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"MTV Unplugged Live in New-York", le live culte

MTV Unplugged Live In New-York sort le 1er novembre 1994, près de 7 mois après la mort brutale de Kurt Cobain. Il a été enregistré un an auparavant, aux studios du label Sony Music, à New-York.

L’émission est censée être jouée en acoustique, mais Kurt Cobain, toujours de nature stressée, avait insisté pour qu’un ampli soit caché à ses pieds. Contrairement à bien d’autres artistes, le groupe a enregistré sa prestation en une seule prise.

Nirvana a sélectionné essentiellement des titres peu connus, et des reprises, comme celle de The Man Who Sold The World, de David Bowie. Un titre pop psychédélique revisité à leur sauce grunge électrique.


C'est l'album de Nirvana après la mort de Kurt Cobain qui a eu le plus succès.

BFM TV non stop entre deux rendez vous de mairie.

Domm a raison, nous ne sommes ni à terre, ni seuls.
Alors quoi de mieux qu'un truc très Flower power, très PEACE AND LOVE ?

Beatles- Revolver +++++


Despite that triumph, however, Revolver was McCartney's maturation record as much as Rubber Soul was for Lennon. While Harrison was learning at the feet of sitar master Ravi Shankar and Lennon was navigating heavy use of psychotropic drugs, McCartney was refining his compositional chops by exploring classical music, training an eye for detail and subtlety in his lyrics, and embracing the orchestral work of Brian Wilson.
McCartney's optimism and populism resulted in the most demonstrative songs he created for Revolver-- the brassy "Good Day Sunshine" (which delightfully toes the line between schmaltz and heartwarming) and "Got to Get You Into My Life", and the children's music staple "Yellow Submarine", an inventive and charming track too often derided as camp. (It's also an early indication that it would be McCartney who would hold tightest to the impression of the group as a unit-- the image of the band all living together here was, for the first time in years, untrue.)
The understated qualities of McCartney's lyrics began to be misconstrued as simplistic in his ballads, but he provides three of his best here: "For No One", all the more affecting because it's slight and difficult to grasp, "Here, There and Everywhere", a model of sepia-toned sentimentality, and "Eleanor Rigby", which in its own way was as groundbreaking and revolutionary as "Tomorrow Never Knows". Virtually a short story set to music, "Rigby" and its interwoven descriptions of lonely people was and is a desolate and altogether mature setting for a pop song.
Revolver in the end is the sound of a band growing into supreme confidence. The Beatles had been transformed into a group not beholden to the expectations of their label or bosses, but fully calling the shots-- recording at their own pace, releasing records at a less-demanding clip, abandoning the showmanship of live performance. Lesser talents or a less-motivated group of people may have shrunk from the challenge, but here the Beatles took upon the task of redefining what was expected from popular music. Lest we forget it, the original flashpoint of Beatlemania remains the most influential and revolutionary period in the Beatles career, but the creative high points of 1966-67 aren't far behind. It's worth remembering as well that what had been demanded or expected from them as entertainers and popular musicians was something they'd challenged from their first cheeky, flippant interview, but just a few years later they were no longer mere anomalies within the world of pop, no longer potential fads; they were avatars for a transformative cultural movement.
[Note: Click here for an overview of the 2009 Beatles reissues, including discussion of the packaging and sound quality.]

Un artiste qui a toujours prôné la tolérance.......

Titre de circonstances compte tenu des tragédies qui viennent de se dérouler, nous ne nous laisserons pas "abattre" par les obscurantistes.

ALBUM D'AMOUR ET DE PAIX

CAT STEVENS
passe à un rythme plus soutenu et une interprétation plus mordante. En plus de la formation pop, un orchestre bouzouki vient renforcer l’instrumentation.

Teaser and the Firecat contient son lot de mélodies inaltérables qui font la force du chanteur : « Moon Shadow », le majestueux « Morning Has Broken », et le fameux « Changes IV » qui a fait les beaux jours des radios FM. Deux autres titres moins connus se sont imposés comme des compositions majeures au fil des ans : « Tuesday’s Dead » et « Peace Train ».

Cat Stevens fait une nouvelle fois montre d’une grande habileté dans l’écriture et dans l’équilibre d’un album qui laisse quelque place à des titres plus discrets mais très réussis comme « How Can I Tell You » et « If I Laugh ». Un degré en dessous de l’inspiration du disque précédent, Teaser and the Firecat n’en possède pas moins un charme particulier et attachant.

le titre qui me met les neurones a l'envers ......

GENESIS - A trick of the tail 1976 (destination rock)


Genesis est un monument du rock progressif qui a connu deux chanteurs, dans ses glorieuses années et qui connaissent de bonnes carrières solos: Gabriel et Collins. Cet album fait partie de la deuxième "vie" de Genesis.
Musicalement, c'est du très bon, c'est très imaginatif à l'instar de la chanson d'ouverture "Dance On a Volcano" et son délire final. Je trouve un petit côté désuet à cet album dans son ambiance et c'est ce qui fait tout son charme. Il a un côté un peu épique dû aux paroles qui sont comme autant d'histoires avec toutes une ambiance qui leur est propre. Ce disque est très travaillé au niveau des ambiances et de l'enregistrement du son. Il vaut vraiment la peine d'être écouté, en tout cas je ne m'en lasse pas!

