Risultati della ricerca per: 2005

“Cream “White Room/Crossroads/Badge” Live-2005″



Bruce Cockburn playlist

[youtube https://www.youtube.com/watch?v=4s2zN9j78LM&list=PLQXCjPp9upb_0J83QGoCj_6Y4dwXJnfiH]

Bruce Cockburn (Ottawa, 27 maggio 1945) è un cantautore canadese.

Il suo stile, con il personalissimo modo di suonare la chitarra, fonde generi come pop, folk, rock, reggae e jazz. Le liriche sono ispirate dalla sua visione umanistica e metafisica della vita vicina all’etica cristiana. 


Bruce Douglas Cockburn OC (/ˈkbərn/; born May 27, 1945)[1] is a Canadian guitarist and singer-songwriter whose career spans over 40 years. His song styles range from folk to jazz-influenced rock and his lyrics cover a broad range of topics that reveal a passion for human rights, politics and spirituality.

In 2014, he released his memoirs, Rumours of Glory: A Memoir.[2]  

Cockburn was born in 1945 in Ottawa, Ontario, Canada, and spent some of his early years on a farm outside Pembroke, Ontario. He has stated in interviews that his first guitar was one he found around 1959 in his grandmother’s attic, which he adorned with golden stars and used to play along to radio hits.[3] Cockburn attended Nepean High School, where his 1964 yearbook photo states his desire “to become a musician”.[4]He attended Berklee School of Music in Boston for three semesters in the mid-1960s. In 1966 he joined an Ottawa band called The Children, which lasted for about a year. In the spring of 1967 he joined the final lineup of The Esquires. He moved to Toronto that summer to form The Flying Circus with former Bobby Kris & The Imperials members Marty Fisher and Gordon MacBain and ex-Tripp member Neil Lillie. The group recorded some material in late 1967 (which remains unreleased) before changing its name to Olivus in the spring of 1968, by which time Lillie (who changed his name to Neil Merryweather) had been replaced by Dennis Pendrith from Livingstone’s Journey. Olivus opened for The Jimi Hendrix Experience and Cream in April 1968. That summer Cockburn broke up the band with the intention of going solo, but ended up in the band 3’s a Crowd with David Wiffen, Colleen Peterson, and Richard Patterson, who had been a co-member of The Children. Cockburn left 3’s a Crowd in the spring of 1969 to pursue a solo career.

Cockburn’s first solo appearance was at the Mariposa Folk Festival in 1967, and in 1969 he was a headliner. In 1970 he released his self-titled, solo album. Cockburn’s guitar work and songwriting won him an enthusiastic following. His early work featured rural and nautical imagery and Biblical metaphors. Raised as an agnostic, early in his career he became a Christian.[5] Many of his albums from the 1970s refer to Christianity, which in turn informs his concerns for human rights and environmentalism. His references to Christianity include the Grail imagery of 20th-century Christian poet Charles Williams and the ideas of theologian Harvey Cox.[6]

In 1970 Cockburn became partners with Bernie Finkelstein in the music publishing firm Golden Mountain Music.[7]

While Cockburn had been popular in Canada for years, he did not have a big impact in the United States until 1979, with the release of the album Dancing in the Dragon’s Jaws. “Wondering Where the Lions Are“, the first single from that album, reached No. 21 on the Billboard Hot 100 in the US in June 1980, and earned Cockburn an appearance on NBC‘s hit TV show Saturday Night Live.

Cockburn was married from 1969 to 1980 and has a daughter from that marriage.[citation needed] He wrote the song “Little Seahorse”, released on In the Falling Dark, in late 1975 about the time when his daughter wasin utero.[citation needed]

Through the 1980s Cockburn’s songwriting became increasingly urban, global and political as he became more involved with progressive causes. His political concerns were first hinted at on the albums: Humans,Inner City Front and The Trouble with Normal. They became more evident in 1984, with his second US radio hit, “If I Had a Rocket Launcher” (No. 88 in the US) from the Stealing Fire album. He had written the song a year earlier, after visiting Guatemalan refugee camps in Mexico that were attacked by Guatemalan military helicopters. His political activism continues to the present. Cockburn has travelled to countries such as Mozambique and Iraq, played benefit concerts, and written songs on a variety of subjects ranging from the International Monetary Fund to land mines. His internationalist bent is reflected in the many world musicinfluences in his music, including reggae and Latin music.

In 1991 Intrepid Records released Kick at the Darkness, a tribute album to Cockburn whose title comes from a phrase in his song “Lovers in a Dangerous Time“. It features the Barenaked Ladies‘ cover of that song, which became their first Top 40 hit and an element in their early success. This lyric was also referenced by U2 in their song “God Part II” from their album Rattle and Hum.

In the early 1990s, Cockburn teamed with T-Bone Burnett for two albums, Nothing but a Burning Light and Dart to the Heart. The latter included a song, “Closer to the Light”, inspired by the death of songwriter Mark Heard, a close friend of Cockburn and Burnett. Cockburn frequently refers to Heard as his favourite songwriter and he was one of many artists who paid tribute to Heard on an album and video titled Strong Hand of Love.

In 1998 Cockburn travelled with filmmaker Robert Lang to Mali, West Africa, where he jammed with Grammy Award-winning blues musician Ali Farka Toure and kora master Toumani Diabate. The month-long journey was documented in the film River of Sand, which won the Regard Canadien award for best documentary at the Vues d’Afrique Film Festival in Montreal. It was also invited for competition at the International Festival of Environmental Films in Paris.[8]

Some of Cockburn’s previously published material had been collected in several albums: Resume, Mummy Dust, and Waiting for a Miracle. His first greatest hits collection was Anything Anytime Anywhere: Singles 1979–2002, released in 2002.

In January 2003 Cockburn finished recording his 21st album, You’ve Never Seen Everything, which features contributions from Emmylou Harris, Jackson Browne, Sam Phillips, Sarah Harmer, Hugh Marsh, Jonell Mosser, Larry Taylor and Steven Hodges. (Taylor and Hodges, formerly of Canned Heat who performed at Monterey and Woodstock in the 1960s, may be known best for their work with Tom Waits).

Cockburn performed a set at the Live 8 concert in Barrie, Ontario, on July 2, 2005. Speechless, an instrumental compilation of new and previously released material, was released on October 24, 2005. His 22nd album, Life Short Call Now, was released on July 18, 2006.

Canadian senator and retired general Roméo Dallaire, who is active in humanitarian fundraising and promoting awareness, appeared on stage at the University of Victoria with Cockburn. The October 4, 2008, concert was held to aid the plight of child soldiers.[9]

In 2009 Cockburn travelled to Afghanistan to visit his brother, Capt. John Cockburn, and to play a concert for Canadian troops. He performed his 1984 song “If I Had a Rocket Launcher” and was temporarily awarded an actual rocket launcher by the military. Cockburn has stated that, while unsure of the original Invasion of Afghanistan, he supported Canada’s role there.[10]

Cockburn released his studio album Small Source of Comfort in 2011. “Lois on the Autobahn”, a cheerful and experiential instrumental recalling “Rouler sa bosse” from Salt, Sun and Time is a tribute to Cockburn’s mother, Lois, who succumbed to cancer in 2010.[citation needed]

Cockburn married his longtime girlfriend M.J. Hannett shortly after the birth of his second daughter, Iona (b. November 2011) in 2011.[11][12] As of 2014, the family lives in the San Francisco area, where Cockburn is writing his memoirs up to 2004.[13]

A documentary film, Bruce Cockburn Pacing the Cage,[14][15] was released in 2013 on television and a brief theatrical showing; directed by Joel Goldberg, gave a rare look into Cockburn’s music, life and politics


Se tramontasse il sole

Se tramontasse il sole

E non tramonta il sole
che riscalda l’anima
oltre il tempo
ed oltre le distanze
per essere vita
che raccoglie emozione
che non cancella
briciole d’universo
che in te soffiano armonia

E non svanisce
la voglia d’amare
che si specchia
nel sentire sensazioni
che accarezzano il cuore
come cerchi su un lago
che donano certezza
oltre le parole
per essere vita ancora
anche se tramontasse il sole

08.03.2005 Poetyca

If the sun went down

And the sun never sets
that warms the soul
beyond time
and over distances
for life
emotion that collects
that does not erase
crumbs of universe
that you blow harmony

It does not fade
the desire to love
which is reflected
at hearing feelings
that caress the heart
as circles on a lake
that give certainty
beyond words
life still to be
even if the sun went down

08.03.2005 Poetyca



Vorrei condividere quanto scrissi tempo fa a proposito dell’amare, di quanto venga insegnato o ci venga richiesto relativamente all’amare gli altri, dimenticando spesso quella cura che dobbiamo a noi stessi che sicuramente non avremmo molto da dare se non sappiamo bastare a noi stessi senza attaccamento ed aspettative nei confronti di chi non sembra accorgersi di noi. Sopratutto amare non è un modo di dimostare la nostra bontà ma è essere compagni di vita, di percorso dove le esperienze possano aiutare a crescere. Amore e dolore, Morte ed attaccamento spesso sono intrecciati tra loro, a noi sciogliere questi nodi per essere liberi e capaci di una forma di amore incondizionato, di gratitudine e di forza sottile che ci elevino oltre le apparenze. Amare è responsabilità e accoglienza senza giudizio, dove il possesso non ha presa ma ci si sente a proprio agio se si permette e si aiutano gli altri ad essere quel che sono.

Amare se stessi

Amare se stessi spesso è tacciato come egoismo, a volte è puro spirito di sopravvivenza che ma sono realmente le nostre ferite, le esperienze passate che disgregano l’immagine che abbiamo di noi stessi, allora l’amore che dovremmo avere appreso dai genitori, se siamo stati trascurati potrebbe divenire rabbia inespressa oppure apatia, senso di inferiorità e la convinzione di contare poco o nulla per gli altri. Il cammino di autoguarigione è lungo, a volte impiega interi anni o cicli prima di poter capire che valiamo che a dispetto di quello che ci hanno fatto credere, che quel vuoto che cerchiamo di riempire a tutti i costi, amando altre persone ,è in realtà una voce che ci chiede di amarci, apprezzarci, scoprire chi siamo e tutto quello che ci hanno fatto soffocare: sensibilità , doti da non far emergere, sono la nostra essenza – va rispettata da noi stessi – e fatta rispettare dagli altri. Il dolore che per il buddhismo è qualcosa che noi stessi generiamo e ci rende schiavi è il frutto di attaccamento, di aspettative, di illusioni: sciogliendo questa schiavitù siamo realmente liberi di essere noi stessi. Sopratutto quanto avvertiamo che qualcosa è fonte di disagio o dolore dobbiamo cercare in noi la causa e quando bussa avere tanta gratitudine perchè è opportunità di crescita per liberarci dalle bugie della mente. E’ processo di guarigione che ci da la via verso la crescita interiore che non si deve fuggire ma toccare la sua radice che spesso è più profonda di quel che pensiamo.

