Risultati della ricerca per: 2006

Eric Burdon – Spill The Wine (Live at Lugano, 2006)



Eric Victor Burdon (Newcastle upon Tyne, 11 maggio 1941) è un cantante inglese. È noto per essere stato il leader degli Animals e, in seguito, del gruppo funk War, per poi condurre una carriera solista. È stato inserito al 57º posto nella Lista dei 100 migliori cantanti secondo Rolling Stone
Nel 1963, Burdon si unì al gruppo Alan Price Rhythm and Blues Combo, fondato dal tastierista Alan Price, il quale cambiò il nome in The Animals, per via delle loro performance, selvagge per quei tempi. Il gruppo fu tra i rappresentanti della cosiddetta British invasion, assieme a Beatles, Who, Rolling Stones, The Dave Clark Five e Kinks. Gli Animals divennero noti soprattutto grazie al singolo The House of the Rising Sun e ad altri brani come I’m Crying, It’s My Life, Don’t Let Me Be Misunderstood e We’ve Gotta Get Out of This Place. La band si scioglie prematuramente nel 1966.

Poco dopo, Burdon assieme al batterista Barry Jenkins formò un nuovo progetto chiamato Eric Burdon & The Animals (da altri chiamato “Eric Burdon and The New Animals”) che rimase in attività fino al 1969, quando Eric si trasferì a San Francisco per formare i War (inizialmente denominati “Eric Burdon and War”), una formazione di estrazione multietnica dedita a una miscela tra funk, R&B, jazz e latin. La band esordì con Eric Burdon Declares “War”, che contiene singoli come Tobacco Road e Spill the Wine. Durante una tournée, il cantante ebbe un attacco di asma e gli altri membri dovettero gestire le restanti tappe senza di lui.

Burdon lasciò i War per collaborare con il cantante blues Jimmy Witherspoon, incidendo l’album Guilty! (1971) e intraprendendo una carriera solista con la creazione di una band autoreferenziale, la Eric Burdon Band, che pubblicò Sun Secrets (1974) e Stop (1975). Nel 1975 si riunì momentaneamente con gli Animals pubblicando un nuovo disco, Before We Were So Rudely Interrupted (1977).

Nel 1990 Burdon incise la canzone No Man’s Land insieme a Tony Carey e Anne Haigis.

Nel 1994 Eric e gli altri componenti degli Animals vennero ammessi alla Rock and Roll Hall of Fame. Accanto alla sua carriera musicale, Burdon ha partecipato saltuariamente ad alcune pellicole cinematografiche, ad esempio nel film The Doors, ove fa una breve apparizione nel ruolo di un manager.

https://it.wikipedia.org/wiki/Eric_Burdon

Eric Victor Burdon (born 11 May 1941) is an English singer-songwriter best known as a member and vocalist of rock band the Animals and the funk band War[2] and for his aggressive stage performance. He was ranked 57th in Rolling Stone’s list The 100 Greatest Singers of All Time.
Burdon was lead singer of the Animals, formed during 1962 in Newcastle upon Tyne, England. The original band was the Alan Price Rhythm and Blues Combo, which formed in 1958 they became The Animals shortly after Burdon joined the band. The Animals combined electric blues with rock and in the USA were one of the leading bands of the British Invasion. Along with the Beatles, the Rolling Stones, the Dave Clark Five, and the Kinks, the group introduced British music and fashion. Burdon’s powerful voice can be heard on the Animals’ singles “The House of the Rising Sun”, “Sky Pilot”, “Monterey”, “I’m Crying”, “Boom Boom”, “Don’t Let Me Be Misunderstood”, “Bring It On Home to Me”, “Baby Let Me Take You Home”, “It’s My Life”, “We Gotta Get out of This Place”, “Don’t Bring Me Down”, and “See See Rider”.

https://en.wikipedia.org/wiki/Eric_Burdon

Annunci

GENESIS | Live at Wembley (England, 1987)


[youtube https://www.youtube.com/watch?v=qAdh85n1MjM]

I Genesis sono un gruppo progressive rock britannico, cresciuto e affermatosi all’interno del vasto movimento del rock progressivo. Sono considerati una delle band più importanti e innovative della storia del rock.

Durante la loro carriera, hanno venduto più di 150 milioni di dischi in tutto il mondo, inserendosi nella lista dei trenta artisti di maggior successo commerciale di tutti i tempi.

Nel corso della propria storia il gruppo ha subito diversi cambiamenti di formazione, mantenendo tuttavia inalterata la presenza di Tony Banks (alle tastiere) e Mike Rutherford (al basso e alle chitarre). Le formazioni più celebri e riconosciute sono due: la prima, quella dell’affermazione negli anni settanta, comprendeva Phil Collins, Mike Rutherford, Tony Banks, Steve Hackett e Peter Gabriel; la seconda, quella degli anni ottanta e novanta, Phil Collins, Mike Rutherford e Tony Banks, con il costante supporto, durante i live, di Daryl Stuermer (chitarra elettrica e basso) e Chester Thompson (batteria e percussioni), che tuttavia non divennero mai membri ufficiali del gruppo. Quest’ultima formazione è anche la più longeva e quella che ha ottenuto il maggior successo commerciale. Nel corso del tempo hanno poi fatto parte della band molti musicisti provenienti da diverse esperienze musicali.

Abili esecutori e abilissimi compositori, i Genesis vantano anche una larga produzione di materiale dal vivo, testimoniata da numerosi album live, sia ufficiali che bootleg.

https://it.wikipedia.org/wiki/Genesis

Genesis are an English rock band formed in Godalming, Surrey in 1967, with Peter Gabriel, Tony Banks, Mike Rutherford, Anthony Phillips and Chris Stewart as founding members. The band has had numerous line-ups throughout its history, of which eleven musicians became full time members. Its most recent formation comprised two founding members — keyboardist Tony Banks and bassist/guitarist Mike Rutherford — and drummer/singer Phil Collins, who joined in 1970. Genesis are one of the best selling music artists of all time with approximately 130 million records sold worldwide.[2] They were inducted into the Rock and Roll Hall of Fame in 2010.

Formed by five pupils at Charterhouse School, Genesis were initially regarded as a “pop experiment” as evident by their debut album, From Genesis to Revelation(1969).[3] They evolved into a progressive rock band with Trespass (1970) and Nursery Cryme (1971), which showcased longer tracks, fantasy inspired lyrics, and complex song structures and instrumentation – the latter featured the debut of Collins on drums and new lead guitarist Steve Hackett. Their success continued withFoxtrot (1972), which features the 23-minute track “Supper’s Ready“, and Selling England by the Pound (1973). Genesis concerts during this time became theatrical experiences with stage design, pyrotechnics, story telling, and singer Peter Gabriel wearing make-up and costumes. In 1975, after touring in support of their doubleconcept album The Lamb Lies Down on Broadway (1974), Gabriel left the band. Collins would handle drums, percussion, drum machine (starting in 1980) and lead vocals on their subsequent studio albums, of which three more were released in the 1970s: A Trick of the Tail (1976), Wind & Wuthering (1976), and …And Then There Were Three… (1978). The single “Follow You Follow Me” from the latter was a major international success and represented a change in their musical direction, becoming more pop-oriented and commercially accessible.