Great White - All Over Now

Y'avait longtemps que je n'avais pas écouté, ça remue et ça groove, j'adore :
Skunk Anansie : "Stoosh"

Ricardolanglois a écrit:

GENESIS - A trick of the tail 1976 (destination rock)


Genesis  est un monument du rock progressif qui a connu deux chanteurs, dans ses glorieuses années et qui connaissent de bonnes carrières solos: Gabriel et Collins. Cet album fait partie de la deuxième "vie" de Genesis.
Musicalement, c'est du très bon, c'est très imaginatif à l'instar de la chanson d'ouverture "Dance On a Volcano" et son délire final. Je trouve un petit côté désuet à cet album dans son ambiance et c'est ce qui fait tout son charme. Il a un côté un peu épique dû aux paroles qui sont comme autant d'histoires avec toutes une ambiance qui leur est propre. Ce disque est très travaillé au niveau des ambiances et de l'enregistrement du son. Il vaut vraiment la peine d'être écouté, en tout cas je ne m'en lasse pas!

super reportage samedi sur ARTE !!!!!!

RUSH, MOVING PICTURES 1981 (ultimateguitar.com)


Sound: As every rocker knows Rush is one of the most influential rock bands of all time. Due to their originality and smoothness in their sound and the fact that they have not changed thier music much in the past 35 years. Neil Peart does an amazing job with every hit of the drum in this album. On many lists he ha been declared as the best drummer of all time, because nobody can drum like he can. The best song on this album would definetly have to be YYZ. It is completely instrumental and wouldn't be better with lyrics. In fact it is probably the best Rush song to date, if you ask most die
Lyrics: Geady Lee does an awesome job singing and playing bass at the same time for a Canadian. Just recently I found out that Rush was Canadian, but you can't really notice it bacause Lee's voice sounds all American, eh. On a scale of 1 100 I would have to give Geady's singing skills an 88-95. // 9

Overall Impression: Even though this album was released over 25 years ago (1981), it is thier best and probaly can't be beat any time soon, if Rush tried. This album is the very essence of rock n' roll. The only band that Rush is very similar to would have to be Led Zeppelin. I bought this album in 1985. And I can't stop listening to it. Most of the time when I'm driving to work I listen to Rush. // 9

KISS - Unplugged


"Unplugged", malgré la facilité, pour ne pas dire la déconcertante banalité de l’exercice, est très certainement l’un des meilleurs disques que KISS nous ait proposé. Déjà parce que le son est excellent, tout bonnement irréprochable. Ensuite parce que la set-liste est, pour une fois, incroyablement variée et originale (on recense sur les quinze pistes en présences des extraits de "Kiss", "Hotter Than Hell", "Dressed To Kill", "Destroyer", "Dynasty", "Music From The Elder", "Love Gun", "Creatures of The Night", "Revenge" et même de l’album solo de Gene !). Et enfin, et surtout, parce que la performance du groupe est formidable. Sans déconner. On a souvent critiqué KISS pour le côté surfait de ses concerts et pour les divers trucages dont ont été affublés les trois épisodes d’"Alive", les plus célèbres vrais-faux live de toute l’histoire du Rock. Eh ben là l’enregistrement est authentique, et c’est génial, point-barre

Promised Land

GEORGE HARRISON- Living in the material world 1973 réédition 2014


Review Summary: Living In The Material World is a gem that got lost in the aftermath of the epic "All Things Must Pass"

Following the Beatles break-up George Harrison "the quiet Beatle," unleashed an epic triple album (a double album in CD-format) entitled "All Things Must Pass," this feat alone should have thwarted his nickname but quickly following the album was the first ever large-scale charity event, "The Concert For Bangladesh." By 1972 George was understandably, but by October he was back in the studio recording what would become "Living In The Material World."

Where as "All Things Must Pass," had a large catalogue of rejected Beatles songs such as the majestic title track, and Hear Me Lord (both of which can be found performed by The Beatles on various bootlegs) "Living In The Material World," was created from completley new material. Another noteable difference between the two albums is that where as "All Things Must Pass," had an abundance of guitarists "Living In The Material World," features only George on guitar. This fact combined with the more insightful lyrics makes this album a much better window into George's heart, soul, and humour than it's predecessor.

This is clear straight from the beginning of the album with the single Give Me Life (Give Me Peace On Earth) a slower acoustic number where George cries out for everything he wants in the world such as, clearly indicated by the title, peace on earth, and love. Sue Me, Sue You Blues shows of George's great sense of humor and wit, although it may be viewed incorrectly as a response to George Harrison losing a lawsuit over the copyright infringement of My Sweet Lord, this song is about The Beatles break-up and the dissolving of their business ties. Cleverly written in the style of a square-dance/hoedown the irritated feeling of the lyrics becomes humourous with lines like "Bring your lawyer, and I'll bring mine, we can have a bad time." The Light That Has Lighted The World is a slower piano-based ballad that musically has strong similarities to John Lennon's Jealous Guy. George is clearly angry at people who cannot accept that he is changing with lines like, "So hateful of anyone that is happy or 'free' They live all their lives without looking to see The light that has lighted the world