30.07.2006 Poetyca

Ma per approfondire, ci sarebbe da dire anche che spesso si confonde l’amore con i rapporti di coppia, con una sorta di giuramento e lagame alla reciproca fedeltà , che non signiifica approvare ogni cosa dell’altro come atto di sottomissione ma aiuto vicendevole per crescere in armonia, perdere il proprio compagno di viaggio non significa gettare via i semi ricevuti ma impegnarsi, con gratitudine affinchè possano restare in noi

Amore e perdita

L’amore non conosce paura, ma sopratutto non conosce imposizione, se si ama si permette all’altro di manifestare se stesso, si aiuta persino a far emergere in sè quella parte che non è germogliata ancora, si sostiene e non si possiede nulla. E’ importante capire come l’amore universale sia diverso da un rapporto di coppia, non si devono confondere le cose. Ci sono compagni di viaggio che arrivano nella nostra vita, ma se devono andare, invece di restare ancorati alla ;perdita, si deve capire che hanno finito il loro compito, che averli persi è solo illusione perchè in noi resta la loro presenza e quanto ci abbiano insegnato, quella trasformazione che ci ha resi migliori. Spesso gli ostacoli, le prove della vita sono rigettati, ci fanno cadere nel panico, è attraverso questo passaggio invece che possiamo cogliere in noi i limiti e superarli per essere migliori

07.04.2007 Poetyca

Per amare, per riconoscere questo bisogno,quest’opportunità che la vita ci insegna, esperienza dopo esperienza è opportuno leggere in noi stessi e crescere….


Il ripetersi, sotto diverse vesti di situazioni che contengano l’essenza delle lezioni da imparare che che abbiamo rifiutato di cogliere per timore, è l’opportunità concessaci per imparare a maturare in noi: le nostre fragilità, gli attaccamenti e quanto freni l’opportunità di amare. Quel gradino da superare attende il nostro impegno che questa vita da leggere attraverso l’esperienza, il karma che ci guida sono gli strumenti per la nostra personale lezione. Ogni cosa che mettiamo da parte è tempo che si somma e che ci allontana dal raggiungimento di esperienza ed ogni nostro impegno è scoperta e sottrazione alle difficoltà per meglio dirigerci verso il nostro evolverci. Un Maestro ci insegna la vita, la possibilità di crescere e relazionarci con noi stessi e gli altri che lontani dalle illusioni e dai timori che ci ingabbiano.Ad un certo punto quel che il Maesto possa aver indicato deve essere condotto da noi stessi, senza dimenticare che egli è il dito che ha mostrato la luna e non la luna. Mi viene in mente la frase del buddismo Se incontri il Budda per strada…uccidilo!
rappresenta la nostra necessità di distaccarci dalla fonte dell’insegnamento che ci ha fatto da stampella per cominciare il viaggio dentro noi stessi… Per essere. Il viaggio più importante della nostra vita.

04.12.2005 Poetyca

Ecco.. in noi tutti gli strumenti per aprirci alla compassione, per non alimentare l’attaccamento e per Amare.

Un sorriso


To love

Let me share what I wrote recently about the beloved, to what is taught or are being requested for loving others, often forgetting that care we owe to ourselves that surely we would not have much to give if we do not know enough about ourselves without attachment and expectations of those who do not seem to notice us. Above all, love is not a way of demonstrating our goodness but to be companions in life, the path where experiences can help to grow. Love and pain, death and attachment are often intertwined, we untie these knots to be free and able to a form of unconditional love, gratitude and subtle force we elevino than appearances. Love and acceptance is the responsibility without a trial, where the possession did not take but one feels at ease if you can and help others to be what they are.

To love oneself

To love oneself is often branded as selfish, sometimes it is pure spirit of survival that they are really our wounds, past experiences that break down our image of ourselves, then love we should have learned from their parents, if we have neglected may become apathetic or unexpressed anger, feelings of inferiority and a belief to count little or nothing for others. The path to healing is long, sometimes takes years or whole cycles before you can understand that we are worth it despite what have made us believe that we are trying to fill that void at all costs, loving other people, is actually a voice that asks us to love, appreciate and discover who we are and everything that made us choke: sensitivity, qualities not give rise to, are our essence – must be respected by ourselves – and enforced by others. The pain that Buddhism is something that we create ourselves and make us slaves was the result of attachment and expectations, illusions, melting this slavery we really free to be ourselves. Especially as we feel that something is a source of discomfort or pain in us we must seek the cause and have a lot of knocks when gratitude is why growth opportunities for free from the lies of the mind. And ‘healing process that gives us the path to inner growth that we should not flee but touch the root of which is often deeper than we think.

30.07.2006 Poetyca

But further, one might also say that often confuses love relationships of torque, with a sort of oath and lagame mutual fidelity, not signiifica approve all of the other as an act of submission but for mutual help grow in harmony, losing his traveling companion does not mean throwing away the seeds received but engage with gratitude so that we can remain on

Love and Loss

Love knows no fear, but especially taxation does not know if you love it allows another to express himself, he even helps bring out the party itself has not sprung yet, you support and do not have anything. It ‘important to understand how universal love is different from a couple relationship, you should not confuse things. We are fellow travelers who arrive in our lives, but if they go, instead of remaining anchored to, loss, one must understand that they have finished their task, which had lost only in us is illusion because their presence and what we have taught, the transformation that has made us better. Often the obstacles, the trials of life are discarded, make us fall into a panic, it is through this step instead of us can grasp the limits and overcome them to be better

07.04.2007 Poetyca

To love, to recognize this need, this opportunity that life teaches us, experience after experience should be read in ourselves and grow ….


The repetition, in various situations of clothes that contain the essence of the lessons that we have refused to take to fear, has granted us the opportunity to learn to mature in us, our fragility, attachments and brakes as an opportunity loving. That step expected to exceed our commitment to this life to read through experience the karma that we have the tools to guide our personal lesson. Everything is time we put aside that sum and that alienates us from achieving all our experience and commitment to discovery and subtraction problems to better direct us towards our evolving. A Master teaches us life, the opportunity to grow and relate to ourselves and others away from illusions and fears that there ingabbiano.Ad some point that might have indicated that the Majesty must be conducted by ourselves, without forgetting he is the finger that showed the moon and the moon. I am reminded of the phrase in Buddhism If you meet the Buddha on the road … kill him!
represents our need to detach from the source of course we did from crutch to begin the journey within ourselves … To be. The most important journey of our life.

04.12.2005 Poetyca

Here .. in all of us the means to open ourselves to compassion, not to feed the attachment and love.

A smile


Nick Cave Full – Royal Albert Hall, London May 3 2015

[youtube https://youtu.be/14zqRhtcb5c]

Nick Cave, all’anagrafe Nicholas Edward Cave (Warracknabeal, 22 settembre 1957), è un cantautore, compositore, scrittore, sceneggiatore e attore australiano.

Grazie ad una serie di notevoli album e intense esibizioni dal vivo, ha coniato uno stile lirico e musicale inconfondibile che lo ha imposto come una delle figure più influenti e carismatiche della musica contemporanea.

Dagli esordi post-punk ai lavori recenti, più vicini al cantautorato, Cave ha sviluppato una personalissima rielaborazione dei generi cardine della musica nata negli Stati Uniti (blues, gospel, country), affrontati con lo spirito cupo e sperimentale della new wave e del gothic rock, anche grazie alla sua caratteristica voce gutturale dabaritono. I suoi testi, attraversati da una forte tensione religiosa e da un costante senso di apocalisse imminente, affrontano tematiche quali il ruolo del divino nella vita dell’uomo, la ricerca della redenzione, l’angoscia esistenziale e l’amore perduto



Nicholas EdwardNickCave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, composer and occasional film actor. He is best known as the frontman of Nick Cave and the Bad Seeds, established in 1983, a group known for its diverse output and ever-evolving line-up. Prior to this, he fronted the Birthday Party, one of the most extreme and confrontational post-punk bands of the early 1980s. In 2006, he formed the garage rock band Grinderman, releasing its debut album the following year.

Referred to as rock music’s “Prince of Darkness”, Cave’s music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with death, religion, love and violence. NME described him as “the grand lord of gothic lushness”.

Cave has also worked as a composer for films, often in collaboration with fellow Australian musician Warren Ellis. Their films together include The Proposition (2005, based on a screenplay by Cave), The Assassination of Jesse James by the Coward Robert Ford (2007) and The Road (2009). Cave is the subject and co-writer of the semi-fictional “day in the life” documentary 20,000 Days on Earth (2014).

Upon Cave’s induction into the ARIA Hall of Fame, ARIA Awards committee chairman Ed St John said: “Nick Cave has enjoyed—and continues to enjoy—one of the most extraordinary careers in the annals of popular music. He is an Australian artist like Sidney Nolan is an Australian artist—beyond comparison, beyond genre, beyond dispute.”



Mix – Fairport Convention

[youtube https://youtu.be/O3RMut_8IxQ?list=RDavX5VlU7MXM]

I Fairport Convention sono un gruppo folk rock inglese. Fondati da Simon Nicol, Richard Thompson, Ashley Hutchings e Shaun Frater, i Fairport Convention, iniziando come gruppo di cover di rock della West Coast, sviluppano presto un loro stile che mescola il rock con la musica tradizionale folk inglese, contendendosi il titolo di più grande folk rock band inglese con i Pentangle. Dopo numerosi cambi di formazione si sciolgono nel 1979 per riformarsi per un concerto nel 1985, da allora continuano a suonare e pubblicare dischi. In parte il continuo successo che ancora oggi hanno i Fairport Convention è dovuto all’annuale festival di Cropredy, nell’Oxfordshire, ora rinominato Fairport’s Cropredy Convention e che riunisce ogni anno almeno 20.000 fan sin dal 1974.


Fairport Convention are an English folk rock and electric folk band. Formed in 1967, they are widely regarded as a key group in the English folk rock movement.[1]

Their seminal album Liege & Lief is considered to have launched the electric folk or English folk rock movement, which provided a distinctively English identity to rock music and helped awaken much wider interest in traditional music in general. The large number of personnel who have been part of the band are among the most highly regarded and influential musicians of their era and have gone on to participate in a large number of significant bands, or enjoyed important solo careers.

