disciplined rhythm at its core soothed by the promise of imminent, intimate contact, however lonely it might be. Finally there's 'The Last Word', whose keys – Daft Punk as much as Georgio Moroder – eventually give way to another round of stormy sound effects (later, one suspects, employed by Lipson and Horn on Grace Jones' 'Slave To The Rhythm'), a last round of orchestral flourishes and Freytag's poignant parting query: "Is all that we see or seem but a dream within a dream?"

You'll need to skip to the end of Disc One to hear 'The Last Dance' in its purest form: Lipson's CD mix chooses instead to force the listener to endure the majestic conclusion to 'Dr. Mabuse' segued into a Stars On 45 album megamix before finally giving way to the album's closer. In fact, if there is a criticism that could perhaps be leveled at this reissue, it's that by the 'p:Polish' version of 'p:Machinery' at the end of Disc Two, with its guitar showroom acrobatics, it's hard not to long for the concise, perfect vision of these songs familiar from the vinyl and cassette releases. There's a limit to the amount of indulgence one can take, after all, and to have four interpretations of what was pretty much immaculate on the album is perhaps overkill. But these bonuses are mere gravy: the meat is in A Secret Wish's analogue mix, and that's pretty much beyond criticism. Even accusations of pretentiousness are easily countered by the hints of camp cabaret dropped throughout: the deadpan Hollywood voice in 'Dr. Mabuse' ("Don't be afraid!") or, to be frank, Freytag's entire recitation of Poe's 'Dream Within A Dream'.

The vision of A Secret Wish was the apex of ZTT's musical achievement - possibly even more so than Frankie's Welcome To The Pleasuredome. Quite apart from its influence on other musicians like Depeche Mode's Martin Gore and producer / DJ Ewan Pearson, it never underestimated its audience's intelligence, exploited and overcame German stereotypes and even left its mark on the charts. Furthermore, it was almost perfectly conceived, with Lipson's production as palatial as anything Horn ever achieved, and the band's image cultivated by Anton Corbijn in perfect synchronicity with Morley's vision. The band broke up soon afterwards, caught up – like Frankie Goes To Hollywood and Art Of Noise – in a wrangle of lawsuits, some of them regrouping with members of Simple Minds for 1990's flaccid 1, 2, 3, 4. Rumours of a reunion of the original line up continue to gather pace following their performance at Wembley Arena for Trevor Horn's Prince's Trust concert in 2004. But none of that is important. It's A Secret Wish that's important. The power of Propaganda endures...

http://thequietus.com/articles/04759-propaganda-a-secret-wish-25th-anniversary

sábado, 10 de julio de 2010

Sigue Sigue Sputnik - Flaunt it - 1986


Ésta es mi breve opinión personal sobre el disco:Un imprescindible.SI.
Un álbum algo subestimado en su momento, pero hoy fundamental para documentar los años ochenta.
Rock and roll del siglo veintiuno, pero proveniente del pasado.Eso eran y son los SSS, con su vibrante sonido electrónico, rockero a la vez...punk y anti- punk.Del "No future" del punk, a la fascinación por la tecnología, la cultura del consumo, los videojuegos y la publicidad.Cínicos, transgresores, divertidos.
Mad Max y Elvis...
Ése es el cóctel triunfalista que vendían Sigue Sigue Sputnik.Guitarras filosas, samples de anuncios y de... Bach, secuencias y ritmos bailables y repetitivos (¡y apadrinados por GIORGIO MORODER!.)
Era y es inútil resistírseles.Hoy se bailan tan bien como en el 86.Por algo será.
21ST CENTURY BOY
21ST CENTURY BOY(LIVE)


SHE´S MY MAN

Flaunt It is the debut album by British band Sigue Sigue Sputnik. The album featured a remix of their #3 UK hit single "Love Missile F1-11", as well as "21st Century Boy". Flaunt It was unique in that the band sold off spots between songs for advertisements. Ultimately, ads for L'Oréal, i-D magazine, the short-lived London pirate television station NeTWork 21, and London's Kensington Market clothing shop Pure Sex were complemented by fictitious ads for the Sputnik Corporation and the (unreleased) Sigue Sigue Sputnik Computer Game; a spoken word advertisement (narrated by the Sputnik Corporation voiceover) for EMI closes the album. All original CD versions and the version released in Germany also include an ad for Tempo, a lifestyle magazine.The liner notes include small print ads for the various advertisers, as well.
(de Wikipedia en inglés)

