Sunday, October 3, 2010
Tuesday, April 20, 2010
Fotos De Travesti Camilla
EXILE ON MAIN STREET : NOBLEZA NEGRA
EXILE ON MAIN STREET: NOBLESSE NEGRESSE
REPUBLIC INVISIBLE
One of the most inexplicable things about America is that despite having a nasty profile still hosts much beauty. Perhaps, as many thinkers have said, is precisely because of their vileness, or adversity that such beauty exists
(Leroy Jones)
Titans Howlin'Wolf or bronze as Muddy Waters, like princes in exile, the white man took revenge with winding wisdom of the serpent, perverting their liturgies around starving and pale boys across the ocean, in principle, receptacles too weak to be depositaries of ancient beats that were already old when the world was only a dark and putrid mud.
As in his day European musical traditions, carried by the settlers on their way, shaped the evangelical hymns of preachers, these psalms were altered to be imbued with musical forms and the profound spirituality of African slaves . If the population is Protestant religious singing these songs in hopes of finding the Promised Land of Canaan Jewish paradise, the Herculean stained black voices the melancholy of someone who has been stripped of his home and longs to return. This did not stop there, as the archaic music of the captives continued spreading the musical firmament as the beating of drums in the jungle.
that swarming black musical ties with Europe would tend to return later, came to be a continuous flow from the prehistory of jazz. The troubled French expressionists had taken the ragtime as a free and intuitive way to skip the corset that imprisoned symphonic music. Employee, in any form or in spirit, by famous musicians such as Debussy ("Golligow's Cakewalk") and Ravel (Piano Concerto in G ") that would be so influential for Aaron Copland or George Gerswhin the New World. In the present case, black styles continued to make the reverse journey, from the U.S. after the port cities of England, where blues records, rock, country and gospel, nursed the entire British diaspora formations, they would jump the pond in the sixties, including the Rolling Stones themselves. Reconquered America in 1972 with a musical coup made from the old continent, from that distant lover who was France, jazzmen like exiles. The settlers could have won the Revolutionary War, but these satanic subjects of his Gracious Majesty the ones who condensed the spirit and the musical roots of the new continent in a way, so absolutely modern as if suspended in night time. Pregnant artist of Protestant fervor of America more idealized and dreamed that vivid and deep and earthy devotion of the black slaves.
Like Will More character in "Rapture", Keith Richards influenced the use of heroin to stir something inside. Suppressed genetic memory. A sleeping estate. Both seek a blur, capture a child absorbed and feverish excitement that so accurately expressed in this dialogue of the play estranged de Zulueta, 'How long could you get to spend watching this chrome? Impossible to know, were in full flight, ecstasy, pause hung in the middle Caught! "And project it onto your creation. Richards sought to America dreamed up by the film and rock & roll, idealized from the gray London from his childhood neighborhood, dressed in cowboy outfit Roy Rodgers and listening to jazz albums his grandfather. Or the LPs in rock & roll and blues that began their friendship with a stranger by Mick Jagger to identify these records as a member of the secret brotherhood of the worshipers of the sweet black music. America's hidden foreign and the characters in the cover of the "Exile." Debugging the perception by the derangement of the senses that advocated William Blake. Expanding consciousness, emerging from the vapors of opiates. Never use the heroine as a catalyst art had caused so euphoric effects. The same drug devouring innocence in the hands of the Velvet Underground and the Stooges had already ended the dream of the sixties, in the veins of the vehemence Stones music breathes even more dilapidated to sizzle with the energy needed to stimulate the hippocampus a survivor of the Dust Bowl and relive the sounds of his time in a completely modern and ancient at the same time. Never internal reverberations caused by the poison more elusive and insulation of all provoked trepidation as expansive. Verily, compare the unhealthy atmosphere, waking dream veil of narcotics, disk immediately preceding it ("Sticky Fingers"), which may be the epitome alkaloid EVP "Sister Morphine", with the atmosphere of excitement amphetamine "Exile."
exiles in the land of Boris Vian, Keith, the British transcript of Django Reinhardt, anarchy and culture as other creative ennui. If the lifestyle of the rest of the Stones was Babylonian exile really the rest of us, absent of any loophole mundane and not only isolated from the Treasury and British forces. Paragraphs even themselves with Jagger lost among the international jet set of the hand of Bianca Perez and expecting her first child with her Mick Taylor a dissatisfaction with their role within the group and with Watts and Wyman absent in much of the preparatory sessions. Of course this was not a hippie commune dedicated to the pursuit of duende collective improvisations by the Grateful Dead. Richards, who seemed to act with the same neglect, just looking. As a Zen master, was examining how to capture a mood through the process forget your goal. Knowing that the entropy is the true natural state of the cosmos, was left to be embraced by the forces of chaos, peering at them with deliberate spontaneity. If under his leadership, the group becomes a Lope de Aguirre in search of El Dorado, Keith Richards was the poet who had toxic stole fire from the gods to guide them through the journey. Also, the shaman to purify the poison (heroin) and return it as water of life kind of spice Melanie.
Their antennae were tuned musical in the old main channel, located in a marsh poisoned howling electrified by contact with gaseous elements from abroad, one in which bathes the pendulous swing contracts and expands rhythmically to the space-time reading his own "Satisfaction" by Otis Redding, which plunges the Miles Davis of the revolutionary "In a Silent Way" and "Bitches Brew" diving in repetition and rhythmic intermittent pulses of tradition African, avoiding any Western musical conception. "Exile On Main Street" is an album that contains recognizable forms of various genres. A volcanic landscape that erupts a magma formed by antiquated sound traditional styles. But above all is a rock & roll. Moreover a particular musical style, is a vibration that sends us to the prehistory of the senses. From which spring the most primordial fears of the offspring of Homo habilis. The memory blind darkness in which we were hunted to retain our most distant cells. Fragmentary reminiscence evos unfortunate when the star was a swamp pulsating beat, reverberating with the echoes of dark primal forces. This album reeks of sex, sweat, amphetamine, jaws disjointed, narcotics, spree, orgy, alcohol. Anything to help us pass the night, everything that makes us stronger.
As Dylan himself or Harry Smith, Keith had a deep knowledge of American music from the early twentieth century. He knew that much of the charm that came off these songs lies in its interpretive power, how could one be privileged as the skin of those musicians? I could feel how those who had experienced the famine? Set amid the turmoil, creating a hostile and decadent disorientation simulating those that befell a people who were lost in a society that is metamorphosed rapidly driven by advances in technology and industry, people who sing to an idealized past between romantic mist. Abrupt changes in the social landscape also foster the emergence of radical ideologies, removing individuals to achieve a hypothetical collective destiny glorious doctrines like the Nazis who were quartered in Villa Nellcôte. Now inhabited by his early childhood memories who appear in the rubble of an England ruined by German bombing systematic.
"Being natural is the most artificial poses of "Oscar Wilde claimed. The immediacy and spontaneity oppose mediation processes required to record an album. It requires the cooperation of the will and knowledge. Wilde also left the assertion "I put all my genius into my life in my work I have put only my talent." In "Exile" these categories are inseparable. To catch a self-induced mood that shifts between a provision of the spirit of embracing the joy of life and the desperation to hold on so tightly that the nails bleed and crack grasped the breath of life more miserable, you need to inoculate the field energy inert vital breath breathe the sound spectrum. The sound was such purification, the method used was as finely distilled detail or arrangement, and the disc is full of them, are employed with a mastery that denies even the chance, however, appear to result from this. Capture the magic virgin the first time by a wise and perhaps more prescient than lucid, avoiding chaotic recording routines and common places to hunt and capture the essential spark. Subsequently, the recordings were doctored in Sunset Sound studios in Los Angeles, seeking to maintain intact the sense of sound verite than professional recording to listen to prevail an effect similar to the work in progress running through the film "One Plus One", the Stones' collaboration with Godard. The techniques of a documentary film used in a rock.