Since 1979, they have hosted the Cropredy Festival, which is the largest such annual event in England. Individually and collectively the members of Fairport Convention have received numerous awards recognizing their contribution to music and culture. As of 2015, they continue to record and tour.


Oltre il caos

Oltre il caos

Dimmi Uomo
dove raccogli
fruscii d’Anima
e cosa racconta
la Vita nei tratteggi
che in chiaroscuro
salutano il giorno:
volti e sorrisi
per condursi
oltre l’apparire

Attimi perpetui
di un tempo senza tempo
in elementi instabili:
pensiero ed emozione
– bussola del tuo percorso –
per non confondere
nell’alone lunare
quella lacrima che culla
ogni tuo sperare

Parlami della Storia
che non ha portato voci
e dei sogni racchiusi
nel proiettare attese
– oltre ogni parola espressa –
e di quel fiore sbocciato
dal fango primordiale

Socchiudi la mente
di ogni costruzione
per far crollare certezze
e ritrovare il senso
di una matassa dimenticata

Per conoscere nel Tutto
ritmo ed Armonia
senza dualità
e ricordare semplicemente
di essere respiro
oltre ogni tempo
– qui ed ora –
nel tiepido sole
di una gioia che oscilla

16.11.2005 Poetyca

Beyond chaos

Say Man
where to collect
rustling of Soul
and what says
Life in the hatch
in chiaroscuro
greet the day:
faces and smiles
to behave
beyond the appearance

Perpetual Moment
a timeless time
in unstable elements:
thought and emotion
– Compass of your path –
not to confuse
nell’alone lunar
the tear that cradle
your every hope

Tell the Story
that did not lead items
and dreams enclosed
projecting expected
– More than any words spoken –
and that flower bloom
from primordial mud

Closes the mind
of each construction
to collapse certainties
and find the meaning
a skein Forgot

Everything you need to get in
rhythm and harmony
without duality
and just remember
be breathing
over all time
– Here and now –
in the warm sun
a joy that oscillates

16.11.2005 Poetyca

The Best of Echo & The Bunnymen

Gli Echo & the Bunnymen sono un gruppo musicale britannico post-punk formatosi a Liverpool nel 1978.
Inizialmente il gruppo era composto da Ian McCulloch, Will Sergeant e Les Pattinson. Sono diventati famosi
per album come Heaven Up Here, Porcupine e Ocean Rain in cui è contenuta la canzone The Killing Moon.


Echo & the Bunnymen are an English rock band formed in Liverpool in 1978.
The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bass player Les Pattinson,
supplemented by a drum machine. By 1980, Pete de Freitas joined as the band’s drummer.

Their 1980 debut album, Crocodiles, met with critical acclaim and made the UK Top 20.
Their second album, Heaven Up Here (1981), again found favour with the critics and reached number 10 in the UK Album chart.
The band’s cult status was followed by mainstream success in the mid-1980s, as they scored a UK Top 10 hit with “The Cutter”,
and the attendant album, Porcupine (1983), reached number 2 in the UK. Their next release, Ocean Rain (1984),
continued the band’s UK chart success, and has since been regarded as their landmark release, spawning the hit singles
“The Killing Moon”, “Silver” and “Seven Seas”. One more studio album, Echo & the Bunnymen (1987), was released
before McCulloch left the band to pursue a solo career in 1988.
The following year, in 1989, de Freitas was killed in a motorcycle accident,
and the band re-emerged with a new line-up. Original members
Will Sergeant and Les Pattinson were joined by Noel Burke as lead singer,
Damon Reece on drums and Jake Brockman on keyboards.
This new incarnation of the band released Reverberation in 1990,
but the disappointing critical and commercial reaction it received culminated
with a complete split in 1993.
After working together as Electrafixion, McCulloch and Sergeant
regrouped with Pattinson in 1997 and returned as Echo & the Bunnymen
with the UK Top 10 hit “Nothing Lasts Forever”. An album of new material,
Evergreen, was greeted enthusiastically by critics and the band made a successful
return to the live arena. Though Pattinson left the group for a second time,
McCulloch and Sergeant have continued to issue new material
as Echo & the Bunnymen, including the albums What Are You Going
to Do with Your Life? (1999), Flowers (2001), Siberia (2005), The Fountain (2009)
Meteorites (2014).
In 2012 Ian McCulloch released his fourth solo LP, Pro Patria Mori
and a live album Holy Ghosts in 2013.[4] In 2013 Will Sergeant
and Les Pattinson formed a group called “Poltergeist” and released
an album called Your Mind Is A Box (Let Us Fill It With Wonder)
in June 2013.




Quando le prime luci dell’alba
illumineranno il cielo
tu non mi svegliare
e non condurmi lontano da questo luogo

Dimmi che non è illusione
il credere a quello che
sembra sopito nel soffio di pensieri
e conosciamo
io e te

Dimmi che non è utopia
un mondo che sappia
raccogliere speranza
senza alzare la voce

Dimmi che non si è stranieri
in quest’isola dipinta tra nuvole
e realtà che rispecchia amore

Soffiami nell’anima
tutto quello che non vedo
e non conosco ancora
e forse un giorno saprò

Valicare confini
e raccogliere la pioggia
per intingere sogni
ed asciugare lacrime

Oltre le prigioni
di chi non vede
e non sa raccontare
della luna che attende
e di mani strette nel silenzio

Dimmi che non è sogno
questo allargare
nello spazio
una brezza gentile
che nasce dalle lacrime di un bimbo

Oltre la voce e le parole
che sappiamo io e te
aprendo le ali
ad accarezzando la vita
che non conosce più paure

Dimmi che sai
sciogliere le stelle
e portare armonia
tra i passi della notte

E mi troverai
nel battito di ciglia
che accarezza
senza più domande

17.10.2005 Poetyca


When the first light of dawn
light up the sky
you do not wake me up
and do not take me away from this place

Say It Is not illusion
believe what the
appears hazy in the breath of thoughts
and know it
you and me

Say It Is not Utopia
a world that knows
hope to collect
without raising his voice

Tell me that you are not foreign
on this island, painted in clouds
and reflects the reality that love

Soffiami soul
everything that I do not see
and do not yet know
and maybe one day I will know

crossing borders
and collect the rain
Dipping dreams
and dry tears

Besides the prisons
of not seeing
and can not tell
the moon awaits
and hands clasped in silent

Say It Is not a dream
this broadening
a gentle breeze
that is born from the tears of a child

Besides the voice and the words
we know you and I
opening their wings
stroking to life
that knows no fear

Tell me what you know
Dissolve the stars
and bring harmony
between the steps of the night

And you’ll find me
in the blink of an eye
that Shakes
no more questions

17.10.2005 Poetyca

Dimmi chi sono io?

Dimmi chi sono io?

Sono soltanto una rosa
che Tu tieni nel palmo della Tua mano:
briciola nel vento
in cerca della Tua aurora

Luce che riveste
questa mia anima
per essere libera
di porgere Amore
dove la Tua voce
mi conduce

Dimmi oh Dio
del mio sentiero
e di tutte le volte
che un velo di lacrime
non mi ha fatto vedere
la tua Presenza

Di questo silenzio
increspato da piccole onde
colme del lieve vibrare
di un’emozione nuova

Eppure la conoscevo
ne sentivo il profumo
– aria di casa .
e non lo credevo che un sogno
una favola lieta
per chi non ha più nulla
a cui potersi appigliare

Piccola cosa
trattenuta nella Tua mano
posso donare un poco di vita
prima che si possa sciupare

Un petalo per volta
lo voglio sfogliare
e restate senza più nulla

Essere soltanto un’ essenza lieve
che abbia portato
gocce del Tuo Amore
e poi nulla vorrei
soltanto restare
ancora un istante
avvolta di Luce

Farne tesoro
per tutte le volte
che chi teme ed è smarrito
non sa trovare la strada
che a Te conduca

Farne fiaccola per lenire
ogni ferita
– stella nella notte –
che conduca a lidi di speranza
ma per Te soltanto

Tu lo sai che non sono nulla
ed un giorno
cadrò da quella Tua mano
per essere polvere nel vento
– come Tu mi hai voluta-
felice di aver donato tutto
quel che ero
con il cuore colmo di Vita

18.05.2005 Poetyca


Tell me who I m?

I’m just a rose
that you hold in the palm of your hand:
crumbs in the wind
in search of Your aurora

Light that is of
my soul
to be free
to extend Love
where your voice
leads me

Tell me oh God
my path
and whenever
a veil of tears
I showed
Your Presence

This silence
creased by small waves
filled with the slight vibration
a new emotion

Yet I knew
I felt the scent
– Air of home.
and believe that a dream
a happy tale
for those who have nothing
to which to cling

Little thing
held in your hand
I can give a little life
before we can spoil

One petal at a time
I want to browse
and stay with nothing

Being only a ‘slight essence
which led
drops of Your Love
and then nothing I
only remain
another moment

Treasure it
for all times
that those who fear and lost
can not find the way
that leads to You

Torch it to heal
each wound
– Star in the night –
leading to the shores of hope
but only for you

You know I’m nothing
and a day
I fall from Thy hand
for dust in the wind
– As You’ve deliberately
happy to have won all
what was
with a heart full of Life

18.05.2005 Poetyca

The Kinks – Kinda Kinks (1965)



I Kinks sono stati un gruppo musicale rock degli anni sessanta, formatosi a Londra. Sono considerati tra i gruppi più influenti della British invasion.[1]

La formazione originale del gruppo era composta da Ray Davies (1944), cantante, e suo fratello Dave, chitarrista. A completare la band Mick Avory (batteria e percussioni) e Pete Quaife (basso).

La band inglese ha all’attivo brani entrati nella leggenda come You Really Got Me (da molti ritenuto il primo pezzo hard-rock della storia, uscito nell’agosto 1964), All Day and All of the Night, A Well Respected Man, Sunny Afternoon, Lola, Death of a Clown e Waterloo Sunset.

Davies si specializzò nel ritrarre con pungente ironia quadretti di vita quotidiana del suo paese, stigmatizzandone vizi e comportamenti e affrontando spesso argomenti tabù per l’epoca (la Lola della celeberrima canzone, ad esempio, era un travestito incontrato dal protagonista in un sordido locale di Soho “dove ti danno champagne che sembra coca cola”).[2][3]

Nel 1968 (circa un anno prima del celebre Tommy dei The Who) compose le musiche di una delle primissime opere rock, The Kinks Are the Village Green Preservation Society, e pochi mesi dopo con lo stesso spirito diede alle stampe il suo capolavoro maturo, Arthur (Or the Decline and Fall of the British Empire): tuttavia, l’opera non venne mai rappresentata e per una serie di disguidi il disco uscì in ritardo, compromettendo il suo primato.[3] Il nuovo stile, molto diverso dal verace garage degli esordi, è adesso orientato verso il vaudeville, il music hall e il pop da camera, una mescolanza che influenzerà il glam rock del decennio successivo.[2] Negli anni settanta orienteranno la propria attività musicale e concertistica in funzione soprattutto del mercato americano.

