Sunday is not exactly the best day for a concert. Still does the hangover of the previous two nights and some, perhaps the most fortunate, in the morning have to get up early. However, Noel Gallagher is an old hand at this for hundreds of people get their name Coreen rain or shine, in the biggest stadiums in smaller rooms as Razzmatazz in Barcelona last night, he was a dwarf.
Seconded by its High Flying Birds, Noel Gallagher presented the second time in our country a new project, remember that you played in Madrid in November, before a devoted audience that sold out within weeks they left for sale. While a declaration of intent, and although the start of the concert with "(It's Good) To Be Free" is not as spectacular as "Fucking in the Bushes", nobody in their right mind should miss the rare 90-minute concert to walk directly comparing the Oasis Noel. Two projects / bands so different that they should not give rise to such comments, though probably heard yesterday the crowd more than a paraphrase on the matter.
In any case, with a comprehensive review and the debut album almost complete set (lacking only "Stop the Clocks", which really belongs to the discography of Oasis), Noel Gallagher gals hung on his white shirt not to disappoint anyone : Start with a distant, gave a concert culminating effective and direct nearest even grateful to the fans (in fact, stopped a few seconds to return the applause). After an encore which for many came earlier than expected, the British excelled in a closure of those that are remembered: "Whatever", "Little by Little", "The Importance of Being Idle" and, as a climax, "Don 't Look Back in Anger ". Moreover, highlighting the elaborate visual accompaniment and worked light kit that accompanied them and helped to give a bonus to all courts.
Therefore, and although it hurts to say that the best moments of the night came when he heard some of the classics composed by Gallagher and Oasis, probably, the acoustic version of "Supersonic" took the palm in this sense, there neglected to leave the issues of Noel Gallagher's High Flying Birds (2011) were heard in all its splendor and showed that if this project goes ahead, the next tour will improve on the current. All he needed to Manchester are a few more songs. Shake that Liam and his Beady Eye, Noel Gallagher is still the best and dearest. Street.
1.(It's Good) To Be Free
2.Mucky Fingers
3.Everybody's on the Run
4.Dream On
5.If I Had a Gun ...
6.The Good Rebel
7.The Death of You and Me
8.Freaky Teeth
9.Supersonic
10.(I Wanna Live in a Dream in My) Record Machine
11.AKA ... What a Life!
12.Talk Tonight
13.Soldier Boys and Jesus Freaks
14.AKA ... Broken Arrow
15.Half The World Away
16.(Stranded On) The Wrong Beach
17.Whatever
18.Little By Little
19.The Importance of Being Idle
20.Do not Look Back In Anger
Tuesday, March 6, 2012
Friday, March 2, 2012
IAN WRIGHT
VINYL HUNTER NO.1
What kind of people in the truest sense of the word most of her life for over 40 years old grooves give up? What collectors and passionate Makest to juggle today with dizzying prices for black gold? Why has this little guild of fanatics, almost all long-playing records and approved by the revered 7inch single (45s) is almost like a holy grail? Even if it is considered by many outside very difficult to discern the subtle nuances and differences in the emphasis of the nerds, there are parallel, such as intersecting events. Northern soul, deep funk, boogaloo - where and why is this distinction at all yet? Needs a little scene of rare groove - lovers at all subgenres and separate events? "Of course!" Call loudly as the makers from different corners - because we need to stress, as in other subcultures are often no longer available individuality. But is this a good thing? Underscores the often limited not acting Nerdtum and often barely withstood purism?
Collector & Selector
A collector is to be in many, but not long to be in all cases, a deejay. This Plattenleger've decided to share her rare, partly obscure vinyl beads with others and thus to rock audiences at events and to take you on a very own cosmos. The associated dogmatism and purism has undoubtedly led to have been formed since the mid-1990s scene right out of heroes. The grim Scotsman Keb Darge is not only because of its "Legendary Deep Funk" sessions are rooted in Soho, London Madame Jo-jo club and compilation series on BBE MUSIC the best known example. Beside and behind it was a now globally networked scene of known and lesser-known wonders of collecting, organizing and plate stackers Single hunters mostly small events where there are regular magic moments.