In 1980, Genesis scored their first UK No. 1 album with Duke (1980). Their commercial success grew with further UK No. 1 albums Abacab (1981) and Genesis (1983), which coincided with Collins’s increasing popularity as a solo artist. The band peaked with Invisible Touch (1986), their best-selling album, from which all five singles released entered the top five on the U.S. Billboard Hot 100 chart, with “Invisible Touch” reaching the No. 1 spot. In 1991, after a five-year break, Genesis continued their mainstream success with We Can’t Dance (1991), which contained the worldwide hit single “I Can’t Dance“. In 1996, Collins departed the band, which led to Ray Wilsontaking his place on vocals. Wilson, Banks and Rutherford released Calling All Stations (1997), which sold well in Europe but peaked at No. 53 in the U.S., their lowest charting album since 1974. Following a European tour in 1998, the band went on hiatus.

In 2006, Banks, Rutherford and Collins reunited for the 2007 Turn It On Again Tour, which included a free concert in Rome that was attended by 500,000 people. The future of the band remains uncertain; Collins stated that he was retiring from the music industry in 2011 but has since indicated he is considering a return,[4] whilst Banks indicated that Genesis had come to an end during an interview in 2012.[5] In 2014, Gabriel, Banks, Rutherford, Collins, and Hackett reunited for a BBC documentary,Genesis: Together and Apart.[6]

https://en.wikipedia.org/wiki/Genesis_(band)

 

The Who – Greatest Hits Ultimate Best Of – HQ



The Who è uno storico gruppo musicale rock britannico originario di Londra, considerato tra le maggiori band Rock ‘n Roll di tutti i tempi, con oltre 100 milioni di dischi venduti.[7] Le prime apparizioni dal vivo degli Who risalgono al 1964,[8] con quella che è considerata la storica formazione del gruppo: Pete Townshend (chitarrista e autore della maggior parte delle canzoni), Roger Daltrey (voce), John Entwistle (basso elettrico) e Keith Moon (batteria).

Dopo un breve periodo da portabandiera del movimento Mod inglese, gli Who raggiungono il successo nel 1965, con l’uscita dell’album My Generation, il cui omonimo brano si dimostra essere il primo inno generazionale,[9] nonché uno dei pezzi ancor oggi più conosciuti e rappresentativi della band,[10] oltre ad essere inserito nel 2004 dalla rivista Rolling Stone all’undicesimo posto tra le 500 migliori canzoni secondo Rolling Stone.[11] Gli Who nel corso della loro carriera hanno piazzato 27 singoli nei primi 40 posti delle classifiche di vendita britanniche e statunitensi, oltre a raggiungere la top ten con 17 album (ottenendo nel contempo 18 dischi d’oro, 12 di platino, e 5 multi-platino solamente negli Stati Uniti).

Gli Who raggiungono il grande pubblico a partire dal 1965 con una serie di singoli di successo, grazie anche alle trasmissioni di alcune radio pirata di oltremanica come Radio Caroline, tra i quali vanno ricordati I Can’t Explain e Substitute. In A Quick One, pubblicato nel 1966, è possibile notare il progredire della ricerca musicale di Townshend verso la realizzazione di un’opera rock a carattere teatrale, che si concretizzerà poi in Tommy (1969) e nella più matura Quadrophenia (1973), nel cui film associato si fece notare un giovanissimo Sting.

Del 1979 è anche il documentario sulla storia del gruppo Uragano Who (The Kids Are Alright). Tra i protagonisti della Swinging London, furono molto influenzati dalla musica dei loro contemporanei Beatles e Rolling Stones, di cui continuarono il fenomeno della British invasion. Ebbero una notevole influenza su altre band a loro volta, lasciando un’onda lunga che va dai Led Zeppelin[12] ai Sex Pistols,[13] dagli U2[14] agli Oasis[1] passando per i Pearl Jam.[15]

È particolarmente discusso l’inserimento degli Who all’interno del genere proto-punk, ovvero a quella derivazione del garage rock che a metà anni settanta porterà Ramones, Sex Pistols, The Clash[1] ed altre band a creare il punk rock ed in particolare il punk rock delle origini. La distanza stilistica degli Who con altre band appartenenti al proto punk è evidente, tuttavia le innovazioni stilistiche apportate dagli Who al rock, soprattutto nell’uso della batteria fanno propendere alcune fonti[2] a ritenere che la band possa essere considerata come seminale rispetto al genere suddetto.

Dopo la scomparsa di Keith Moon, morto nel 1978, e di John Entwistle, nel 2002, Townshend e Daltrey continuano a proporre dal vivo i loro brani più classici, accompagnati da Pino Palladino al basso e Zak Starkey (figlio di Richard, meglio conosciuto come Ringo Starr) alla batteria. Nel 2006, gli Who hanno pubblicato il loro primo disco registrato in studio da It’s Hard del 1982, intitolato Endless Wire.

Il gruppo appare alla posizione 29 della lista dei 100 migliori artisti secondo Rolling Stone.[16] Tutti i membri della band fanno inoltre parte individualmente di una delle classifiche di Rolling Stone, di cui tre nella top ten del proprio strumento: Roger Daltrey alla posizione 61 della lista dei 100 migliori cantanti secondo Rolling Stone,[17] Pete Townshend alla 10ª della lista dei 100 migliori chitarristi,[18] Keith Moon alla 2ª tra i migliori batteristi di tutti i tempi scelti dai lettori della rivista[19] e John Entwistle è al primo posto nella classifica dei migliori bassisti di tutti i tempi scelti dai lettori.

http://it.wikipedia.org/wiki/The_Who

The Who are an English rock band that formed in 1964. Their classic line-up consisted of lead singer Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide and establishing their reputation equally on live shows and studio work.

The Who developed from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, “I Can’t Explain”, reached the UK top ten, followed by a string of singles including “My Generation”, “Substitute” and “Happy Jack”. In 1967, they performed at the Monterey Pop Festival and released the US top ten single “I Can See for Miles”, while touring extensively. The group’s fourth album, 1969’s rock opera Tommy, included the single “Pinball Wizard” and was a critical and commercial success. Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, cemented their reputation as a respected rock act. With their success came increased pressure on lead songwriter and visionary Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971’s Who’s Next, which included the hit “Won’t Get Fooled Again”. The group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in 1978 was overshadowed by the death of Moon shortly after.

Kenney Jones replaced Moon and the group resumed activity, releasing a film adaptation of Quadrophenia and the retrospective documentary The Kids Are Alright. After Townshend became weary of touring, the group split in 1982. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th anniversary tour in 1989 and a tour of Quadrophenia in 1996. They resumed regular touring in 1999, with drummer Zak Starkey. After Entwistle’s death in 2002, plans for a new album were delayed. Townshend and Daltrey continued as the Who, releasing Endless Wire in 2006, and continued to play live regularly.

