miércoles, 25 de agosto de 2010

Lisa Gerrard - Black Opal

Genre: Pop/Rock
Style: World fusion, Adult alternativeSimilar Artist: Delerium, Elizabeth Fraser, Forest for the trees
Recording year: Gerrard Records, 2009.

In collaboration with Brendan Perry, Lisa Gerrard is half of the duo Dead Can Dance, which started releasing arty goth rock on the 4AD label in the mid-'80s. Gerrard began her solo career with the 1995 release The Mirror Pool, which contained a lot of work that wouldn't fit comfortably into the DCD oeuvre. Combining these fragments with music that she composed and arranged digitally before reconfiguring them into scores that could be performed, it also draws on a composition by Handel and traditional Iranian music. Recorded and produced largely at her home in rural Australia, it extends the world music inclinations of recent Dead Can Dance albums by featuring bouzouki, tablas, and camel drums; though the somber, orchestrated pomp of Dead Can Dance is also present in her operatic, often wordless vocals, and string/woodwind passages (some of which were performed by Australia's Victorian Philharmonic Orchestra). Gerrard released her second album, Duality, written and performed with Pieter Bourke, in the spring of 1998. Gerrard composed the score for director Niki Caro's Whale Rider in 2003, followed by Immortal Memory, a collaboration with Irish composer Patrick Cassidy in 2004. Another collaboration followed in 2005, this time with composer Jeff Rona for the soundtrack to the Native American drama A Thousand Roads. 

Fields Of Haze... Underground for all.

domingo, 22 de agosto de 2010

Brendan Perry - Eye of the hunter (1999) & Ark (2010)

Although the last link I've already upload was -deleted- by strange forces, here it is again... and comes with his first work also. Enjoy it!!

Brendan Perry's solo debut, Eye of the Hunter, builds on his reputation as Dead Can Dance's meditative, baritone singer/songwriter. Perry's rich vocals and the songs' orchestral-folk arrangements and somber titles give the album an intriguing Gothic/easy listening feel, similar to Scott Walker's darkest Baroque pop. Along with seven original tracks like "Medusa," "Saturday's Child," and "Archangel," Eye of the Hunter also includes a thoughtful cover of Tim Buckley's "I Must Have Been Blind." Though the stately pace of the songs becomes monotonous at times, Perry's first solo effort is a mature work worthy of his reputation. ~ Heather Phares

1999 debut solo album from the male half of Alterna-faves Dead Can Dance. The album's title is found in the lyrics of 'Voyage of Bran', where a character named Brendan says: 'I live by the rye of the iver where the old gods still dream of inner communion with the open sea. Through the eye of a hunter in search of a prey, neither beast nor human in my philosophy.' The song 'Sloth' had already been sung during concerts with Dead Can Dance and appears on the band's 2001 box set Dead Can Dance (1981-1998). 'I Must Have Been Blind' is a cover of a Tim Buckley song from his 1970 album Blue Afternoon. Music historian Piero Scaruffi summarized Eye of the Hunter as 'an intensely personal statement arranged for (synthesized) orchestra and a plethora of acoustic instruments, but more reminiscent of Nick Cave and Leonard Cohen than his old band.' He ranked it among the 'Best Rock Albums of 1999' and the 'Best Rock Albums of the 1990's'. 4AD.


2010 release, the second solo album from Brendan Perry, formerly one-half of Dead Can Dance. Recorded in his own studio in Ireland, Ark is truly a solo album, Brendan playing every instrument, writing all the lyrics and being the sole creative force across the eight tracks. All of the instrumentation on Ark is derived from samples and synthesizers and, in its creators own words, is predicated on a theory of creating 'a neutral electronic soundscape which would in turn mirror a world that is becoming increasingly more dependent upon machines to perform tasks for us'. Cooking Vinyl. 


Fields Of Haze... Underground for all.

martes, 17 de agosto de 2010

Slippery When Wet (2010 Remastered Edition) - Bon Jovi (Dedicado a mi hermosa esposa Faby)

Efectivamente, este disco está dedicado enteramente a mi esposa. 
Nunca dejes de creer amor.

Genere: Pop Rock.

Style: Contemporary, Hair Metal, Pop Metal.
Similar artists: Heart, Tesla, Whitesnake
Recording year: Mercury, 1986.

