Denton, Texas

Si algú em va llegint la columnneta, s'haurà adonat de la meva fixació per Akron (OH).
En els darrers mesos he afegit una ciutat en clara competència amb Akron. Es tracta de Denton (TX) també bisilàbica, i amb dues universitats més potents que les de Ohio a Akron. A Denton practicament la meitat de la població de prop de 100.000habitants son estudiants. Això deu afavorir el naixement i supervivència de múltiples bandes, a Denton això es clar:

The Marked Men are a punk rock band from Denton, Texas composed of guitarist s/ ... members had all performed in other Denton-area punk rock bands. ...

Midlake is an American rock band from Denton, Texas . ... Speaking about the band's influences, Smith commented. called a Radiohead rip-off band. ...

The Eli Young Band is an American country music band based in Denton, Texas . ... The band's third album, Jet Black & Jealous , was released ...

Brave Combo are a polka /rock band based in Denton, Texas . ... "Grand Pooh-Bah of Denton bands" and said that "Brave Combo, is in many ways ...

Baboon is a rock band originally from Denton , Texas . The band formed in 1991 . Their fourth studio album , entitled Baboon , was ...

The Riverboat Gamblers are a punk rock band originally from Denton, Texas but now residing in Austin, Texas . They are currently signed ...

Centro-Matic is a rock band based in Denton, Texas . It started in 1995 ... Centro-matic: Already Gone - A Compilation of Texas Bands (2004) ...

Fishboy is a four-piece eccentric indie pop band from Denton, TX that began as ... These themes run through the band’s 2007 album, Albatross ...

Teenage Cool Kids are an indie rock group from Denton, Texas . ... The band's first full length was Queer Salutations , released in 2007. ...

Slobberbone was an American alt-country band from Denton, Texas that formed in ... Stephen King mentioned the band's song "Gimme Back My ...

Pyramids is an experimental rock band from Denton, Texas. They're currently on Hydra Head Records. They have two albums, Pyramids and ...

The Baptist Generals are an American indie band from the music town of Denton, ... style acoustic sets performed on the band's traveling rug. ...

Fergus & Geronimo are an indie rock band from Denton, Texas . ... recordings leaked on the internet helped garner attention early in the bands career. ...

Fishboy (band), an indie pop band from Denton, TX. Fishboy (comic), a British comic story.

Sub Oslo is an improvisational band from Denton, TX that plays Dub music , a sub-genre of reggae . The band was formed in 1996 by Miguel ...


I això sols és la primera de les més de 500 entrades que m'ofereix la Wiki a la pregunta Denton Bands.
Ara m'explico la broma-homenatge dels Mountain Goats.

Jeffrey Lewis

El passat cap de setmana en el Primavera Club, vaig poder parlar una estoneta amb ell, al cub Monasterio (un local difícil d'entendre per una festival com el Primavera, tothom molt amable, pero incapaç d'inquibir un aforament de més de 150 persones). Sembla que el degoteig de articles que entre ell i uns quants musics i representants del "sistema" de la industria musical americana que publicaven al New York Times, ha estat suspès.
A partir de l'any que vé el podrem seguir a History Channel

Mujeres de Barcelona

No es tracta de una entrada que es refereixi a totes les vilatanes del cap i casal, ans de una descoberta que acabo de fer desde el punt de vista musical.
"Mujeres" es un grup Lo-Fi, que a la seva pàgina de MySpace es defineixen com: Chinese Pop/Christian Rap/Trance. Encara no tenen disc, pero prometen com a banda amb futur, estàn al cartell del Primavera Club (aquí i a la capital). Donç be descobreixo que de les quatre cançons que tenen penjades al MS, una és d'un grup peruà de mitjans dels seixanta del que jà us he comentat en alguna entrada prèvia: Los Saicos "Come on".

Us en poso un clip d'audio de YouTube, i compareu-lo amb el que penja al MySpace de "Mujeres" http://www.myspace.com/mujeresdebarcelona

Un dia perfecte per caçar tornados

El meu amic (a MySpace) Jim White està a Hawai amb grip i laringitis mentre les onades per surfejar son fantàstiques.

JIM WHITE In Hawaii for a show. Got the flu & laryngitis. Surf's 30-40 feet. Former world champ surfer Reno Abellaro is sitting in on congas tonight. Life is weird
Posted at 2:48 AM Dec 6

el mon en quatre pistes...

L'última del Bob

Blip.fm

M'hi vaig apuntar divendres al vespre, i he passat el cap de setmana absolutament enganxat.
Altament adictiu...

Si em voleu buscar teclejeu pratinsky

N'he trobat un... (versió Roscharch venezolana)

devendra (encara no trobo el video d'Angelika)

for your ears only

No el coneixía, hà guanyat la OTI, que tampoc la segueixo...

enllaç a la wikipedia de Florcita Motuda

http://es.wikipedia.org/wiki/Florcita_Motuda

la "castanyada" dels Phish

It Happened Last Night
Phish Covers Stones for the Stoned
The Vermont jam band continues its 2009 comeback by playing Exile on Main Street in the California desert.
By Shirley Halperin 11.02.09 9:29 AM
Phish's Trey Anastasio / Photos by Jesse Lirola
Phish's Trey Anastasio / Photos by Jesse Lirola


A good 24 hours before Phish hit the stage for their Halloween show -- the second of Festival 8's three-night stand at Indio, California's Empire Polo Club -- the rumors were flying fast and furious as fans tried to guess which full album the band might cover. Ever since 1994, it's become an annual October 31 tradition for the Vermont-bred foursome to play a seminal LP in its entirety, and past Halloweens have delivered the likes of The Who's Quadrophenia and The Beatles' "White Album."