The parallel drawn between this magnum opus and "Basement Tapes" of Dylan, with its obvious points in common (dual format, a feeling of collective improvisation, craft and home recording and the same equipment that was recorded) has obscured the intrinsic virtues stoniana methodology used in the preparation of this LP. That has more to do with the way to recording a jazz style rock band the Stooges faced as the recording of their fundamental "Fun House "with Don Galucci, mixed with film of the method, editing and riding hours and hours of improvisations, Teo Macero in Miles Davis electric drives.
There is a scene in "Wattstax" film documenting the festival of the same name as the Stax label organized on Aug. 72 in Los Angeles after race riots in the Watts neighborhood that has always impressed me greatly. The Emotions, that delicious pop-soul trio, perform the gospel song "Peace Be Still" in a small parish church. They are singing to a white audience, but they are not only devoted to their community, their accomplices. Are offering their songs for themselves, looking for a crack in the silence that scares away the dark. During his performance is happening scenes of hysteria, even a woman is removed from the auditorium provocársele an epileptic episode. The same music is growing as the roar of a storm, ending in a climax paroxysmal. As if awakened from a dream, as if singing alone. No importance can be a benchmark for the uprooted black community, a population that in the new world is stripped of any freedom or possession, could have the music. These songs are all they had. The last link with the golden hues of Africa. No one can express the value of their unique treasure, but if you can be listening to his work. If whites conquered their bodies, they seized their souls. From exile. From "Exile on Main Street" of black majesties. The same fluid is watered cardinal drive of the Stones.
IN THE BASEMENT TAPES
I have relied on accidents throughout my life
(Keith Richards)
There were few guests at the meetings that took place in the chateau de Villa Nellcôte, leased on behalf of Keith, who settled there with his partner, Anita Pallenberg and their son, Marlon. Although the number varies according to the source, more than seventy people lived in daily the mansion and many more are passing through. Apart from the large retinue of the group, since members of rock royalty like John Lennon and Yoko Ono, beat writers like William Burroughs and Terry Southern, the toxic twin Richards, Gram Parsons bartered Southern music master classes and tinsel to drug to be expelled for their behavior, not to mention camels, junkies legendary and freeloaders who give lessons to the brother of Popeye. As a summer camps organized by Tod Browning. The Stones were locked with his peculiar world, forgetting that the bulk living ordinary mortals. Beginning the untimely sessions in early July 71 in an atmosphere of debauchery and revelry: missing members of the group sessions, or a musician exchanged instruments of support not found the relevant Stone, trips to Monte Carlo to play in their casinos, a Richards enganchadísimo using heroin as a network, throwing a blind between the ether where they live songs, others less famous addicts who rolled micro cables to inject heroin, wrapped in legend incidents such as fire caused by an absent-minded cook or theft of several guitars of Keith and the final episode starring the French gendarmerie breaking into the mansion, alarmed by the continuous visits to the town wanted traffickers. Ending the Stones' stay in French tour in October of that year.
From there jump to Los Angeles (Sunset Sound Recorders studies) not only to mix and tweak, but also to record a song right there, "Loving Cup" (premiered at the famous Hyde Park concert in the 69), "Torn and frayed "and" Sweet Black Angel. "
also took the opportunity to enter all parts of piano and keyboards, which were commissioned Dr John and Billy Preston, excluding parts of Nicky Hopkins who came mostly from France, another development, there is the inclusion of all choirs with "air gospel." Of these choirs were responsible Clydie King (one of the two alleged secret wives of Bob Dylan that seems to bore him two children at Duluth), Venetta Field and Jesse Kirkland. The choirs were inspired after a visit of Mick and Preston to an evangelical church.
may also be present almost all of LA session musicians, but that is impossible to know who got what because Richards himself probably did not know. Almost all songs are tweaked to a greater or lesser extent ("Casino Boogie" seems to be one of the few that were left as recorded in Nellcôte). "Rocks Off", "Rip this joint," "Shake Your Hips", "Shine a Light" and "Ventilator Blues" were the most modified.
Finally to make things easier, some issues from previous sessions: "Shine a Light" are the days of the Olympic Studios (From "Beggars Banquet" and "Let It Bleed") and "Sweet Virginia" and previously worked in both the Olympic Studios and the meetings of the "Sticky Fingers." Some of these recordings and bases were used for mixtures of "Exile On Main Street."
The atypical production of Jimmy Miller, as if the Stones "touch inside a hurricane", is evident from the start with "Rocks Off." The listener has the feeling of being located in the vortex of a maelstrom where sound waves spill instruments, so seemingly disjointed but with nothing left to chance or lost in the sonic maelstrom. In rhythmic pieces like the above "Turd on the Run", "Rip this Joint" (the piece of higher pace of the Stones at the moment) or recreation hypnotic rockabilly of "Shake Your Hips" by Slim Harpo seems recorded by Sam Philips at Sun studios, one gets the feeling of listening to music through the electromagnetic field of a particle accelerator that electricity saturate these songs, this is so intense that it shows the power crossing through them. The cyclotron vacilona stops at the "Casino Boogie" that allows us to determine crystal-another element present in the album: the duets between Jagger and Richards, who has never returned to play a central role in the battles so vocal. In almost all the songs, the nasal voice dubbing the voices of Keith Jagger. The effect, when perceived paths voices singing at the same time, is unprecedentedly harmonious. Even when they sound like those toothless deliciously dissonant chorus of "Sweet Virginia." And when sound uneven, are for electrons crackling rhythmic brio enthusiastic about the atomic structure of the song. The nerve with which Richards sings indolent in "Happy" contrasts with the feeling of euphoria spread to listen to a song that could not keep a tighter title.