Bon Jovi took its name from lead singer Jon Bon Jovi (born Jon Bongiovi), who spent his adolescence playing in local Jersey bands with David Bryan (born David Rashbaum). Jon’s cousin, Tony Bongiovi, owned the celebrated New York recording studio the Power Station and Jon spent many hours there, working as a janitor and recording demos after hours, sometimes supported by members of the E Street Band or Aldo Nova. One of those demos, "Runaway," became a hit on local New Jersey radio and lead to the formation of Bon Jovi the band, as Jon and Bryan were supported by guitarist Dave Sabo, bassist Alec John Such, and drummer Tico Torres. “Runaway” spurred a major-label bidding war leading to a contract with Polygram/Mercury in 1983. Before the group entered the studio, though, Bon Jovi replaced Sabo with Richie Sambora, a working guitarist with a long résumé including a stint as a member of Message.

Bon Jovi released their eponymous debut album in 1984, generating a Top 40 hit with the original version of "Runaway." The following year, 7800 Fahrenheit was released and went gold, all serving as a prelude to the band's 1986 breakthrough, Slippery When Wet. Paul Stanley had given Jon and Richie the phone number of professional songwriter Desmond Child, and together they wrote two of the album's biggest hits in Richie's parents' basement. The trio composed 30 songs in total and auditioned them for local New Jersey and New York teenagers, basing the album's running order on their opinions. Supported by several appealing, straightforward videos that received heavy rotation on MTV, the record took off on the strength of “You Give Love a Bad Name,” followed quickly by “Livin’ on a Prayer” and “Wanted Dead or Alive.” Those three Top Ten Hits helped propel Slippery When Wet to sales of nine million in the U.S. alone, establishing Bon Jovi as superstars in their home country. Their fame was not limited to the U.S., though, as the album also turned into a significant hit in Europe, Canada, Japan, and Australia.

Bon Jovi built upon Slippery When Wet's formula with 1988's New Jersey, which shot to number one upon its release. New Jersey was only slightly less successful than its predecessor, selling five million copies and generating two number one singles, "Bad Medicine" and "I'll Be There for You," as well as the Top Ten hits "Born to Be My Baby," "Lay Your Hands on Me," and "Living in Sin." Following the completion of an 18-month international tour, the band went on hiatus. During the time off, Jon Bon Jovi wrote the soundtrack for Young Guns II, which was released in 1990 as the Blaze of Glory album. The record produced two hit singles -- the number one title track and the number 12 "Miracle" -- and earned several Grammy and Oscar nominations.

Slippery When Wet wasn't just a breakthrough album for Bon Jovi; it was a breakthrough for hair metal in general, marking the point where the genre officially entered the mainstream. Released in 1986, it presented a streamlined combination of pop, hard rock, and metal that appealed to everyone -- especially girls, whom traditional heavy metal often ignored during the '80s. Slippery When Wet was more indebted to pop than metal, though, and the band made no attempt to hide its commercial ambition, even hiring an outside songwriter to co-write two of the album's biggest singles. The trick paid off as Slippery When Wet became the best-selling album of 1987, beating out contenders like Appetite for Destruction, The Joshua Tree, and Bad.

Part of the album's success could be attributed to Desmond Child, a behind-the-scenes songwriter who went on to write hits for Aerosmith and others. With Child's help, Bon Jovi penned a pair of songs that would eventually define their career -- “Living on a Prayer” and “You Give Love a Bad Name” -- two teenage anthems that mixed Springsteen's blue-collar narratives with straightforward, guitar-driven hooks. The band's characters may have been down on their luck -- they worked dead-end jobs, pined for dangerous women, and occasionally rode steel horses -- but Bon Jovi never presented a problem that couldn’t be cured by a good chorus, every one of which seemed to celebrate a glass-half-full mentality. Elsewhere, the group turned to nostalgia, using songs like “Never Say Goodbye” and “Wild in the Streets” to re-create (or fabricate) an untamed, sex-filled youth that undoubtedly appealed to the band’s teen audience. Bon Jovi weren't nearly as hard-edged as Mötley Crüe or technically proficient as Van Halen, but the guys smartly played to their strengths, shunning the extremes for an accessible, middle-of-the-road approach that wound up appealing to more fans than most of their peers. “It’s alright if you have a good time,” Jon Bon Jovi sang on Slippery When Wet’s first track, “Let It Rock,” and those words essentially served as a mantra for the entire hair metal genre, whose carefree, party-heavy attitude became the soundtrack for the rest of the ‘80s.


jueves, 12 de agosto de 2010

Tom Waits - Heartattack and Vine

Genere: Experimental Rock, Beat Poetry.