The Who’s major contributions to rock music include the development of the Marshall stack, large PA systems, use of the synthesizer, Entwistle and Moon’s lead playing styles, and the development of the rock opera. They are cited as an influence by several hard rock, punk rock and mod bands, and their songs still receive regular exposure.

http://en.wikipedia.org/wiki/The_Who

Crosby e Nash In Concert


[youtube https://www.youtube.com/watch?v=ypoyxmVynxQ]

Crosby & Nash sono un duo musicale statunitense composto da David Crosby e Graham Nash. I due artisti sono anche attivi assieme nel supergruppo Crosby, Stills, Nash & Young fin dalla fine degli anni ’60.

Come duo, Crosby & Nash hanno lavorato nel corso degli anni ’70 e nella prima metà degli anni 2000.

http://it.wikipedia.org/wiki/Crosby_%26_Nash

Crosby & Nash

In addition to solo careers and within the larger aggregate of Crosby, Stills, Nash & Young, the musical team of David Crosby and Graham Nash have performed and recorded regularly as a duo, mostly during the 1970s and the 2000s

After the success of Déjà Vu and the subsequent break-up of the quartet in the summer of 1970, all four members of CSNY released solo albums. Crosby’s If I Could Only Remember My Name and Nash’s Songs for Beginners appeared in 1971 and missed the top ten. That autumn, the two good friends toured together as an acoustic duo to favorable reviews, one night from which would be released twenty-seven years later as Another Stoney Evening. Consequently, in 1972 the two decided to record an album, resulting in Graham Nash David Crosby, which reached #4 on the Billboard 200, ensuring that the two were still a viable draw without the more successful Stills and Young. Further work together later in 1972 was precluded by Crosby’s participation in The Byrdsreunion album recording sessions. In 1973, the pair joined Neil Young for the tour that would result in his Time Fades Away album, Crosby collaborated with electronica artist and Grateful Dead associate Ned Lagin, and Nash recorded a second solo album, Wild Tales. During this time, singularly and together they contributed backing vocals to various albums by associates in the California rock scene, including Stephen Stills, Harvest, Late for the Sky, and Court and Spark.

In 1974, both dutifully joined the Crosby, Stills, Nash & Young reunion tour and attempt at the recording of a new album in Hawaii, sessions for which had continued in fits and starts after commencing in late 1973. After failing to complete an album Crosby and Nash signed a contract with ABC Records. Presumably for contractual obligations to their old label, the cassette and 8-track tape versions of their ABC LPs were issued by Atlantic. Recording activity yielded two albums in 1975 and 1976 respectively,Wind on the Water and Whistling Down the Wire. In that bicentennial year, Stephen Stills and Neil Young invited the duo to a recording session for their album Long May You Run. Crosby and Nash were forced to leave the recording session because they had time constraints to complete their second album for ABC Records, so Stills and Young wiped their vocals, releasing it as The Stills-Young Band. Crosby & Nash vowed not to work with either Stills or Young again, that oath lasting not even a year as they reconvened with Stills for the second Crosby Stills & Nash album in 1977.

ABC released four albums by Crosby & Nash prior to its being bought by the MCA conglomerate in 1979. In addition to the two abovementioned studio albums, the concert document Crosby-Nash Live appeared in 1977, with a compilation The Best of Crosby & Nash in 1978. All four albums featured their backing band The Mighty Jitters, consisting of Craig Doerge, Tim Drummond, Danny Kortchmar, Russ Kunkel, and David Lindley. Session bassist Leland Sklar alternated with Drummond in the studio, and the line-up of Doerge, Kortchmar, Kunkel, and Sklar had previously recorded as The Section, providing the back up for the first Crosby & Nash album on Atlantic. Depending upon availability of the various members, the twosome would either tour as a full-blown electric-based aggregation or in a semi-acoustic format with Doerge and Lindley. When CSN reunited on a more or less permanent basis in 1977, Doerge followed the group to Miami for the CSN sessions, contributing to several songs and collaborating on writing the song “Shadow Captain” with Crosby. Crosby and Doerge continued to collaborate regularly until the early 1990s.

In 1979, Crosby & Nash attempted a new album for Capitol Records, but sessions were dampened by Crosby’s increased dependence upon freebase cocaine. Sessions eventually appeared on Nash’s Earth & Sky without any songs from Crosby. Crosby’s problems during the 1980s with drugs, and his prison time, precluded any duo activity with Nash, the pair appearing on the CSN and CSNY albums of that decade. The 1990 CSN album Live It Up started as a Crosby & Nash record, but like its predecessorDaylight Again which was initially sessions for a Stills & Nash effort, Atlantic Records refused to release anything that didn’t include the full trio.

In 2004, Crosby & Nash released their first original studio record since 1976 with the double-album Crosby & Nash on Sanctuary Records, which featured backing mostly by members of Crosby’s band CPR. A single CD version was released in 2006 when CSNY began its “Freedom of Speech ’06” tour. On the Graham Nash box set Reflections, released in February 2009, the last track “In Your Name” was recorded on 21 October 2007 by the same band used for the 2004 Crosby & Nash album, including David Crosby on backing vocals.

http://en.wikipedia.org/wiki/Crosby_%26_Nash

Orma graffiata


Orma graffiata

…Ed è gioco di luci e di specchi,
dove rincorriamo quel che perdemmo;
in nostalgia per quel che fummo.

Dopo aver scavato e scacciato
ogni ombra, rantoliamo per timore
– cogliamo la nostra incompletezza –
per il vuoto di presenza
che dipana
l’estasi e la dolcezza

La nostra unicità
silente si volge
– pelle e sangue –
alla sagoma
del nostro destino
com’indelebile orma
graffiata sul cuore.

23.08.2006 Poetyca

Footprint scratched

… And it is the play of light and mirrors,
where we chase what we lost;
in nostalgia for what we were.

After digging and drive
every shadow, afraid to rattle
– Awareness of our incompleteness –
Vacuum presence
that unravels
ecstasy and sweetness

Our uniqueness
Dumbledore turns
– Skin and blood –
the silhouette
of our destiny
com’indelebile footprint
scratched on the heart.

23.08.2006 Poetyca

Orma sul cuore


Orma sul cuore

Orma sul cuore

Un’orma sul cuore
per tornare ancora
a lasciare traccia di pensiero;
oltre le parole, oltre gli affanni,
smorzate le luci torna il silenzio.

Ma non resta solo l’amico
che racchiudo nella memoria
e seppure fugace
il mio passaggio appare:
sempre resta l’abbraccio
oltre ogni confine.

12.01.2006 Poetyca

Footprints on my heart

Footprint on my heart
back again
a trace of thought;
beyond words, beyond the difficulties,
damped the lights back on silence.

But it remains the only friend
which contains the memory
and even fleeting
my passage appears:
always remains the embrace
beyond the border.

12.01.2006 Poetyca

Risveglio


Risveglio

Si libra soave un airone ad ali spiegate,
è padrone del cielo e nessuna fretta lo attraversa.
Gocce di rugiada si donano al mattino
e la malinconia regala alito al giorno che nasce.
Le tenebre svaniscono e l’aurora si desta
nel cuore di chi spera e cerca voce oltre il slenzio.

11.08.2006 Poetyca


Awakening

Hovers a gentle heron with spread wings,
is master of the sky and no hurry through it.
Drops of dew in the morning give
and melancholy gives breath to the day that comes.
The shadows fade and the dawn awakens
those who hope in the heart of voice and look over slence.