The praying mantis
Worldwide radio circus in full respect enjoyed by the Briton Ian Wright. Are almost servile admiration expressions of it, if you ask for it in the scene. One of the few pure radio nights in Germany, the Rebeat Funk Night of Ricardo Magnus in Freiburg, Ian Wright came as Gastdeejay and if you've heard the set of this unpretentious, polite man more sedate age, you know inevitably what those summoned, magical moments. Ian Wright has probably seen the public only in 2000 increased, although he had previously been very active as a DJ. Turn of the millennium he made for the BBE Music breakthrough, today hardly available compilation "Sister Funk" together. In an interview with "The praying mantis," it turned out that it is the master hunter of rare grooves around a knotless traditionalists, who are not close to the modern categorically.
First How did you get your nickname "The praying mantis?"
Wright: Believe it or not. It has nothing whatsoever to do with the laying and collecting - even if that now connects with it. I've been working on a derivatives exchange in London and one of the older dealers used to give each employee a nickname. Probably I got that name because I had him put out at a store. Furthermore, he was probably so unhappy that he called me so. That is until today, when left in the Rare Groove context.
Second Was it time to collect as you had begun rare funk and soul singles (45s), easier to get the right disks? Especially in the 1980s, interest was reduced to this music very much ...
Wright: Especially in this era in the late 1980s and early 1990s, it was definitely easier on the hot plates. They rattled off the list with his search flea markets and record stores. They traveled extensively in the U.S. and they waited eagerly on it that determines came back from their trips dealer plate on which they had acquired collections. During this time I was traveling a lot. I had also lost friends in my immediate environment, the interest in funk and soul were here and I could come to good records. Mainly, the interest was initially tuned to get the records. The price for the singles was still relatively low. One can hardly imagine today. Global demand was not as high as today.
Third The contact with other collectors and DJs came but soon?
Wright: You come sooner or later in such circles. I came into contact with Keb Darge, Malcolm Cato, Gerald "Jazzman" Short, Snowboy and DJ Shadow. Josh (Davis) I got to know this, because we both have come cheaply to some great collections of plates and they sold each other. It has remained as the other, a constant contact. This contact is now easier via the Internet. Peter Wermelinger, the name is known only to real insider circles, was an incredible collector from Switzerland. He has assembled one of the first books about radio-discs. This was invaluable to all Digger. That was all many years before the Internet. Today there are Discogs and eBay as a platform for the real treasures. This is probably the most serious reason for the massive increase in the prices of rare vinyl.
4th There was a time that is still not all too long ago that some DJs have protected the exclusivity of their records, where they taped the covers to see other DJs could not know which artist and label what they played. Are the days of the DJ-dogmatism finally over?
Wright: That in the funk scene never really happened. But it plays a relevant role in the Northern Soul scene. There, that happens today. If something is totally unknown, I can understand it in a way that so long as "exclusive" to treat until the source is identified and more copies are in circulation.
5th This purist notion is, however, contrary to the "Soul Spectrum" you run the story with Fryer?
Wright: Both have their permission. At Spectrum, we publish Soul reissues, so they are affordable for anyone who may interested in good music and not much money to spend on rare numbers. Fryer brings the expertise and through his job at Jazzman Records. Our label is a kind of sub-label Jazzman. We distinguish ourselves that we are "state-rare disco" focus primarily on 12inch.
6th There it is also an eponymous label club night, when you hang up with Jason Sterland, Witchsbrew and Fryer. As you can imagine the night? What is special about this event?
Wright: The idea was to play from start to obscure soul numbers and rare radio boards. We want to show people music that can get them at all and almost nowhere else can hear. The whole course in a dignified and pleasant club atmosphere. So far it runs very well and we celebrated the anniversary of his 3 years in November 2010.
7th How do you see playing on the global scene, the DJs, the original soul, funk, jazz, Latin & Afro-Beat? Do you think sometimes that the scene a little outdated?
Wright: I think primarily it will always be a demand for DJs who play original vinyl. Because the medium, the quality is extraordinary and brings with it. Which there is time and time again, the plates can be discovered, and as you can not switch to a different format. It must always be someone there who does this finds. So it will continue to closely DJs to give younger.
8th But since there is a digital DJ systems like Serato or tractor, many record Dreher only play mp3s. It is more practical and less expensive than the collection of vinyl! So gather many, especially young people no longer records.