Ebbero un’incalcolabile influenza su molti gruppi successivi, a partire dai Clash arrivando fino a Blur, Oasis e gli altri gruppi brit pop, genere di cui si possono considerare i principali ispiratori.[1]

Nel 1990 vennero inseriti nella Rock and Roll Hall of Fame. Si sciolsero nel 1996.

Nonostante i continui rumours nel corso degli anni novanta e duemila, i piani di riunione della band naufragarono. Purtroppo, Peter Quaife, sottoposto a dialisi renale da più di dieci anni, è morto il 23 giugno 2010. Ray Davies ha dedicato la sua performance del 27 giugno al festival di Glastonbury in suo onore, spiegando alla folla: «Io non sarei qui oggi se non fosse stato per lui»


The Kinks were an English rock band formed in Muswell Hill, North London, by brothers Dave Davies and Ray Davies with Pete Quaife in 1963. The band, which rose to fame
during the mid-1960s and were part of the British Invasion of the US, are recognised as one of the most important and influential rock groups of the era.[1][2]

Their music was influenced by a wide range of genres, including rhythm and blues, British music hall, folk and country. Ray Davies (lead vocals, rhythm guitar) and Dave Davies (lead guitar, vocals) remained members throughout the group’s 32-year run. Longest serving member Mick Avory (drums and percussion) was replaced by Bob Henrit formerly of Argent in 1984. Original bassist Pete Quaife was replaced by John Dalton in 1969 and Dalton was in turn replaced by Jim Rodford in 1978. Session keyboardist Nicky Hopkins accompanied the band in the studio for many of their recordings in the mid-late 1960s. In 1969 keyboardist John Gosling joined the band, making them an official five-piece, while Ian Gibbons replaced him in 1979, playing in the band until its eventual demise.

The band first came to prominence in 1964 with their third single, “You Really Got Me”, written by Ray Davies.[2][3] It became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.[3][4] Between the mid-1960s and early 1970s, the group released a string of singles and LPs most of which were critically successful but commercial failures, and gained a reputation for songs and concept albums reflecting English culture and lifestyle, fuelled by Ray Davies’ observational writing style.[2] Albums such as Face to Face, Something Else, The Kinks Are the Village Green Preservation Society, Arthur, Lola Versus Powerman and the Moneygoround and Muswell Hillbillies, along with their accompanying singles, are considered among the most influential recordings of the period.[1][3][5]

The band’s subsequent theatrical concept albums met with less success, but the band experienced a revival during the late 1970s and early 1980s with albums Sleepwalker, Misfits, Low Budget, Give the People What They Want and State of Confusion. In addition, groups such as Van Halen, the Jam, the Knack, the Pretenders and the Fall covered their songs, helping to boost the Kinks’ record sales. In the 1990s, Britpop acts such as Blur and Oasis cited the band as a major influence.[1] The Kinks broke up in 1996, a result of the commercial failures of their last few albums and creative tension between the Davies brothers.[6]

The group had five Top 10 singles on the US Billboard chart. Nine of their albums charted in the Top 40.[7] In the UK, the group had seventeen Top 20 singles and five Top 10 albums.[8] Four of their albums have been certified gold by the RIAA. Among numerous honours, they received the Ivor Novello Award for “Outstanding Service to British Music”.[9] In 1990, the original four members of The Kinks were inducted into the Rock & Roll Hall of Fame,[2][3] as well as the UK Music Hall of Fame in November 2005.


Roy Harper Full Concert – London 1990

[youtube https://youtu.be/MvvmDWqM7SM]


Roy Harper (Rusholme, 12 giugno 1941) è un cantautore inglese. Il suo stile è caratterizzato da lunghe digressione strumentali, da un particolare uso della voce e da testi spesso bizzarri.


Roy Harper (born 12 June 1941) is an English folk rock singer, songwriter and guitarist who has been a professional musician since 1964. Harper has released 22 studio albums and 10 live albums across his 50-year career.

Harper’s earliest musical influences were American blues musician Lead Belly and folk singer Woody Guthrie and, in his teens, jazz musician Miles Davis. Harper was also exposed to classical music in his childhood and has pointed to the influence of Jean Sibelius’s Karelia Suite. Lyrical influences include the 19th century Romantics, especially Shelley, and Keats’s poem “Endymion”. Harper has also cited the Beat poets as being highly influential, particularly Jack Kerouac. As a musician, Harper is known for his distinctive fingerstyle playing and lengthy, lyrical, complex compositions, a result of his love of jazz and Keats.

His influence upon other musicians has been acknowledged by Jimmy Page, Robert Plant, Pete Townshend, Kate Bush, Pink Floyd, and Ian Anderson of Jethro Tull, who said Harper was his “…primary influence as an acoustic guitarist and songwriter.” Neil McCormick of The Daily Telegraph described him as “one of Britain’s most complex and eloquent lyricists and genuinely original songwriters.”[7] His influence reached across the Atlantic where he was acknowledged by Seattle-based acoustic band Fleet Foxes, American musician and producer Jonathan Wilson and Californian harpist Joanna Newsom with whom he has also toured.

In 2005, Harper was awarded the MOJO Hero Award, and in 2013 a Lifetime Achievement Award at the BBC Radio 2 Folk Awards. In 2011, to celebrate his 70th birthday, he performed a celebratory concert at London’s Royal Festival Hall. His most recent album, Man and Myth, was released in 2013.




Ed è il seme
che marcisce
prima di trovare vita
e la tenebra non è timore
è solo culla che riporta
la ricerca di Luce ed Amore.

20.08.2005 Poetyca


It is the seed
before finding life
and darkness is not fear
cradle is showing
Research of Light and Love.

20.08.2005 Poetyca

Big Star

[youtube https://www.youtube.com/watch?v=KHoJK7F-KSM&list=PLYOdV_0yTuqV3Eb7HGNAsCzgtBpthEXl3]

I Big Star sono un gruppo statunitense indicato come progenitore del power pop.[1] La formazione nasce a Memphis, nel 1971, da un’idea di Alex Chilton (19502010), già voce nei Box Tops, e Chris Bell (19511978).

Esordiscono nel 1972 con #1 Record, disco pubblicato dall’etichetta soul Stax. La loro musica univa le armonie vocali dei Beatles e dei Beach Boys con le melodie e gli arpeggi di chitarra dei Byrds, il tutto filtrato attraverso un’energia rock che, solo a posteriori, i critici e gli storici definiranno come power pop.[1][2]

L’ingombrante personalità creativa dei due leader porta Bell a lasciare la band nel 1973, subito prima di registrare il secondo disco, Radio City (1974) che, fondandosi sulla scrittura del solo Chilton, denota molte più influenze soul e r’n’b.

Lo scarso successo di pubblico crea un’inevitabile crisi che porta la band – ovvero, Chilton, il bassista Andy Hummell e il batterista Jody Stephens – allo scioglimento. Era il 1975 ed era appena stato registrato un disco che vedrà la luce solo tre anni più tardi, per onorare la prematura scomparsa di Chris Bell, morto nel 1978 in un incidente d’auto. Il disco sarà Third/Sister Lovers e chiude la prima fase della carriera dei Big Star.

Dalla fine degli anni settanta in poi, i Big Star diventano quello che si definisce un gruppo di culto. Moltissime formazioni citano Chilton e Bell tra le influenze della loro musica (ricordiamo i R.E.M., i Replacements, i Posies, i Teenage Fanclub, i Jesus and Mary Chain dei primi due dischi) e l’attenzione degli appassionati verso quei tre dischi dimenticati diventa spinta per un vero e proprio passaparola che fa conoscere – in un circuito pur sempre circoscritto – le canzoni del gruppo.

La band decide quindi di tornare sulle scene nel 1993. Chilton e Stephens decidono di suonare dal vivo accompagnati da Jon Auer e Ken Stringfellow dei Posies. I risultati di questa riunione si possono sentire nel live Columbia: Live at Missoury University. Ma per aspettare un nuovo disco di canzoni devono passare altri dodici anni. Tanti ne distano tra il sopracitato disco e il nuovo In Space. Pubblicato nel 2005 per la Rykodisc con la stessa formazione del 1993. Il 15 settembre 2009 esce la prima raccolta del gruppo Keep an Eye on the Sky, box set di quattro dischi pubblicato dalla Rhino Records.[3]


Big Star was an American power pop band formed in Memphis, Tennessee, in 1971 by Alex Chilton, Chris Bell, Jody Stephens, and Andy Hummel. Despite exceptional reviews from critics and widely acknowledged influence upon numerous notable musicians, Big Star attained only cult status, lacking commercial success. The group broke up in 1974, but reorganized with a new line-up nearly 20 years later. In its first era, the band’s musical style drew on the vocal harmonies of The Beatles, as well as the swaggering rhythms of The Rolling Stones and the jangling guitars of The Byrds. To the resulting power pop, Big Star added dark, existential themes, and produced a style that foreshadowed the alternative rock of the 1980s and 1990s. Before it broke up, Big Star created a “seminal body of work that never stopped inspiring succeeding generations” in the words of Rolling Stone,[1] as the “quintessential American power pop band” and “one of the most mythic and influential cult acts in all of rock & roll”.[2]

Big Star’s first album—1972’s #1 Record—was met by enthusiastic reviews, but ineffective marketing by Stax Records and limited distribution stunted its commercial success. Frustration took its toll on band relations: Bell left not long after the first record’s commercial progress stalled, and Hummel left to finish his college education after a second album, Radio City, was completed in December, 1973. Like #1 Record, Radio City received excellent reviews,[3] but label issues again thwarted sales—Columbia Records, which had assumed control of the Stax catalog, likewise effectively vetoed its distribution. After a third album was deemed non-commercially viable and shelved before receiving a title, the band broke up late in 1974. Four years later, the first two Big Star LPs were released together in the UK as a double album. The band’s third album was finally issued soon afterward; entitled Third/Sister Lovers, it found limited commercial success. Shortly thereafter, Chris Bell was killed in a car accident at the age of 27.