LOVE MISSILE F1-11(LIVE)
LOVE MISSILE F1-11(UNCENSORED)
LOVE MISSILE F1-11(EXTENDED)

TRACKLIST
All songs written by Anthony James, Martin Degville and Neal Whitmore except "Atari Baby" and "Massive Retaliation" written by Anthony James, Martin Degville, Neal Whitmore and Giorgio Moroder.

Side one
"Love Missile F1-11 (Re-Recording Part II)" (4:49)
"Atari Baby" (4:57)
"Sex-Bomb-Boogie" (4:48)
"Rockit Miss U·S·A" (6:08)
Side two
"21st Century Boy" (5:10)
"Massive Retaliation" (5:02)
"Teenage Thunder" (5:17)
"She's My Man" (5:37)

ATARI BABY

PERSONAL
Martin Degville - vocals
Tony James - synth guitar
Neal X - electric guitar
Ray Mayhew - drums
Chris Kavanagh - drums
Miss Yana Ya Ya - special effects
Giorgio Moroder - producer
Brian Reeves - engineer
Syd Brak - illustrations
Mike Morton - photography
Joe Shutter - photography
Frank Griffin - photography
Dave Thompson - liner notes
Brian Carr - legal counsel

THE SIGUE SIGUE SPUTNIK STORY


martes, 1 de junio de 2010

Creedence Clearwater Revival - Pendulum - 1970



"Pendulum" es el sexto álbum de estudio - y mi favorito, absolutamente - de la banda estadounidense Creedence Clearwater Revival. Fue publicado en diciembre de 1970.A diferencia de los anteriores en que se incluyen "covers" de otros autores, en éste, John Fogerty es el autor de todas las canciones, y también productor.Es, también, el último álbum en que participa su hermano Tom Fogerty.

PAGAN BABY

CHAMELEON

BORN TO MOVE

En Pendulum, la apuesta musicalmente más arriesgada y aventurera de la banda, hay teclados y una sección de vientos, al contrario que en los discos precedentes, puramente guitarrísticos.
Temas como "Hey Tonight" como "Have You Ever Seen the Rain?" fueron singles exitosos en 1971.

HAVE YOU EVER SEEN THE RAIN

HEY TONIGHT

MOLINA

En 2008, "Pendulum" fue remasterizado y reeditado para conmemorar el 40º aniversario de la formación de la banda.
SAILOR´S LAMENT




Hay otras joyas de Fogerty que calan hondo, plenas de "soul" como "(Wish I Could) Hideaway" o "It's Just a Thought" que sin embargo puede que sean menos recordadas por el público, pero para quien ésto escribe, está entre lo mejor que ha creado este talentoso compositor.

(WISH I COULD) HIDEAWAY

IT´S JUST A THOUGHT

El tema "Rude Awakening #2", que cierra la placa, tiene una sonoridad y una construcción totalmente inusuales en la banda, lo que evidencia cierto deseo de experimentación y deja pensando en qué otras direcciones pudo haber tomado el "sonido Credence" de haber prolongado su existencia.

RUDE AWAKENING #2


PROGRAMA
Todas las canciones compuestas por John Fogerty.
Cara A
"Pagan Baby" – 6:30
"Sailor's Lament" – 3:50
"Chameleon" – 3:20
"Have You Ever Seen the Rain?" – 2:41
"(Wish I Could) Hideaway" – 3:46
Cara B
"Born to Move" – 5:43
"Hey Tonight" – 2:44
"It's Just a Thought" – 3:54
"Molina" – 2:10
"Rude Awakening #2" – 6:24
Temas extra de la reedición de 2008
"45 Revolutions Per Minute (Part 1)" - 3:21
"45 Revolutions Per Minute (Part 2)" - 7:23
Temas 11 y 12 son piezas de música concreta que incluyen entrevistas con los miembros del grupo
"Hey Tonight" (Live in Hamburg 1971) - 2:30