Among 2009's contenders: Michael Jackson's Thriller, Prince's Purple Rain, MGMT's Oracular Spectacular, and, fueled by the band's own misinformation campaign (frontman Trey Anastasio offered a hint before launching into the band's classic "David Bowie"), The Rise and Fall of Ziggy Stardust and the Spiders from Mars. But by morning, all was revealed in the form of a faux Playbill magazine announcing the band's choice: Rolling Stones' Exile on Main Street.

Since their first weekend-long jam, 1996's Clifford Ball, Phish festivals have become known as something of an endurance test, not just for the band, who can play as long as eight hours a day, but for the fans who trek miles from adjacent parking lots and campgrounds and stake out prime viewing spots hours before showtime.

In that sense, this weekend's Festival 8, the continuation of Phish's post-hiatus comeback tour, was no different. Many thousands of tie-dyed, bleary-eyed die-hards gathered in the sweltering desert sun as early as noon to witness the first of three Halloween sets, which kicked off at 3:30 P.M. and featured a string of pre-Millennial fan favorites including "Divided Sky," "Runaway Jim," "The Squirming Coil," and the ever popular closer, "Run Like An Antelope." "It's been a long time since we played in the grass," said Anastasio at the top of the set as a sizable portion of the festival's expected 40,000 fans cheered on. (No doubt, it had only been minutes for most of the crowd.)

But the main event was undeniably Exile, much of which Anastasio, embodying a bit of that Jagger swagger, and crew -- bassist Mike Gordon, keyboardist Page McConnell, and drummer Jon Fishman -- executed faithfully. Accompanied by a small horn section and backup singer, the band wailed through the popular "Tumbling Dice" and "Happy" adding their own extended grooves, as well as lesser-known tracks like "Ventilator Blues" and "Turd on the Run." For "Let It Loose," the band offered a more subdued rendition, replete with gently layered background vocals that did the original proud. The crowd responded in kind as is the Phish fan way, knowing that, even if they weren't intimately familiar with the album's 17 songs, they had another full Phish set coming that night (not to mention coffee and 8-shaped doughnuts for 10,000 in the morning, followed by a noontime acoustic set).

That final bow kicked off just before 10:30 P.M. with the one-two punch of "Backwards Down the Number Line" and perennial crowd-pleaser "Fluffhead," accented by a football-field-long fire display, which was just part of the visual stimuli scattered across the grounds. Indeed, for those growing weary of the nonstop jam, a horseshoe tournament, Ferris wheel and gigantic dragon coil were there to entertain -- or distract.

All told, despite the proliferation of readily available drugs in the parking lot -- from the expected mushrooms and nitrous oxide to the less common liquid mescaline and Mollys (powdered MDMA) -- there had only been 11 arrests at the start of the Halloween set, all of them "drug- and influence-related," according to a spokesperson for the Indio Police Department. That number would surely rise later on as the costumed throngs sunk deeper in the Phish hole with classics like "You Enjoy Myself" and set three closer "Suzy Greenberg" as their soundtrack. The phreaks come out at night, all right.

Phish's Set List
Set I:
Sample in a Jar
Divided Sky
Lawn Boy
Kill Devil Falls
Bathtub Gin
The Squirming Coil
Runaway Jim
Possum
Run Like An Antelope

Set II: (Exile on Main Street)
Rocks Off
Rip This Joint
Shake Your Hips
Casino Boogie
Tumbling Dice
Sweet Virginia
Torn and Frayed
Sweet Black Angel
Loving Cup
Happy
Turd on the Run
Ventilator Blues
I Just Want to See His Face
Let It Loose
All Down the Line
Stop Breaking Down
Shine a Light
Soul Survivor

Set III:
Backwards Down The Number Line
Fluffhead
Ghost
When the Circus Comes
You Enjoy Myself
Suzy Greenberg

Segons Harper's un asshole...

Sting: Obama, Synchronicity, Hypocrisy

By Ken Silverstein

The biography of a celebrity asshole, in three short chapters. Excerpts below all come from news stories published in October of 2009.

From the Associated Press, on Sting’s deep thoughts on Obama:

The former Police frontman said that he spent some time with Obama and “found him to be very genuine, very present, clearly super-smart, and exactly what we need in the world.” Sting, 58, said he’s hopeful that the world’s problems can be dealt with, but is frustrated that “we seem to be living in a currency of medieval ideas.” “My hope is that we can start talking about real issues and not caring about whether God cares about your hemline or your color,” he said. “We are here to evolve as one family, and we can’t be separate anymore.”

From EurasiaNet, on Sting’s visit with the daughter of Uzbek dictator Islam Karimov, whose regime killed one prisoner by immersion in boiling water:

Tickets to see British singer Sting perform in Tashkent will cost between $1,000 and $2,000 dollars, organizers say. The former Police front man will play at the Alisher Navoi Theater on October 18 as part of Art Week Style, a fashion and art event masterminded by Gulnara Karimova, President Islam Karimov’s daughter. Even the cheapest ticket will cost more than 45 times the average monthly salary in Uzbekistan, the report notes. Previous entertainers at Karimova’s showcase include Rod Stewart and Julio Iglesias.

From Fashion Week Daily:

Sting made it all way to Uzbekistan for the event, where he joined beautiful Dr. Gulnara Karimova at fashion shows and beyond. The superstar closed the week with a concert at the Tashkent Sate Opera and two giant screens were positioned in the square outside the State Theater to accommodate all of those who couldn’t get tickets to the charity performance. And believe it or not, the entire city knew every word to nearly all the songs in the set.

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i un altre de "irreverent"

un video acceptable de Lightning Bolt ... per païr els panellets

Cimbals eat Guitars (una bona el:lecció per el Primavera Club)

una web recomanable

http://www.kcrw.com/music/in_studio

Tenen la col·lecció més espectacular de música independent, gravada i filmada al seu estudi. Accés sense restricció, ara si no pots re-enganxar els videos al teu blog.

Clicar titol per accedir-hi.

De res...

secs i mullats (el "glam" brasiler dels 70)

raros, raros...

fiuu super3

els Fleetwood Mac "remasteritzats" pero es deixen la que més m'agrada...

