Welsh Christmas Cards Ideas

David Bowie "Hunky Dory" (1971)

Although his solo debut reveals a freshness that makes it very enjoyable, since by then the chameleon has refined its arts and shooting in all directions in search of success or as little, carve a hole (which is) in the effervescence of swingin London. Are their next albums he recorded as the glam icon. Especially this "Hunky Dory" from conception pop "The Man Who Sold The World" (1970) which pointed to a sort of hard rock with some symphonic proto leave.

Noting that the previous album's classic title song was just acoustic sonorities, the more pop hooks and length without breaking pop standards. Bowie, insists in this pathway, without neglecting the experiments. If the key is to write a couple of hits to give way to denser content, Bowie is applied to the work from the beginning: "Changes" with its refrain to stuttering "My Generation" . The band that accompanies it stabilizes at around Mick Ronson (if there were justice in this world would be ahead of shooting stars as Jeff Beck or Eric Clapton) that apart from being an ax with a written instrument inspiradisimos orchestral arrangements with grace Jack Nietzsche either a (proud of the "Changes" or "Life on Mars" ). Rick Wankerman piano is fairly restrained for what was then the sleepy race (in the insufferable Yes or alone, even worse). Precisely on the piano is structured "Oh you pretty things" .

Piano and guitar are all you need to Bowie to give free to a kind of musical haiku "Eight line poem" , a little something something less where you do not know if Dylan imitating Bowie with admiration or the laughs with the nasal soniquete the kinship with George Formby. There is nothing more than something to kill time until reaching the peaks of another album, "Life on Mars" . Bowie was so obsessed with "My way" I get to adapt to market Anglo-Saxon (although the version we know is the letter of Paul Anka) I decided to do a song inspired by this song. In my opinion he rings around the original. Aside from orchestral work inspired by Ronson, Wankerman give your best interpretation on piano and Bowie fits a surreal lyrics and gives us a vocal tour de force (the changes of tone from bass to treble, the expression that goes from boredom to sentimental indulgence second to second). "Kooks" not considered as being nothing special, but I like it. It is dedicated to the newborn son of David, mixing something in a quick change air cabaret and English.

"Quicksand" more complex in structure maintains the tone of the previous album gives way to one of the funniest moments disc "Fill your heart" . A song Biff Rose made for the Tiny Tim sing. We must not ignore the interest of Bowie for the music freaks, see Legendary Stardust Cowboy, or the fantastic duo that carried on television, accompanied by the countertenor Klaus Nomi (incidentally, a duet between Nomi and Tiny in the sharp looking more impossible would have been tremendous .) Another rarity, "Andy Warhol" (Bowie and pointed their networks to the Factory, the Velvet Underground and Lou Reed in particular. Remember Bowie and versioned "White Light / White Heat" before the group knew what to my neighbor). Delightfully retro futuristic sounds take us to a song structure folkie minima (one strum of acoustic and goodbye) with a letter asimimiso, simple. Despite this, the song has a hypnotic ability that does not negligible. Bowie works one hundred percent even when not taken seriously. And after Warhol, pays tribute to another of his influences of the time in "Song for Bob Dylan" imitating the voice of the American way. It's funny how it carries the mannerisms of Dylan mix with theirs (the baroque piano both Bowie likes to take her to abandon her Wankerman by Mike Garza even more virtuous.) Despite my avowed hobby but to whom is dedicated the song, I really like this. More reminiscent of previous album found in "Queen Bitch" more rock than the disk (not just walking sound little hard on "The man" but here I am refer to rock'n'roll, you just have to listen to the groove that is the issue) reveals the master of things like stitches "Sufragatte city" or " Moonage Daydream ". Curious Bowie is considered as one of the most cynical of rock when it is able to undress as he does in "The Bewlay brothers" talking about the complex relationship with his older half brother (with concerns that neo-Nazis with Bowie himself during his time flirting glam, long stays in mental institutions since his mother's family was prolific in individuals with severe mental disorders who committed suicide ... until they fell on the tracks of a train). Certainly it is cold and has a characteristically British phlegm, but does not seem more distant than a Dylan, who has always played red herring (something must be done to entertain the listener when your music is repeated over forty years) . A great song that could have signed Barrett of Pink Floyd's debut.