jueves, 27 de mayo de 2010

RPM - Radio Pirata Ao Vivo - 1986


"Rádio Pirata ao Vivo" es el segundo álbum de la banda de synth rock brasileña RPM, lanzado en 1986. Está entre los discos mas vendidos de la historia de la industria fonográfica del Brasil, con más de 3 millones de copias vendidas.Para quien ésto escribe, es un disco imprescindible del rock/pop sudamericano de su época...y de todas las épocas también...
Grabada en directo en el Pavilhão de Exposições del Complexo do Anhembi, São Paulo los días 26 y 27 de mayo de 1986, el show contó con la dirección del cantautor Ney Matogrosso.
La placa incluye grandes éxitos como Revoluções Por Minuto, Rádio Pirata, Olhar 43 y las inéditas hasta entonces Naja (excelente tema instrumental electrónico con aires andinos basado en los teclados de Luiz Schiavon) y Alvorada Voraz, además de las regrabaciones de dos "covers" de lujo: London, London (de Caetano Veloso) y Flores Astrais (originalmente del grupo Secos & Molhados, del cual Ney Matogrosso fue integrante).

REVOLUÇOES POR MINUTO

LONDON, LONDON

FLORES ASTRAIS

ALVORADA VORAZ

RPM
Fernando Deluqui - Guitarras, voces
Paulo Pagni - Batería, voces
Paulo Ricardo - Bajos, voz
Luis Schiavon - Teclados

Producido por Mazola

ESTAÇAO NO INFERNO

OLHAR 43

LISTA DE TEMAS
Autores de todas: Luiz Schiavon e Paulo Ricardo, salvo indicadas.
"Revoluções Por Minuto"
"Alvorada Voraz" (Luiz Schiavon; Paulo P.A. Pagni; Paulo Ricardo)
"A Cruz e a Espada"
"Naja (Instrumental)"
"Olhar 43"
"Estação no Inferno"
"London, London" (Caetano Veloso)
"Flores Astrais" (João Apolinário; João Ricardo)
"Rádio Pirata / Incidental: Light My Fire (Robby Krieger)

NAJA


lunes, 1 de febrero de 2010

Kate Bush - Hounds of love - 1985


Quinto álbum de estudio de la cantautora británica Kate Bush, editado en septiembre de 1985.
Significó el retorno a la luz pública y fue un éxito comercial para la artista, cuyo álbum anterior, "The Dreaming" tuvo una pobre recepción.Fue el segundo álbum en entrar en las listas británicas y su álbum de estudio más vendido
"Running Up That Hill" se convirtió en uno de sus más grandes éxitos, seguidos por otros singles igualmente bien recibidos: "Cloudbusting", "Hounds of Love" y "The Big Sky", todos ellos pertenecientes a la cara A del álbum, titulada precisamente "Hounds of love".
La cara B, subtitulada "The Ninth Wave", conforma una suite conceptual acerca de una persona sola a la deriva en el mar por la noche.

RUNNING UP THAT HILL

Bush habia decidido tras el álbum anterior tomarse un respiro como artista, y hacia el verano de 1983 montó su propio estudio de 48 pistas en el granero, detrás del hogar familiar, el cual podía usar cada vez que lo deseara.Así comenzó a realizar grabaciones, y trabajó sobre los demos resultantes, mejorando y arreglando las canciones sobre ellos, sin regrabar desde cero.Hizo un buen uso del sintetizador Fairlight CMI, así como de piano e instrumentos tradicionales irlandeses.El coro de "Hello Earth" es un segmento de una canción tradicional georgiana,"Tsintskaro,", interpretada por los Richard Hickox Singers.
Las palabras pronunciadas por el actor Reginald Beckwith, "It's in the trees! It's coming!" del comienzo de "Hounds...", fueron sampleadas de una escena de la película de horror británica de 1957 "Night of the Demon".
HOUNDS OF LOVE


PROGRAMA
(Autora de todas:Kate Bush.)
Side one: Hounds of Love
01."Running Up That Hill (A Deal with God)"   5:03
02."Hounds of Love"   3:02
03."The Big Sky"   4:41
04."Mother Stands for Comfort"   3:07
05."Cloudbusting"   5:10
Total length: 21:03
Side two: The Ninth Wave
06."And Dream of Sheep"   2:45
07."Under Ice"   2:21
08."Waking the Witch"   4:18
09."Watching You Without Me"   4:06
10."Jig of Life"   4:04
11."Hello Earth"   6:13
12."The Morning Fog"   2:34
Total length: 26:21