Wright: I'm sure that there are a lot of young people there who have the desire to collect vinyl, but have not the money. I think we can certainly collect vinyl, but the very rare parts are unaffordable for young people. This deters many.
9th You come by your DJ passion around a lot. You have already launched in the U.S., Japan and Europe. Are there places that you really look at as something special?
Wright: Of which there are few. The energy and enthusiasm seems to be in Europe. I love gigs in Edinburgh, Berlin, Barcelona, Oslo and Malmo. The crowd always rocks. Something very special was the letzjährige invitation to hang at the Dig Deeper Night in New York. That was amazing.
10th Most Rare Groove DJs have their special fields. Most of them play soul and funk until 1974. Disco is often avoided as well as hip-hop. You are a recognized Rare Groover and still collect and play other styles from the 1970s and 1980s!
Wright: I know what you mean (smiles). I think quite the disco can also be a rare groove, even though many of his colleagues see the not so. I'm just trying to play in my sets a bit of everything. Not only radio - except of course for special occasions or on request. But I play Disco, Northern Soul, Modern Latin Grooves and currently more than ever. If it's good, I play it.
11th In the days of the Internet is like you've already mentioned, the scene linked to each other. As you can imagine the exchange? Chat mailst test, or do you telephone frequently with colleagues Cut Chemist, Florian Keller, Kon & Amir and DJ Muro and Keb Darge?
Wright: I'm with some of them in regular contact, with some even daily. The exchange is very good between us. You trade sound files, music comments, there are tips and recommendations and searched Ebay for new finds!
12th Finally, a question which I have already ordered some record collectors and DJs: Will there be a day when you say, I've had enough and I have enough plates?
What kind of people in the truest sense of the word most of her life for over 40 years old grooves give up? What collectors and passionate Makest to juggle today with dizzying prices for black gold? Why has this little guild of fanatics, almost all long-playing records and approved by the revered 7inch single (45s) is almost like a holy grail? Even if it is considered by many outside very difficult to discern the subtle nuances and differences in the emphasis of the nerds, there are parallel, such as intersecting events. Northern soul, deep funk, boogaloo - where and why is this distinction at all yet? Needs a little scene of rare groove - lovers at all subgenres and separate events? "Of course!" Call loudly as the makers from different corners - because we need to stress, as in other subcultures are often no longer available individuality. But is this a good thing? Underscores the often limited not acting Nerdtum and often barely withstood purism?
Collector & Selector
A collector is to be in many, but not long to be in all cases, a deejay. This Plattenleger've decided to share her rare, partly obscure vinyl beads with others and thus to rock audiences at events and to take you on a very own cosmos. The associated dogmatism and purism has undoubtedly led to have been formed since the mid-1990s scene right out of heroes. The grim Scotsman Keb Darge is not only because of its "Legendary Deep Funk" sessions are rooted in Soho, London Madame Jo-jo club and compilation series on BBE MUSIC the best known example. Beside and behind it was a now globally networked scene of known and lesser-known wonders of collecting, organizing and plate stackers Single hunters mostly small events where there are regular magic moments.
The praying mantis
Worldwide radio circus in full respect enjoyed by the Briton Ian Wright. Are almost servile admiration expressions of it, if you ask for it in the scene. One of the few pure radio nights in Germany, the Rebeat Funk Night of Ricardo Magnus in Freiburg, Ian Wright came as Gastdeejay and if you've heard the set of this unpretentious, polite man more sedate age, you know inevitably what those summoned, magical moments. Ian Wright has probably seen the public only in 2000 increased, although he had previously been very active as a DJ. Turn of the millennium he made for the BBE Music breakthrough, today hardly available compilation "Sister Funk" together. In an interview with "The praying mantis," it turned out that it is the master hunter of rare grooves around a knotless traditionalists, who are not close to the modern categorically.
First How did you get your nickname "The praying mantis?"
Wright: Believe it or not. It has nothing whatsoever to do with the laying and collecting - even if that now connects with it. I've been working on a derivatives exchange in London and one of the older dealers used to give each employee a nickname. Probably I got that name because I had him put out at a store. Furthermore, he was probably so unhappy that he called me so. That is until today, when left in the Rare Groove context.