The Big Star discography drew renewed attention in the 1980s when R.E.M., and The Replacements as well as other popular bands cited the group as an influence. In 1992, interest was further stimulated by Rykodisc‘s reissues of the band’s albums, complemented by a collection of Bell’s solo work.[4] In 1993, Chilton and Stephens reformed Big Star with recruits Jon Auer and Ken Stringfellow of The Posies, and gave a concert at the University of Missouri.[5] The band remained active, performing tours in Europe and Japan,[6] and released a new studio album, In Space, in 2005. Chilton died on March 17, 2010, after being admitted to a New Orleans hospital with heart problems.[7] Hummel, who was diagnosed with cancer in 2008, died on July 19, 2010.[8] These deaths left Stephens as the sole surviving founding member.




il seme e l’atomo
che spande Presenza
Uno non diviso
o frammentato
in tante sfere

il cammino
che di Luce
ha senso oltre il tempo
per essere dono
senza interruzione

E se tu leggi
come immagine riflessa
nella Vita
trovi lo specchio
che dona Amore
15.03.2005 Poetyca


the seed and the atom
that spreads Presence
One undivided
or fragmented
in many spheres

the way
that of Light
makes sense over time
for being a gift
without interruption

And if you read
as a reflected image
in the Life
you can find the mirror
that gives Love
15.03.2005 Poetyca

Cat Stevens Greatest Hits

Yusuf Islam, nato Steven Demetre Georgiou e a lungo conosciuto con il suo nome d’arte Cat Stevens (Londra, 21 luglio 1948), è un cantautore britannico.

Figlio di padre greco-cipriota (Stavros Georgiou) e madre svedese (Ingrid Wickman), cresce a Shaftesbury Avenue, nel quartiere di Soho a Londra, sopra il ristorante di proprietà del padre dove veniva spesso suonata musica popolare greca, dalla quale verrà influenzato.[2] Per un breve periodo della sua infanzia si sposta con la madre a Gävle in Svezia, dove impara i primi rudimenti della pittura dallo zio Hugo. Ciò influenzerà la carriera artistica del futuro Cat Stevens, spesso autore delle copertine dei propri album.

All’inizio della sua carriera musicale, Georgiou adotta il nome “Cat Stevens” dopo che un’amica gli fa notare che i suoi sembrano gli occhi di un gatto. Siamo in pieno periodo Swinging London, e Stevens incarna in pieno lo stereotipo del cantante pop commerciale dell’epoca, un’immagine dalla quale egli si distanzierà notevolmente negli anni a seguire. Dopo i primi due album Matthew and Son e New Masters, che ottengono un tiepido successo soprattutto grazie a qualche singolo come I Love My Dog, Stevens si ammala gravemente di tubercolosi e passa un certo periodo in un sanatorio di Midhurst, nella campagna inglese. Qui comincia a riflettere sul proprio futuro, sulla propria carriera (cambia casa discografica), sul proprio stile di vita, decidendo di operare un drastico cambiamento anche a partire dall’immagine: capelli più lunghi, barba e abiti più informali.

Il periodo lontano dalle scene lascia il segno e nel giro di due anni (1970 e 1971) dà alle stampe Mona Bone Jakon, Tea for the Tillerman e Teaser and the Firecat, che lo faranno diventare famoso in tutto il mondo: Lady D’Arbanville che arriva prima in Francia per quattro settimane, seconda nei Paesi Bassi ed ottava nel Regno Unito, Wild World, Father and Son, Morning Has Broken, Moonshadow, Peace Train tra le più celebri. Da segnalare la presenza tra i musicisti di artisti del calibro di Peter Gabriel (flauto in Katmandu) e Rick Wakeman, all’epoca quasi sconosciuti ai più.

Lo stile musicale che ne esce fuori è quello che contraddistinguerà Cat Stevens per tutta la sua carriera: chitarre acustiche in primo piano, sonorità delicate, richiami alla tradizione greca, testi a metà strada tra la canzone d’amore ed il misticismo, il tutto condito dalla calda vocalità dello stesso Stevens. In questo periodo partecipa alla colonna sonora del film Harold e Maude, con brani già editi e i due inediti Don’t Be Shy e If You Want to Sing Out, Sing Out. Gli album successivi Catch Bull at Four, Foreigner, Buddha and the Chocolate Box e Numbers abbandonano in parte lo stile acustico per soluzioni sperimentali più elettriche.
Yusuf Islam/Cat Stevens (2009)
Decisivo è in tal senso l’ingresso, nel gruppo di musicisti che accompagna Stevens, del tastierista Jean Roussell. Tra i brani di maggior successo di tali album vi sono Sitting, The Hurt e Oh Very Young. Nel frattempo Stevens intraprende una serie di tour intorno al mondo e arriverà a vendere oltre quaranta milioni di dischi. Il suo unico concerto in Italia si tiene a Roma nel 1974. Si trasferisce successivamente in Brasile per motivi di tasse, e comincia ad avvicinarsi a tematiche prettamente religiose. Nel 1976 suo fratello, di ritorno da un viaggio a Gerusalemme, gli regala una copia del Corano: quest’avvenimento segnerà la vita del cantautore.

Nel 1977, dopo aver rischiato di morire annegato a Malibù, secondo un aneddoto da lui stesso citato più volte, Stevens si converte all’Islam adottando il nome Yusuf Islam. Incide ancora Isitzo e Back to Earth dopodiché si ritira completamente dalle scene e diventa un membro eminente della comunità musulmana di Londra, aprendo anche la Islamia Primary School, una scuola nel nord della capitale britannica. Balza agli onori delle cronache nel 1989, quando apparentemente appoggia la fatwa lanciata contro lo scrittore Salman Rushdie per i suoi I versi satanici. In realtà Islam, il quale si trovava al Kingston Polytechnic di Londra per un incontro con gli studenti, si era limitato a spiegare il perché di quella condanna da parte del mondo musulmano, senza mai invocare direttamente alcuna sanzione, precisando successivamente che non avrebbe appoggiato la richiesta dell’ayatollah Khomeini in quanto lesiva della legislazione britannica. Questa controversia comunque gli avrebbe causato l’ostracismo di gran parte del mondo musicale per lungo tempo.

Nel 2004 Islam è di nuovo nell’occhio del ciclone quando gli viene negato l’ingresso negli USA perché il suo nome è nella lista degli indesiderati dopo gli eventi dell’11 settembre 2001. Il cantautore si trovava su un volo Londra-Washington, quando all’improvviso l’aeroplano viene dirottato in un altro aeroporto e Islam viene trattenuto e fatto tornare in patria. Il caso fa mobilitare anche l’allora Ministro degli Esteri britannico Jack Straw in difesa del cantante. Yusuf Islam vive tuttora a Londra con sua moglie e i suoi cinque figli. Ha fondato associazioni benefiche come Muslim Aid e Small Kindness per assistere le vittime della carestia in Africa. Inoltre, il cantante ha donato parte delle royalties del suo Box Set americano del 2001 al fondo per le vittime degli attentati dell’11 settembre 2001.

Tornato a calcare le scene, collaborando di nuovo con Peter Gabriel in occasione di un concerto in onore di Nelson Mandela a Johannesburg nel 2013, duettando con Ronan Keating il brano Father and Son, nel 2006 ha pubblicato l’album An Other Cup. Nel 2007 pubblica un DVD live, Yusuf’s Cafè Session, registrato durante un concerto tenuto al Porchester Hall di Londra, mentre nel 2009 esce il suo album Roadsinger, per il quale nel 2011 si è esibito in un tour europeo. Nel 2012 ha scritto, sceneggiato e prodotto un suo musical, denominato Moonshadow, in world premiere a Melbourne, con 58 appuntamenti in Australia: il tour europeo è ancora da definire. Nel 2014 partecipa come ospite alla serata iniziale del Festival di Sanremo dove propone Peace Train, Maybe There´s a World (con citazione di All You Need Is Love dei Beatles) e Father and Son e annuncia il suo prossimo album, in fase di ultimazione. Nel 2014 esce il suo ultimo album Tell ‘Em I’m Gone, metà cover e metà scritte da lui, accompagnato dal nuovo tour Peace train… late again tour con un’unica data italiana al Forum di Assago.


Cat Stevens

Yusuf Islam (born Steven Demetre Georgiou, 21 July 1948), commonly known by his former stage name Cat Stevens, is a British singer-songwriter, multi-instrumentalist, humanitarian, and education philanthropist. His 1967 debut album reached the top 10 in the UK, and the album’s title song “Matthew and Son” charted at number 2 on the UK Singles Chart. His albums Tea for the Tillerman (1970) and Teaser and the Firecat (1971) were both certified triple platinum in the US by the RIAA.

His 1972 album Catch Bull at Four spent three weeks at number one on the Billboard 200, and fifteen weeks at number one in the Australian ARIA Charts. He earned two ASCAP songwriting awards in 2005 and 2006 for “The First Cut Is the Deepest”, and the song has been a hit for four different artists. His other hit songs include “Father and Son”, “Wild World”, “Peace Train”, “Moonshadow”, and “Morning Has Broken”. In 2007 he received the British Academy’s Ivor Novello Award for Outstanding Song Collection.

In December 1977, Stevens converted to Islam[10] and adopted the name Yusuf Islam the following year. In 1979, he auctioned all his guitars for charity[11] and left his music career to devote himself to educational and philanthropic causes in the Muslim community. He was embroiled in a long-running controversy regarding comments he made in 1989 about the death fatwa on author Salman Rushdie. He has received two honorary doctorates and awards for promoting peace from two organisations founded by Mikhail Gorbachev.

In 2006, he returned to pop music – releasing his first album of new pop songs in 28 years, titled An Other Cup. With that release and for subsequent ones, he dropped the surname “Islam” from the album cover art – using the stage name “Yusuf” as a mononym. In 2009, he released the album Roadsinger, and in 2014, he released the album Tell ‘Em I’m Gone, and began his first US tour since 1978. He was inducted into the Rock and Roll Hall of Fame in 2014.


