Ear Flux

About Patti Smith by Steven Sebring, Dream of Life:

By ROBERT KOEHLER
The titular rocker-poet gets a suitable portrait in Steven Sebring’s “Patti Smith: Dream of Life,” which runs radically against the grain of American-made pop music docs. The result of 11 years of filming (much of it in wonderfully grainy black-and-white 16mm), pic is designed as a stream-of-consciousness experience, following Smith as she revives her music career and considers every aspect of her life. Death, too, plays a stark role, and the textured, thoughtful results may prove too cerebral and abstract for auds beyond Smith’s hardcore followers, but long-term, this will be a loss-leader that gains much respect.

What Sebring — a fashion and pop photographer, painter and commercials maker — doesn’t know about doc filmmaking never hurts the film. Starting in 1995, when Smith recorded her comeback album “Gone Again” and toured with her idol, Bob Dylan, after having not performed live for 16 years, Sebring’s project clearly developed as it went along, and the effect of watching the film is seeing something in the making — like rummaging through Smith’s closet, and stumbling across interesting stuff.

In voiceover, Smith briefly sums up her background as the daughter of Chicago parents (Grant and Beverly Smith, both lovingly seen at home) and the cultural child of ’60s art-political foment. At 23, a fledgling and serious poet, she became friends with artist Robert Mapplethorpe and teamed with him for a series of works that belonged to the early phases of performance art. Other encounters (such as with then-hell-raising playwright Sam Shepard) proved crucial, and led her into rock ‘n’ roll.

“Dream of Life” distinctively treat the particulars of her early career in only glancing references, none of them in chronological order, with Smith sometimes seen obliquely. more…

So Young But So Cold

This well-constructed compilation, is significant not only for opening up these sounds to a larger audience but also for putting a definite perspective on a music scene that was all too short.

It is the late Seventies in Europe. The political tensions of the Sixties are now manifest in the extremes of hedonism and direct action. Youth feels alienated once again, this time its worse with constant violence on the television and industrial upheavals at home.

Urban decimation and Postmodernism at its height, further isolating people from their surroundings. European identity has been eradicated in shame and frustration. But something is happening. Punk Rock in the United Kingdom has shown kids all over the world that its easy for them to release music on independent labels. Current technological trends make access to new electronic instruments (ARP and MS10 among others) easy. In France a new youth culture is born. So Young But So Cold illustrates that trend brilliantly.

It begins with the most poppy tunes and gradually goes back in time, as more instruments are added to each song and the experts (mostly influenced by and creating progressive rock) take over. The first half of the disc the instrumentation is sparse, consisting of drum machine or keyboard and vocals primarily. By the end of the disc the tracks get more (analog) synthesizer oriented and denser in construction.

1. Suis-Je Normale - Nini Raviolette 00:04:03
2. Euroman - J.J. Burnel 00:03:29
3. Roman Photo - Ruth 00:05:02
4. Disco Rough (Ivan Smagghe Edit) - Mathematiques Modernes 00:04:00
5. Carnival - Metal Boys 00:01:45
6. Person To Person - The (Hypothetical) Prophets 00:06:09
7. Wallenberg - The (Hypothetical) Prophets 00:06:18
8. So Young But So Cold - Kas Product 00:03:00
9. Synchro - Charles De Goal 00:04:00
10. MAE - Artefact 00:03:18
11. Switch On Bach - Moderne 00:03:08
12. Triangle - Jacno 00:03:29
13. Lighthouse - Tim Blake 00:06:47
14. The Force (Part I) - Droids 00:03:26
15. Welcome (To Death Row) - Bernard Szajner 00:06:14
16. Iceland - Richard Pinhas 00:09:38

Muito Bom!

The fucking real thing! A must-feel doc.