Second Was it time to collect as you had begun rare funk and soul singles (45s), easier to get the right disks? Especially in the 1980s, interest was reduced to this music very much ...
Wright: Especially in this era in the late 1980s and early 1990s, it was definitely easier on the hot plates. They rattled off the list with his search flea markets and record stores. They traveled extensively in the U.S. and they waited eagerly on it that determines came back from their trips dealer plate on which they had acquired collections. During this time I was traveling a lot. I had also lost friends in my immediate environment, the interest in funk and soul were here and I could come to good records. Mainly, the interest was initially tuned to get the records. The price for the singles was still relatively low. One can hardly imagine today. Global demand was not as high as today.
Third The contact with other collectors and DJs came but soon?
Wright: You come sooner or later in such circles. I came into contact with Keb Darge, Malcolm Cato, Gerald "Jazzman" Short, Snowboy and DJ Shadow. Josh (Davis) I got to know this, because we both have come cheaply to some great collections of plates and they sold each other. It has remained as the other, a constant contact. This contact is now easier via the Internet. Peter Wermelinger, the name is known only to real insider circles, was an incredible collector from Switzerland. He has assembled one of the first books about radio-discs. This was invaluable to all Digger. That was all many years before the Internet. Today there are Discogs and eBay as a platform for the real treasures. This is probably the most serious reason for the massive increase in the prices of rare vinyl.
4th There was a time that is still not all too long ago that some DJs have protected the exclusivity of their records, where they taped the covers to see other DJs could not know which artist and label what they played. Are the days of the DJ-dogmatism finally over?
Wright: That in the funk scene never really happened. But it plays a relevant role in the Northern Soul scene. There, that happens today. If something is totally unknown, I can understand it in a way that so long as "exclusive" to treat until the source is identified and more copies are in circulation.
5th This purist notion is, however, contrary to the "Soul Spectrum" you run the story with Fryer?
Wright: Both have their permission. At Spectrum, we publish Soul reissues, so they are affordable for anyone who may interested in good music and not much money to spend on rare numbers. Fryer brings the expertise and through his job at Jazzman Records. Our label is a kind of sub-label Jazzman. We distinguish ourselves that we are "state-rare disco" focus primarily on 12inch.
6th There it is also an eponymous label club night, when you hang up with Jason Sterland, Witchsbrew and Fryer. As you can imagine the night? What is special about this event?
Wright: The idea was to play from start to obscure soul numbers and rare radio boards. We want to show people music that can get them at all and almost nowhere else can hear. The whole course in a dignified and pleasant club atmosphere. So far it runs very well and we celebrated the anniversary of his 3 years in November 2010.
7th How do you see playing on the global scene, the DJs, the original soul, funk, jazz, Latin & Afro-Beat? Do you think sometimes that the scene a little outdated?
Wright: I think primarily it will always be a demand for DJs who play original vinyl. Because the medium, the quality is extraordinary and brings with it. Which there is time and time again, the plates can be discovered, and as you can not switch to a different format. It must always be someone there who does this finds. So it will continue to closely DJs to give younger.
8th But since there is a digital DJ systems like Serato or tractor, many record Dreher only play mp3s. It is more practical and less expensive than the collection of vinyl! So gather many, especially young people no longer records.
Wright: I'm sure that there are a lot of young people there who have the desire to collect vinyl, but have not the money. I think we can certainly collect vinyl, but the very rare parts are unaffordable for young people. This deters many.
9th You come by your DJ passion around a lot. You have already launched in the U.S., Japan and Europe. Are there places that you really look at as something special?
Wright: Of which there are few. The energy and enthusiasm seems to be in Europe. I love gigs in Edinburgh, Berlin, Barcelona, Oslo and Malmo. The crowd always rocks. Something very special was the letzjährige invitation to hang at the Dig Deeper Night in New York. That was amazing.
10th Most Rare Groove DJs have their special fields. Most of them play soul and funk until 1974. Disco is often avoided as well as hip-hop. You are a recognized Rare Groover and still collect and play other styles from the 1970s and 1980s!
Wright: I know what you mean (smiles). I think quite the disco can also be a rare groove, even though many of his colleagues see the not so. I'm just trying to play in my sets a bit of everything. Not only radio - except of course for special occasions or on request. But I play Disco, Northern Soul, Modern Latin Grooves and currently more than ever. If it's good, I play it.