If the influence of cosmic American music of Gram Parsons is present in "Sweet Virginia" and "Torn & Frayed", echoes other vintage obsession Richards, the mythological Robert Johnson, are perceived in metallic acuity Jagger's voice and dragged the dirty blues of "Ventilator Blues." Never took the country with the same seriousness as the blues, which allows them to mold more irreverently with drops of calypso in the country blues of "Sweet Black Angel. " In "Exile" any sound, limp that seems isolated, is included with a purpose that is evident when listening to the whole, including the use of silences, as the battery syncope spaced Watts in "Shine a Light" to appears to retain the listener's heartbeat with the same skill he used Moe Tucker in "Heroin." Do not forget that Mick Jagger acknowledges having previously attempted to copy the sound of the Velvet and the "Stray Cat Blues." The instrumentation used is located in places unknown but which are not at all misplaced. The same can be said about the styles used on the album, blurred their limits to be confused, merged into a single primordial mud. Worth the example of "Loving Cup", a subject that is difficult to pigeonhole into a specific style and carries this unusual (for the context) embedded steel drum arrangement. O as being the most recognizable stylistic soul the greatest absent from work, the presence of this style as a breath through the entire disk spectrum. And the healing power of gospel arising from songs like "Shine a Light" or in this miraculous way of using the metal, accelerating your molecular structure to ecstasy or ghostly fanfare take your soul by ancient paths as in "Let It Loose ". An anti-"Let it be "with a sound similar to the Velvet's third album (considered by some velvetianos as his album" soul ") that starts with a touch of mellotron and guitar sound passed through a Leslie amp. Vertebrate on rhythm guitar eminently Richards, connecting up with a regular rhythm tar walls, amputees by parasitic noise riffs as sharp as razors and battery of a magnificent Watts, which overlaps the whipping ferrous Jagger's voice (which has never again be so arrogant as here). Throughout the "Exile" seems to observe a dusty mirror, dressed in rags and tatters of a past more intuited they experienced. A distorted sense of deja vu. A helping a sense, hidden between layers of spontaneity, of a complex craft and sonic detail that lies behind the inertia that seems to be the main force used. As if every time we listened the album the Stones did it again to record before our ears. Although
reception by audiences and critics was not expected to work closing the tetralogy a vein Stones had started with "Beggars Banquet" and continuing with "Let It Bleed" and "Sticky Fingers", the Time has confirmed the powerful influence of this album. Other double albums that combine a joyful longing the power of rock with an encyclopedic intent regarding this as "London Calling" or "Being There" have to double the Stones their relative greater degree of consanguinity. Even the album version of Nick Cave, the fabulous "Kicking Against the Pricks" has more similarities to "Exile" with the "Pin Ups" by Bowie. And what about Tom Waits from "Swordfishtrombones" and predicted by the cavalcade of poisonous and decrepit bones ghostly instruments, tissues such as in an absurd collaboration between Buñuel Harry Patch and the Mexican stage of "I Just Want to See His Face ", or in its unusual production basement where moisture seeps where it was recorded through the microphones that sound shaping muddy that characterizes the album. It is no coincidence that if the kings of rock artie wanted to record his own version of "White Album" by The Beatles, The Jon Spencer, Pussy Galore, whose sole intention was to kill the rock and sit back and gloat over his corpse, were in Stones's "Exile" the most exemplary instruction manual. But above all, "Exile on Main Street" is a seminal album that embraces the history of rock, while its future influence. A site where you can see past casting its shadow over the infinite 
EXILE ON MAIN STREET: NOBLESSE NEGRESSE
REPUBLIC INVISIBLE
One of the most inexplicable things about America is that despite having a nasty profile still hosts much beauty. Perhaps, as many thinkers have said, is precisely because of their vileness, or adversity that such beauty exists
(Leroy Jones)
Titans Howlin'Wolf or bronze as Muddy Waters, like princes in exile, the white man took revenge with winding wisdom of the serpent, perverting their liturgies around starving and pale boys across the ocean, in principle, receptacles too weak to be depositaries of ancient beats that were already old when the world was only a dark and putrid mud.
As in his day European musical traditions, carried by the settlers on their way, shaped the evangelical hymns of preachers, these psalms were altered to be imbued with musical forms and the profound spirituality of African slaves . If the population is Protestant religious singing these songs in hopes of finding the Promised Land of Canaan Jewish paradise, the Herculean stained black voices the melancholy of someone who has been stripped of his home and longs to return. This did not stop there, as the archaic music of the captives continued spreading the musical firmament as the beating of drums in the jungle.
that swarming black musical ties with Europe would tend to return later, came to be a continuous flow from the prehistory of jazz. The troubled French expressionists had taken the ragtime as a free and intuitive way to skip the corset that imprisoned symphonic music. Employee, in any form or in spirit, by famous musicians such as Debussy ("Golligow's Cakewalk") and Ravel (Piano Concerto in G ") that would be so influential for Aaron Copland or George Gerswhin the New World. In the present case, black styles continued to make the reverse journey, from the U.S. after the port cities of England, where blues records, rock, country and gospel, nursed the entire British diaspora formations, they would jump the pond in the sixties, including the Rolling Stones themselves. Reconquered America in 1972 with a musical coup made from the old continent, from that distant lover who was France, jazzmen like exiles. The settlers could have won the Revolutionary War, but these satanic subjects of his Gracious Majesty the ones who condensed the spirit and the musical roots of the new continent in a way, so absolutely modern as if suspended in night time. Pregnant artist of Protestant fervor of America more idealized and dreamed that vivid and deep and earthy devotion of the black slaves.
Like Will More character in "Rapture", Keith Richards influenced the use of heroin to stir something inside. Suppressed genetic memory. A sleeping estate. Both seek a blur, capture a child absorbed and feverish excitement that so accurately expressed in this dialogue of the play estranged de Zulueta, 'How long could you get to spend watching this chrome? Impossible to know, were in full flight, ecstasy, pause hung in the middle Caught! "And project it onto your creation. Richards sought to America dreamed up by the film and rock & roll, idealized from the gray London from his childhood neighborhood, dressed in cowboy outfit Roy Rodgers and listening to jazz albums his grandfather. Or the LPs in rock & roll and blues that began their friendship with a stranger by Mick Jagger to identify these records as a member of the secret brotherhood of the worshipers of the sweet black music. America's hidden foreign and the characters in the cover of the "Exile." Debugging the perception by the derangement of the senses that advocated William Blake. Expanding consciousness, emerging from the vapors of opiates. Never use the heroine as a catalyst art had caused so euphoric effects. The same drug devouring innocence in the hands of the Velvet Underground and the Stooges had already ended the dream of the sixties, in the veins of the vehemence Stones music breathes even more dilapidated to sizzle with the energy needed to stimulate the hippocampus a survivor of the Dust Bowl and relive the sounds of his time in a completely modern and ancient at the same time. Never internal reverberations caused by the poison more elusive and insulation of all provoked trepidation as expansive. Verily, compare the unhealthy atmosphere, waking dream veil of narcotics, disk immediately preceding it ("Sticky Fingers"), which may be the epitome alkaloid EVP "Sister Morphine", with the atmosphere of excitement amphetamine "Exile."
exiles in the land of Boris Vian, Keith, the British transcript of Django Reinhardt, anarchy and culture as other creative ennui. If the lifestyle of the rest of the Stones was Babylonian exile really the rest of us, absent of any loophole mundane and not only isolated from the Treasury and British forces. Paragraphs even themselves with Jagger lost among the international jet set of the hand of Bianca Perez and expecting her first child with her Mick Taylor a dissatisfaction with their role within the group and with Watts and Wyman absent in much of the preparatory sessions. Of course this was not a hippie commune dedicated to the pursuit of duende collective improvisations by the Grateful Dead. Richards, who seemed to act with the same neglect, just looking. As a Zen master, was examining how to capture a mood through the process forget your goal. Knowing that the entropy is the true natural state of the cosmos, was left to be embraced by the forces of chaos, peering at them with deliberate spontaneity. If under his leadership, the group becomes a Lope de Aguirre in search of El Dorado, Keith Richards was the poet who had toxic stole fire from the gods to guide them through the journey. Also, the shaman to purify the poison (heroin) and return it as water of life kind of spice Melanie.
Their antennae were tuned musical in the old main channel, located in a marsh poisoned howling electrified by contact with gaseous elements from abroad, one in which bathes the pendulous swing contracts and expands rhythmically to the space-time reading his own "Satisfaction" by Otis Redding, which plunges the Miles Davis of the revolutionary "In a Silent Way" and "Bitches Brew" diving in repetition and rhythmic intermittent pulses of tradition African, avoiding any Western musical conception. "Exile On Main Street" is an album that contains recognizable forms of various genres. A volcanic landscape that erupts a magma formed by antiquated sound traditional styles. But above all is a rock & roll. Moreover a particular musical style, is a vibration that sends us to the prehistory of the senses. From which spring the most primordial fears of the offspring of Homo habilis. The memory blind darkness in which we were hunted to retain our most distant cells. Fragmentary reminiscence evos unfortunate when the star was a swamp pulsating beat, reverberating with the echoes of dark primal forces. This album reeks of sex, sweat, amphetamine, jaws disjointed, narcotics, spree, orgy, alcohol. Anything to help us pass the night, everything that makes us stronger.