Só continuando a onda ai mais um pouco do post da Helena ai, pra quem baixar e ouvir com carinho o DESIRE, 76, merece ser ouvido tb, de earphone, e de olhos fechados, um dos melhores shows da carreira do camarada.
O show de encerramento da parte de 75 da ROLLING THUNDER REVUE.

1975/12/08, Madison Square Garden, THE KNIGHT OF THE HURRICANE - BOB DYLAN.

From the middle lands they come, creatures void of form, performing their deeds of mercy for breadcrumb sins. Through a glass darkly had they forseen Napoleon, in rags of green and gold, jurneying from the coast of Barcelona whilst, from the mountains of Madrid, came forth the blue eyed boston boy, flagging down the double e’s. And great rejoice was made at their coming for while they sang songs of darkness, songs of light made sounds inside my mind.
Yet the pedlar now speaks of darkness at the break of noom, for while Dylan plays, dead men bemoan the midas touch and though paradise regained the maine event yet would the Knight of the Hurricane bring forth the Final Cut.

o line-up, pra ter uma idéia desse disco:

Jack Bruce: baixo (dispensa apresentações)
John McLaughlin: na guitar (tbm dispensa…)
John Hiseman: batera (United Jazz, Collosseum II, Ensemble)
Dick Heckstall: Sax (Collosseum, John Mayal)

Jazz na melhor forma…
esse disco é um passeio, que rolou ali em 1970, onde o jazz clássico ainda flertava com o rock…
As vezes, se tem a impressão de um discão de jazz clássico que de repente começa a entrar num jazz/fusion da melhor qualidade e na sua forma mais primitiva.

Acho que não preciso falar mais nada…

enjoy: Things we Like

é incrível escutar titio Jack neste disco.

Pra quem não sabe:
Jack Bruce, baixista e um dos mentores de uma das maiores bandas do planeta, o Cream.(precisa falar mais alguma coisa?)

Já Robin Trower foi o clássico guitarrista do Procol Harum - banda que em meados de 68 tornou-se uma das maiores influências de um som que estava por vir: o rock progressivo.(depois deixo alguns discos sensacionais do Procol por aqui…). Ele teve um surto após escutar Hendrix tocando, o que mudou seu estilo completamente: dali pra frente nada de long trips na guitarra e sim uma guitarra distorcida, elétrica… blues rock na véia!

Completa a banda o batera Gary Husband, que dele, não sei nada… apenas um batera que completa adequadamente um power trio com dois monstros! …pouca bosta num é né?!

Este disco traz boas lembranças do cream… Tipo na música “Lives of Clay” que é uma espécie de releitura de “Politician”. E a voz de titio Jack??? de horrorizar o tanto que ta igual, ou talvez até melhor que na época do cream…

Coisa nova… de Rock n Roll clássico… muito bom…

Enjoy:
Jack Bruce & Robin Trower - Seven Moons (2008)

Durante os anos 60 os Airplane mantinham uma casa no Haight-Ashbury, aquele bairrozinho de San Francisco do qual sairam provavelmente os melhores sons do rock americano, e o nome deste disco é o endereço desta casa.

Cotinha, este não é o mais clássico deles, e sim uma coletânea, com os melhores momentos das fases do JA, que tem uma obra bastante extensa.

Acho interessante escutar esta coletânea antes de pegar algum cd específico - (ps.: JA é discografia oficial para qualquer pessoa do planeta, então aos poucos vamos disponibilizar todos os discos deles aqui né não Carajazz?) - , uma vez que eles tem fases musicais que são mais marcadas pelo rock psicodélico, outras por uma levada mais folk…

enfim… a grace slick é uma bab, os caras da banda tocam muito e PORRA GALERA BAIXA O SOM DESSA BANDA QUE EU TO TENTANDO APLICAR A MUITO TEMPO QUE VALE A PENA DEMAIS!!!!!