11th In the days of the Internet is like you've already mentioned, the scene linked to each other. As you can imagine the exchange? Chat mailst test, or do you telephone frequently with colleagues Cut Chemist, Florian Keller, Kon & Amir and DJ Muro and Keb Darge?
Wright: I'm with some of them in regular contact, with some even daily. The exchange is very good between us. You trade sound files, music comments, there are tips and recommendations and searched Ebay for new finds!
12th Finally, a question which I have already ordered some record collectors and DJs: Will there be a day when you say, I've had enough and I have enough plates?
Thursday, March 1, 2012
Future Islands live in Berlin 22.02.
After countless nights of celebrating in Berghain I was last Thursday for the first time for a regular concert in the club. The evening was sold out completely, and so many people crowded beneath the reach high ceiling gave the evening something very venerable - just the right atmosphere for what was to come.
The opening act Ampl: tude was completely unknown to me. The four guys have me but by their merry-electronic, with a spontaneous expression of dance music paired pleasantly surprised.
Then slowly increase the voltage on the main band Future Islands. So far I have not seen any band to play so insignificant, although 500 people have come to listen. Gerrit Welmers keyboardist and bassist William Cashion remained half-hidden in the mist. Singer Samuel Herring appeared with his blue shirt-workers in the brown chino pants as the personification of '50s U.S. Femilienvaters. No tattoos, no fancy hairstyles, just the band. But more was not necessary to deliver in my opinion the best concert of the year.
The Inconspicuous held only until the first bar. After that, Sam turned singer in the most intense stage of the concert adventure story. Song lines were never thrown so painfully felt in the world. Every word seems just sung in its place, to describe the sadness, as if all that decompose at this moment in Herring's heart. Again and again he slaps his chest, head, writhing to the beat. An indescribable experience. There are also some of the most beautiful melodies that gave us the indie world to offer. In "Tin Man" stood my hair on end, with "An Apology" my eyes were moist. The band apparently liked it very much and they gave three encores and had to improvise the last song.
The concert was amazing. Who has the opportunity to see the band live, may be the miss under any circumstances.
The opening act Ampl: tude was completely unknown to me. The four guys have me but by their merry-electronic, with a spontaneous expression of dance music paired pleasantly surprised.
Then slowly increase the voltage on the main band Future Islands. So far I have not seen any band to play so insignificant, although 500 people have come to listen. Gerrit Welmers keyboardist and bassist William Cashion remained half-hidden in the mist. Singer Samuel Herring appeared with his blue shirt-workers in the brown chino pants as the personification of '50s U.S. Femilienvaters. No tattoos, no fancy hairstyles, just the band. But more was not necessary to deliver in my opinion the best concert of the year.
The Inconspicuous held only until the first bar. After that, Sam turned singer in the most intense stage of the concert adventure story. Song lines were never thrown so painfully felt in the world. Every word seems just sung in its place, to describe the sadness, as if all that decompose at this moment in Herring's heart. Again and again he slaps his chest, head, writhing to the beat. An indescribable experience. There are also some of the most beautiful melodies that gave us the indie world to offer. In "Tin Man" stood my hair on end, with "An Apology" my eyes were moist. The band apparently liked it very much and they gave three encores and had to improvise the last song.
The concert was amazing. Who has the opportunity to see the band live, may be the miss under any circumstances.
Tuesday, February 28, 2012
The Rasmus live in the backstage work
The Rasmus in May, the Backstage Werk in Munich 05.14.2012 rockenAm the Finnish alternative rockers The Rasmus guest at Backstage Werk in Munich. For 17 years the mixed quartet from Helsinki knows the Scandinavian rock scene, and since her international breakthrough album "Dead Letters" from 2003 to The Rasmus in Europe. With its fresh mix of alternative rock lashing, dark sound designs and fantastic melodies have earned them a large, loyal fan base. Even in Germany, celebrated for its dreamy Rasmus rock style that is as successful as its own. With power their upcoming, eighth album is expected, which is scheduled for late spring.