As Dylan himself or Harry Smith, Keith had a deep knowledge of American music from the early twentieth century. He knew that much of the charm that came off these songs lies in its interpretive power, how could one be privileged as the skin of those musicians? I could feel how those who had experienced the famine? Set amid the turmoil, creating a hostile and decadent disorientation simulating those that befell a people who were lost in a society that is metamorphosed rapidly driven by advances in technology and industry, people who sing to an idealized past between romantic mist. Abrupt changes in the social landscape also foster the emergence of radical ideologies, removing individuals to achieve a hypothetical collective destiny glorious doctrines like the Nazis who were quartered in Villa Nellcôte. Now inhabited by his early childhood memories who appear in the rubble of an England ruined by German bombing systematic.
"Being natural is the most artificial poses of "Oscar Wilde claimed. The immediacy and spontaneity oppose mediation processes required to record an album. It requires the cooperation of the will and knowledge. Wilde also left the assertion "I put all my genius into my life in my work I have put only my talent." In "Exile" these categories are inseparable. To catch a self-induced mood that shifts between a provision of the spirit of embracing the joy of life and the desperation to hold on so tightly that the nails bleed and crack grasped the breath of life more miserable, you need to inoculate the field energy inert vital breath breathe the sound spectrum. The sound was such purification, the method used was as finely distilled detail or arrangement, and the disc is full of them, are employed with a mastery that denies even the chance, however, appear to result from this. Capture the magic virgin the first time by a wise and perhaps more prescient than lucid, avoiding chaotic recording routines and common places to hunt and capture the essential spark. Subsequently, the recordings were doctored in Sunset Sound studios in Los Angeles, seeking to maintain intact the sense of sound verite than professional recording to listen to prevail an effect similar to the work in progress running through the film "One Plus One", the Stones' collaboration with Godard. The techniques of a documentary film used in a rock.
The parallel drawn between this magnum opus and "Basement Tapes" of Dylan, with its obvious points in common (dual format, a feeling of collective improvisation, craft and home recording and the same equipment that was recorded) has obscured the intrinsic virtues stoniana methodology used in the preparation of this LP. That has more to do with the way to recording a jazz style rock band the Stooges faced as the recording of their fundamental "Fun House "with Don Galucci, mixed with film of the method, editing and riding hours and hours of improvisations, Teo Macero in Miles Davis electric drives.
There is a scene in "Wattstax" film documenting the festival of the same name as the Stax label organized on Aug. 72 in Los Angeles after race riots in the Watts neighborhood that has always impressed me greatly. The Emotions, that delicious pop-soul trio, perform the gospel song "Peace Be Still" in a small parish church. They are singing to a white audience, but they are not only devoted to their community, their accomplices. Are offering their songs for themselves, looking for a crack in the silence that scares away the dark. During his performance is happening scenes of hysteria, even a woman is removed from the auditorium provocársele an epileptic episode. The same music is growing as the roar of a storm, ending in a climax paroxysmal. As if awakened from a dream, as if singing alone. No importance can be a benchmark for the uprooted black community, a population that in the new world is stripped of any freedom or possession, could have the music. These songs are all they had. The last link with the golden hues of Africa. No one can express the value of their unique treasure, but if you can be listening to his work. If whites conquered their bodies, they seized their souls. From exile. From "Exile on Main Street" of black majesties. The same fluid is watered cardinal drive of the Stones.
IN THE BASEMENT TAPES
I have relied on accidents throughout my life
(Keith Richards)
There were few guests at the meetings that took place in the chateau de Villa Nellcôte, leased on behalf of Keith, who settled there with his partner, Anita Pallenberg and their son, Marlon. Although the number varies according to the source, more than seventy people lived in daily the mansion and many more are passing through. Apart from the large retinue of the group, since members of rock royalty like John Lennon and Yoko Ono, beat writers like William Burroughs and Terry Southern, the toxic twin Richards, Gram Parsons bartered Southern music master classes and tinsel to drug to be expelled for their behavior, not to mention camels, junkies legendary and freeloaders who give lessons to the brother of Popeye. As a summer camps organized by Tod Browning. The Stones were locked with his peculiar world, forgetting that the bulk living ordinary mortals. Beginning the untimely sessions in early July 71 in an atmosphere of debauchery and revelry: missing members of the group sessions, or a musician exchanged instruments of support not found the relevant Stone, trips to Monte Carlo to play in their casinos, a Richards enganchadísimo using heroin as a network, throwing a blind between the ether where they live songs, others less famous addicts who rolled micro cables to inject heroin, wrapped in legend incidents such as fire caused by an absent-minded cook or theft of several guitars of Keith and the final episode starring the French gendarmerie breaking into the mansion, alarmed by the continuous visits to the town wanted traffickers. Ending the Stones' stay in French tour in October of that year.
From there jump to Los Angeles (Sunset Sound Recorders studies) not only to mix and tweak, but also to record a song right there, "Loving Cup" (premiered at the famous Hyde Park concert in the 69), "Torn and frayed "and" Sweet Black Angel. "
also took the opportunity to enter all parts of piano and keyboards, which were commissioned Dr John and Billy Preston, excluding parts of Nicky Hopkins who came mostly from France, another development, there is the inclusion of all choirs with "air gospel." Of these choirs were responsible Clydie King (one of the two alleged secret wives of Bob Dylan that seems to bore him two children at Duluth), Venetta Field and Jesse Kirkland. The choirs were inspired after a visit of Mick and Preston to an evangelical church.
may also be present almost all of LA session musicians, but that is impossible to know who got what because Richards himself probably did not know. Almost all songs are tweaked to a greater or lesser extent ("Casino Boogie" seems to be one of the few that were left as recorded in Nellcôte). "Rocks Off", "Rip this joint," "Shake Your Hips", "Shine a Light" and "Ventilator Blues" were the most modified.
Finally to make things easier, some issues from previous sessions: "Shine a Light" are the days of the Olympic Studios (From "Beggars Banquet" and "Let It Bleed") and "Sweet Virginia" and previously worked in both the Olympic Studios and the meetings of the "Sticky Fingers." Some of these recordings and bases were used for mixtures of "Exile On Main Street."
The atypical production of Jimmy Miller, as if the Stones "touch inside a hurricane", is evident from the start with "Rocks Off." The listener has the feeling of being located in the vortex of a maelstrom where sound waves spill instruments, so seemingly disjointed but with nothing left to chance or lost in the sonic maelstrom. In rhythmic pieces like the above "Turd on the Run", "Rip this Joint" (the piece of higher pace of the Stones at the moment) or recreation hypnotic rockabilly of "Shake Your Hips" by Slim Harpo seems recorded by Sam Philips at Sun studios, one gets the feeling of listening to music through the electromagnetic field of a particle accelerator that electricity saturate these songs, this is so intense that it shows the power crossing through them. The cyclotron vacilona stops at the "Casino Boogie" that allows us to determine crystal-another element present in the album: the duets between Jagger and Richards, who has never returned to play a central role in the battles so vocal. In almost all the songs, the nasal voice dubbing the voices of Keith Jagger. The effect, when perceived paths voices singing at the same time, is unprecedentedly harmonious. Even when they sound like those toothless deliciously dissonant chorus of "Sweet Virginia." And when sound uneven, are for electrons crackling rhythmic brio enthusiastic about the atomic structure of the song. The nerve with which Richards sings indolent in "Happy" contrasts with the feeling of euphoria spread to listen to a song that could not keep a tighter title.
