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"
Monday, July 13, 2009
Speed Of Tac-5 Recon Paintball Gun
La muerte de la musica
I have it clear, the main cause is the modern productions. These sounds without sharp edges, no nerve or anything, looking for impact only under the banner of saturation and fill all sound (more noise), creating a feeling of satiety and boredom in the listener.
That sound environment of the Sun, the sweat was palpable in the productions of Stax, the reverb of surf guitar, the Despiporre that flew over the primeval rock recordings where you could hear the singer taking a breath, the guitarist strumming the strings of his instrument or the great genius who was Joe Meek tune using notes or instruments, the echoes from different parts of the hole that used to study. The static, the sound in the environment. That sometimes is more important than what is played. What
from where you sort of infra est thesis? Have I conducted a study of the holy ciborium or something? No, they are my own impressions and the loose here that this is my blog. Also
I leave a photo of La Lupe, one of the largest. 
I have it clear, the main cause is the modern productions. These sounds without sharp edges, no nerve or anything, looking for impact only under the banner of saturation and fill all sound (more noise), creating a feeling of satiety and boredom in the listener.
That sound environment of the Sun, the sweat was palpable in the productions of Stax, the reverb of surf guitar, the Despiporre that flew over the primeval rock recordings where you could hear the singer taking a breath, the guitarist strumming the strings of his instrument or the great genius who was Joe Meek tune using notes or instruments, the echoes from different parts of the hole that used to study. The static, the sound in the environment. That sometimes is more important than what is played. What
from where you sort of infra est thesis? Have I conducted a study of the holy ciborium or something? No, they are my own impressions and the loose here that this is my blog. Also
I leave a photo of La Lupe, one of the largest.
Sunday, May 24, 2009
Reviews On Mahabhringraj Hair Oil
Byrds "Preflyte Sessions" (1965)
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This double cd albums wholesome " Preflyte " and "In the beggining ", plus some extra outlet, which is dedicated to collecting the demos they recorded with producer Jim Dickson before signing a contract with RCA. By having this firm policy of employing only producers who were under payroll, poor Dickson was removed from within the group.
contain Beyond test the group's evolution toward that sound as distinctive and novel explosionaria with their debut, this album is enjoyable in itself. It contains great songs, some inexplicably unpublished and are recorded in a professional studio (the studio itself by Jim Dickson who was to be a saint and I'm not surprised that give food and wrapped in bed). Come on, do not sound at all inexperienced. More naked on his debut, perhaps less personal, but proud.
I used this collection to claim effectiveness as a drummer Michael Clarke, who was inducted into the group for their spunky Rubiales painted when the rest of the group found it on the beach playing the bongos (and feet would like the thousands of black friends the ethnic and multicultural that plague our country have had such an opportunity.)
The boy apparently had not played drums in life and had to learn on the fly. Neither Hillman was bearish, his was the guitar and especially the mandolin, but do not cost as much converted to an instrument of the same family. Clarke is not an octopus, of course, but has very good taste and instinct for touching it is a little or a lot, contribute positive elements to the song. This ties in well with the simple but subtle style of the rest of the set. The best compliment you can take is that when you replace Jim Keltner, not noticed an improvement (even worsened) in the overall sound of the group.
In terms of content, apart from heavy versions of Dylan and primitive recordings of pieces that would go after the group's first two albums, we have several gems that have remained unpublished until these discs removed and archaeological belong to the exceptional and prolific pen of Gene Clark, who was a monster:
" The only girl I adore " an Everly Brothers-style piece, with the Byrds simulating the vocal games of the two brothers. "You Showed Me " which then would record the Turtles, it's these songs that by themselves are worth purchasing the disc containing it. An absolutely perfect and catchy melody like few others. The accelerated " You movin '" to go to find out what the hell was rejected when it would fit perfectly for your debut with "It's no use " and is a perfect piece to animate a concert or similar roost. Or the superb "The airport song." Seeing as some mediocrity which disfigures the first two albums, that song hurts so good how are you were not included.
DOWNLOAD LINK:
Saturday, May 23, 2009
How To Hook Up Rogers Cable
Pretty Things "Emotions" (1967)
Well if it's not my eagerness to be contrary, but is my favorite album of all British. And they do not like either of them. The producer, Reg Tilsley, put metal strings and without their consent and were not satisfied with the result. In this third album, leaving the ferocity of their previous two albums and take the path that takes them to " SF Sorrow" (1968) and " Parachutes" (1970) considered the summit of the whole.
This was the first album of Pretty I had. Then I did with "SF Sorrow " disappointed me. Today I like, but eventually I found a record of production. That is, many different elements to hide the lack of songs about regular basis. A defect, to cite an epitome disk where the production masks the songs, which happens to some critical acclaim as "Ok Computer " (1997) by Radiohead. By the way, "Paranoid Android " from that album of Radiohead copy the riff from "In the square " from "Parachutes ."