Il tuo ritorno

Il tuo ritorno

Erano strie d’incanto
a danzare lievi
c o n t r o
l’ignominia del silenzio
– i tuoi pensieri –

Pennellate aeree
cremisi ed oro
a sconfiggere la notte
sulla tela dell’attimo

Attitudini fragranti
a risvegliare aurore
come petali in estasi
ubriachi di vita

Cerchio che dipana
canti e tempo
in mantra e preghiere
per il tuo ritorno

25.05.2005 Poetyca

Your return

There were streaks of charm
dancing light
a g a i n s t
the shame of silence
– Your thoughts –

Air brush
crimson and gold
to defeat the night
on the canvas of the moment

Attitudes fragrant
to awaken auroras
like petals in ecstasy
drunk with life

Circle unravels
songs and time
in mantras and prayers
for your return

25.05.2005 Poetyca

Attimi e poi…

Attimi e poi…

Pioggia che raccoglie
silenzi e parole :
mai dette e lasciate scivolare

Oltre cortine di pensieri
ed incessante flusso
in umido volto

Sorrisi perduti
dietro l’ultimo
raggio di sole

E la notte canta
nell’attesa di sogni
che infrangano il buio

Nostalgia silente
al ritmo cadenzato
che ricerca ristoro

Solo attimi e poi…
tutto ritorna
a rinfrancare l’anima

07.11.2005 Poetyca

Moments and then …

Rain that collects
silences and words:
never said and let slip

Besides curtains thoughts
and continuous flow
wet face

Lost smiles
behind the last

And the night singing
awaiting dreams
that infringes the dark

Nostalgia silent
the rhythmic cadence
looking for refreshment

Only moments and then …
All returns
to refresh the soul

07.11.2005 Poetyca

U2 The Best of 1980-1990: New Year’s Day

Gli U2 sono un gruppo musicale irlandese formatosi a Dublino nel 1976. Il gruppo è composto da Paul David Hewson in arte Bono (cantante), David Howell Evans in arte The Edge (chitarrista), Adam Clayton (bassista) e Larry Mullen Jr. (batterista).

Nella loro carriera hanno venduto 150 milioni di dischi[7] e ricevuto il maggior numero di Grammy Awards per un gruppo, con 22 premi[8].

Nel 2005, appena raggiunto il termine minimo dei 25 anni di carriera, sono stati introdotti nella Rock and Roll Hall of Fame.

Fin dagli esordi, gli U2 si sono occupati della questione irlandese e del rispetto per i diritti civili, improntando su questi temi anche buona parte della loro attività artistica. Inoltre gli U2 sono tra i pochi gruppi internazionali a potersi vantare di aver sempre mantenuto la propria formazione originale.


U2 are an Irish rock band from Dublin. Formed in 1976, the group consists of Bono (vocals and guitar), The Edge (guitar, keyboards, and vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion). U2’s early sound was rooted in post-punk but eventually grew to incorporate influences from many genres of popular music. Throughout the group’s musical pursuits, they have maintained a sound built on melodic instrumentals. Their lyrics, often embellished with spiritual imagery, focus on personal themes and sociopolitical concerns.

The band formed at Mount Temple Comprehensive School in 1976 when the members were teenagers with limited musical proficiency. Within four years, they signed with Island Records and released their debut album Boy. By the mid-1980s, U2 had become a top international act. They were more successful as a touring act than they were at selling records until their 1987 album The Joshua Tree which, according to Rolling Stone, elevated the band’s stature “from heroes to superstars”.[1] Reacting to musical stagnation and criticism of their earnest image and musical direction in the late-1980s, U2 reinvented themselves with their 1991 album, Achtung Baby, and the accompanying Zoo TV Tour; they integrated dance, industrial, and alternative rock influences into their sound, and embraced a more ironic and self-deprecating image. They embraced similar experimentation for the remainder of the 1990s with varying levels of success. U2 regained critical and commercial favour in the 2000s with the records All That You Can’t Leave Behind (2000) and How to Dismantle an Atomic Bomb (2004), which established a more conventional, mainstream sound for the group. Their U2 360° Tour from 2009–2011 was the highest-attended and highest-grossing concert tour in history.

U2 have released 13 studio albums and are one of the world’s best-selling music artists of all time, having sold more than 170 million records worldwide.[2] They have won 22 Grammy Awards, more than any other band; and, in 2005, were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Rolling Stone ranked U2 at number 22 in its list of the “100 Greatest Artists of All Time”, and labelled them the “Biggest Band in the World”.[3] Throughout their career, as a band and as individuals, they have campaigned for human rights and philanthropic causes, including Amnesty International, the ONE/DATA campaigns, Product Red, and The Edge’s Music Rising.


La carezza del vento



di Daniela Poetyca

Dany è nata a Roma, ma risiede a Reggio Calabria dal 1968. Scrive componimenti poetici dall’età di 12 anni. E’ portata al dialogo e all’ascolto di se stessa e degli altri, ama la natura e «sentire» le proprie emozioni. Ama la lettura e la riflessione.

Scrivere è condividere con gli altri il suo animo. Considera che ognuno di noi ha la Luce interiore, ma va cercata. E’ sempre alla ricerca di un evoluzione interiore che porta alla propria autocoscienza.

Ha molto entusiasmo in tutte le cose che intraprende e crede in quello che ama.

Attraverso internet ha una vasta rete di contatti che le consentono di ascoltare la vita degli altri spesso fonte d’ispirazione per le poesie.

Il mondo poetico oggi ha perduto la sua singolarità, è rimasta soltanto la tematica che è di un’enorme vastità e non impone una severa meditazione; soprattutto per evitare il rischio di dilungarsi e di evadere dall’argomento. Quando parla di affetti umani, subito il pensiero corre alla famiglia, al vincolo naturale che lega il marito alla moglie, i figli ai genitori e viceversa, i fratelli ai fratelli. Credo che intorno a ciò non ci siano dispareri e che tutti quanti considerino l’affetto familiare come fondamentale per la società umana. C’è poi l’affetto dell’uomo per l’uomo. Il Cristianesimo dice: «Amerai il prossimo tuo come te stesso».

Appunto perché gli affetti esistono in noi, vivi, eterni e indistruttibili, possiamo affermare che l’origine altissima dell’uomo è l’essere fatto ad immagine e somiglianza di Dio. Non fa quindi meraviglia che tali sentimenti abbiano trovato nei poeti la loro più genuina ed efficace espressione. Una delle nostre prime letture scolastiche fu quella dell’Iliade e noi tutti ricordiamo i personaggi di Ettore, Andromaca ed Astianatte che Omero ha eternato nel famoso incontro descritto nel libro VI. Si tratta di parole scritte 2900 anni fa e che sembrano di oggi, perché anche oggi conservano la loro efficacia, e i padri, le madri e i figli d’oggi nutrono gli stessi sentimenti delle famiglie dell’antica Grecia e di Roma. La stessa osservazione si può fare, ricordando l’incontro di Ulisse col figlio Telemaco, dello stesso eroe con la moglie Penelope e col padre Laerte e, giungiamo, con la madre Anticlea la quale, ormai negli Inferi, risveglia in lui la più profonda tenerezza.

Il sentimento per il volo di «chi è nato per il cielo» ha trovato in questa lirica la sua più alta espressione, tanto da riportare alla memoria Virgilio di cui si possono ricordare le «alate parole con le quali celebrò la grandezza e la missione di Roma: Tu, o Romano, ricordati di reggere col tuo comando i popoli, di dare a tutti l’ordine e le leggi, di risparmiare quelli che obbediscono e di debellare i superbi».

Credo che bastino questi pochi esempi per capire, leggendo tra le righe e scavare nell’anima di Dany Poetyca ci ha portato, indubbiamente, a considerare e riflettere sulla sua interpretazione del sentimento umano, con ardore ed efficacia.

Spesso il maggior nemico da superare, non è la natura del suolo o l’avversità delle condizioni climatiche, ma l’ignoranza cui («non fugge mai il silenzio»). Anche se l’affermazione potrà sembrare strana il numero degli analfabeti è ancora molto elevato in vastissimi paesi, comunemente denominati «in via di sviluppo». A questi popoli dovrebbe giungere il monito della nostra autrice: «ogni attimo è un seme».

Ecco le efficacissime armi per la lotta contro la fame, la rivalutazione della dignità del lavoro; in modo che aggrappandosi all’immagine del Gabbiano in volo anch’essi lo potranno fare, sorvolando le vaste zone dei paesi africani ed asiatici, dove gran parte della popolazione maschile ritiene che il lavoro abbassi la dignità dell’uomo e «aspetta che il vento gli accarezzi le piume» intanto lascia alle donne il compito di lavorare.


di Dany Paetyca

Non abbandona mai il volo

chi è nato per il cielo:

Apre le ali

e cerca le sue rotte.

Non scioglie il coraggio

chi ha visto “oltre”:

stringe i denti e lotta.

Non stringe mai il pugno

in segno di rabbia

chi ha il cuore sereno.

Non fugge mai il silenzio

chi è in ricerca:

ogni attimo è un seme.

Non abbandona le lacrime

chi ha il cuore sensibile

e lava al mondo tutte le pene.

Ama e tace chi sogna

aspetta che il vento

gli accarezzi le piume.

Vola ancora gabbiano

perché sei sempre

figlio del cielo.


Un forte abbraccio circolare e l’augurio che il sole sia sempre più caldo e sincero come il tuo cuore desidera, Reno Bromuro

9 Aprile 2005

Il Baricentro Mensile di critica artistica e letteraria



Daniela Poetyca

Dany was born in Rome, but residing in Reggio Calabria in 1968. He wrote poems from the age of 12 years. And ‘capacity to dialogue and listening to herself and others, love nature and “feel” their emotions. She loves reading and reflection.

To write is to share with others her feelings. Consider that each of us has an inner light, but must be sought. It ‘s always in search of an inner evolution that leads to self-consciousness.

He has a lot of enthusiasm in everything he undertakes and believes in what he loves.

Through the Internet has a vast network of contacts that you can listen to the lives of others is often a source of inspiration for the poems.

The poetic world today has lost its uniqueness, has remained the only issue that is of enormous size and does not impose a strict meditation, mainly to avoid the risk of escape and dwell on the topic. When he talks about human emotions, thoughts turn immediately to the family, the natural bond that binds the husband to his wife, children against parents and vice versa, brothers to brothers. I think about what we are dispareri and consider all of the affected family as fundamental to human society. Then there is the love of man for man. Christianity says: “You shall love your neighbor as yourself.”

Just because there are affections in us, the living, eternal and indestructible, we can say that the origin of man is the highest to be made in the image and likeness of God is not surprising that these sentiments in the poets have found their most genuine and effective expression. One of our first school was reading the Iliad and we all remember the characters of Hector, Andromache and Astyanax, which Homer immortalized in the famous encounter described in Book VI. These are words written 2900 years ago and seem today, because even today retain their effectiveness, and the fathers, mothers and children today eat the same feelings of families of ancient Greece and Rome. The same observation can be done, remembering the encounter of Odysseus with his son Telemachus, the hero himself with his wife Penelope and his father Laertes, and we arrive, with his mother Anticlea which, now in the Underworld, he awakens the deepest tenderness .