If the influence of cosmic American music of Gram Parsons is present in "Sweet Virginia" and "Torn & Frayed", echoes other vintage obsession Richards, the mythological Robert Johnson, are perceived in metallic acuity Jagger's voice and dragged the dirty blues of "Ventilator Blues." Never took the country with the same seriousness as the blues, which allows them to mold more irreverently with drops of calypso in the country blues of "Sweet Black Angel. " In "Exile" any sound, limp that seems isolated, is included with a purpose that is evident when listening to the whole, including the use of silences, as the battery syncope spaced Watts in "Shine a Light" to appears to retain the listener's heartbeat with the same skill he used Moe Tucker in "Heroin." Do not forget that Mick Jagger acknowledges having previously attempted to copy the sound of the Velvet and the "Stray Cat Blues." The instrumentation used is located in places unknown but which are not at all misplaced. The same can be said about the styles used on the album, blurred their limits to be confused, merged into a single primordial mud. Worth the example of "Loving Cup", a subject that is difficult to pigeonhole into a specific style and carries this unusual (for the context) embedded steel drum arrangement. O as being the most recognizable stylistic soul the greatest absent from work, the presence of this style as a breath through the entire disk spectrum. And the healing power of gospel arising from songs like "Shine a Light" or in this miraculous way of using the metal, accelerating your molecular structure to ecstasy or ghostly fanfare take your soul by ancient paths as in "Let It Loose ". An anti-"Let it be "with a sound similar to the Velvet's third album (considered by some velvetianos as his album" soul ") that starts with a touch of mellotron and guitar sound passed through a Leslie amp. Vertebrate on rhythm guitar eminently Richards, connecting up with a regular rhythm tar walls, amputees by parasitic noise riffs as sharp as razors and battery of a magnificent Watts, which overlaps the whipping ferrous Jagger's voice (which has never again be so arrogant as here). Throughout the "Exile" seems to observe a dusty mirror, dressed in rags and tatters of a past more intuited they experienced. A distorted sense of deja vu. A helping a sense, hidden between layers of spontaneity, of a complex craft and sonic detail that lies behind the inertia that seems to be the main force used. As if every time we listened the album the Stones did it again to record before our ears. Although
reception by audiences and critics was not expected to work closing the tetralogy a vein Stones had started with "Beggars Banquet" and continuing with "Let It Bleed" and "Sticky Fingers", the Time has confirmed the powerful influence of this album. Other double albums that combine a joyful longing the power of rock with an encyclopedic intent regarding this as "London Calling" or "Being There" have to double the Stones their relative greater degree of consanguinity. Even the album version of Nick Cave, the fabulous "Kicking Against the Pricks" has more similarities to "Exile" with the "Pin Ups" by Bowie. And what about Tom Waits from "Swordfishtrombones" and predicted by the cavalcade of poisonous and decrepit bones ghostly instruments, tissues such as in an absurd collaboration between Buñuel Harry Patch and the Mexican stage of "I Just Want to See His Face ", or in its unusual production basement where moisture seeps where it was recorded through the microphones that sound shaping muddy that characterizes the album. It is no coincidence that if the kings of rock artie wanted to record his own version of "White Album" by The Beatles, The Jon Spencer, Pussy Galore, whose sole intention was to kill the rock and sit back and gloat over his corpse, were in Stones's "Exile" the most exemplary instruction manual. But above all, "Exile on Main Street" is a seminal album that embraces the history of rock, while its future influence. A site where you can see past casting its shadow over the infinite
Thursday, October 1, 2009
Cardiac Catheterization Lump In Groin
REM "Life´s Rich Pageant"
My favorite album of the group, though little recognized, as the group's fans tend to prefer his early work records or after it. Relegating this album which laid the foundation stone of a slow path that will lead to commercial success, or even a mere about to drive her back immediately, "Document" as the basis of this more expansive sound that would mark his Working with producer Scott Litt, but losing the intangible qualities by the way, in my opinion. The sound of the album is a reaction to the dim and hazy sound of his previous work, "Fables of the reconstruction", with the legendary Joe Boyd (Pink Floyd, Fairport Convention, Richard Thompson and above all, the discoverer, producer and supporter of the late Max Nick Drake). Stipe himself described the album as "dark, damp and paranoid." So for your next job decided to find a rock producer, Don Gehman, known for his productions of John Mellecamp. Gehman gave them a more muscular, rhythmic sound, more concise and more clear. But at the same time, able to preserve and evolve the most typical feature of his early work with Mitch Easter and Don Dixon, these arrangements seem accidental anomalous but are carefully thought out. Gehman able to advance the group's sound, helped Mills, multi-instrumentalist of all to develop their capacity as arranger, ask him for his role as Buck guitarist Don made me question why he played at certain times. We wanted to be more direct "(Buck), here is away part of the arpeggio McGuinn and is the most direct and Berry helped to reconcile with the sound of your instrument. "In the past I always tried to get away from the rumbling sound of the drums. But it ended was weak and lacking in luster. Don gave us a strong drum sound but natural. " This new way, in part, to establish their sound, spurring your creativity. Of note is the effectiveness of organ and piano arrangements of Mills, which sounds throughout the album except for "Swan Swan. H. "You have to remember, to properly contextualize this work on this new sound that weighs the cul de sac away from the previous album. Also at that time that was recently published the highly influential "Candy Apple Grey by Husker Dü. Surprise, the structural quality of their songs, the influences wisely updated and decontextualized or immediacy aspects have always been secondary to the true essence of the REM sound, that indefinable ability to seize and subjugate the listener. In the first place, the group's music may seem homogenous, monotonous, slightly flashy. But it casts a shadow intrigue in the listener's consciousness, creating a strange addictiveness that gradually increased in subsequent listen. Only then reveals its potential. That sense of mystery quartet from Athens, combined with a more immediate, making this album, in my opinion, the most enjoyable of his discography. The beginning of the disc, with two of his most rock songs to date, is a spectacular example of this new sound, muscular and artistic at once. Surprisingly the front paper input assumed Stipe, is clearly understood, imposes his voice trailing songs, when it stood before indecipherable lyrics and the way they put the word out to the instruments in the mix, not above. Although these two songs may seem to approach the NRA (New American Rock), the group's resources are far superior to the rest of Yankee rock guitar, bringing them closer, more substantive in form, the sound of a Smiths detail. Marr, English guitarist, was able to simulate with interlocking guitar, the complex arrangement of a Motown song. REM has a musician so proud. Understand the limitations of each element as a musician, are part of the sound. But they know they can overcome their shortages with imagination. This will serve as its vast musical culture and talent that allows them to carefully articulate sounds and resources typical pop 60 (Byrds, Beach Boys, Big Star, Velvet Underground), with other more contemporary (Gang of Tour, Wire, Television, Patti Smith). Imagination are overwhelmed just these two songs: the tribal percussion (such marking and accompanying guttural rhythmic changes!), The wise guidance of the energy that takes place in the instrumental bridge, from guitars to organ, a phenomenon that seems electrical conductivity, Stipe's growling, the court put a phrase like rhythmic break before returning to the load, etc ... In contrast, "Fall on me," the third song, is that more easily fit in "Murmur" its debut. Here is the simple rhythmic legacy of Moe Tucker of the Velvet and funds from various speakers playing the same chords. Interestingly, the most successful and popular song of the album. Take note people to hear his debut, thinking that these guys had no sales potential. The rest of the album, is filled with similar details. Give a general overview of them: cash nostalgic riff