11.08.2006 Poetyca

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.

http://it.wikipedia.org/wiki/Neil_Young

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]

http://en.wikipedia.org/wiki/Neil_Young

 

Leonard Cohen


[youtube https://youtu.be/IEVow6kr5nI?list=PL22135BF03C47D7CC]

Leonard Norman Cohen (Montréal, 21 settembre 1934) è un cantautore, poeta, scrittore e compositore canadese. È uno dei cantautori più celebri, influenti e apprezzati della storia della musica.

Nelle sue opere esplora temi come la religione, l’isolamento e la sessualità, ripiegando spesso sull’individuo. Vincitore di numerosi premi e onorificenze, è inserito nellaRock and Roll Hall of Fame, nella Canadian Songwriters Hall of Fame e nella Canadian Music Hall of Fame. È inoltre insignito del titolo di Compagno dell’Ordine del Canada, la più alta onorificenza concessa dal Canada. Nel 2011, ricevette il Premio Principe delle Asturie per la letteratura.

https://it.wikipedia.org/wiki/Leonard_Cohen

Leonard Norman Cohen, CC GOQ (born 21 September 1934) is a Canadian singer, songwriter, musician, painter, poet, and novelist. His work has explored religion, politics, isolation, sexuality, and personal relationships. Cohen has been inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame as well as the American Rock and Roll Hall of Fame. He is also a Companion of the Order of Canada, the nation’s highest civilian honor. In 2011, Cohen received aPrincess of Asturias Awards for literature.

The critic Bruce Eder assessed Cohen’s overall career in popular music by asserting that “[he is] one of the most fascinating and enigmatic … singer/songwriters of the late ’60s … [and] has retained an audience across four decades of music-making…. Second only to Bob Dylan (and perhaps Paul Simon) [in terms of influence], he commands the attention of critics and younger musicians more firmly than any other musical figure from the 1960s who is still working at the outset of the 21st century.”

One of his notable novels, Beautiful Losers (1966) received attention from the Canadian press and was considered controversial because of a number of sexually graphic passages.[4] The Academy of American Poets has commented more broadly on Cohen’s overall career in the arts, including his work as a poet, novelist, and songwriter, stating that “Cohen’s successful blending of poetry, fiction, and music is made most clear in Stranger Music: Selected Poems and Songs, published in 1993, which gathered more than 200 of Cohen’s poems … several novel excerpts, and almost 60 song lyrics… While it may seem to some that Leonard Cohen departed from the literary in pursuit of the musical, his fans continue to embrace him as a Renaissance man who straddles the elusive artistic borderlines.”

Cohen’s first album was Songs of Leonard Cohen (1967) followed by Songs from a Room (1969) (featuring the often-recorded “Bird on the Wire”) and Songs of Love and Hate (1971). His 1977 record Death of a Ladies’ Man was co-written and produced by Phil Spector, which was a move away from Cohen’s previous minimalist sound. In 1979 Cohen returned with the more traditional Recent Songs, which blended his acoustic style with jazz and Oriental and Mediterranean influences. “Hallelujah” was first released on Cohen’s studio album Various Positions in 1984. I’m Your Man in 1988 marked Cohen’s turn to synthesized productions and remains his most popular album. In 1992 Cohen released its follow-up, The Future, which had dark lyrics and references to political and social unrest. Cohen returned to music in 2001 with the release ofTen New Songs, which was a major hit in Canada and Europe. In 2006 Cohen produced and co-wrote Blue Alert, a collaboration with jazz chanteuse Anjani Thomas. After the success of his 2008–13 world tours, Cohen released the highest charting album in his entire career, Old Ideas, to positive reviews. On 22 September 2014, one day after his 80th birthday, Cohen released his 13th studio album, Popular Problems, again to positive reviews.

https://en.wikipedia.org/wiki/Leonard_Cohen

Devo


I Devo sono un gruppo musicale statunitense formatosi ad Akron (Ohio) nel 1972.

Il loro stile musicale è stato classificato come punk, art rock o post-punk, ma sono per lo più ricordati come una delle band-simbolo della New wave. Sono oggi considerati dalla critica un gruppo fondamentale per l’evoluzione del rock contemporaneo.

Il gruppo viene fondato da Gerald Casale, Bob Lewis e Mark Mothersbaugh, nel 1972.

Il nome “Devo” viene dal termine “de-evolution” (de-evoluzione), teoria secondo cui l’umanità, invece che continuare ad evolversi, avrebbe cominciato a regredire, come dimostrerebbero le disfunzioni e la mentalità gretta della società americana. Tale teoria era frutto di uno scherzo di Casale e Lewis, nato nella fine degli anni sessanta, quando i due frequentavano la Kent State University.

La prima formazione prevedeva sei componenti: i fratelli Gerald e Bob Casale (basso e voce il primo, chitarra, tastiere e cori il secondo), Bob Lewis (chitarra), Mark Mothersbaugh (voce, sintetizzatori e chitarra), Rod Reisman (batteria) e Fred Weber (voce). La loro prima performance avviene nel 1973 al Performing Arts Festival della Kent State University.[6] Dopo questa prima esibizione, il gruppo abbandona Reisman e Weber, e ingaggia Jim Mothersbaugh alla batteria elettronica e Bob Mothersbaugh alla chitarra, entrambi fratelli di Mark. Negli anni a venire, il gruppo passerà attraverso cambi di formazione, che vedono, tra gli altri, l’abbandono di Jim Mothersbaugh, ed esibizioni dal vivo conflittuali.

Nel 1976 viene reclutato il batterista Alan Myers alla batteria, che sancisce una formazione solida che durerà dieci anni circa.

Lo stile del gruppo, ironico, pungente, irriverente e critico nei confronti della società moderna, inserito in un contesto estetico che rimanda a una sorta di fantascienza al limite del kitsch, gli fa guadagnare la simpatia di artisti noti come Neil Young e David Bowie, nonché apparizioni in film dei quali Mark Mothersbaugh curerà la colonna sonora. Il gruppo sarà anche pioniere nell’uso del videoclip, il più noto dei quali, Whip It, godrà di una massiccia presenza nei primi mesi di vita di MTV.

Nel 1977, grazie anche a Bowie e Iggy Pop, ottengono un contratto con la Warner Bros. Il loro primo album, Q: Are We Not Men? A: We Are Devo! viene prodotto nientemeno che da Brian Eno. L’anno successivo sono ospiti del Saturday Night Live, dove si esibiranno in una cover di (I Can’t Get No) Satisfaction dei Rolling Stones.

Nel 1984, lo scarso successo commerciale del sesto album Shout e l’abbandono del batterista Myers, costringono il gruppo a rinunciare al tour di promozione, con conseguente pausa delle attività. Nel frattempo, Mark Mothersbaugh si diletta nella produzione di musica per la televisione, nonché di un progetto solista, Musik for Insomniaks.

Nel 1987 il gruppo si riforma con un nuovo batterista, David Kendrick, precedentemente con gli Sparks. L’anno successivo esce Total Devo, che contiene brani che compariranno in alcuni B movie come Slaughterhouse Rock e The Tapeheads, con John Cusack e Tim Robbins.