The feeling for the flight of “who is born for heaven,” he found in this opera to its highest expression, so as to bring the memory of Virgil which you may remember the “winged words with which he celebrated the greatness and mission Rome: Thou, O Roman, remember to hold your command with the people, to give all the order and laws, save those who obey and to eradicate the proud. “

I think these few examples suffice to understand, reading between the lines and dig into the soul of Dany Poetyca has brought us, no doubt, to consider and reflect on its interpretation of human feeling, with enthusiasm and effectiveness.

Often the greatest enemy to overcome, not the nature of the soil or climatic conditions of adversity, but the ignorance of which (“never flees the silence”). Although the statement may seem odd number of illiterate people is still very high in the vast country, commonly referred to as “developing.” These people should get the warning of our author, “every moment is a seed.”

These are very effective weapons in the fight against hunger, the appreciation of the dignity of labor, so that by clinging to the image of Seagull in flight also they will do it, flying over the vast areas of countries in Africa and Asia, where most of the male population believes that the work lowers the dignity of man and “wait for the wind caress the feathers” while leaving the task of working women.


Dany Paetyca

It never leaves the flight

who is born for heaven:

Spreads its wings

and seeks its routes.

Do not melt the courage

who has seen “over”:

grits his teeth and fight.

Do not tighten the fist

as a sign of anger

who has the serene heart.

Never flees the silence

those in search:

every moment is a seed.

Do not leave the tears

who has a sensitive heart

and washes all the troubles in the world.

He loves and is silent dreamer

expect that the wind

stroked his feathers.

Seagull still Fly

why are you always

son of heaven.


A strong move and embrace the hope that the sun is warm and sincere as ever your heart desires, Reno Bromuro

April 9, 2005

The center of gravity Monthly art criticism and literary

Verso la libertà

Verso la libertà

Quale più grande vittoria
se non quella
di comprendere
che attraversato
il deserto di se stessi
si possa proseguire il viaggio
verso la libertà
dalla schiavitù che lega
a falsi idoli?
Ma è solo il nostro impegno;
il cuore aperto agli altri
a fare di noi scoperta di vita.
A permetterci di vedere
oltre le apparenze
in un cammino
d’evoluzione interiore.
In noi il ricettacolo
per accogliere la spiritualità
e farci strumento d’amore

02.12.2005 Poetyca

Towards freedom

What greater victory
except that
to understand
that crossed
the desert of themselves
we can continue the journey
toward freedom
from the slavery that binds
false idols?
But is our commitment;
heart open to others
to make us discover life.
To enable us to see
beyond appearances
a path
of inner evolution.
Us in the receptacle
to accommodate spirituality
and make us an instrument of love

02.12.2005 Poetyca

Rubare un Angelo

Rubare un Angelo

Nessuno mai potrebbe
rubare un Angelo
a nessuno infatti appartiene
e riesce a volare leggero
dove un cuore puro lo accoglie
Dove non nascono cortine di fumo
ad avvolgere il suo sentire
Nel buio la carezza leggera
che sfiora senza far rumore
nel buio si scioglie ogni istante
di tempo fermato e solo chi attende
senza mai nulla chiedere
facendo tacere i rumori della mente
lo sente vicino con la voce nel cuore

16.07.2005 Poetyca

Stealing an Angel

No one ever could
steal an Angel
it belongs to anyone
and can fly light
where it receives a pure heart
Where not born smokescreens
to wrap his feeling
In the darkness the light caress
nearly noiselessly
in the darkness melts every moment
time stopped and only those who wait
without ever asking for anything
silencing the noise of the mind
feels close to his voice in the heart

16.07.2005 Poetyca

Se sai trovare

Se sai trovare

Se sai trovare in cuor tuo :

bellezza , grazie e purezza

oltre il velo di Maya e oltre il dolore

hai raccolto fiori che profumano

il tuo cammino e respirano d’ Universo

15.10.2005 Poetyca

If you can find

If you can find in your heart

beauty, grace and purity

beyond the veil of Maya and beyond the pain

‘ve gathered flowers that smell

your walk and breathe ‘s Universe

15.10.2005 Poetyca

Jimi Hendrix Greatest Hits

[youtube https://www.youtube.com/watch?v=PQyGrPw8P50&list=PLMKA5kzkfqk2GEImRCIqGqWmQvKYygUhG]

Jimi Hendrix, all’anagrafe James Marshall Hendrix (Seattle, 27 novembre 1942Londra, 18 settembre 1970), è stato un chitarrista e cantautore statunitense.

È stato uno dei maggiori innovatori nell’ambito della chitarra elettrica: durante la sua parabola artistica, tanto breve quanto intensa, si è reso precursore di molte strutture e del sound di quelle che sarebbero state le future evoluzioni del rock attraverso un’inedita fusione di blues, rhythm and blues/soul, hard rock, psichedelia e funky.[3]

Secondo la classifica stilata nel 2011 dalla rivista Rolling Stone, è stato il più grande chitarrista di tutti i tempi. Si trova infatti al primo posto della lista dei 100 migliori chitarristi secondo Rolling Stone, precedendo Eric Clapton e Jimmy Page.[4]

Due sue esibizioni, in particolare, sono entrate di prepotenza nell’immaginario collettivo: il suo esordio al festival di Monterey del 1967, in cui concluse la performance dando fuoco alla sua chitarra davanti ad un pubblico allibito, e la chiusura del festival di Woodstock del 1969, durante la quale, con dissacrante visionarietà artistica, reinterpretò l’inno nazionale statunitense in modo provocatoriamente distorto e cacofonico.[5]

Hendrix è stato introdotto nella Rock and Roll Hall of Fame nel 1992.[6]


James MarshallJimiHendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American guitarist, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music”.[1]

Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army; he was granted an honorable discharge the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the chitlin’ circuit, earning a place in the Isley Brothers‘ backing band and later withLittle Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after being discovered by Linda Keith, who in turn interested bassist Chas Chandler of the Animals in becoming his first manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: “Hey Joe“, “Purple Haze“, and “The Wind Cries Mary“. He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US; it was Hendrix’s most commercially successful release and his first and only number one album. The world’s highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 beforehis accidental death from barbiturate-related asphyxia on September 18, 1970, at the age of 27.

Hendrix was inspired musically by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in utilizing the previously undesirable sounds caused by guitar amplifier feedback. He helped to popularize the use of a wah-wah pedal in mainstream rock, and was the first artist to use stereophonic phasing effects in music recordings. Holly George-Warren of Rolling Stone commented: “Hendrix pioneered the use of the instrument as an electronic sound source. Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began.”[2]

Hendrix was the recipient of several music awards during his lifetime and posthumously. In 1967, readers of Melody Maker voted him the Pop Musician of the Year, and in 1968, Billboard named him the Artist of the Year and Rolling Stone declared him the Performer of the Year. Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. Rolling Stone ranked the band’s three studio albums, Are You Experienced, Axis: Bold as Love, and Electric Ladyland, among the 100 greatest albums of all time, and they ranked Hendrix as the greatest guitarist and the sixth greatest artist of all time.


The Best of Patti Smith

[youtube https://www.youtube.com/playlist?list=PL6A0E9CCF4B45E549 ]

Patricia Lee Smith (Chicago, 30 dicembre 1946) è una cantante e poetessa statunitense. Figura atipica e rivoluzionaria nel rock degli anni ’70, è stata tra le grandi protagoniste del proto-punk e della New wave.[1][2][3] Il grande carisma interpretativo e la suggestiva potenza delle sue liriche le hanno fatto guadagnare il soprannome di ”sacerdotessa maudit del rock”.[4]

La rivista Rolling Stone la inserisce al quarantasettesimo posto nella sua classifica dei 100 migliori artisti



Patricia LeePattiSmith (born December 30, 1946)[1] is an American singer-songwriter, poet and visual artist who became a highly influential component of the New York City punk rock movement with her 1975 debut album Horses.[2]

Called the “punk poet laureate”, Smith fused rock and poetry in her work. Smith’s most widely known song is “Because the Night“, which was co-written with Bruce Springsteen and reached number 13 on the Billboard Hot 100 chart in 1978.[2] In 2005, Patti Smith was named a Commander of the Ordre des Arts et des Lettres by the French Ministry of Culture,[3] and in 2007, she was inducted into the Rock and Roll Hall of Fame.[4] On November 17, 2010, she won the National Book Award for her memoir Just Kids.[5] She is also a recipient of the 2011 Polar Music Prize.


Amore – Love – Robert Louis Stevenson


Puoi dare senza amare,
ma non puoi mai amare
senza dare.

Robert Louis Stevenson

You can give without loving,
but you can never love
without giving.

Robert Louis Stevenson

Neil Young – The Needle & The Damage Done

[youtube https://www.youtube.com/watch?v=UyRwde95sfE&list=PL76C4C09DDAFF76C8]

Neil Percival Young (Toronto, 12 novembre 1945) è un cantautore e chitarrista canadese.

Dopo aver debuttato giovanissimo con la storica formazione dei Buffalo Springfield e aver raggiunto il successo nel supergruppo Crosby, Stills, Nash & Young,[1] Neil si è imposto come uno dei più carismatici e influenti cantautori degli anni settanta,[2] contribuendo a ridefinire la figura del songwriter con album come After the Gold Rush e il vendutissimo Harvest.[3]

Artista solitario e tormentato,[3] capace di passare con disinvoltura dalla quiete della ballata acustica alla brutalità della cavalcata rock, per l’approccio spesso volutamente “grezzo” che contraddistingue tanto i suoi dischi quanto i suoi concerti è stato considerato da alcuni un precursore del punk,[3] mentre la ruvida passione delle sue performance ha spinto tanto la critica quanto gli appassionati e gli stessi musicisti ad acclamarlo negli anni novanta padrino del grunge.[3][4] È stato inoltre un personaggio determinante per l’evoluzione di generi come l’alternative country[5] e l’alternative rock in generale.[6]

Tratti inconfondibili del suo stile sono la voce acuta e nasale, la chitarra “sporca” e cacofonica, i testi introspettivi e malinconici (specie nella cosiddetta Trilogia del dolore,[7] culminata nell’album Tonight’s the Night,[8] da molti ritenuto il primo concept album della storia del rock a misurarsi con temi quali il dolore e la perdita) nonché l’immancabile camicia di flanella, divenuta negli anni un autentico status symbol alternativo.