on opener "Cuyahoga", its arpeggios to McGuinn, treatment frenetic perfect melody of "Hyena", the great piano work of Mills in that song, "Underneath bunker "is an experiment, a pseudo Latin instrumental with imitating Stipe animal voices and singing through a megaphone police, in the best style Waits. "The flowers of Guatemala" are priced vocal counterpoint between Stipe and Mills, a fund of last guitarrarero feedback and a simple backward Buck only on a "cushion" to organ and a drum that looks like a field recording of a string mount (a bit like "Cabinessence" by Brian Wilson). "I Believe" begins with a banjo intro, reflecting the status of Southerners Quartet for this upbeat and lively song, with accordion and a mixture of pristine guitar to strum Television with garajeros. "What if We Give it Away" has a Gothic choir at first, as in his first album and a harpsichord buried in acoustic guitars. "Just a touch" is a song from chaotic punk and new wave (it has a tap dance to the Gang of Four). And finally, the first version that the group included in an album and not a B-side single, "Superman", the success of a shadowy group of 60 garajero called Clique, where Mills takes the lead vocals. NOTE: The CD reissue has six bonus tracks, including live in studio versions recorded on two tracks, one instrumental to the Joe Meek with a touch Byrds on guitar ("Rotary Ten") and versions of Aerosmith and Everly Brothers
My favorite album of the group, though little recognized, as the group's fans tend to prefer his early work records or after it. Relegating this album which laid the foundation stone of a slow path that will lead to commercial success, or even a mere about to drive her back immediately, "Document" as the basis of this more expansive sound that would mark his Working with producer Scott Litt, but losing the intangible qualities by the way, in my opinion. The sound of the album is a reaction to the dim and hazy sound of his previous work, "Fables of the reconstruction", with the legendary Joe Boyd (Pink Floyd, Fairport Convention, Richard Thompson and above all, the discoverer, producer and supporter of the late Max Nick Drake). Stipe himself described the album as "dark, damp and paranoid." So for your next job decided to find a rock producer, Don Gehman, known for his productions of John Mellecamp. Gehman gave them a more muscular, rhythmic sound, more concise and more clear. But at the same time, able to preserve and evolve the most typical feature of his early work with Mitch Easter and Don Dixon, these arrangements seem accidental anomalous but are carefully thought out. Gehman able to advance the group's sound, helped Mills, multi-instrumentalist of all to develop their capacity as arranger, ask him for his role as Buck guitarist Don made me question why he played at certain times. We wanted to be more direct "(Buck), here is away part of the arpeggio McGuinn and is the most direct and Berry helped to reconcile with the sound of your instrument. "In the past I always tried to get away from the rumbling sound of the drums. But it ended was weak and lacking in luster. Don gave us a strong drum sound but natural. " This new way, in part, to establish their sound, spurring your creativity. Of note is the effectiveness of organ and piano arrangements of Mills, which sounds throughout the album except for "Swan Swan. H. "You have to remember, to properly contextualize this work on this new sound that weighs the cul de sac away from the previous album. Also at that time that was recently published the highly influential "Candy Apple Grey by Husker Dü. Surprise, the structural quality of their songs, the influences wisely updated and decontextualized or immediacy aspects have always been secondary to the true essence of the REM sound, that indefinable ability to seize and subjugate the listener. In the first place, the group's music may seem homogenous, monotonous, slightly flashy. But it casts a shadow intrigue in the listener's consciousness, creating a strange addictiveness that gradually increased in subsequent listen. Only then reveals its potential. That sense of mystery quartet from Athens, combined with a more immediate, making this album, in my opinion, the most enjoyable of his discography. The beginning of the disc, with two of his most rock songs to date, is a spectacular example of this new sound, muscular and artistic at once. Surprisingly the front paper input assumed Stipe, is clearly understood, imposes his voice trailing songs, when it stood before indecipherable lyrics and the way they put the word out to the instruments in the mix, not above. Although these two songs may seem to approach the NRA (New American Rock), the group's resources are far superior to the rest of Yankee rock guitar, bringing them closer, more substantive in form, the sound of a Smiths detail. Marr, English guitarist, was able to simulate with interlocking guitar, the complex arrangement of a Motown song. REM has a musician so proud. Understand the limitations of each element as a musician, are part of the sound. But they know they can overcome their shortages with imagination. This will serve as its vast musical culture and talent that allows them to carefully articulate sounds and resources typical pop 60 (Byrds, Beach Boys, Big Star, Velvet Underground), with other more contemporary (Gang of Tour, Wire, Television, Patti Smith). Imagination are overwhelmed just these two songs: the tribal percussion (such marking and accompanying guttural rhythmic changes!), The wise guidance of the energy that takes place in the instrumental bridge, from guitars to organ, a phenomenon that seems electrical conductivity, Stipe's growling, the court put a phrase like rhythmic break before returning to the load, etc ... In contrast, "Fall on me," the third song, is that more easily fit in "Murmur" its debut. Here is the simple rhythmic legacy of Moe Tucker of the Velvet and funds from various speakers playing the same chords. Interestingly, the most successful and popular song of the album. Take note people to hear his debut, thinking that these guys had no sales potential. The rest of the album, is filled with similar details. Give a general overview of them: cash nostalgic riff on opener "Cuyahoga", its arpeggios to McGuinn, treatment frenetic perfect melody of "Hyena", the great piano work of Mills in that song, "Underneath bunker "is an experiment, a pseudo Latin instrumental with imitating Stipe animal voices and singing through a megaphone police, in the best style Waits. "The flowers of Guatemala" are priced vocal counterpoint between Stipe and Mills, a fund of last guitarrarero feedback and a simple backward Buck only on a "cushion" to organ and a drum that looks like a field recording of a string mount (a bit like "Cabinessence" by Brian Wilson). "I Believe" begins with a banjo intro, reflecting the status of Southerners Quartet for this upbeat and lively song, with accordion and a mixture of pristine guitar to strum Television with garajeros. "What if We Give it Away" has a Gothic choir at first, as in his first album and a harpsichord buried in acoustic guitars. "Just a touch" is a song from chaotic punk and new wave (it has a tap dance to the Gang of Four). And finally, the first version that the group included in an album and not a B-side single, "Superman", the success of a shadowy group of 60 garajero called Clique, where Mills takes the lead vocals. NOTE: The CD reissue has six bonus tracks, including live in studio versions recorded on two tracks, one instrumental to the Joe Meek with a touch Byrds on guitar ("Rotary Ten") and versions of Aerosmith and Everly Brothers
Monday, July 27, 2009
Important Soccer Events December 2010
Especial Sir Douglas Quintet
What they have in common the exiled son of a Lebanese and a conservative icon like Chuck Norris? So in principle it may seem that nothing less than the first one was an enemy (in fiction?) Of the Delta Force at the time of peak. Well, a English chain used one of the first songs to promote the series "Texas Ranger" Norris . In particular, the popular "hey baby" to register with the Texas Tornados. Send a hippie Texan friend of any fumeta Texan as Johnny Winter, Billy Gibbons and Willie Nelson, playing in the series of the man who has done best in life is to be beaten by the master Bruce Lee in "The wrath of the dragon" ! But the story of Doug Sahm (son of the exiled, of course) is much more interesting than this droll detail. We're talking about a guy who came to play, being a kid, with Hank Williams himself in 1952. Act that can not boast any of the founding fathers of rock & roll of the fifties. In these times where the "new? genre called "American" until we find him in the soup, where every god mint Gram Parsons with the same familiarity as his second cousin, is shameful that names like Doug Sahm and Michael Nesmith not on everyone's lips fans of the genre. Or just on the lips of fans of good music, nothing more.