Style: Pop Rock, Progressive, Art Rock.

Similar artists: Leonard Cohen, Nick Cave, Howlin' Wolf.

Recording year: Asylum, 1980.

Heartattack and Vine, Tom Waits' first album in two years and his last of seven for Asylum Records, is a transitional album, with tracks like the rhythm-heavy title song and "'Til the Money Runs Out" foreshadowing the sonic experiments of the Island albums, while piano-with-orchestra tracks like "Saving All My Love for You" and "On the Nickel" (written as a motion-picture title tune) hark back to Waits' Randy Newman-influenced early days. It is just as well that Waits never entirely gave up on the ballad material; "Jersey Girl," a Drifters-style song, is a winner, and it was appropriated by Bruce Springsteen on his 1981 tour. Also, at least at this point, the rougher tunes all tended to sound the same.

Underground for all!!!

Enrico Caruso - Best of

Genere: Opera.

Style: Popular Music.

Similar artists: Giuseppe Verdi, Giacomo Puccini, Gaetano Donizetti.

Recording year: Ricordi, 1975.

The most famous operatic tenor of all time, Enrico Caruso (né Errico Caruso) was born on February 25, 1873 (not on February 27, as given in many reference books). He was the third child of his relatively poor parents -- not the 18th, as is often repeated in popular myth. He began serious vocal studies with Guglielmo Vergine in 1891 and later studied with Vincenzo Lombardi. In 1895, he made his debut in L'amico Francesco by Domenico Morelli. That fall in Cairo, he sang Cavalleria rusticana, La Traviata, Lucia di Lammermoor, La Gioconda, and Manon Lescaut, all in less than four weeks.

His international fame began when he sang Loris in the premiere of Giordano's Fedora in 1898. In the following seasons, he sang at St. Petersburg, Moscow, Buenos Aires, Milan, Monte Carlo, and London. Arturo Toscanini conducted his Teatro alla Scala debut when he sang Rodolfo in La bohème. Nellie Melba was his partner at his London debut in Rigoletto.

After making his very successful debut at the Metropolitan Opera as the Duke in Rigoletto, Caruso made the United States his primary operatic home. He spent the major part of each year singing there and usually had the honor of singing opening nights. He also took part in the annual Metropolitan Opera tour of the U.S., and in 1906 was caught in the great San Francisco earthquake right after his performance in Carmen. It was at the Metropolitan Opera that he sang the premiere of Puccini's La fanciulla del West.

As he aged, Caruso began to take on heavier roles including Samson, Eleazar in La Juive, and Vasco in L'africaine. After the tour each season, Caruso would travel to South America and/or Europe to sing and vacation. He never sang in his native city of Naples after 1902 because of a particularly nasty reception to his performances of Massenet's Manon. In 1920, he underwent several operations for pleurisy, but his health continued to decline afterwards. He returned to his native Naples, where he died in 1921.

Caruso's voice had a warmth, and an almost baritonal quality, which was different from the bright, ringing sound favored by most of the colleagues. The voice was extremely beautiful and he had an excellent feeling for the shape of a phrase. His sound recorded very well which helped to make his recordings among the most popular of his time; many of these selections have been available in one format or another since they were first issued. He was for many years the best selling classical performer in America.

Known as a generous colleague as well a great practical joker on stage, Caruso was welcome everywhere. He was a firm believer in good food, good wine, and a good cigar. However, whenever a friend was in a difficult situation, he was the first to offer help. One evening in Philadelphia when a colleague playing Colline became hoarse during a performance of La bohème, Caruso sang the bass aria for him to save the performance. During World War I, he sang in many benefit concerts to raise money for the war effort. To this day Caruso is imprinted in the imagination as the archetypal operatic tenor.

Underground for all!!!
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