guess I should be a shock for fans of the group, after the first two albums devoted to rhythm & blues that left the Stones like the tuna, although copying a bag (with that extra bit of rudeness ), listen to dive in these records so melancholy, to a certain point, sound level, equidistant between Love (how to use the arrangements) and Kinks (cabaret music, swing and the contents of the letters, besides a version of " A house in the country " of "Face To Face " 1966, included in the extras), but as a very personal record. Many of the songs seem miniature, almost skeletons of song and earn enough thanks to the additive noise to which they are exposed. Showing weakness in those moments as creators of the set. The winds were blowing badly for the groups of his rope and things were changing very fast in the pop scene for a group like them survive if changes direction. So, this is an album rushed and forced, the Pretty have to write songs in a style that are not prepared and as not relying too heavily on its creative engine, are given a producer garnish songs. Unexpectedly, the play they went well.
heard the record, the truth that one can not imagine these songs without the arrangements. For example, the acoustic "Death of a socialite " (which according to them was inspired by the lavish and thick " A day in the life " by the Beatles! Even remember much more to "Death of a clown "by the Kinks) without these metals would be a song too spartan and at no time the brass section is too intrusive, but provides pace and variety to the piece. Another example could be the monotony with which they performed "The sun ," a piece with a certain air to the first Animals that did not use the orchestration to create those cardboard melodrama stone so aided when the rock / pop uses the resources of the music called serious. But who benefits from these as they would a song too flat "plain." " There Will Never Be Another Day " is a return to its origins taking advantage of the addition of metals to give a boost to the matter of rhythm.
One of the jewels of the album is "House of ten ." A languid slow song embellished by harp and strings creating a very melancholic atmosphere. The best of album next to " Growing in My Mind" with a very Stones on the stage of " Aftermath" (think "Out of Time " or "Take it or leave it"). In fact the disc is an experiment in pop Pretties sophisticated in the way of the Stones "Between The Buttons " of the same 67. " Photographer " sounds like a version of "Subterranean Homesick Blues " Dylan turned into rhythm & blues to metal, a bit like a version of Harry Nilsson made later, but not half the raw boogie Nilsson and Lennon created on your hard together. And the final piece "My time " again stressed about my impression. Would this song a memorable if not for the instrumental accompaniment that provides Tilsley? I insist, is too restrained, without stifling the songs.
EXTRA MATERIAL: We mentioned version of the Kinks, which seems higher than those to be more raw and driven, but does not contribute almost nothing to the original. And no arrangements Tilsley versions of various songs from the album, where you can see that clearly won the final treatment.
DOWNLOAD LINK:
http://sharebee.com/0046c08e
This was the first album of Pretty I had. Then I did with "SF Sorrow " disappointed me. Today I like, but eventually I found a record of production. That is, many different elements to hide the lack of songs about regular basis. A defect, to cite an epitome disk where the production masks the songs, which happens to some critical acclaim as "Ok Computer " (1997) by Radiohead. By the way, "Paranoid Android " from that album of Radiohead copy the riff from "In the square " from "Parachutes ."
guess I should be a shock for fans of the group, after the first two albums devoted to rhythm & blues that left the Stones like the tuna, although copying a bag (with that extra bit of rudeness ), listen to dive in these records so melancholy, to a certain point, sound level, equidistant between Love (how to use the arrangements) and Kinks (cabaret music, swing and the contents of the letters, besides a version of " A house in the country " of "Face To Face " 1966, included in the extras), but as a very personal record. Many of the songs seem miniature, almost skeletons of song and earn enough thanks to the additive noise to which they are exposed. Showing weakness in those moments as creators of the set. The winds were blowing badly for the groups of his rope and things were changing very fast in the pop scene for a group like them survive if changes direction. So, this is an album rushed and forced, the Pretty have to write songs in a style that are not prepared and as not relying too heavily on its creative engine, are given a producer garnish songs. Unexpectedly, the play they went well.
heard the record, the truth that one can not imagine these songs without the arrangements. For example, the acoustic "Death of a socialite " (which according to them was inspired by the lavish and thick " A day in the life " by the Beatles! Even remember much more to "Death of a clown "by the Kinks) without these metals would be a song too spartan and at no time the brass section is too intrusive, but provides pace and variety to the piece. Another example could be the monotony with which they performed "The sun ," a piece with a certain air to the first Animals that did not use the orchestration to create those cardboard melodrama stone so aided when the rock / pop uses the resources of the music called serious. But who benefits from these as they would a song too flat "plain." " There Will Never Be Another Day " is a return to its origins taking advantage of the addition of metals to give a boost to the matter of rhythm.
One of the jewels of the album is "House of ten ." A languid slow song embellished by harp and strings creating a very melancholic atmosphere. The best of album next to " Growing in My Mind" with a very Stones on the stage of " Aftermath" (think "Out of Time " or "Take it or leave it"). In fact the disc is an experiment in pop Pretties sophisticated in the way of the Stones "Between The Buttons " of the same 67. " Photographer " sounds like a version of "Subterranean Homesick Blues " Dylan turned into rhythm & blues to metal, a bit like a version of Harry Nilsson made later, but not half the raw boogie Nilsson and Lennon created on your hard together. And the final piece "My time " again stressed about my impression. Would this song a memorable if not for the instrumental accompaniment that provides Tilsley? I insist, is too restrained, without stifling the songs.
EXTRA MATERIAL: We mentioned version of the Kinks, which seems higher than those to be more raw and driven, but does not contribute almost nothing to the original. And no arrangements Tilsley versions of various songs from the album, where you can see that clearly won the final treatment.
DOWNLOAD LINK:
http://sharebee.com/0046c08e
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