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Rod Stewart "Smiler" (1974)

was Rod's first album I bought. The truth that this kind I have always fallen very badly and resisted me so stupid, to plunge into its first real good solo albums for this personal mania. It was in basis of their tremendous work in the Jeff Beck Group why I stop bullshit and I caught this record.

Well, once home, I remember that I have two articles where Rod review this period. Seeking the first and go, I seem to have acquired the worst record of the top five. The album will appear as a mere exercise in style, a watered-down copy of the previous albums but not to repeat the magic of those days. Some fly, I put the disk. That sounds great version of "Sweet little rock'n'roll" of Berry. Well, at least for this song is worth the investment (cost me cheap in a remastered edition with bonus). "Farewell" from the pen of Stewart follows the line itself folkie how well is given, with that melancholy as Irish expressing voice (although he is not Irish, or anything, but if you have that point triston). "Sailor" is also own, in-hand with his colleague Ron Wood. Incidentally, the cast of musicians involved in this record is impressive: the Memphis Horns, Elton John, Rick Gretch and Kenny Jones, among others. Returning to

"Sailor" being written by these two freeloaders, rock'n'roll is a whoring, fun-loving Southerner, with his piano machachon, its winds, its chorus Negroid and all those topics when they are interpreted as well the pure essence of rock. It's funny how the Faces and the Stones being British are a much better Southern rock bands like Lynyrd Skynyrd or Allman Brothers. The only American group at this level are Creedence not come from South America.

Despite his casual appearance, their legendary vagueza and stinginess, Rod is a guy with some intelligence, knowing that the "Bring it on home to me" Sam Cooke itself is unsurpassed (and more if the version the "Live At The Harlem Square Club" ) gives it an arrangement unusual. Celtic violins which joins the orchestra, giving more prominence to the instrumental accompaniment to the voice of Rod. And in another intelligent decision, results in a fragment of "You send me" (also Cooke). The way in which Cooke was riding in the direct said: repeating the chorus over and over again, creating a nice effect paroxysmal, interpreted as consumed by the passion that forgets what encryption and to end or continue the song, for stopping to squeeze all the juice of a simple phrase, a musical moment stopped, a moment where Rod has been detained "to smell the flowers." This ties in well with the personality of a hedonistic as Rod. What could have been a scrub and a super catastrophe has been fixed.

inseparable Elton John and Taupin composed for this album, "Let me be your car" Elton sings a duet with Rod (and plays the piano, of course). A very Southern soul effective. Stewart again take risks. This version of "You make me feel like a natural woman" written by Carole King , is opposing the version of Aretha Franklin, considered as final. Sin of heresy, I like most of this album. Arrangements have that aroma between Celtic and Southern soul not far from what Van Morrison was doing in those years. "Dixie toot" southern soul is more meaty and first. "Hard Road" is composed of the elder brothers of the Ac / Dc, that is, the Easybeats (who penned the classic example "Bring a little lovin '" for the Braves). More Southern soul, boogie with a point here and a lot of percussion, with its point of New Orleans gumbo. This, on paper, may seem redudante. In all, it's more fun to listen to other great ideas about the role that is unusually fatiguing to the ear. A miniature acoustic guitar instrumental, precedes the rigorous version of Dylan "Girl of the north country" . As you may know those who know me, I hate Dylan. But Rod's voice makes me even palatable. A voice gritty and rotates as the Duluth, but that if they can sing and perform. And treatment to Van Morrison is delicious. Another legendary figure, is much more to my liking, Paul McCartney, who composed the song is released due album "Mine for me" . It is another piece folky as before, that of Dylan. It's only the beginning, between acoustic guitar and an organ is precious.

In order that the criticism of this album, among which are added some sloppiness, I seem somewhat absurd. The charm of discs Rod has always been that feeling run-down, impromptu partying with friends. Although in fact, but would have to review, this disc seems more settled in their first five. This confusion of mine is because they are all very even in sound and quality. Some pull over to the folk triston tomorrow's hangover, others rock of revelry last night, but as even on the same disc, one song to another, combining these two facets, it is difficult with certainty which side prevails in each disk. Although the guy I keep falling something big, but think that their current standard discs are horrible, the first five albums are superb.