Nel 1990 esce Smooth Noodle Maps, che non raccoglie grandi consensi di pubblico e critica, e l’anno successivo il gruppo si scioglie nuovamente. Successivamente, Mark Mothersbaugh fonda uno studio di registrazione per produzioni musicali commerciali, il Mutato Muzika, insieme col fratello Bob e Bob Casale. Lo studio lavora principalmente per produzioni televisive come sigle, programmi, cartoni animati, videogame e film, tra cui alcuni di Wes Anderson. Nel frattempo, Gerald Casale intraprende una carriera come regista di spot pubblicitari e video musicali, per gruppi come Rush, Silverchair e Foo Fighters.

Nel 1995 il gruppo appare nella colonna sonora del film Tank Girl, e l’anno successivo si esibisce al Sundance Film Festival e al Lollapalooza proponendo alcuni classici del periodo tra il 1978 e il 1982.

Pur non pubblicando album fino al 2010, il gruppo produce una serie di singoli per compilation, produzioni televisive, spot pubblicitari per aziende come Dell e la multinazionale Target.

Nel 2006 collaborano con la Disney per un progetto chiamato Devo 2.0, un gruppo composto da bambini che suonano classici dei Devo.

Nel 2008 l’azienda McDonald’s propone un personaggio in omaggio che indossa l’Energy dome, il tipico copricapo dei Devo in plastica rossa a forma di ziqqurat circolare. Il gruppo intenterà una causa alla multinazionale, che successivamente alcuni blog riporteranno come “amichevolmente risolta”.

Nel 2010 esce il loro ultimo album Something for Everybody, a vent’anni dal precedente.

Nel 2013 il loro ex batterista Alan Myers muore a causa di un tumore cerebrale.

Il 17 febbraio 2014 muore improvvisamente Bob Casale, membro fondatore del gruppo, per arresto cardiaco.

https://it.wikipedia.org/wiki/Devo
Devo (/ˈdiːvoʊ/, originally /diːˈvoʊ/) is an American rock band formed in 1972, consisting of members from Kent and Akron, Ohio. The classic line-up of the band included two sets of brothers, the Mothersbaughs (Mark and Bob) and the Casales (Gerald and Bob), along with Alan Myers. The band had a No. 14 Billboard chart hit in 1980 with the single “Whip It”, and has maintained a cult following throughout its existence.

Devo’s style, over time, has shifted between punk, art rock, post-punk and new wave. Their music and stage show mingle kitsch science fiction themes, deadpan surrealist humor, and mordantly satirical social commentary. Their often discordant pop songs feature unusual synthetic instrumentation and time signatures that have proven influential on subsequent popular music, particularly new wave, industrial and alternative rock artists. Devo was also a pioneer of the music video, creating many memorable clips for the LaserDisc format, with “Whip It” getting heavy airplay in the early days of MTV.

https://en.wikipedia.org/wiki/Devo

Petali di emozione


Petali di emozione

Sguardo grato
respiro vivo
ad abbracciare il senso
petalo dopo petalo
di un unico attimo:
Tremule foglie
 profumati fiori
sono carezza
a disegnare emozioni
per una nuova alba

31.07.2012 Poetyca

Petals of emotion

Grateful glace
living breath
to embrace the way
petal after petal
of a single moment:
aspen leaves
  fragrant flowers
are caress
to draw emotions
for a new dawn

31.07.2012 Poetyca

Ricerca nuova


Ricerca nuova

Sono attimi
che raccontano una vita
e la sua emozione;
è silenzio
che si tinge di parole
per oltrepassare
distese di sogni
alla ricerca d’amore

21.08.2006 Poetyca


New Search

These are the moments
telling a life
and his emotion;
is silence
that become words
to cross
expanses of dreams
looking for love

21.08.2006 Poetyca

Stellare


Stellare

E racconterei di attimi
di gioia e stupore
note nate dal nulla
come musica da nuvole
a far dono d’aurora
all’inizio del giorno
che tra emozioni si colora
– perchè tu sia –
oltre i confini
oltre le paure
e tutto sarebbe vita
nella sinfonia del silenzio
di un universo stellare

19.08.2006 Poetyca

Stellar

And I tell of moments
of joy and amazement
Notes born from nothing
as music by clouds
to make a gift of dawn
early days
between emotions that turns
– Why you are –
beyond
than fears
and all would have life
in the symphony of silence
a stellar universe

19.08.2006 Poetyca

A volte


A volte

A volte è incomunicabile quel che le parole
potrebbero imprigionare, oppure non ci sarebbe
alcun verbo che possa descrivere.
La semplicità è nel vivere, nel sorriso
e nella luce che dentro si espande.

A volte è come se si guardasse un panorama,
così bello da togliere il fiato, non fai nulla,
resti in silenzio e lo vivi comunque.

27.11.2006 Poetyca


Due uccelli, compagni inseparabili e conosciuti con lo stesso nome, dimorano sullo stesso albero. Di questi uno mangia i dolci e amari frutti dell’albero, mentre l’altro osserva senza mangiare».
Secondo la metafora, noi siamo esseri duplici in cui generalmente prende il sopravvento la parte che si identifica col flusso del divenire, a scapito di quella deputata alla semplice osservazione e gustazione della vita .

(Mundaka Upanishad, III, 1)”

 

Sometimes

Sometimes it is impossible to communicate what the words
may imprison, or there would be
no word that can describe.
Simplicity is to live, in the smile
and the light inside it expands.

Sometimes it’s like watching a scene,
so beautiful it takes your breath away, you do nothing,
remains silent and live anyway.

27.11.2006 Poetyca

“Like two birds of golden plumage, inseparable companions, the individual self and the immortal Self are perched on the branches of the selfsame tree. The former tastes of the sweet and bitter fruits of the tree; the latter, tasting of neither, calmly observes.” (Mundaka Upanishad 3:1:1)

According to the metaphor, we are dual beings that usually takes over the part that is identified with the flux of becoming, at the expense of those appointed to the simple observation of life and gustation.

Semplicemente amore


Semplicemente amore

Non esiste confine,
lo spazio è illusione,
ed ogni tempo è questo tempo
che accogli nell’attimo
del tuo sentire – qui ed ora-
come mare che si riversa
onda e motore
e che la goccia alimenta
per portare vita
nel Cuore di chi attende
semplicemente Amore.

25.05.2006 Poetyca

 

Simply love

There is no boundary,
space is an illusion,
and every time is this time
that you welcome in the moment
of your feeling – here and now-
as sea that flows
wave and motor
and that the drop feeds
to bring life
in the heart of those who wait
Simply Love.

25.05.2006 Poetyca

Captain Beefheart


[youtube https://www.youtube.com/watch?v=auYDeaXSo10]

Don Van Vliet (nato Don Glen Vliet[1]; Glendale, 15 gennaio 1941 – Arcata, 17 dicembre 2010) è stato un cantante, musicista e pittore statunitense, celebre con lo pseudonimo Captain Beefheart. Fu tra i precursori e maggiori esponenti del rock sperimentale statunitense.