The beginnings of The Rasmus go back to 1995, when the four members of just ten or eleven years old and big fans of funk metal and crossover were. Because of their technical skills, the boys could still land a record deal. And so in 1996 she released her debut album "Peep", which - just like the two following works "Playboys" (1997) and "Hell Of A Tester" (1998) - came into their home to strong reciprocal love. All three CDs conquered the Top 20 in the Finnish charts, extractions with the "Ice" and "Liquid" The Rasmus recorded first single success.
Already with the next album "Into" The Rasmus in 2001 in Finland increased to once and megastars. The album spent several weeks on the top position. A total of four singles on the album stormed the charts to number 2 at least, two actually first on the No. The next step of Lauri Ylonen (vocals), Pauli Antero Rantasalmi (guitar), Eero Aleksi Heinonen (bass) and Aki Markus Hakala (drums), meant inevitably, Europe take for themselves.
This was the 2003s book "Dead Letters": No. 1 in Germany, Austria and Switzerland, Top 10 in England, France, and all Scandinavian countries. From then on, The Rasmus were among the most promising bands in Scandinavia. The single "In The Shadows" is still regarded as their most successful song, and still runs regularly on every rock radio stations.
With the album "Hide From The Sun" (2005) and emphasizes the gloomy past work, "Black Roses" (2008), it could further expand its achievements. When it finally became a bit quiet around The Rasmus, Lauri Ylonen, first announced last year with an electronically held solo album. Since the autumn, the band is now back in the studio to record the follow up to "Black Roses" record.
Come and visit the The Rasmus concert on 05.14.2012 in the Backstage Werk in Munich. The team from Munich Blog wishes much fun.
The beginnings of The Rasmus go back to 1995, when the four members of just ten or eleven years old and big fans of funk metal and crossover were. Because of their technical skills, the boys could still land a record deal. And so in 1996 she released her debut album "Peep", which - just like the two following works "Playboys" (1997) and "Hell Of A Tester" (1998) - came into their home to strong reciprocal love. All three CDs conquered the Top 20 in the Finnish charts, extractions with the "Ice" and "Liquid" The Rasmus recorded first single success.
Already with the next album "Into" The Rasmus in 2001 in Finland increased to once and megastars. The album spent several weeks on the top position. A total of four singles on the album stormed the charts to number 2 at least, two actually first on the No. The next step of Lauri Ylonen (vocals), Pauli Antero Rantasalmi (guitar), Eero Aleksi Heinonen (bass) and Aki Markus Hakala (drums), meant inevitably, Europe take for themselves.
This was the 2003s book "Dead Letters": No. 1 in Germany, Austria and Switzerland, Top 10 in England, France, and all Scandinavian countries. From then on, The Rasmus were among the most promising bands in Scandinavia. The single "In The Shadows" is still regarded as their most successful song, and still runs regularly on every rock radio stations.
With the album "Hide From The Sun" (2005) and emphasizes the gloomy past work, "Black Roses" (2008), it could further expand its achievements. When it finally became a bit quiet around The Rasmus, Lauri Ylonen, first announced last year with an electronically held solo album. Since the autumn, the band is now back in the studio to record the follow up to "Black Roses" record.
Come and visit the The Rasmus concert on 05.14.2012 in the Backstage Werk in Munich. The team from Munich Blog wishes much fun.
Wednesday, February 22, 2012
Bricks Are Heavy (1992)
It is vital that a disc into the section of "Classic" is an LP of a timeless popularity. Obviously, Folsom Prison Blues by Johnny Cash or "Euphoria Morning" by Chris Cornell are legendary albums, but there is also room for those who got a lesser extent bring about change. One of these was, no doubt, "Bricks Are Heavy", the third LP from L7 Angelinas that you just show the real skills they bear within them the irreverent and protected wild Donita Sparks.
The legend was born of this LP from 1990, that L7 released a second album - "Smell The Magic" - which led to California to try something more refined, but with the bitter and crushing regustado that had characterized to date. This convinced Butch Vig, who by then was working with "Nevermind" by Nirvana, to produce a third album that would end up planting a precedent within the female punk wave that was beginning to poke his head.