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Aerosmith "Rocks" (1976)

The fourth disc in the set Boston, considered the absolute masterpiece of the group and new collaboration with producer Jack Douglas , which still has its good performance (Is Aerosmith the whole of its rope, that is, American hard rock, best place?). The album follows the line of the former "Toys In The Attic" (1975) but as the very title the album suggests, even more rock, just taking a breather at the end com " Home tonight."

The start could not be better, the tension and the percussive guitar riffs that break with the voice of Tyler. The pace moves with the acceleration and the precision of a freight train (there are moments where it appears a percussion that sounds like a horse at a trot and finally appear until the crack of a whip). "Back in the saddle" is one of my favorite songs by Aerosmith, ideal to open a concert (as shown "Live!" Bootleg ", 1978). Tyler shows his stature as a vocalist with strong falsetto that he uses when he sings "runnin'high ." It always seems to go about voice. Linked well with "Last child" where Tyler demonic voice introduces a funky song and vacilona. Worthy of a Muppet posts Benzedrine. The fantastic riff Perry imitates the sound of a brass instrument and oozing poison when Tyler sings the final chorus. Hearing these two songs in a row is a joy.

"Rats in the cellar" with its fast pace is another success. A fast and very catchy melody and is allowed to shine briefly Tyler on harmonica, the style Plant (eg "Nobody's Fault But Mine" ). "Combination" is a very careful vocal melody, with Tyler singing with uncharacteristic restraint in, but it works very well. The finish is spectacular, with the harmonica, Perry holding notes with your guitar and the rhythmic base fuming, these percussion breaks seem a Brazilian festival. We must highlight the work of Hamilton amphetamine throughout the media, combined with percussion Joey Kramer punctuate some songs as the best machinery chugging funky.

"Sick as a dog" appears cousin "Rats in the cellar" but slower and more affordable to a point in fact was single. Not a bad song, but with "Lick & Promise" is my least favorite of the disc. But do not worry, here comes "Nobody's fault" another disk tops and a very accomplished intro, the way the theme that opened the album. It sounds like something from Led Zeppelin and Black Sabbath. Not jevi, Aero have too much groove to fall into such profanity, but if you have a metal point. Although the great chorus (" Sorry, I'm so sorry ) show that they are much more melodic metal English teams. The effect of a chorus so catchy and cool (I repeat, are stuck in the memory and work very well in contrast to the rest of the song) intertwined in rhythmic bases remains in "Get the lead out" another incursion into the funky. The letter includes a fragment of an old song Hank Williams "Hey Good Lookin '" . And after "Lick & Promise" reaches the end with a ballad, "Home Tonight" where Master Aero come with the territory of Badfinger and Raspberries.

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Raphael "Cierro mis ojos/ No vuelvas"




The first contains "I close my eyes" and "Do not come back." In the second, above them "Love Theme" and "My big night" ( sparing us "Do not come back" instead )

But the truly great is the contrast between the two that belong to the pen of Manuel Alejandro, this guy has nothing to envy to Burt Bacharach. In "I close my eyes" everything is perfect, that phrase estaccato the piano, the mischief of the orchestra in the background and the interpretation of Raphael, his voice tight as a velvet glove to the music. And that final crescendo, where voice and music are fused with exuberance is worthy to break the shirt as a sign of respect for the artist Linares. And after much drama and candor, a bit of bad blood with the voice of the Andalusian showing contempt for the person who previously loved, with that end with the voice tense and loud. A monster of a song.

