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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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