PERSONAL
Kate Bush – vocals, Fairlight CMI, piano
Stuart Elliott – drums on tracks 1, 2, 4, 5, 9, 10, 11
Del Palmer – bass on 1, 10, handclapping on 3, backing vocals on 5, Fairlight bass on 8, Linn programming
Alan Murphy – guitar on 1, 3, 8
Paddy Bush – violins on 10, balalaika on 1, backing vocals on 5, didjeridu on 3, harmonic vocals on 7, fujara on 12
Charlie Morgan – drums on 2, 3, 5, 8, 10, handclapping on 3
Additional musicians
Jonathan Williams – cello on 2
Youth – bass on 3
Morris Pert – percussion on 3
Eberhard Weber – bass on 4, 11, 12
The Medici Sextet – strings on 5
Dave Lawson – string arrangements on 5
Brian Bath – backing vocals on 5, guitar on 11
John Carder Bush – backing vocals on 5, narration on 10
Dónal Lunny – bouzouki on 6, 11, Irish bouzouki on 10
John Sheahan – whistles on 6
Kevin McAlea – synthesiser sequences on 8, synthesiser on 12
Danny Thompson – double bass on 9
Liam O'Flynn – uilleann pipes on 10, 11
The Richard Hickox Singers – choir on 11
Richard Hickox – vocals, choir master on 11
Michael Berkeley – vocal arrangements on 11
John Williams – guitar on 12
Production
Del Palmer – engineer
Haydn Bendall – engineer
Brian Tench – engineer, mixing
Paul Hardiman – engineer
Nigel Walker – engineer
James Guthrie – engineer
Bill Somerville-Large – engineer at Windmill Lane Studios
Pearce Dunne – assistant engineer
Julian Mendelsohn – mixing on 2, 4
Chris Blair – digital remastering
Ian Cooper – cutting engineer
Photography for the sleeve was by Kate's brother, John Carder Bush and the sleeve design was by Bill Smith Studio and Kate.


El excelente video clip de "Cloudbusting", dirigido por  Julian Doyle, es protagonizado por Donald Sutherland, interpetando a Wilhelm Reich, en quien está inspirada la canción.Bush interpreta al hijo de Reich.
La máquina "cloudbuster" que aparece, fue diseñada nada menos que por el artista H.R.Giger.

CLOUDBUSTING

domingo, 31 de enero de 2010

Robbie Robertson - Contact from the Underworld of Red Boy - 1998


Excelente sucesor para el "Music for The Native Americans" de cuatro años atrás, éste "Contact from the Underworld of Red Boy" continúa explorando la música nativa americana sobre ritmos funk electronificados saludablemente

THE SOUND IS FADING

PEYOTE HEALING

MAKING A NOISE

Throughout his solo career, Robbie Robertson has been as fascinated with sonics as he was with songwriting, so perhaps it wasn't entirely surprising that he collaborated with techno DJ/producer Howie B and remixer Marius de Vries on his fourth album, Contact from the Underworld of Redboy. Anyone familiar with his moody, atmospheric solo efforts will realize that there's a bigger jump between Music from Big Pink and Robbie Robertson than there is between the Daniel Lanois-produced Robbie Robertson and the ambient-flavored Contact, but the electronic textures and dance beats still may come as a shock to some. The electronics are interwoven with blues, folk, country and rock, as well as American Indian music. And, as on Music for the Native Americans, Robertson is primarily concerned with American Indians throughout Contact, whether it's through the chants of "Peyote Healing" or the protest of "Sacrifice," which features Leornard Peltier -- a Native American who has been imprisoned since 1976 on charges of murder many believe are fabricated -- on a telephone call. Both his lyrical and musical concerns can get bogged down in their own pretensions, but often, the results are provocative and unique. 
-- Stephen Thomas Erlewine, All-Music Guide

IN THE BLOOD

UNBOUND

RATTLEBONE

PROGRAMA
01. The Sound Is Fading
02. The Code Of Handsome Lake
03. Making A Noise
04. Unbound
05. Sacrifice
06. Rattlebone
07. Peyote Healing
08. In The Blood
09. Stomp Dance (Unity)
10. The Lights
11. Take Your Partner by the Hand (con Howie B.)