Fleetwood Mac's The Very Best Of track listing is:

Disc One:
1. Monday Morning
2. Dreams
3. You Make Loving Fun
4.Go Your Own Way
5. Rhiannon
6. Say You Love Me
7. I'm So Afraid (Live, 1997)
8. Silver Springs
9. Over My Head
10. Never Going Back Again
11. Sara
12. Love In Stone
13. Tusk
14. Landslide
15. Songbird
16. Big Love (Live, 1997)
17. Storms

Disc Two:
1. The Chain
2. Don't Stop
3. What Makes You Think You're The One
4. Gypsy
5. Second Hand News
6. Little Lies
7. Think About Me
8. Go Insane (Live, 1997)
9. Gold Dust Woman
10. Hold Me
11. Seven Wonders
12. World Turning
13. Everywhere
14. Sisters of the Moon
15. Family Man
16. As Long As You Follow
17. No Questions Asked
18. Skies The Limit
19. Paper Doll

L'Akron de la India??? de Liberation

TOURISME > HORS DES SENTIERS BATTUS : Séjour et voyage en Inde


Shillong, la petite capitale indienne du rock

le 21/12/2008 à 20h23 par Sarah Collin Photos : Adrien Carpentier


À Shillong, dans les taxis collectifs, les hauts-parleurs ne diffusent pas les voix de rossignols typiques de Bollywood, mais les riffs de guitares accompagnant les textes en anglais des légendes du rock, du King à Janis Joplin, de Bob Dylan à Cliff Richard. Nulle part ailleurs en Inde on ne voue un tel amour au rock, avec une nette préférence toutefois pour les groupes antérieurs aux années 80.

"Aujourd'hui, la musique c'est du fast-food", assène Tipriti, la chanteuse charismatique du groupe Soulmate, le duo qu'elle forme avec son partenaire guitariste Rudy Wallang. À 25 ans, Tipriti chante le blues. Depuis la sortie de leur album judicieusement intitulé "Shillong" il y a trois ans, son visage de princesse asiatique aux pommettes hautes et sa voix de diva noire américaine ont conquis les chaînes musicales indiennes.

"On dit qu'à Shillong, un habitant sur trois est musicien", confie Larsing Ming, propriétaire de l'hôtel "Centre Point". Au "Cloud 9", le bar de l'établissement, il invite occasionnellement des groupes locaux à se produire sur scène. Ce passionné de musique est aussi depuis quelques années l'organisateur d'un grand concert en plein air pour la Saint-Sylvestre. 20 000 personnes ont assisté à l'événement l'année dernière.

Pour la programmation, M. Ming a l'embarras du choix. Ses protégés ? Les filles du girlsband Afflatus qui mélangent allègrement rock, punk et funk, les garçons de Snow White qui chantent en khasi (la langue locale, proche du cambodgien) sur du rock électrique et le groupe Summer Salt qui privilégie une approche plus pop pour un auto-proclamé "rock indigène expérimental". Mais il y a aussi tous ceux qui jouent pour eux-mêmes, dans leur garage et surtout… à l'église.

"Depuis que nous sommes petits, c'est à l'église que nous voyons trôner guitares électriques, batteries et claviers", explique Tipriti de Soulmate. Elle-même a débuté en chantant à la messe et rencontré son comparse Rudy lors de l'enregistrement d'une compilation de gospel. Shillong rassemble en effet toutes les branches du christianisme dans un curieux melting-pot de clochers.

Dès le 19ème siècle, la petite ville a été choisie comme capitale d'été par les Anglais nostalgiques du ciel nuageux de leur terre natale. Ils ont été massivement rejoints par des missionnaires qui ont apporté leur musique avec eux, la sacrée et la profane, que les Shillongais ont continué d'écouter bien après l'indépendance sur la radio Voice of America.

Mais la légende vivante du rock à Shillong, c'est Lou Majaw. Depuis plus de 35 ans, ce guitariste khasi organise chaque année un concert pour l'anniversaire de Bob Dylan. Certaines années, les médias et les sponsors sont au rendez-vous et le vieux rocker aux cheveux longs et short moulant peut s'offrir une vraie salle.

Et lorsque surviennent les périodes de vaches maigres, Lou Majaw paie de sa poche pour que l'événement ait lieu. Une passion dont s'est inspiré le Département du Tourisme de l'Etat du Meghalaya, qui a organisé en 2007 le happening du "plus grand ensemble de guitares" au monde. Record battu : pendant quelques minutes,1730 guitaristes ont joué ensemble le mythique "Knocking on Heaven's Door". La romance entre Shillong et le rock a de beaux jours devant elle.

Ween (margalides ara que anem cap a l'hivern)

se acabó y punto (s'ha mort el Zambo Cavero)

Tara Jane O'Neil (inspira/espira...)

Health (mes noise al Primavera hivern)

el primavera persiteix en l'atac acústic

Si hem pogut sobreviure a les parets sonores de My Bloody Valentine, per aquest hivern ens reserven A place to bury strangers, sembla que els superen en qualsevol cas...
Repartiran taps?

aquest vespre al Teatre Grec (be no es Nova Orleans)

els Yo la Tengo en un concert a emporter a la blogotheque...

Yo La Tengo - A Take Away Show - Part 2 from La Blogotheque on Vimeo.

més todd (disfruteu-lo)

todd snider sobre marilyn manson (entre altres coses)

jà estic més tranquil...

Fuente: EFE

Marilyn Manson informa, en su blog de MySpace, que padece influenza AH1N1; Desafortunadamente voy a sobrevivir, dice el cantante


LOS ÁNGELES, Estados Unidos, sep. 23, 2009.- El controvertido cantante estadounidense Marilyn Manson aseguró en un blog de la web MySpace que había sido diagnosticado con la influenza AH1N1, según recogieron hoy varios medios en Estados Unidos.