With a perfect blend of punk 80's, 90's grunge and a thin halo of pop tart, L7 manufactured a disc with such memorable songs as 'Shitlist' (known to belong to the soundtrack of "Natural Born Murderers") or 'Scrap', theme based on an alleged skinhead who lived in the garage of Donita. The bass lines echoing beneath a thundering guitars that perfectly wrapped in a mesmerizing vocal Donita Sparks knew to rise to the occasion. There was something very dirty, very sexual charm he knew anyone who listened to the album. Both the semi subtle 'Pretend We're Dead' and in the cyclic 'Diet Pill', that was certainly omnipresent intoxicating effect.
Unfortunately the legend of Sparks, Gardner, Tanaka & Co. finally vanished by 2000. The formula no longer worked, leaving a witness - a reflection of their past LP - "Bricks Are Heavy" - was coming to be remembered as one of our favorite albums of the 90. Sex, drink bitter and dirty spaces came together in an album that will never forget. Donita Thanks!
The legend was born of this LP from 1990, that L7 released a second album - "Smell The Magic" - which led to California to try something more refined, but with the bitter and crushing regustado that had characterized to date. This convinced Butch Vig, who by then was working with "Nevermind" by Nirvana, to produce a third album that would end up planting a precedent within the female punk wave that was beginning to poke his head.
With a perfect blend of punk 80's, 90's grunge and a thin halo of pop tart, L7 manufactured a disc with such memorable songs as 'Shitlist' (known to belong to the soundtrack of "Natural Born Murderers") or 'Scrap', theme based on an alleged skinhead who lived in the garage of Donita. The bass lines echoing beneath a thundering guitars that perfectly wrapped in a mesmerizing vocal Donita Sparks knew to rise to the occasion. There was something very dirty, very sexual charm he knew anyone who listened to the album. Both the semi subtle 'Pretend We're Dead' and in the cyclic 'Diet Pill', that was certainly omnipresent intoxicating effect.
Unfortunately the legend of Sparks, Gardner, Tanaka & Co. finally vanished by 2000. The formula no longer worked, leaving a witness - a reflection of their past LP - "Bricks Are Heavy" - was coming to be remembered as one of our favorite albums of the 90. Sex, drink bitter and dirty spaces came together in an album that will never forget. Donita Thanks!
Monday, February 20, 2012
Chris Cornell tribute to Whitney Houston covers of 'I Will Always Love You'
'I Will Always Love You', despite being a cover of Dolly Parton's original topic will always be remembered as the most representative song of the musical career of this great singer named Whitney Houston. That is why, as we saw last week, artists such as Girls and Jennifer Hudson took to honor the soul diva with different versions of the cut. One of the most recent has made our beloved Chris Cornell, who took advantage of a concert in San Francisco (California) to shake the staff with a disturbing way of interpreting the theme of "The Bodyguard".
The audience could not help applauding several times along the spectacular performance of the leader of Soundgarden. The artist's vocal intensity was totally up to one of those songs that have been marked as one of the great classics of the past two decades. The world of soul greatly missed Whitney, that we really, really safe.
The audience could not help applauding several times along the spectacular performance of the leader of Soundgarden. The artist's vocal intensity was totally up to one of those songs that have been marked as one of the great classics of the past two decades. The world of soul greatly missed Whitney, that we really, really safe.
Friday, February 17, 2012
Stompin 'Souls | Waiting For The Van
Stompin 'Souls | Waiting For The Van
"What if the eardrum itches so correctly? Give it dirty! Give it "And It's Looking A Lot Like Nothing At All", the debut of Sweden Stompin 'Souls ".
What could describe the sound of five Swedes better than this short quote from laut.de. Waiting For The Van is only one song a series of energetic and damn good band's first record. But the successor Silhouettes is really worth. Maybe some of you have recognized Marcus Bergkvist and Emil Nilsson, edit and even known to their friends Stockholm Friska Viljor the drums or the keyboard.
"What if the eardrum itches so correctly? Give it dirty! Give it "And It's Looking A Lot Like Nothing At All", the debut of Sweden Stompin 'Souls ".
What could describe the sound of five Swedes better than this short quote from laut.de. Waiting For The Van is only one song a series of energetic and damn good band's first record. But the successor Silhouettes is really worth. Maybe some of you have recognized Marcus Bergkvist and Emil Nilsson, edit and even known to their friends Stockholm Friska Viljor the drums or the keyboard.
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