If Parsons defined his "cosmic American music" as a medley of country thus caught by band, sound was completely defined by the two "Hot Burrito" he recorded with the Flying Burrito Brothers. If, starting from there, Michael Nesmith took this mix one step further. Doug Sahm did not need these definitions as he grew up in a multicultural enclave was Texas and all those influences came to him first hand. Not that I thought of mixing is that the locals there so perspired. To which we must add the extreme concern the little Doug and his early entry into the country scene. Wayne
Doug Sahm was born on November 6, 1941 in San Antonio (Texas). Was a child prodigy who quickly mastered the steel guitar, mandolin and violin (fiddle), all by ear. Debuted on the radio at the age of five years singing "Teardrops in My Heart" station KMAC in San Antonio itself. With only eight years was an instrumentalist in the band accompanying the Louisiana Hayride country big names like Webb Pierce, Faron Young and Hank Thompson. On December 52, took the stage with Hank Williams in a scene of Austin (Texas), less than two weeks that Williams should die in his limousine. If the radio
knew first hand the intricacies of white popular music of the United States in the club scene of the black neighborhood in San Antonio, the boy attended concerts of other music giants such as T-Bone Walker Junior Parker, Bobby "Blue" Bland and James Brown. Why envy, right? Well, now I tell you that when I was a teenager the policy of the Grand Ol'Opry offered a regular space in Nashville. But his mother (mothers ay) told him to finish his studies (the Yankee high school) at home. This did not stop Doug a lot of groups formed during this period: the Pharaohs, the Dell-Kings and Markays among them. Such recordings are available, in part, "Doug Sahm - San Antonio Rock: The Harlem Recordings 1957-1961" . Edited volume in 2000 the Norton label. Here is what you will find mostly rhythm & blues with Doug that it stands as the vocalist.
As can be drawn from this is that while futilely attempt to Gram Parsons (living) be recognized by the older generation of country musicians (you know the story of Merle Haggard initially would produce Gram's solo debut) Doug never had to prove their loyalty to the concept of roots can have a country purist. And Doug's voice alone is a unifying element. His voice is that of the Soulman Stax. In fact, is traveling the same path, but from the side "white", these soul singers to "blacken" folk and country numbers, such as Solomon Burke, Ray Charles or Joe Simon. The anticipation of what will Elvis Presley himself on the 70, also using a multi-racial band.
Doug Sahm In 53 she met a neighbor named Augie Meyers had learned to play guitar and piano to combat the disease of polio that had immobilized her hands. Together they went through various configurations up to 1965 where he went on to fame. At least beyond the local circuit. The story is as follows: record producer Huey P. Meaux, also known as "Crazy Cajun" with which Doug had agreed on the school and had some success with Barbara Lynn, is dedicated to getting hectoliters of vinasse (specifically, the Thunderbird brand) in a hotel room while listening the Beatles records. Remember that we are in the British Invasion. Advanced
the Kurds, he says to himself "But if these guys use cajun rhythms" (a two step). And as you round the head to create a group that blends the sounds of the omnipresent beat the Tejano English, call Doug, you said that long hair is left, forming a group and compose a song with a Cajun two step rhythm . This and done. Doug joins his inseparable Augie Meyers (who will be instrumental in the success of the song that will burst the same year) and Jack Barber (bass), Johnny Perez (drums) and saxophonist Frank Morin. And after being baptized with a British-sounding name like Sir Douglas Quintet, are set to record under the direction of Meaux. Their second single "She's about to move" becomes a classic and enters the top 20 American. This song based on "She's woman" of the Beatles and "What I'd say" of Ray Charles (who Doug took a lot of his style as a vocalist) is the cornerstone on which to define the style tex mex. This lively and bouncy rhythm of body Augie whose melody seems drawn from popular infamous "The birds" , percussion and rhythm guitar cajun give the piece a novelty. The melody may sound a thousand times I heard and the rhythm & blues progression is that it is not very original, but these rates have never been heard in a rock & roll. And employers down at the end of each line break subtly progression typical twelve-bar blues. That pattern, of course, will reappear in the "Dirty water" the Standells, to give you an idea of \u200b\u200bthe importance it had this song in the genre garagero. A delicious chorus with those calls and answers typical gospel similar to the "What I'd say" , as are those "hey, hey, hey" popularized by the classic Charles, finish shaping this , if you want simple but addictive musical stew.
take advantage of the situation to get another single to chart success, "The Rain Came" Augie where re-use that sound heavily syncopated organ. And finally, Huey publishes the results of these sessions with the misleading title (as if a compilation) of "The Best of Sir Douglas Quintet" . I recommend the Westside Records edition that includes a bunch of bonus cuts to complete the twenty included. This album, though somewhat inexperienced (only in comparison with the masterpieces they recorded in later years) contains the raw material that will develop in the future. That mix of country, Texas blues, western swing, jazz, R & B, Mexican music, cajun, British rock & roll, garage rock, polkas and psychedelia. The album includes versions of Jimmie Rodgers "In the Jailhouse" , Andre Williams "Bacon Fat" (in editions with bonus), "Quarter to Three Gary U.S. Bonds or " In the pines " Leadbelly, whose version like the Animals. But some exercise in style to the Stones as "It'sa man down there" or "She's gotta be the boss" pattern that imitates a "Memphis Tennessee" by Chuck Berry .
The group obtained a great success and this year touring the U.S. with James Brown and Europe with the Beach Boys and the Rolling Stones. At the turn of the old continent, in March 66 in Corpus Christi Airport (Texas) Doug and I cached caught a small amount of marijuana. To avoid further trouble with the law and because Doug is a great fumeta, skips bail and moved to San Francisco. Which causes the scattering of the original. Doug will remain on the West Coast over the next five years. There, the Sir Douglas reform with various local musicians. Among them John York (who later played with the Byrds in the late stage) and Frank Marino as the only survivor of the previous training. And they get a contract with Mercury Records to record several albums. With this line edit in 68 "Honkey Blues" which is a creative breakthrough in relation to meetings Huey and also with a strange album lacking the distinctive touch of Augie body. Which is offset by a brass section of five members of the group is immersed in the jazzy sounds of Miles Davis. But do not be alarmed, this is not a jazz rock Peñaza as the hundreds who registered inspired by the fundamental " Bitches Brew" Miles Davis . Jazz is just one element in a stew of Doug, that breaks unexpectedly in certain passages of the disc providing the whole range. In addition, Doug is more inspired by the stage of Miles with arranger and composer Gil Evans in its period jazz rock, sounding closer to the wonderful debut Blood Sweat & Tears ( "Child is the father of the man" ) than Weather Report. It is their most psychedelic album and also the most multifaceted, perhaps even as schizophrenic. Still, there is a common thread that runs underground and unifies the entire disk so that everything fits. If you ask me if "I'm glad for you sake" comes from the majestic "Two steps from the blues" Bobby "Blue" Bland and was somewhat confused, answer yes without hesitation ... until Doug introduced the fiddle rerecorded and "reverb" enough to break down the walls of Jericho. With that violin sound between traditional and avant-garde would also use in Texas and me " (the " Mendocino ") opens " Whole lotta peace of mind "baladón another southerner. As in other songs on the album, there are those descolocantes fragments of jazz. They remind me of Miles Davis "Sketches from Spain" where the brilliant trumpeter moving in a field full of details Hispanics (closer to a mexican feeling or Andalusian frontier, which connects very well with a Texan like Doug) in which you did not know if he was paying tribute to the maestro Rodrigo or a distant civilization. For such sounds sound, for example in the intro to "Can you dig my Vibrations" funkiest part of the disk, where Doug was hoarse as the best black shouter. It also shows the influence of other discs Miles as "The Sorcerer" or "Miles Smiles" .