Manson indicó que había sido atendido por un "doctor de verdad", quien le informó que estaba contagiado por el virus tipo AH1N1.

"Desafortunadamente, voy a sobrevivir", afirmó el artista de 40 años, quien desmintió que su afección tiene algo que ver con algún encuentro sexual con un "cerdo".

"El doctor dijo que mis pasadas elecciones de mujeres no han contribuido de ninguna manera a que yo adquiriera esta misteriosa enfermedad", declaró.

Manson estrenó el pasado mes de mayo el álbum "The high end of low", el séptimo trabajo de estudio de su carrera discográfica, definido por el autor como "un ave fénix surgiendo de las cenizas, un ejercicio de rendición y resurrección".

El cantante, cuyo nombre real es Brian Hugh Warner, creó su identidad artística asociando Marilyn Monroe y el apellido del asesino Charles Manson.

Woodstock ¡el musical! (en previsió)

Woodstock the Musical coming to Broadway

Free love for $75 a ticket – does Woodstock the Musical mark the end of the legendary festival's countercultural cachet?

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A great big song and dance... can Broadway capture the Woodstock spirit? Photograph: Bill Eppridge/Time Life Pictures

It's been a while since uptown audiences could expect a psychedelic experience on the Great White Way (though I suppose some could argue that Starlight Express was a pretty bad trip), but Michael Lang, one of the promoters of the 1969 Woodstock Music and Art Fair has announced plans to turn three days of peace and love into a Broadway musical.

In an interview with Rolling Stone, Lang announced plans for a production that would draw upon his memoir, The Road to Woodstock, revealing "the human condition and stories affecting people's lives" as well as "something of what we experienced on that weekend". Lang rejected the idea of capturing the event in showtunes. (So audiences cannot, alas, look forward to Oh, What a Mud-Covered Morning or My Fair Hippy). But he mentioned that instead musicians who performed at Woodstock might be called upon to write stage-appropriate songs – though it's hard to imagine Joan Baez or Pete Townshend agreeing to do so. (Maybe Grace Slick needs the work?)

Of course, there's plentiful irony in turning the consummately countercultural experience into a mainstream musical, but Woodstock has long since become a T-shirt and pop-culture staple. The current Broadway revival of Hair is a useful example of how a piece once considered daring now plays to family audiences. Its songs namecheck LSD and fellatio, yet even speaker of the house Nancy Pelosi got onstage at one performance and boogied with the cast. Can you really fight the man when she's dancing with you? It's also important to remember that while promoters eventually declared Woodstock a free concert, it was initially designed as a commercial venture. The $18 tickets would today retail for $75-$105 – not dissimilar to a Broadway ticket price.

But Woodstock does have a few natural plot points. The production of the festival – recently chronicled in the Ang Lee film Taking Woodstock – was certainly full of drama, and during the course of the festival there were births, deaths, miscarriages, and many hearts united and broken. And yet, containing the festival within a theatrical scenario doesn't really seem like the right approach. Michael Lang might do better to worry less about "the human condition" and more about great music. He could create a concert-style musical of the order of the West End's Thriller Live, or Fela!, soon to open on Broadway.

Some amalgam of Richie Havens, Jimi Hendrix, the Grateful Dead, Sly and the Family Stone, Joe Cocker, Jefferson Airplane, the Who, Janis Joplin, and Creedence Clearwater Revival could make for a pretty super original cast recording. (I think we can probably leave the Incredible String Band out of this.) And who knows, Lang may have a hit on his hands – 40 years from now, people might joke that if you can remember Woodstock the Musical, you probably weren't there.

Jim Carroll 1950-2009

Acabo de saber de la mort, sembla que sobre la taula de treball (la seva ocupació principal era la poesía). El coneixía de una película molt dura que la protagonitzava Leonardo Di Caprio (una de les poques vegades en les que m'ha estat creible el personatge), sobre una autobiografía de la "tendra" adolescencia de Carroll en la que compartía els estudi, la poesía, el basket, i la heroína... La peli és The basketball diaries, encara ara m'estic repensant si recomanar-la als meus fills adolescents...
El fet és que he descobert que havia col·laborat amb la penya de la Warhol Factory, amb la Patti Smith... i que té alguns LPs que, sincerament, desconeixía.
He aconseguit, gràcies a la inmediatesa de la xarxa, Catholic Boy. Us el recomano sincerament.

Videojocs o agafa directament l'instrument...

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• Games

Guitar Hero under fire from Rolling Stones legend Bill Wyman

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• Caroline Davies
• guardian.co.uk, Tuesday 8 September 2009 20.29 BST
• Article history

Wyman believes fewer young people will take up real instruments. Photograph: Eamonn McCabe

Bill Wyman, the former Rolling Stones bass player, has criticised music video games like Rock Band and Guitar Hero, claiming they will lead to fewer young people taking up real instruments.

"It encourages kids not to learn, that's the trouble. It makes less and less people dedicated to really get down and learn an instrument".

"I think it's a pity," he said, speaking at Abbey Road studios while recording a charity Beatles song for Children in Need.

His concerns were echoed by Pink Floyd's Nick Mason, who described the games as "an interesting new development".

Pink Floyd had not ruled out working on one in the future as a new way of selling music. But, he added: "It irritates me having watched my kids do it. If they spend as much time practising the guitar as learning how to press the buttons, they'd be damn good by now".

The news comes on the eve of the release of The Beatles: Rock Band game, which allows players to play along as The Beatles through their career in environments such as The Cavern Club in Liverpool, and Shea Stadium, the home of the New York Mets.

But Alex Rigopulos, co-founder of Harmonix Music Systems, which created the Rock Band series, refuted the musicians' claims.

"We're constantly hearing from fans who were inspired by Rock Band to start studying a real instrument," he said.

Les Paul (mor als 97 anys) pensava que Macca tocava el baix...