1- “We Can Be Together”
2- “Crown of Creation”
3- “Mexico”
4- “Wooden Ships”
5- “Rejoyce”
6- “Volunteers”
7- “Have You Seen the Saucers?”
8- “Eat Starch Mom”
9- “Pretty as You Feel”
10- “Martha”
11- “Today”
12- “Triad”
13- “Third Week in the Chelsea”
14- “Good Shepherd”
15- “Eskimo Blue Day”
16- The Levi Commercials

Enjoy: Jefferson Airplane - 2400 Fulton Street

Outro camarada que tava faltando por aqui..

For four decades, Leonard Cohen has been one of the most important and influential songwriters of our time, a figure whose body of work achieves greater depths of mystery and meaning as time goes on. His songs have set a virtually unmatched standard in their seriousness and range. Sex, spirituality, religion, power – he has relentlessly examined the largest issues in human lives, always with a full appreciation of how elusive answers can be to the vexing questions he raises. But those questions, and the journey he has traveled in seeking to address them, are the ever-shifting substance of his work, as well as the reasons why his songs never lose their overwhelming emotional force. MORE…

Outro doidão que foi morar no tibet.. ainda bem que esse daí pelo menos voltou à estrada.

Segundo disquinho do camarada. Segunda obra prima.

1969, Songs from a Room - Leonard Cohen.

Sem maiores comentários, primeiro disco solo do maior gênio que a Inglaterra produziu na década de 60.

1970 , The Madcap Laughs - Syd Barrett

All songs by Syd Barrett, except where noted.

“Terrapin” – 5:04
 Take 1, recorded 11 April 1969, overdubs added 4 May
 Produced by Malcolm Jones
 ”No Good Trying” – 3:27
 Take 3, recorded 11 April 1969, overdubs added 3/4 May
 Produced by Malcolm Jones
 ”Love You” – 2:29
 Take 4, recorded 11 April 1969, overdubs added 3 May
 Produced by Malcolm Jones
 ”No Man’s Land” – 3:03
 Take 5, recorded 17 April 1969, overdubs added 4 May
 Produced by Malcolm Jones
 ”Dark Globe” – 2:02
 Take 1, recorded 5 August 1969
 Produced by David Gilmour and Roger Waters
 ”Here I Go” – 3:13
 Take 5, recorded 17 April 1969
 Produced by Malcolm Jones
 “Octopus” – 3:48
 Take 11, recorded 12 June 1969, overdubs added 13 June
 Produced by Syd Barrett and David Gilmour
 ”Golden Hair” – 2:00 (Barrett, Joyce)
 Take 11, recorded 12 June 1969
 Produced by Syd Barrett and David Gilmour
 ”Long Gone” – 2:50
 Take 1, recorded 26 July 1969
 Produced by David Gilmour and Roger Waters
 ”She Took a Long Cold Look” – 2:06
 Take 5, recorded 26 July 1969
 Produced by David Gilmour and Roger Waters
 ”Feel” – 2:36
 Take 1, recorded 26 July 1969
 Produced by David Gilmour and Roger Waters
 ”If It’s In You” – 1:57
 Take 5, recorded 26 April 1969
 Produced by David Gilmour and Roger Waters
 ”Late Night” – 3:12
 Take 2, recorded 28 May 1968, overdubs added 11 April 1969
 Produced by Pete Jenner, Malcolm Jones (overdubs)

“Who Says a Funk Band Can’t Play Rock?!” disse George Clinton…

Segundo os próprios a banda fazia um “BlacK Rock” misturando elementos da black music com guitarras distorcidas a lá papa Hendrix…

“One Nation Under a Groove is the pinnacle of his political consciousness. It’s unified by a refusal to acknowledge boundaries — social, sexual, or musical — and, by extension, the uptight society that created them. The tone is positive, not militant — this funk is about community, freedom, and independence, and you can hear it in every cut (even the bizarre, outrageously scatological “P.E. Squad”).” mais

Clássico dos clássicos esse disquin….

Enjoy…
Funkadelic - One Nation Under a Groove (1978)