The WHO live at the Isle of Wight 1970

oh not again... 

Here he comes once more with another "The Who" post, you might all say!

The truth is that I just couldn't go by yet another great finding on youtube and keep it just for myself.

I'll leave you with The Who's full concert video that was held in August of 1970 on the isle of Wright, in England.

Where they plugged directly to High voltage power line or what? Completely contagious vibe...

Jeez Pete, did you need to be that theatrical? Just kidding...

"The Isle of Wight Festival is a music festival which takes place every year on the Isle of Wight in England. It was originally held from 1968 to 1970. These original events were promoted and organised by the Foulk brothers (Ron, Ray and Bill Foulk) under the banner of their company Fiery Creations Limited. The venues were Ford Farm (near Godshill), Wootton and Afton Down (near Freshwater) respectively. The 1969 event was notable for the appearance of Bob Dylan and the Band. This was Dylan's first paid performance since his motor cycle accident some three years earlier, and was held at a time when many still wondered if he would ever perform again. Followers from across the world trecked to the Isle of Wight for what seemed like a 'second coming'. Estimates of 150,000--250,000 attended. The 1969 festival opened on Friday 29 August—eleven days after the close of Woodstock. Dylan was living in Woodstock, New York, at the time and it was widely believed that he would perform there, after the event had been "put in his own backyard". As it happened, Dylan left for the Isle of Wight on 15 August—the day the Woodstock festival began.

The 1970 event was by far the largest and most famous of these early festivals; indeed it was said at the time to be one of the largest human gatherings in the world, with estimates of over 600,000, surpassing the attendance at Woodstock. Included in the line-up of over fifty performers were The Who, Jimi Hendrix, Miles Davis, The Doors, Ten Years After, Emerson, Lake & Palmer, Joni Mitchell, The Moody Blues, Melanie, Donovan, Free, Chicago, Richie Havens, John Sebastian, Leonard Cohen, Jethro Tull, Taste and Tiny Tim. The unexpectedly high attendance levels led, in 1971, to Parliament passing the "Isle of Wight Act" preventing gatherings of more than 5,000 people on the island without a special licence.

The 1970 festival was filmed by a 35mm film crew under the direction of future Academy Award-winning director Murray Lerner who at that point had just directed the Academy Award-nominated documentary Festival of the Newport Folk Festival. The footage passed to Lerner in settlement of legal fees after a dispute with the Foulk brothers in which the two sides claimed against each for breach of contract. Lerner distilled material from the festival into the film A Message to Love: The Isle of Wight Rock Festival released theatrically in 1996 and subsequently on DVD. In addition to this film, Lerner has created full-length films focused on performances by individual artists at the 1970 festival. To date there have been individual films of The Who, Jimi Hendrix, Miles Davis, Emerson, Lake & Palmer, The Moody Blues, Free, Leonard Cohen and Jethro Tull.

The event was revived in 2002 at Seaclose Park, a recreation ground on the outskirts of Newport. It has been held annually since that year, progressively extending itself northwards beyond Seaclose Park along the fields of the eastern Medina valley. Many notable artists have performed since its revival including The Rolling Stones, Paul McCartney, Muse, Stereophonics, Donovan, Ray Davies, Robert Plant, David Bowie, Manic Street Preachers, The Who, R.E.M., Coldplay, The Proclaimers, Bryan Adams and The Police. It was sponsored by Nokia from 2004 to 2006. The promoters of the event now are Solo Music Agency and promotions. Apart from being held on the Isle of Wight, and featuring the now customary artwork of Dave Roe, there is no connection with the festivals of 1968--1970."

From Wikipedia, the free ecyclopedia.

Rodrigo Leão hoje à noite no Coliseu

Antecipação do concerto desta noite, com este belíssimo tema com Neil hanon, dos Divine Comedy (álbum "A Mãe")

George Benson e Carlos Santana: Breezin'

Quando se aliam o prazer de tocar e uma grande sensibilidade musical, o resultado é este...

Diego Figueiredo: Take Five

Diego Figueiredo é um guitarrista brasileiro que acompanho com particular atenção. Ouçam esta versão do standard Take Five e percebam porquê.