« Non voglio vendere la mia musica. Vorrei regalarla, perché da dove l’ho presa non bisogna pagare per averla. »
(Don Van Vliet)
La sua esperienza musicale si sviluppò insieme ad un folto gruppo di musicisti, che si alternavano nel tempo, conosciuti come “The Magic Band”. Il gruppo cominciò la propria attività a metà degli anni sessanta, per arrivare ai primi ottanta. Van Vliet era il principale autore delle canzoni, il cantante e armonicista, con una forte attitudine per il rumorismo, ed il free jazz. Le sue composizioni sono caratterizzate da un’originale mistura di tempi dispari delle partiture e di testi surreali. Van Vliet è anche conosciuto per il suo rapporto dittatoriale con gli altri musicisti e per l’enigmatica relazione con la quale si rapportava al suo pubblico.

Van Vliet approdò nel gruppo che di lì a poco sarebbe diventato la Magic Band nel 1965, diventandone immediatamente il leader. Le loro prime canzoni mischiavano blues e rock (che rimarranno i due generi di riferimento per il gruppo), ma con il passare del tempo, Captain Beefheart & the Magic Band adottarono gradualmente un approccio sempre più sperimentale[3]. Nel 1969 venne pubblicato il loro album più conosciuto ed apprezzato, Trout Mask Replica, prodotto dall’amico d’infanzia di Van Vliet, Frank Zappa. Questo lavoro è tuttora considerato una pietra miliare della musica del ‘900.

Van Vliet pubblicò diversi altri album negli anni settanta, con molte variazioni nella Magic Band. Verso la fine di quel decennio, Van Vliet cambiò completamente la formazione del gruppo, pubblicando, tra il 1978 ed il 1982, gli ultimi tre album, ricevendo un buon successo di critica ma nessun riscontro di vendite presso il pubblico.

Dopo aver annunciato la fine della sua carriera musicale, nel 1982, Van Vliet si è presentato raramente in pubblico, preferendo una vita tranquilla nella contea di Northern Humboldt (California), dove si è concentrato sulla sua attività di pittore. Il suo interesse per le arti visuali, in realtà, cominciò durante l’infanzia, quando era considerato una giovane promessa della scultura. Il suo lavoro mostra una certa affinità con l’astrattismo neo-primitivo e con l’espressionismo estetico.

Van Vliet soffriva di sclerosi multipla, malattia che divenne aggressiva negli ultimi anni della sua vita, passati nel sud della California. Alcuni degli ex-musicisti hanno riformato la Magic Band per dei concerti tenutisi tra il 2003 ed il 2006, i cui ricavati sono andati a favore della ricerca sulla malattia di cui l’artista era affetto. Van Vliet è morto la mattina del 17 dicembre 2010 all’età di 69 anni.

https://it.wikipedia.org/wiki/Captain_Beefheart

Don Van Vliet (/væn ˈvliːt/, born Don Glen Vliet;was conducted with a rotating ensemble of musicians called the Magic Band (1965–1982), with whom he recorded 13 studio albums. Noted for his powerful singing voice and his wide vocal range, Van Vliet also played the harmonica, saxophone and numerous other wind instruments. His music integrated blues, rock, psychedelia, and jazz with contemporary experimental composition and the avant-garde; many of his works have been classified as “art rock.” Beefheart was also known for often constructing myths about his life and for exercising an almost dictatorial control over his supporting musicians.

A child prodigy sculptor, Van Vliet later developed an eclectic musical taste during his teen years in Lancaster, California and formed “a mutually useful but volatile” friendship with musician Frank Zappa, with whom he sporadically competed and collaborated.[8] He began performing with his Captain Beefheart persona in 1964 and joined the original Magic Band line-up, initiated by Alexis Snouffer, in 1965. The group drew attention with their cover of Bo Diddley’s “Diddy Wah Diddy”, which became a regional hit. It was followed by their acclaimed debut album Safe as Milk, released in 1967 on Buddah Records. After being dropped by two consecutive record labels, they signed to Zappa’s Straight Records. As producer, Zappa granted Beefheart unrestrained artistic freedom in making 1969’s Trout Mask Replica, which was ranked 58th in Rolling Stone magazine’s 2003 list of the 500 greatest albums of all time.[9] Beefheart followed this up with the album Lick My Decals Off, Baby, released in 1970. In 1974, frustrated by lack of commercial success, he released two albums of more conventional rock music that were critically panned; this move, combined with not having been paid for a European tour, and years of enduring Beefheart’s abusive behavior, led the entire band to quit. Beefheart eventually formed a new Magic Band with a group of younger musicians and regained contemporary approval through three final albums: Shiny Beast (Bat Chain Puller) (1978), Doc at the Radar Station (1980) and Ice Cream for Crow (1982).

Van Vliet has been described as “one of modern music’s true innovators” with “a singular body of work virtually unrivalled in its daring and fluid creativity.” Although he achieved little commercial or mainstream critical success, he sustained a cult following as a “highly significant” and “incalculable” influence on an array of new wave, punk, post-punk, experimental and alternative rock musicians.[10][12] Known for his enigmatic personality and relationship with the public, Van Vliet made few public appearances after his retirement from music in 1982. He pursued a career in art, an interest that originated in his childhood talent for sculpture, and a venture which proved to be his most financially secure. His expressionist paintings and drawings command high prices, and have been exhibited in art galleries and museums across the world. Van Vliet died in 2010, having suffered from multiple sclerosis for many years.

https://en.wikipedia.org/wiki/Captain_Beefheart

Hüsker Dü


Gli Hüsker Dü sono stati una band hardcore punk/alternative rock statunitense, formatasi nel 1979, generalmente considerata dalla critica di grande importanza e influenza sulla storia del rock. Il nome (senza il segno diacritico) significa Ti Ricordi? in Danese/Norvegese, e proviene da un gioco da tavolo svedese.
Iniziarono la carriera come gruppo hardcore punk. La svolta avvenne nel 1984 con il disco Zen Arcade, un concept album su doppio LP (due fattori assolutamente insoliti per una formazione punk) caratterizzato da una forte sperimentazione e contaminazione musicale, che segnò il distacco dagli esordi; con New Day Rising, e ancor più con Flip Your Wig, la band si spostò verso uno stile più melodico e introspettivo, definito dalla critica “alternative rock” e per certi versi premonitore del grunge[. Nel 1986 furono messi sotto contratto dalla Warner Bros, aprendo la strada al fenomeno della crescente attenzione delle majors nei confronti delle band indipendenti. Dopo Candy Apple Grey del 1986 e Warehouse: Songs and Stories del 1987, la band si sciolse a causa delle tensioni tra i due leader, Bob Mould e Grant Hart.
Hüsker Dü /ˈhʊskər ˈduː/ was an American rock band formed in Saint Paul, Minnesota in 1979. The band’s continual members were guitarist/vocalist Bob Mould, bassist Greg Norton, and drummer/vocalist Grant Hart.
Hüsker Dü first gained notability as a hardcore punk band, later crossing over into alternative rock. Mould and Hart split the songwriting and singing duties.
Following an EP and three LPs on independent label SST Records, including the critically acclaimed Zen Arcade (1984), the band signed to Warner Bros. Records in 1986 to release their final two studio albums.
Mould released two solo albums before forming Sugar in the early 1990s, while Hart released a solo album on SST and later formed Nova Mob. Norton was initially less active musically after Hüsker Dü’s demise and focused on being a restaurateur instead. He returned to the recording industry in 2006.