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John Gary "Catch a Rising Star/Encore"

this crooner (rated debatable, as I will explain later, to entertain no) was known for an album that had a friend song selected by Garci (yes, the same, the director) recalling their guateques juveniles. Apart from one side devoted almost exclusively to heavy Paul Anka, I discovered several gems: one was a "Holly McKerel" of Little Richard. I've never found that song performed by Queen and I have my doubts if it is poorly recorded and credited to Richard when it's some wannabe wild vocal style of this. The other was a beautiful version of "Unchained Melody" by one John Gary. Look, there have been versions of this song and see that there is bad and redundant. But this equals that of the Righteous Brothers and that's saying a lot.

centuries without ever I hear another song misera more of this kind, not even a mention in passing in a music magazine. Nothing but a rumor that Garcia said in the text of the LP (which Gary had had an affair with Nancy Sinatra) the most absolute of the gaps. Until I got online and download some songs from it. Not many, since not found a whole LP, but loose songs included in any compilation of hits this year that this album was edited. Miraculously repeated the success with another song versioned by the Righteous Brothers, "Ebb Tide" * (one of the best melodies ever written) and managed to blow a devastating sadness to a decent song (so sad, more than anything) of a Nick Drake "Softly as I leave you ". The history of this song is funny. It is said that the letter is made entirely of the letter that a sick man left his wife the night he felt that would be his last hours. Reads:

Gently, gently abandon you
For my heart would break if you woke up and you saw me leave
So abandon you gently
Before you throw me under
Before that ask your arms I stay
For an hour or another day

After all these years
I can not stop the tears from falling
Gently, so gently
As I leave you

Another thing you should about Gary is that in the case of the seventies Elvis, there is a live version where Gary and Elvis sing a duet. Elvis is reciting the lyrics, while Gary sings. Although my bad English because I'm not sure.

Well, Staying within the content of these disks ( "Catch" contains versions of "Ebb Tide" and "Unchained Melody" ) The first thing that attracts attention is the clean vocal style of Gary. It has a light tenor register (this is not a tenor with little weight or meaning of the second, but an agile tenor with a voice for the treble flourishes) with three octave range and singing taste awful. He knows when to stay sober when slipping into a falsetto that put the beautiful art ( hear this the end of "Tender is the night" or "And this is my beloved" ) as shown bombastic and sing with full voice. And besides being a consummate balladeer ( his version of "Stella by starlight" not of this world) so overboard with the hottest rhythms like swing "Ol 'Man River" or the calypso in "Take me in your arms" . That end in a delicate falsetto so characteristic of Gary from a technical point of view could even be a crutch to avoid giving high marks to his chest, which is what seems to suggest the instrumental crescendo, but it gives a dramatic impression of a man who because of the emotion can only hold a small voice that add rather than subtract.

initially claimed that Gary is not a crooner but that these have passed into history under Sinatra's voice (which is not a crooner), are actually types "murmuring" (crooning) sweetly, in low voice, using the virtues of microphone to amplify his bit voice. Sinatra and Gary are scarce volume types or registration.

* collect versions of this song, my favorite: Righteous Brothers

John Gary Arthur Prysock

Al Anthony, the wizard of organ (organ version with Uranus delirious from leaving the "Sgt Peppers " at the height of a disk of Xuxa as psychedelic experience)
Setsuo Ohashi, steel guitar instrumental version hawainas

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Darius "Darius II" (1971)

If their debut was the perfect mix between " Forever Changes" and "Four Sail "almost grazing the perfection of the first, this second disc is just as good. Little luck was Darius, despite the magnetic of the proposal (its developments psychedelic never lose the north) and recorded with musicians including Elvis was not selling discs. This album, recorded in principle for the continuation of his debut, likewise include material recorded in previous years (67 to 71). Well, it's a unreleased album. It shows a relaxation from the first disk, the more nervous . Here develops a kind of soul-tinged dream and dreamers, there are better shows that precious "I love you Now " where the orchestration seems to arise from sounds off. Or that the more grandiose version success of Barbara Lewis "Hello Stranger " where Darius gives a lesson on how to sing in a falsetto female immersing the beginning to make the best of its velvety record (has a really nice voice) in the final crescendo. This orientation soulful

noticeable from the beginning with " Do you get the feelin 'I " or that leave the " I've been loving you too long " Otis Redding has " 44floor . " The sound of Arthur Lee keeps things like "New start " and other material you may define as a psychedelic crooner.

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