Rock guitar pioneer Les Paul dies

Les Paul's guitars were played by stars like Sir Paul McCartney Les Paul, whose pioneering electric guitars were used by a legion of rock stars, has died at the age of 94. Mr Paul died from complications of pneumonia in New York, according to Gibson, the firm that sold his guitars. He is credited with developing one of the first solid-body electric guitars, which went on sale in 1952 and contributed to the birth of rock. He also developed other influential recording innovations such as multi-track recording and overdubbing. And he was credited with inventing the eight-track tape recorder. U2 guitarist The Edge, Led Zeppelin's Jimmy Page, Guns N' Roses star Slash and The Who's Pete Townshend are among those closely associated with the Les Paul sound. Slash described him as "an exceptionally brilliant man". Les Paul began as a country and jazz musician. Photo: Gene Martin He said: "Les Paul was a shining example of how full one's life can be. He was so vibrant and full of positive energy. I'm honoured and humbled to have known and played with him over the years." Fellow guitarist Joe Satriani called Paul "the original guitar hero," saying: "Les Paul set a standard for musicianship and innovation that remains unsurpassed." Henry Juszkiewicz, chairman of Gibson Guitar, said: "His influence extends around the globe and across every boundary." Gibson president Dave Berryman said: "As the 'father of the electric guitar', he was not only one of the world's greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world." Hall of Fame Les Paul was a successful performer in his own right Mr Paul was also a successful performer in his own right, notching up 11 number one singles and 36 gold discs with his wife Mary Ford. He was inducted into the Grammy Hall of Fame in 1978 and the Rock 'n' Roll Hall of Fame in 1988. Les Paul began as a country and jazz musician, playing with such acts as Bing Crosby and Nat King Cole. Unhappy with acoustic guitars, he had begun experimenting with guitar amplification at the age of 13 by placing a telephone receiver under the strings. Les Paul performed with his wife Mary Ford He created his first solid-body electric guitar, dubbed "the log", in 1941. "I went into a nightclub and played it. Of course, everybody had me labelled as a nut," he later said. It did not go on sale for another 11 years, by which time Leo Fender's rival Telecaster model was already on the market. In 1948, Mr Paul almost died in a car crash that shattered his right arm and elbow. Afterwards, he convinced doctors to set his broken arm at a right angle in the guitar-picking and cradling position. He continued to refine his guitar design throughout the 1950s. Its basic structure has barely changed over the decades and continues to be popular among stars and amateurs alike. "Suddenly, it was recognised that power was a very important part of music," he said. "To have the dynamics, to have the way of expressing yourself beyond the normal limits of an unamplified instrument, was incredible." His work on taping techniques began after World War II, when Bing Crosby gave him a tape recorder. 'Beautiful guitar' Gibson released a line of Les Paul guitars designed by Slash Multi-tracking - where separate recordings are combined - was first heard in the 1950 number one hit How High the Moon, a duet with Ford. Stephen Lawson, editor of Total Guitar magazine, said: "It was a beautiful guitar… it was hand crafted, it was carved, it was a really beautiful looking instrument. "I've been trying to imagine a world without Les Paul - it would be so different. Until he invented multi-track recording, you had to make a record gathered round a microphone in the middle of room. "One of the most obvious classic Les Paul Guitar solos is Sweet Child of Mine by Guns N' Roses - that intro has such a distinctive Les Paul sound to it. "It can go from a mellow beautiful sound that really hits you in your soul, all the way to a shredding searing lead guitar tone."

"Aquí per caure" Yo la Tengo

sentint l'ultim de blur he acabat al common people de pulp...

shena tu cabesa de rock

Passant-m'ho pipa amb el cataleg de la CBS de fà 40 anys???
al Johnny Winter el segueix la Laura Nyro , fà una estona Janis... enfí

40 anys d'Abbey Road

Clicar titol per entrar a les fotos que selecciona Il Corriere della Sera.

Phish (las Vegas 96) si t'agrada el rock, si no saps si Indie o Heavy... baixat'el

Plants & Animals (life is a party)

Aquest es el correu electrònic que reben d'un poli que els ha posat una multa de velocitat:
martes, marzo 24, 2009

Fined for rock n' roll
We actually received this email. Life's a party.

Subject: New Fan
Hello Band,



Hey I'm the RCMP officer who gave you a speeding ticket today. Just thought I'd let you know...when I returned to the

office I googled your band and listened to your music online. You may

have gotten a ticket today but on the bright side you definitely got

some exposure. I emailed my music savvy friends and family

to tell them to check out your music!



Best of luck with the Junos!






1:23
2 comentarios

Us aconsello una esntrada al seu MySpace
http://www.myspace.com/plantsandanimals

1969

Avui he caigut a una sequencia fotogràfica del New York Times, i m'he adonat que tot i que recordem el 68 com l'any mítica que comença a canviar-ho tot el 1969 (ell solet) és tota una base compacta, vist desde la perspectiva dels que vem quedar tocats pel R&R. Em remeto sols a les fotografies: Primer disc de Led Zeppelin, darrer disc del Beatles (incloent el famos stay in bed de John i Yoko), Willie and the poorboys de CCR (el Bad Moon Rising, coincidint amb el Apollo 10 a la lluna), Space Oditty del Bowie, i a més a més el festival de Woodstock...

Us afageixo l'enllaç a les fotos (clicar el titol)

The dead weather

Avui m'he passat el dia entre The Kills i Dead Weather, i definitivament Jack White canvia la cosa. Melodies i ritmes descarnats que quan en White hi posa el suc, salten molt més enllà del nivell dels per altra banda molt interessants Kills.

Wilco el dilluns a Brooklyn (del Billboard)

July 14, 2009 08:03 PM ET
Wilco / July 13, 2009 / Brooklyn, NY (KeySpan Park)
Jillian Mapes, N.Y.
Wilco doesn't need special effects or a theatrical set for its live show. What other bands look to produce with those high-budget concert accessories, this one offers in the stage charisma of its frontman, Jeff Tweedy.