Robertson le cede la palabra a Leonard Peltier, preso desde 1976, de quien se dice que está encerrado por su condición de nativo americano, acusado de un crimen que no cometió.Personalidades como Nelson Mandela y el Dalai Lama intercedieron por él sin éxito.

SACRIFICE

PERSONAL
Robbie Robertson, vocals/guitar/producer
Tim Simenon
Nellee Hooper
Lucien Jordain
Johnny Mike
Jeremy Shaw
Joanne Shenandoah
The Six Nations Women Singers
Quinn Yarborough
Leah Hicks-Manning
James Bilagody
Jackie Bird
Star Nayea
Ivan Nevile
Rita Coolidge
Cree Summer
Caroline MacKendrick
Bonnie Jo Hunt
Anthony Begay
Verdell Primeaux
Priscilla Coolidge
Laura Satterfield, vocals
Chief Jake Thomas
Leonard Peltier, spoken vocals
Bill Dillon, guitar
Mazti Galindo,flute
Jim Wilson, keyboards/drum/percussion/programming/engineer
Marius De Vries, producer
Tim Gordine, keyboards/programming/engineer
Jules Brooks, keyboards
Geoffrey Gordon, drums/frame drum/percussion
Rupert Brown
Benito Concha, drums
Jony Rockstar
Vinez Pvel
Andrew Scheps, programming
Madeleine Allakariallak
Phoebe Atagotaaluk, vocals
Howie B, producer/engineer
Tim Stroh, engineer
Carmen Rizzo, engineer

El último track, nombrado como bonus en la edición que poseo, es una colaboración con Howie B., quien ya lo había publicado en su propio álbum "Turn The Dark Off" el año anterior.

TAKE YOUR PARTNER BY THE HAND

domingo, 24 de enero de 2010

Robbie Robertson & The Red Road Ensemble - Music for the Native Americans - 1994


"Music for the Native Americans" es el tercer álbum de estudio del canadiense Robbie Robertson, originario de The Band.
Fue creado como banda sonora del programa de televisión The Native Americans.
El álbum está enfocado obviamente en la cultura y la música de los nativos americanos, recopilada y grabada por Robertson - de herencia mohawk - y varios colaboradores e invitados bajo el nombre de "Red Road Ensemble".Entre esos colaboradores se encuentran sus hijos Sebastian y Delphine, así como Rita Coolidge, Patrick Leonard, etc.
Éste álbum está entre los más preciados de mi colección personal, muy recomendable para quienes gustan de la llamada "world music" y del abanico de experiencias musicales llevadas a cabo por artistas como Peter Gabriel, Enigma, Deep Forest o Mike Oldfield.

COYOTE DANCE

With Storyville, Robbie Robertson's music began to directly incorporate more world music influences; Music for the Native Americans makes that connection more explicit. Most of the album is quite evocative, recalling an American version of Peter Gabriel's mediterranean exploration Passion. Robertson writes some fully formed songs, but most of the record is devoted to instrumental, incidental film music, and that's where he fully explores new musical territory. Music for the Native Americans is a soundtrack (to Ted Turner's TV Production, The Native Americans), yet it contains some of Robertson's most challenging and complex music. 
-- Stephen Thomas Erlewine, All-Music Guide

GHOST DANCE

AKUA TUTA

MAHK JCHI

GOLDEN FEATHER

PROGRAMA
"Coyote Dance" (Dave Pickell, Jim Wilson) - (4:07)
"Mahk Jchi (Heartbeat Drum Song)" (Pura Fé) - Ulali (4:17)
"Ghost Dance" (Robertson, Jim Wilson) - (5:12)
"The Vanishing Breed" (Robertson, Douglas Spotted Eagle) - (4:39)
"It Is a Good Day to Die" (Robertson) - (5:46)
"Golden Feather" (Robertson) - (5:22)
"Akua Tuta" (Claude McKenzie, Florent Vollant) - Kashtin (4:51)
"Words of Fire, Deeds of Blood" (Robertson) - (4:52)
"Cherokee Morning Song" - Rita Coolidge - (2:58)
"Skinwalker" (Robertson, Patrick Leonard) - (5:56)
"Ancestor Song" (Traditional) - Ulali (2:54)
"Twisted Hair" (Jim Wilson) - Robbie Robertson y Bonnie Jo Hunt (3:23