Specchio e mente


Specchio e mente

Si riflette un’ immagine,
poi se ne dimentica l’essenza;
nessun giudizio ma la verità
a cui non si possa fare senza.

Si riflette, spesso in silenzio
di quel che resta e che svanisce
per meglio comprendere
e condursi dove il cuore suggerisce.

Ma fai attenzione, chi ascolta?
Solo la mente che non smette di cercare
e nulla è nel riflesso di uno specchio
che rimanda quel che è soggetto a mutare.

30.09.2006 Poetyca

Mirror and mind

Reflect a ‘picture,
then they forget the essence;
unrated but the truth
that we can not do without.

Is reflected, often in silence
of what remains, and vanishes
to better understand
behave and where the heart suggests.

But be careful listener?
Only the mind that never stops trying
and nothing is reflected in a mirror
see that what is subject to change.

 

30.09.2006 Poetyca

Tindersticks


I Tindersticks sono un gruppo indie pop inglese.

Nati a Londra nel 1992 e formati dal cantante Stuart Staples, dal tastierista David Boulter e dal violinista Dickon Hinchliffe, (tutti facenti parte di un precedente gruppo di Nottingham, gli Asphalt Ribbons) con l’aggiunta dei londinesi Neil Fraser (chitarra), Mark Colwill (basso) e Al Macaulay (batteria).

Il gruppo debutta nello stesso anno con l’EP Unwired per l’etichetta indipendente This Way Up. L’anno seguente vede la luce il debutto sulla lunga distanza. Tindersticks viene accolto molto favorevolmente dalla critica per il suo amalgama di pop e di partiture orchestrali lontano dalle mode dell’epoca e per i richiami al songwriting di Leonard Cohen e Bryan Ferry. L’album è considerato tra i vertici del genere indie pop.

Nel 1995 viene pubblicato il secondo capitolo della loro discografia: Tindersticks II album che vede la presenza di Terry Edwards dei Gallon Drunk e di Carla Torgerson dei Walkabouts dove il gruppo non riesce ad essere originale come all’esordio.

Nel 1996 realizzano la colonna sonora del film francese Nénette et Boni di Claire Denis.

Nel 1997 il terzo album Curtains vira verso un pop meno sperimentale. Strada seguita anche dagli album successivi.

https://it.wikipedia.org/wiki/Tindersticks
Tindersticks are an English indie rock band, formed in Nottingham in 1991. They released six albums before singer Stuart A. Staples took on a solo career. The band reunited briefly in 2006, but more permanently the following year. The band have recorded several film soundtracks.

https://en.wikipedia.org/wiki/Tindersticks

Gang Of Four


[youtube https://youtu.be/rmiwPZczUy8]

I Gang of Four sono un gruppo post punk britannico, formatosi a Leeds nel 1977.

I membri originari erano il cantante Jon King, il chitarrista Andy Gill, il bassista Dave Allen e il batterista Hugo Burnham. In attività dal 1977 al 1984, si sono riformati due volte negli anni novanta con King e Gill. Nel 2004 sono tornati anche Allen e Burnham.

Il gruppo suona punk rock fortemente influenzato da funk e dub reggae, e si dedica a temi incentrati sulle difficoltà della società moderna. Il loro primo disco, Entertainment!, arrivò al numero 490 della lista dei 500 migliori album secondo Rolling Stone. Gli ultimi lavori dei Gang of Four (Songs of the Free ed Hard) li hanno visti più alle prese con sonorità più contemporanee e quasi vicine alla disco music.

https://it.wikipedia.org/wiki/Gang_of_Four_(gruppo_musicale)

Gang of Four are an English post-punk group, formed in 1977 in Leeds.[1] The original members were singer Jon King, guitarist Andy Gill, bass guitarist Dave Allen and drummer Hugo Burnham. There have been many different line-ups including, among other notable musicians, Sara Lee and Gail Ann Dorsey. After a brief lull in the 1980s, different constellations of the band recorded two studio albums in the 1990s. Between 2004 and 2006 the original line-up was reunited; as of 2013, Gill is the sole original member.

The band plays a stripped-down mix of punk rock, funk and dub, with an emphasis on the social and political ills of society. Gang of Four are widely considered one of the leading bands of the late 1970s/early 1980s post-punk movement. Their later albums (Songs of the Free and Hard) found them softening some of their more jarring qualities, and drifting towards dance-punk and disco. Their debut album, Entertainment!, ranked at Number 483 in Rolling Stone’s 500 Greatest Albums of All Time, and is listed by Pitchfork Media as the 8th best album of the 1970s.[3] David Fricke of Rolling Stone described Gang of Four as “probably the best politically motivated band in rock & roll

https://en.wikipedia.org/wiki/Gang_of_Four_(band)

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. 

http://it.wikipedia.org/wiki/Bruce_Cockburn

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

http://en.wikipedia.org/wiki/Bruce_Cockburn

Maestri di felicità


La Riflessione

Motivate dall’attaccamento

Le azioni motivate dall’attaccamento,
dall’avversione o dall’ignoranza,
a dispetto di qualunque apparenza esteriore,
sono semplicemente pratiche non buddhiste.

Lorne Ladner

——-

Il riconoscimento,
del nostro cercare attenzione,
-voce e pretesa di avere spazio, più di altri-
l’offerta di ascolto in noi stessi,
di quanto ci possa deviare dal maturare la compassione
per noi stessi e per chi ci circonda;
sono la strada sicura per la risoluzione del dolore,
di cui senza rendercene conto siamo artefici.

Poetyca

L’insegnamento

Maestri di felicità

Ogni cosa può essere usata come un invito alla meditazione.
Un sorriso, un viso nella metropolitana, la visione di un piccolo fiore,
il modo in cui il sole illumina i vasi di fiori di una finestra.

Siate attenti ad ogni segno di bellezza e grazia.
Siate presenti ad ogni momento.
Lentamente, diverrete maestri nel creare la vostra felicità.

Rigpa Glimpse

Nell’apertura del cuore,
nel raccogliere preziosi attimi
che sono dono gratuito,
forza e bellezza dell’essere,
sintonia ed apertura alla bellezza;
porta aperta alla gratitudine
dove noi stessi possiamo essere
una dono per chi ci accoglie,
senza nulla attendersi in cambio,
ma nel sapersi commuovere
delle attenzioni ricevute
con l’umiltà di chi ama,
troviamo la via maestra alla felicità.

Poetyca

29.10.2006 Poetyca

Testi tratti da : http://www.bhodhidharmait

Grati del passato


Grati del passato

Essere grati del passato, riconocendo il suo valore,
ci rende più forti anche di fronte ad un presente
che non sempre ci fa sentire a nostro agio.
Questa forza ci aiuta – adesso – per affrontare il futuro.

31.07.2012 Poetyca

Grateful to the past

Be grateful to the past, riconocendo its value,
makes us stronger in the face with a present
that does not always make us feel at ease.
This force helps us – now – to face the future.