Of course, special guest performers like Feist, Grizzly Bear’s Ed Droste and Yo La Tengo don’t hurt, either.

Shrouded in a haze of red, white and blue lights, the band looked especially patriotic as it opened its two-encore set at Coney Island’s KeySpan Park Monday night (July 13). The concert had all the makings of a great American pastime, with fans crowded into a baseball field on a warm summer night, toting $7.50 beers and Nathan’s famous hot dogs. Tweedy and his bandmates played up the theme all night, at one point leading the crowd in a rendition of “Take Me Out to the Ball Game.” The sight was American rock ’n’ roll at its finest, with one of the genre's most powerful live acts at the helm.

Wilco took the stage to the theme of “The Price is Right" and began its set with the cheeky, energetic “Wilco (The Song),” the opener from the band’s June 30 release “Wilco (The Album).” A haze of feedback signaled fan favorite “I Am Trying to Break Your Heart,” followed by “A Shot in the Arm,” the first of numerous songs from 1999’s “Summerteeth." The band then mellowed out and reminded fans of its status as an alt-country staple on the vintage favorite "At Least That's What You Said,” followed directly by the plucky crescendo of “Bull Black Nova,” from the new album.

Even on songs such as “Impossible Germany” from 2007’s “Sky Blue Sky,” which some have pegged as “muzack,” Wilco proved itself a bit nosier, a bit louder and a bit more engaged than could be ever captured on its records. The band worked through an extensive set list of songs old and new, favorites (a spirited sing-along of “Handshake Drugs”) and soon-to-be-favorites (“One Wing”) over two-and-a-half hourlong set.

Tweedy checked up on the crowd like a mindful father, making sure his fans were enjoying themselves and buttering them up with jokes and compliments (“You’re a very sexy audience,” he noted). He continued the charm on “Deeper Down,” as a twang of dreamy slide guitar from guitarist Nels Cline accented the song’s start-stop rhythms and whimsical harpsichord.

The crowd exploded in excitement when Wilco made its way through “Yankee Hotel Foxtrot” standards, including the sullen “Jesus, Etc.” and spastic “I’m the Man Who Loves You.” Notably left out, however, was “Ashes of American Flags,” a track that shares its name with the band’s concert DVD released in April.

When it left the stage, Wilco was replaced by the Brooklyn Cyclones’ mascot Sandy the Seagull, clad in a Wilco baseball jersey and toting an air-gun that launched free T-shirts into the crowd. And when the band re-emerged for the first encore, it was joined by all-star guests. Feist took the stage to sing “You and I,” a folky, soulful duet between the Canadian singer and Tweedy that appears on “Wilco (The Album).” Ed Droste, the vocalist/guitarist of indie rock act Grizzly Bear, was next in line, adding harmonies alongside Feist on “California Stars” and “You Never Know," after which Tweedy joked, “You guys sound really good – you’re hired!”

Rounding out the guest list were members of opening band Yo La Tengo, who mixed perfectly with Wilco on “Spiders (Kidsmoke),” a jam session that rounded out the first encore. By then, two hours had gone by, but it was only after playing “The Late Greats” and “Hoodoo Voodoo" during the second encore that the Chicago band finally called it a night -- an epic one, at that.

The Killers ... a Lima.... (de El Comercio)

El concierto de The Killers en Lima acapara la atención en Twitter y Facebook

11:07 | La presentación de la banda de Las Vegas genera gran entusiasmo entre los usuarios peruanos del servicio de microblog y la popular red social de Internet.

El concierto que la banda estadounidense The Killers ofrecerá el 19 de noviembre en Lima, confirmada hoy por El Comercio, capturó rápidamente la atención de la inquieta comunidad peruana de usuarios de Twitter y tuvo una amplia difusión en la red Perú de Facebook.

Desde que la información fue anunciada por El Comercio en Twitter, el enlace de la noticia ha sido el más difundido por los usuarios peruanos de la red de microblog, que se han confesado “felices”, “satisfechos” y “emocionados” por la presencia en Lima de los intérpretes de los éxitos “Human” y “Read my mind”.

Héctor Paz Trillo, administrador de sistemas de elcomercio.com.pe, informó que durante las primeras horas de la mañana la frase “The Killers” fue mencionada más de 100 ocasiones en la red peruana de Twitter. La medición, indicó, fue hecha a través de un sistema web que registra las palabras más mencionadas en la “twitósfera” peruana.

Un usuario de Twitter creó el “hashtag” (etiqueta o palabra clave) #TheKillersenLima para identificar los comentarios relacionados con la próxima presentación de Brandon Flowers, Dave Keuning, Mark Stoermer y baterista Ronnie Vannucci Jr. en el Perú.

La etiqueta fue rápidamente adoptada por los “twitteros” peruanos y personajes conocidos como los actores Gonzalo Torres y Christian Meier (usuarios regulares de Twitter) contribuyeron a su difusión en su red de contactos.

FANATISMO EN FACEBOOK
En Facebook, los seguidores de El Comercio reaccionaron con asombro y satisfacción la confirmación de lo que hasta hace unas semanas era considerado solo como un rumor. “Qué emoción, esto es imperdible. Dios soy feliz”, “Read my mind en vivo será lo mejor de este año” y “Ahí estaré”, son solo algunos de los comentarios escritos por nuestros seguidores.

Muchos de los usuarios peruanos de Facebook se preguntan quién y cuándo venderán las entradas para el ansiado concierto. Pero lo cierto es que aunque ya hay fecha (19 de noviembre) y lugar (explanada del estadio Monumental de Ate), de momento no se ha informado el día exacto en que comenzará la venta de los boletos. Solo se sabe que será en agosto.

Ypsilanti (great emotions)

Avui he rebut una visita de Ypsilanti (una ciutat de 22000 en honor a un heroi de la independència grega, i on a més a més de fabricar els Tuckers mítics, s'hi afageix la canço del Sufjan Stevens...)