In short, a most amazing album full of strange details to discover in progressive listeners. occurs as in "Love" by the Black Crowes transmitting that feeling jam with musicians passing it big. By the way, among members of the brass section is the famed session musician Mel Martin. He has worked with Jodorowsky on the soundtrack of "The Mole" and sometimes as "The Rumble" , "The Warriors" and the series "Twilight Zone" . As a curiosity, is the author of the original melody of the Sesame Street sketch in which a pinball ball taught to count to twelve.
"You just can not live in Texas If You Do not Have a lot of soul"
After recording "Honkey Blues" the group disbanded, absorbed in their own projects and Doug left alone with Morin. As he misses his old buddies, convinces Johnny Perez and Augie Meyers to move from Texas. Said and done. The reunion is so happy that 69 edit "Mendocino" where turbulent air above the disk are replaced in part because during the recording marijuana runs galore.
The result is another masterpiece. The album highlights the contrast between joke and heartbreaking moments that must not be strange if you know any popular music world. Party to tears. For example so far "Mendocino" (the song that opens the album) to "At the crossroads" theme that reminds me "One must know (sooner or later)" Bob Dylan rather than nothing for some vocal inflection that is pure Dylan. But in Minnesota has never sung not half so good that Doug here with these Soulman inflections of voice Herculean Sahm. Speaking of emulating Dylan, Mott The Hoople version of this song on their eponymous debut of 69 (when it was released on album of the Sir Douglas). Not only that, but "I want to be your mama again" inspire the group Ian Hunter his "I Wish I Was Your Mother" (similarities begin from the title). The whole album is very good, for highlighting something, other than those mented, will mention a few more: "And It Did not Even Bring Me Down" with a few riffs for sax Frank Marin that are impossible to not ever hear them whistle. Try it and see. And "Lawd I'm just a country boy in this great big freaky city" which also has a title worthy of a movie baturroexplotation the great Paco Martínez Soria. And a faster version of "She's about to move" with a guitar solo to volume 11 of Sahm.
I recommend the edition of the stamp album Acadia / Evangeline 2002 that includes extras like that juicy "Sunday Sunny Mill Valley Groove Day" a pop gem that was covered by Frank Black / Black Francis on his solo career. In the mental cacao my early childhood memories are about those musical motifs or Alghero Santiesteban composed the organ melody of the song reminds me of those Doug lounge music that made these teachers, so typical of the seventies.
The next year, which starts the seventies, is a particularly sweet for the creativity of Doug and company, who take two albums the same year. Let them:
"Together After Five"
Basically follows the general lines of "Mendocino" with new hymns as tex mex "Nuevo Laredo" and any deviation jazzy as that version of "T-bone shuffle" sound and intrusions to Dylan "Blonde on Blonde" and "If only she'd come to me" or the version of "One Too Many Mornings" pasted with own "Got to sing a happy song." Essential to get the complete version with extras that contains extras like that lubricate tribute to the latin girls "little Mexican" called "Southside girls."
"1 + 1 + 1 = 4"
This record deals both country songs he recorded with legendary Nashville producer Jerry Kennedy on the claim that the nickname into the market place of Wayne Douglas in order to make a name in the country scene as "Be for real," "Tortilla Flats" and "Pretty flower", although the latter could have recorded under the moniker of Wayne Cochran, given what looks like the style the other white with black soul, both perfect likes of James Brown when the occasion requires. As on the other also finds its place where the material basis of tex mex style delve into other sounds: pop in "What about tomorrow" and sounds black (swing, soul and funk) on "In the Dark" or "Do bug me "or the version of" Sixty minutes of your love "of Hayes and Porter. The disc is recorded by a mixture of training in California and Texas in the Sir Douglas. This close to being a mix of jazzy environments of "Honkey Blues" and soulful Tex-Mex of "Mendocino." The musicologist Charlie Gillett came to comment that the "problem" was that Doug was unable to choose between a lot of things he did superbly well. With which the industry has always struggled to pigeonhole. The fans can only thank her blessed "tare."
In 1971 keeps the same inspiration with "The Return of Doug Saldaña." Saldana is the name they gave Doug Mexicans, which respectively state that had both of Mexico in that Mexico needed a nickname. An album as good as any of the foregoing, in line, because their sound is such an accumulation of influences that needs no more to avoid the specter of repetition. Any news like that southern boogie to the Doors "Morrison Hotel" in "Live What You Preach," Texas blues in "Papa Is not Salty" pimping soul in "She's huggin'you" pure country "Keep your soul ", a version of his colleague Freddy Fenders" Wasted days and wasted nights "and a swing as" Gypsy "and anticipates that compresses the entire career of Brian Setzer. Is more purely disk Texan training.
Rory With the return to Texas in 1972, once forgotten the little matter that I had outstanding with justice and with Augie Meyers turned in his solo career (though again participate in many records of Doug, even in the Texas Tornados with Flaco Jimenez and Freddy Fenders), ends this stage of the Sir Douglas Quintet. He even released an album of discards "Roug edges" in the 73, while interesting, almost all the code it contains is included in the CD edition of the previous albums as bonus tracks.
installed in your home again, Doug released solo albums as interesting as "Doug Sahm and the band" (1973) where participate as a deluxe band Bob Dylan (who composed expressly for Doug the theme "Wallflower"), Dr. John and another hero of tex mex music as Flaco Jimenez. And produced in tandem two are both geniuses like Jerry Wexler and Arif Hardin. O "Grovers Paradise" (1974) accompanied by the rhythm section from Creedence. Group heavily influenced by Doug Sahm, on the other. To cite only the closest in time to the Sir Douglas, who otherwise met again in the 80 rotating with great success in Europe. Especially in Sweden where the girls come on stage and tried to undress the good Doug.
The great Doug Sahm continue playing and getting good records until his death on November 26, 1999, with 58 years of age. And do not forget that nice homage paid by the Bottle Rockets with "Songs of Sahm" devoted entirely to songs by Doug versioning. Collaborations
Willie Nelson "Shotgun Willie" (1973) - Doug does vocals and plays electric guitar on "Stay All Night (Stay a Little Longer)" and "Devil In A Sleeping Bag." In "The Troublemaker" (1976) furnish vocals and fiddle. The Grateful Dead
"Wake of the Flood" (1973) - Martin Fierro and Frank Marino metals play different songs and Doug plays a twelve string guitar on the album. The ability Ojito Doug on guitar, which can attest to the same Ben Vaughn saw him live numerous times at different stages of the race on one occasion where you spend the whole concert singing with a wrestling mask on! Yusef Lateef
"Part of the search" (1974) - Doug plays guitar and fixes "Oatsy Doatsy" disc of this jazzman.
Rick Danko Rick Danko "(1977) - Doug plays lead guitar on" Tired of Waiting "and" Sip the Wine "
VA" Where you put the eye the alfasolar Pyramid "(1990) - Doug revisits the most famous song of 13th Floor Elevators his friend Rory Erickson, "You're gonna miss me." And at 75, Doug will finance it to his friend Rory, sunk, the single "Starry Eyes / Two headed dog" where he also participated as a musician.
Uncle Tupelo "Anodyne" (1993) - Voice guest "Give back the key to my heart" Townes Van Zandt
"Texas Rain" (2001) - Sessions recorded for 1991. Doug sings "Two girls" and put 12-string guitar on "Pancho & Lefty" and "Quicksilver Dreams of Maria"
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