31.07.2012 Poetyca

Passato



Passato

Dolcemente ricama la memoria
e svela antichi splendori:
semplicità ed incanti
d’emozione ed amori
aria pulita e forza di sentimenti
che incidevano il senso
di una vita che sapesse offrire
quel che onore e famiglia seminava

30.07.2006 Poetyca

Past

Sweetly embroidered memory
and reveals former glory
simplicity and charm
of emotion and love
clean air and power of feelings
that affect the way
who could offer a life
family and honor what he sowed

30.07.2006 Poetyca

Il decalogo della quotidianità di Papa Giovanni XXIII


Il decalogo della quotidianità di Papa Giovanni XXIII“:

1) Solo per oggi, cercherò di vivere alla giornata (in senso positivo), senza voler risolvere il problema della mia vita tutto in una volta.

2) Solo per oggi, avrò la massima cura del mio aspetto: vestirò con sobrietà; non alzerò la voce; sarò cortese nei modi; non criticherò nessuno; non pretenderò di migliorare o disciplinare nessuno tranne me stesso.

3) Solo per oggi, sarò felice nella certezza che sono stato creato per essere felice non solo nell’altro mondo, ma anche in questo.

4) Solo per oggi, mi adatterò alle circostanze, senza pretendere che le circostanze si adattino tutte ai miei desideri.

5) Solo per oggi, dedicherò dieci minuti del mio tempo a qualche lettura buona, ricordando che come il cibo è necessario alla vita del corpo, così la buona lettura è necessaria alla vita dell’anima.

6) Solo per oggi, compirò una buona azione e non lo dirò a nessuno.

7) Solo per oggi, farò almeno una cosa che non avrei gusto di fare, e se mi sentirò offeso nei miei sentimenti, farò in modo che nessuno se ne accorga.

8) Solo per oggi, mi farò un programma: forse non lo seguirò a puntino, ma lo farò. E mi guarderò da due malanni: la fretta e l’indecisione.

9) Solo per oggi, crederò fermamente, nonostante le apparenze, che la buona provvidenza di Dio si occupa di me come di nessun altro esistente al mondo.

10) Solo per oggi, non avrò timori. In modo particolare non avrò paura di godere di ciò che è bello e di credere alla bontà. Posso ben fare, per dodici ore, ciò che mi sgomenterebbe se pensassi di doverlo fare per tutta la vita.

In conclusione: un proposito totalitario: “Voglio essere buono, oggi, sempre, con tutti”.

Così potremmo realizzare l’auspicio che Papa Giovanni formula per ogni cristiano: “Ogni credente, in questo mondo, deve essere una scintilla di luce, un centro di amore, un fermento vivificatore nella massa: e tanto più lo sarà, quanto più, nella intimità di se stesso, vive in comunione con Dio”.

Cardinal Tarcisio Bertone
11 Ottobre 2006, Memoria liturgica del Beato Papa Giovanni XXIII

✫♥¸.•​°*”˜☆ ★ ˜”*°•. ✫♥•✫♥¸.•​°*”˜☆ ★ ˜”*°•. ✫♥•✫♥¸.•​°*”˜☆ ★ ˜”*°•. ✫♥•

The Daily Decalogue of Pope John XXIII

Only for today, I will seek to live the livelong day positively without wishing to solve the problems of my life all at once.

Only for today, I will take the greatest care of my appearance: I will dress modestly; I will not raise my voice; I will be courteous in my behavior; I will not criticize anyone; I will not claim to improve or to discipline anyone except myself.

Only for today, I will be happy in the certainty that I was created to be happy, not only in the other world but also in this one.

Only for today, I will adapt to circumstances, without requiring all circumstances to be adapted to my own wishes.

Only for today, I will devote ten minutes of my time to some good reading, remembering that just as food is necessary to the life of the body, so good reading is necessary to the life of the soul.

Only for today, I will do one good deed and not tell anyone about it.

Only for today, I will do at least one thing I do not like doing; and if my feelings are hurt, I will make sure that no one notices.

Only for today, I will make a plan for myself: I may not follow it to the letter, but I will make it. And I will be on guard against two evils: hastiness and indecision.

Only for today, I will firmly believe, despite appearances, that the good providence of God cares for me as no one else who exists in this world.

Only for today, I will have no fears. In particular, I will not be afraid to enjoy what is beautiful and to believe in goodness. Indeed, for twelve hours I can certainly do what might cause me consternation were I to believe I had to do it all my life.

To conclude: here is an all-embracing resolution: “I want to be kind, today and always, to everyone.”

In this way, we can put Pope John’s hope for every Christian into practice: “Every believer in this world must be a spark of light, a core of love, life-giving leaven in the mass: and the more he is so, the more he will live, in his innermost depths, in communion with God.”

Cardinal Tarcisio Bertone
Oct. 11, Memorial Mass of Blessed John XXIII

Ricerca


Ricerca

La verità ha mille occhi
confuse voci
che cercano di portare a sè
ipocriti inganni
come scatole cinesi
Sirene in canto
per naviganti
che non accorti
cedono alla lusinga
e tra flutti resta sommersa
Costruite gabbie
per non cercare
per non essere Ulisse
in viaggio tra fitte trame
Senza suono
sepolta in polveroso luogo
diventa sconfitta
tra melma che la ricopre
e non serve la ragione
la furbizia o il rimescolar le carte
Chi non è sopito
la riscopre nel tacito lamento
d’ un usignolo in gabbia
che cerca il cielo

15.06.2006 Poetyca

Search

The truth has a thousand eyes
confused voices
trying to bring itself
hypocritical deception
like Chinese boxes
Sirens song
for sailors
not noticed
succumb to flattery
and between waves remains submerged
Constructed cages
not to try
for not Odysseus
traveling in dense plots
Soundless
buried in dusty place
becomes lost
among the slime covering
and does not serve right
cunning or reshuffle
Those who are not appeased
rediscovered in the silent cry
d ‘nightingale in a cage
looking at the sky

15.06.2006 Poetyca

Overture


Overture

Non ha rotte
il viaggio
che raccoglie memorie
e colora il tempo
prigioriero del nostro cercare

Oltre la delusione
oltre tutto
e senza nome
per essere vento
che spazza pensieri
nel timore del domani

Stringo il pungo
e soffoco quel che resta
di un sogno

06.02.2006 Poetyca

Overture

Has not broken
travel
collecting memories
and color the time
prigioriero of our search

Besides the disappointment
moreover
and unnamed
for wind
sweeping thoughts
in the fear of tomorrow

Shake the fist
and suffocate what remains
a dream

06.02.2006 Poetyca

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

https://it.wikipedia.org/wiki/Nick_Cave

 

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.”

https://en.wikipedia.org/wiki/Nick_Cave

 

In bilico


In bilico

Tra scelte
strade segnate
da voce che chiama:

Ego ed illusione
dipinte storie
sulla tela

Oppure…

Ricerca attenta
che tacita la mente
e senza preferenza

Scintilla viva
un silenzio
che ti conduca al Sè

25.06.2006 Poetyca

No balance

Choices between
roads marked
from voice calling:

Ego and illusion
painted stories
on canvas

Or …

Careful research
implied that the mind
and without preference

Spark alive
silence
that lead you to Self

25.06.2006 Poetyca