THE VANISHING BREED



PERSONAL
Robbie Robertson - Guitar, Keyboards, Vocals, Producer
Rita Coolidge - Vocals (bckgr)
Priscilla Coolidge - Vocals (bckgr)
James Wilson - Programming
Kashtin
Alejandro "Alex" Acuqa - Percussion
John Barlit - Percussion
Charlie Brocco - Engineer
Bob Clearmountain - Mixin
Bill Dillon - Bass, Guitar, Chamberlain, Omnichord, Guitorgan
Douglas Spotted Eagle - Flute, Keyboards, Programming
Tony Green - Bass
Elodie Lauten - Keyboards
Patrick Leonard - Organ, Keyboards, Programming
Jared Levine - Associate Producer
Bob Ludwig - Mastering
Patrick McCarthy - Engineer
Dave Pickell - Programming
Charles Pollard - Editing
Laura Satterfield - Vocals (bckgr)
Silvercloud Singers
Ron Sunsinger - Engineer
Bill Dillion - Guitar
John Bartilt - Percussion
Benito Concha - Drums
Sal Fararas - Drums
Toby Gendron - Producer, Engineer
Claude Pelletter - Vocals (bckgr)
Delphin Robertson - Vocals (bckgr)
Denis Toupin - Drums, Vocals
Tommy Steele - Art Direction
David Williams - Design, Photography
Lavant Coppock - Assistant Engineer
Andy Fitich - Engineer
Bill Szawloswki - Engineer
Bonnie Jo Hunt - Vocals
Jeff Smallwood - Guitar (Acoustic)
Barry Goldberg - Assistant Engineer
Jim Wilson - Programming, Producer
Ulali - backing vocals

IT IS A GOOD DAY TO DIE


domingo, 10 de enero de 2010

Kraftwerk - The Catalogue (1974/2003) - 2009





"The Catalogue" (en su edición en alemán, "Der Katalog") es una caja conteniendo ocho álbumes rde Kraftwerk editados entre 1974 y 2003. Remasterizados digitalmente y acompañados del arte original de portada y libros, ampliados con fotografías y diseños que no formaron parte de las ediciones originales.En mi humilde opinión en los cinco primeros está el verdadero tesoro de la obra de la agrupación alemana pionera.
El álbum de 1986 retoma el título que originalmente iba a llevar hacia 1983 cuando fue en principio cancelado, y ahora incluyendo una versión diferente del tema "The telephone call".
Definitivamente, ésta caja es un tesoro invaluable para los fans de Kraftwerk.
Y desde luego, un servidor, lo tiene entre sus más caras posesiones.



Autobahn (1974)



 Radio-Activity (1975)



Trans-Europe Express (1977)


The Man-Machine (1978)


Computer World (1981)


Electric Café (1986, retitulado como "Techno Pop" )



The Mix (1991)



Tour De France Soundtracks (2003, retitulado sólo como "Tour De France" )



"We've been digitally transferring all of Kraftwerk's original recordings and sound sources from our badly degrading master tapes while our engineers, Fritz and Henning, have been working in parallel to remaster our early albums for re-release. So for the first time, our recordings will be available in crisp, clear Kling Klang sound with all the fold-out covers and images our label at the time either messed up or wouldn't pay for. There will be some alternate mixes of tracks and some unedited versions, but unfortunately we don't have much unreleased material. We never recorded extra songs or twenty different versions of the same song. We would complete a song and then move forward, always keeping very focused on one Kling Klang project at a time."
"The sound needed remastering… it’s like a reconstruction, like when a painter takes his paintings from the archives and blows the dust off and puts them in a retrospective. It was quite time-consuming work, but I think once you see it you will immediately understand"
Ralf Hütter


THE TELEPHONE CALL

BOING BOOM TSCHAK/MUSIQUE NON STOP

THE ROBOTS