En parlava al primer o segon post del blog: Los Saicos punk peruà de 1965

Indie latino (New York Times)

Music

Latin Alternative Music’s Movers and Shakers Meet

Justin Maxon/The New York Times

Liliana Saumet, vocalist with the Colombian group Bomba Estéreo, during a set at the Bowery Ballroom on Thursday night. More Photos >

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By JON PARELES

Published: July 10, 2009

The Argentine songwriter Juana Molina sang oohs and ahs and la-las on Wednesday evening at SummerStage, while loops of guitar and keyboard lines meshed and billowed in beautifully hypnotic patterns around her voice. Wordless vocals were one way to bypass any language barrier, the persistent but not insurmountable challenge for the performers at the 10th annual Latin Alternative Music Conference, which ends on Saturday.

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Since the conference started in 2000 it has become a showcase, strategy session, networking tool and pep rally. It brings together musicians and businesspeople who are devoted to music that straddles boundaries of style and nationality.

Josh Norek, who founded the conference with Tomas Cookman, said there were about 1,200 participants this year, a number that has held steady despite the recession and layoffs across the music business. “In 2000, the goal might have been ‘How can I get signed to a major label?,’ ” he said. “Now the questions are about self-promoting your band and getting it out there. Artists feel a lot more empowered than they did before.”

Over its five nights the conference presents polyglot music from across the Americas and Spain, with concerts in New York City clubs and parks, including another free SummerStage concert on Saturday by the Puerto Rican hip-hop and reggaetón group Calle 13 and the Colombian group Bomba Estéreo, which plays what it calls psychedelic cumbia. (It is replacing the Spanish songwriter Bebe on that bill.)

There were, inevitably, performers who simply sounded like translations of English-language rock or pop, as well as many songwriters who used English lyrics for at least part of their repertories. Yet Latin alternative music’s better impulse is not assimilation but a proud disregard for purism.

Bomba Estéreo’s set at the Bowery Ballroom on Thursday night — part of a six-band lineup — was kaleidoscopic and danceable, mingling the clip-clop bounce of cumbia and another Colombian rhythm, champeta, with echoey guitar, reggae backbeats and the singing and rapping of Liliana Saumet. “We are exploring the tradition, but in our independent way,” said Simón Mejía, the band’s guitarist, producer and composer. “We’re not thinking too much about the radio or making big hits. We want to break through the frontiers.

“Our idea is to take our music to the whole world.”

The conference brought plenty of other ingenious, resourceful music. Curumin, a singer from São Paulo, Brazil, shared Wednesday’s SummerStage bill with Ms. Molina; he led a sparse three-man band — bass, drums and sampler — in tunes that casually bridged 1970s samba-soul, hip-hop and electronica, mingling sun-drenched hedonism with hints of politics. (Curumin is at S.O.B.’s on Wednesday.)

In a 10-act acoustic showcase at S.O.B.’s on Thursday night, Los Deliqüentes, from Spain, played wry flamenco-pop that included passages for kazoo. The Mexican songwriter Natalia Lafourcade glided from lilting, Brazilian-tinged pop to abstract reveries in which her soprano voice started to swoop like a theremin. At the Mercury Lounge on Wednesday night, Los Hollywood (from Los Angeles) played bilingual punk-pop songs full of melodic hooks; Banda de Turistas, from Argentina, harked back to mid-1960s garage-rock and psychedelia; and Maluca, from New York City, revved up a techno-merengue-hip-hop hybrid complete with dance routines.

On Tuesday night there was a quintuple bill of Latin heavy metal. And throughout the conference — during its daytime sessions at the Roosevelt Hotel and between sets at concerts — disc jockeys played some of the most joyfully multicultural hybrids of all: electronic dance music that segued from Mexican ranchera accordion to synthesizers, from Bollywood pop to hip-hop. Dance rhythms, one of Latin music’s perpetual strengths, also leap past language barriers.

Latin alternative music — a purposely open-ended term — has demographics in its favor, as the Hispanic minority in the United States grows and spreads beyond established urban centers. There’s the promise of a growing bilingual audience for music that reflects its own American experience. Mr. Norek said he saw increasing geographic diversity at this year’s conference, including aspiring Latin musicians from places like Denver, Nashville, Minneapolis and Orlando, Fla., well outside the music’s old strongholds.

Still, Latin alternative music hasn’t become a Next Big Thing. More often than not it is stranded between commercial radio formats. “It’s not going to be exploding tomorrow and then gone nine months later,” Mr. Cookman said. “It’s not about one song, one band, one dance move, one fashion. We don’t need our Macarena moment.”

Instead it has percolated slowly and determinedly, making inroads in varied ways: club nights, appearances on “Austin City Limits,” blogs like clubfonograma.com, and placements in commercials and soundtracks. (ABC’s “Ugly Betty” is one television show that has been hospitable to Latin alternative music.) Mr. Norek recently began his own Latin alternative show on the Albany public radio station WEXT; the music has long been heard regularly at stations including KCRW in Santa Monica, Calif., and KUT in Austin, Tex., which are also Webcast.

Like other independent and niche categories, Latin alternative music now travels digitally; it is featured at online stores like iTunes Latino, Amazon and eMusic. Lately, more booking agencies have picked up Latin alternative bands. Mr. Cookman said he had noticed something new in this year’s conference registrations: representatives of major Latin labels that had previously ignored the music.

For Latin alternative music, the progress is not meteoric but incremental, which may make it more lasting. “As long as we’re not going backwards,” Mr. Cookman said, “it’s a beautiful thing.

Cracker, Nirvana o CasalRock?

Tremenda la Cibelle

Si coneixent-la sols de Youtubs i audios jà em semblava tot un "aparatu", veure la en directe et comfirma que qualsevol pre-concepció de la seva personalitat quedava subvalorada.
Enfí que m'ho vaig passar molt bé.