Neil Percival Young, OC OM[4][5] (born November 12, 1945) is a Canadian singer-songwriter and musician. He began performing in a group covering Shadowsinstrumentals in Canada in 1960, before moving to California in 1966, where he co-founded the band Buffalo Springfield together with Stephen Stills and Richie Furay, and later joined Crosby, Stills & Nash in 1969. He released his first album in 1968 and has since forged a successful and acclaimed solo career, spanning over 45 years and 35 studio albums, with a continuous and uncompromising exploration of musical styles.[6] The Rock and Roll Hall of Fame website describes Young as “one of rock and roll’s greatest songwriters and performers”.[7] He was inducted into the Hall of Fame twice, first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997.[8]

Young’s music is characterized by his distinctive guitar work, deeply personal lyrics[9][10][11] and characteristic alto or high tenor singing voice.[12][13] Although he accompanies himself on several different instruments, including piano and harmonica, his idiosyncratic electric and clawhammer acoustic guitar playing are the defining characteristics of a varyingly ragged and melodic sound.

While Young has experimented with differing music styles throughout a varied career, including swing and electronic music, most of his best known work is either acousticfolk-rock and country rock or electric, amplified hard rock (most often in collaboration with the band Crazy Horse). Musical styles such as alternative rock and grunge also adopted elements from Young. His influence has caused some to dub him the “Godfather of Grunge“.[14]

Young has directed (or co-directed) a number of films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979),Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He has also contributed to the soundtracks of films including Philadelphia (1993) and Dead Man(1995).

Young is an environmentalist[15] and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. He is currently working on a documentary about electric car technology, tentatively titled LincVolt. The project involves his 1959 Lincoln Continental converted to hybrid technology as an environmentalist statement.[16][17] In 1986, Young helped found The Bridge School,[18] an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his ex-wife Pegi Young (née Morton). Young has three children: sons Zeke (born during his relationship with actress Carrie Snodgress) and Ben, who were diagnosed with cerebral palsy, and daughter Amber Jean who, like Young, has epilepsy. Young lives on his ranch in La Honda, California.[19] Although he has lived in northern California since the 1970s and sings as frequently about U.S. themes and subjects as he does about his native country, he has retained his Canadian citizenship.[20] On July 14, 2006, Young was awarded the Order of Manitoba,[5] and on December 30, 2009, was made an Officer of the Order of Canada.[4]



Quel che è stato

Quel che è stato

Il tempo scorre
e cancella gli inganni
antico percorso
che passa del cuore:
occhi e memoria
di quel che è perduto
– colore ormai smunto –
di mille illusioni

Erano giochi
che facevan apparire
la processione di sorrisi
Come giocoliere
era giovinezza
che lasciava patine vive

Si rimandava
il nutrimento dell’anima
di quel essere impalpabile
che a poco sarebbe servito
– era solo ebbrezza da seguire –
danze dei sensi per ottundere
quel che non si coglieva

Ed ora che le pieghe incise
mostrano lo scavo dell’effimero
nulla resta da guardare
e vuoto silenzio
rimbomba per quel che non è stato

Ed è maschera che gronda
trucco e sudore
Vuoto lo scrigno
che conteneva l’essenza
d’ un cuore ormai vecchio
che non sa più cercare
senso e storia
di quel che è stato

27.06.2005 Poetyca

What was

Time flows
and remove the deceptions
old path
passing of the heart:
eyes and memory
of what is lost
– Color now haggard –
a thousand illusions

Games were
yielding appear
the procession of smiles
How to juggle
youth was
leaving patina lives

the nourishment of the soul
in that be impalpable
that little would be served
– Was just drunk to follow –
dances to dull the senses
what is not caught

And now that the carved folds
showing the excavation of the ephemeral
nothing left to watch
and empty silence
echoes for what was not

And it is form that gutter
makeup and sweat
Empty casket
which contained the essence
‘s heart when old
that can no longer look
meaning and history
of what was

27.06.2005 Poetyca

Cream Live in Royal Albert Hall

I Cream sono stati una band rock britannica attiva tra il 1966 e il 1968, che, rivisitando vecchi schemi del blues, riuscì ad innovare il rock in generale,[3] influenzando molti artisti, tra i quali Jimi Hendrix,[3] Queen[4], Black Sabbath[5] e Van Halen.[6] Formati dal chitarrista Eric Clapton, dal bassista Jack Bruce e dal batterista Ginger Baker, furono il primo power trio ad aver avuto notevole successo[1][7][8] e uno dei primi supergruppi della storia.[1][3][7][8]

Nei soli tre anni di attività il gruppo riuscì a pubblicare tre album[9] e a vendere 15 milioni di dischi.[3][8] Dopo lo scioglimento del gruppo, i tre componenti ebbero delle carriere molto diverse tra loro: Clapton divenne uno dei musicisti più conosciuti del mondo, grazie a canzoni come Layla e Cocaine, Bruce collaborò con artisti jazz, mentre Baker si dedicò alla world music.[3] Tuttavia, la band si riunì in due occasioni: nel 1993, per suonare alla cerimonia della loro introduzione nel Rock and Roll Hall of Fame, e nel 2005, esibendosi in quattro concerti al Royal Albert Hall di Londra e in due al Madison Square Garden di New York.[8]

In una classifica stilata nel 2003 dalla rivista Rolling Stone, sono tra i 100 migliori artisti di sempre, figurando al 67º posto.[10] L’emittente VH1 ha classificato il gruppo al sedicesimo posto tra i 100 migliori artisti hard rock di sempre.


Cream were a 1960s British rock supergroup power trio consisting of bassist/singer Jack Bruce, drummer Ginger Baker, and guitarist/singer Eric Clapton. Their unique sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock,[1] combining psychedelia themes, Clapton’s blues guitar playing, Bruce’s powerful, versatile vocals and prominent bass playing, Baker’s pulsating, jazz-influenced drumming and Pete Brown’s poetry-inspired lyrics. The group’s third album, Wheels of Fire, was the world’s first platinum-selling double album.[2][3] The band is widely regarded as being the world’s first successful supergroup.[4][5][6][7] In their career, they sold over 15 million albums worldwide.[8] Their music included songs based on traditional blues such as “Crossroads” and “Spoonful”, and modern blues such as “Born Under a Bad Sign”, as well as more eccentric songs such as “Strange Brew”, “Tales of Brave Ulysses” and “Toad”.

The band’s biggest hits are “I Feel Free” (UK, number 11),[3] “Sunshine of Your Love” (US, number 5),[9] “White Room” (US, number 6),[9] “Crossroads” (US, number 28),[9] and “Badge” (UK, number 18).[10] The band made a significant impact on the popular music of the time, and, along with Jimi Hendrix, and Terry Kath of Chicago, popularised the use of the wah-wah pedal. They provided a heavy yet technically proficient musical theme that foreshadowed and influenced the emergence of British bands such as Led Zeppelin, The Jeff Beck Group and Black Sabbath in the late 1960s and the early 1970s. The band’s live performances influenced progressive rock acts such as Rush.[11] The band was inducted into the Rock and Roll Hall of Fame in 1993.[12] They were included in both Rolling Stone and VH1’s lists of the “100 Greatest Artists of All Time,” at number 67 and 61 respectively.[13][14] They were also ranked number 16 on VH1’s “100 Greatest Artists of Hard Rock”


Van Der Graaf Generator – Rockpalast – COMPLETE SHOW

I Van der Graaf Generator sono un gruppo progressive inglese.

La loro formazione ha subito nel tempo molte trasformazioni, sciogliendosi varie volte, ma quella considerata classica e maggiormente conosciuta, era composta dal leader Peter Hammill (voce, chitarra, pianoforte, nonché principale autore delle canzoni), Hugh Banton (tastiere, basso elettrico, chitarra), Guy Evans (batteria) e David Jackson (fiati).

Ebbero un notevole successo, sin dagli inizi della loro carriera, soprattutto in Italia, e raggiunsero la fama a livello europeo con l’uscita dell’album Pawn Hearts nel 1971. Dopo lo scioglimento del gruppo nel 1978, la formazione classica dei VDGG si riunirà nel 2005.

I Van der Graaf Generator non hanno molto in comune con gli altri gruppi del genere, infatti i loro testi non trascendono il reale nel favolistico, come i Genesis, gli Yes o i King Crimson, ma si sviluppano in contesti più filosofici vicini allo psicodramma. Anche la loro musica è abbastanza diversa dai loro contemporanei, non sono presenti virtuosismi, barocchismi o riempimenti vari, ma le atmosfere sono cupe, caratterizzate da arrangiamenti allo stesso tempo essenziali e complessi.


Van der Graaf Generator are an English progressive rock band, formed in 1967 in Manchester by singer-songwriters Peter Hammill and Chris Judge Smith and the first act signed by Charisma Records. They did not experience much commercial success in the UK, but became popular in Italy during the 1970s. In 2005 the band reformed, and continue to perform as of 2014.

The band formed at Manchester University, but settled in London where they signed with Charisma. They went through a number of incarnations in their early years, including a brief split in 1969. When they reformed, they found minor commercial success with The Least We Can Do Is Wave to Each Other, and after the follow-up album, H to He, Who Am the Only One, stabilised around a line-up of Hammill, organist Hugh Banton, saxophonist David Jackson, and drummer Guy Evans. The quartet subsequently achieved significant success in Italy with the release of Pawn Hearts in 1971.

After several exhausting tours of Italy, the band split in 1972. They reformed in 1975, releasing Godbluff and frequently touring Italy again, before a major line-up change and a slight rename to Van der Graaf. The band split in 1978. After many years apart, the band finally united at a gig at the Royal Festival Hall and a short tour in 2005. Since then, the band has continued as a trio of Hammill, Banton, and Evans, who record and tour regularly in between Hammill’s concurrent solo career. Their most recent album, ALT, was released in June 2012.

The group’s albums have tended to be both lyrically and musically darker in atmosphere than many of their prog-rock peers (a trait they shared with King Crimson, whose guitarist Robert Fripp guested on two of their albums), and guitar solos were the exception rather than the rule, preferring to use Banton’s classically influenced organ, and, until his departure, Jackson’s multiple saxophones. While Hammill is the primary songwriter for the band, and its members have contributed to his solo albums, he is keen to stress that the band collectively arranges all its material. Hammill’s lyrics frequently covered themes of mortality, due to his love of science fiction writers such as Robert Heinlein and Philip K. Dick, along with his self-confessed warped and obsessive nature. His voice has been a distinctive component of the band throughout its career. It has been described as “a male Nico” and would later on be cited as an influence by Goth bands in the 1980s. Though the group have generally been commercially unsuccessful outside of early 1970s Italy, they have inspired several musicians, including John Lydon and Julian Cope.