La SGAE i els concerts (del AVUI)

Els promotors contra la SGAE

Les principals empreses veuen “vergonyós” el 10% que la societat els cobra per cada entrada venuda

Andreu Gomila

Ult. Act. 09/07/2009 23:56

gran | petit 9 opinions

Es diuen Doctor Music, Mas i Mas, The Project i Concert Studio, i són, amb la multinacional Live Nation, els principals promotors musicals barcelonins. Plegats organitzen anualment uns 4.000 concerts –des del jazz del Jamboree fins a U2, del Festival de Cap Roig al Festival de Guitarra–, venen més d’un milió d’entrades i estan cansats del tracte que reben de la Societat General d’Autors i Editors d’Espanya (SGAE), que fa anys que els cobra el 10% de cada entrada venuda, concerts benèfics inclosos. Una xifra molt superior a la de la resta d’Europa, on la mitjana es mou entre el 2% i el 8%, quan es tracta d’una actuació amb ànim de lucre. Com afirma amb ironia Joan Mas, de Mas i Mas, “si els promotors cobréssim el 10% de la recaptació, seríem multimilionaris”. Aquest 10% és vist com un cànon “fora de tota lògica” i “vergonyós”, per reproduir les paraules emprades pels promotors consultats per l’AVUI.

Només Live Nation no ha volgut opinar sobre aquesta qüestió. Els altres quatre estan força enutjats i més en temps de crisi, en què els marges es redueixen. I el tema de “boicotejar” la SGAE ja ha sortit en alguna reunió de l’Associació de Promotors Musicals. Neo Sala, director de Doctor Music, diu estar disposat a sumar-se a una acció del sector per canviar les normes. “Molta de la gent que compra entrades de concerts no sap que el 10% del preu que paga va adreçat a sufragar un cànon arbitràriament imposat per la SGAE en l’època del franquisme”, indica. Més mesurat, Tito Ramoneda, de The Project, només demana que es modifiquin les formes i que el cànon s’adeqüi a la mitjana europea, que ell situa pels volts del 3%. Aquesta xifra és molt difícil d’aconseguir i ni l’Exgae (un col·lectiu que lluita per la desaparició dels cànons o, almenys, per crear una alternativa a la SGAE) la coneix. Ho han intentat de totes les maneres, i Simona Levy, la seva impulsora, remarca l’opacitat que hi ha sobre el tema.

Idea a l’ICIC
El cert és que, segons Neo Sala, aquest 10% “és tremendament alt i està fora de lògica, en especial quan parlen d’artistes anglesos i nord-americans”. I posa exemples: “El cànon per drets d’autor al país d’origen d’anglesos i nord-americans és, respectivament, del 3% i al voltant del 0,5%. No té cap sentit que el cànon per drets d’autor en un concert de Bruce Springsteen sigui 20 vegades més alt a Espanya que als EUA. Si a més tenim en compte que Springsteen interpreta un repertori majoritàriament compost per ell mateix, el cànon que aplica la SGAE té encara menys sentit”.

Del que es queixen els promotors és que paguen dues vegades l’artista. Martín Pérez, de Concert Studio, assegura que ell ja inverteix en un músic perquè toqui els seus temes, i que no té sentit que després torni a cobrar des de la SGAE. Josep Maria Dutrèn, responsable de l’àrea de música de l’Institut Català de les Indústries Culturals, de fet, creu que el millor seria que la SGAE no cobrés cap mena de cànon als promotors quan l’artista que contracta faci el seu repertori.

A Pérez, però, el que més el molesta són les formes. Diu estar cansar de la manera d’actuar dels inspectors: “Quan fem el Festival del Mil·lenni sempre ve un paio a les sis de la tarda al Palau de la Música i et demana el programa. Jo, com que ja n’estic fart, els he fet alguna broma, per provar, i els he dit que aquella nit tocarien cançons d’un tal Mark Lombart, amb títols com La luna luce sobre un mar azul. Doncs ell apunta i marxa. I resulta que hi ha un tal Mark Lombart que deu cobrar drets, perquè a la SGAE en tenen un expedient...”.

“Amb els 300.000 euros que els paguem cada any, els inspectors ja es podrien quedar als concerts”, remuga Pérez. Una altra qüestió que posa damunt la taula és la de la recaptació. “Què fan amb tots aquests diners? Segur que a Mark Lompart no els hi paguen”, apunta, tot deixant clar que els artistes “desconeguts” són el 80% dels potencials beneficiaris.

Joan Mas, tot i deixar clar que el cobrament d’aquest 10% és una “vergonya”, exculpa parcialment la SGAE i en responsabilitza els polítics. “És cert que els autors han d’estar protegits i que enlloc es cobren cànons tan forts. El món ha canviat i, més que gravar, el que hauria de fer la SGAE és ajudar, ja que nosaltres el que fem és difondre la música”. “Ells, en el fons, no són dolents i el que fan és complir la llei”, afegeix.

La unió és l’única via per aconseguir algun canvi. Pérez diu haver tret el tema del boicot en alguna reunió de l’Associació de Promotors. “No paguem”, els ha exhortat. I, pel que sembla, la idea va quallant. “Ens costa molt d’unir-nos, però ho farem”, diu Joan Mas.

i recordant aquella tarda no em puc deixar a Karl Blau (sentiu-lo, i a Akron... apa)

Plants & Animals (descobert al parc del escorxador Primavera Sound)

Les pitjors reagrupacions del R&R segons The Independent

The ten worst: Rock'n'roll comebacks

By John Matthew Hall

Monday, 6 July 2009

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• IN PICTURES: THE TEN WORST: ROCK'N'ROLL COMEBACKS

Following on from our ten best rock'n'roll comebacks, we take a look at some less successful rock'n'roll reunions.

Click on the image to the right to launch our guide.

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• The ten best: rock'n'roll comebacks