Birdman

McDonald and Giles, as to be one of the greatest hidden gems of the 70's.

Sometimes I wonder how Fripp's project, aka KC, would've turned out should Ian McDonald & Micheal Giles stayed on the band.
More life celebrating?



Anyway, tonight I'll leave you with a theme that I enjoy especially when played in the wee hours...

Brief History & Album Review by Nigel Camilleri

McDonald and Giles - An Analysis by Andrew Keeling 

Birdman's return to the Earth

Angústias de Natal e o novo Sufjan Stevens

Cada vez mais angustiado, o Peru vê chegar o Natal com preocupação.Não se augura nada de bom no seu futuro...

Para já, a única coisa que o anima é que já saiu a nova obra de Sufjan Stevens, um dos preferidos aqui dos Peruanos. Trata-se de uma compilação de 5 EPs com temas de Natal recriados / compostos por SS, entre 2006 e 2010 e chama-se Silver & Gold: Songs for Christmas, Vols. 6-10.

Vale a pena ouvir a criatividade infindável deste americano de Detroit e as harmonias delicadas e complexas destes temas.

Disponível em CD e Vinil (além dos raquíticos mp3, claro)

Pérolas do Passado: Kerry Minear, I´m Home Again

Para verdadeiros connoisseurs, esta faixa de Scrapping the Barrel, uma coletânea de demos e inéditos dos Gentle Giant, é uma verdadeira preciosidade. A voz inconfundível de Kerry Minear num tema próprio, mais doce que o habitual nos GG, a lembrar algumas passagens de Octopus.

Can You See the Real Me?

I stumbled accidentally on yet another fabulous BBC documentary that I felt obliged sharing with you all...

Instead of rewriting what as already been so well written, I'll just rep-post Andy Markowitz's post made on musicfilmweb and leave you with a great documentary of, IMHO, one of the greatest albums of all time!

Hope you enjoy it as much as I did.

Posted on July 2, 2012 by Andy Markowitz

Source: Musicfilmweb

Pete Townshend conceived the Who’s second rock opera with an eye to replacing Tommy as the band’s live centerpiece. Upon release in 1973 his allusive tale of a disaffected and unstable teenager adrift in mid-’60s Britain’s mod movement won critical plaudits and charted well (better than Tommy, in fact), but between its pre-digital synth ‘n’ loop complexities and drummer/lunatic Keith Moon’s increasing unreliability, Quadrophenia toured disastrously. Despite being musically and thematically richer and more layered than its predecessor (or perhaps because of it), the story of Jimmy the Mod never caught on like the deaf-dumb-and-blind pinball wizard. Only years later did songs like the pulsing “5:15″ and the symphonic “Love Reign O’er Me” return to the Who’s set list, and today Franc Roddam’s cult film version of Quadrophenia is probably more imprinted on the public imagination than the album that spawned it.

This BBC music documentary wisely avoids that after-story to focus on Quadrophenia the record, examining the drama of both its narrative and its production, which very nearly blew the Who apart. The tropes of the form are here – the enthusiastic talking head critics, the knob twiddling engineer breaking songs down into component parts – and sufficiently enlightening. What separates this from the usual run of making-the-record docs is the number and variety of secondary themes rockumentary veteran Matt O’Casey packs into its 70 minutes, among them an illuminating primer on fashion-obsessed mod, a detour into the London council estate where the Who built their studio, and a thorough exploration of the illustrated lyric book that accompanied the original release. The starkly beautiful photos by veteran rock shooter Ethan Russell (he of the Abbey Road and Who’s Next covers) clearly influenced Roddam’s film, and they give Can You See the Real Me? a cinematic quality unusual for such exercises, as O’Casey juxtaposes them with the record’s formative and evocative landscapes of Battersea and Brighton.

Underlying it all are the internal dynamics of the Who, that most combustible of bands – the constant push-pull between Townshend’s artistic ambitions/pretensions and his mates’ (and his own) street-fighter volatility. That comes through here in particularly sharp relief, perhaps because the canvas is relatively small. We see closely how those tensions informed a specific piece of work as Townshend, with his typical mix of acuity, self-absorption, insecurity, and wit, recounts a growing alienation from the band that mirrors his anti-hero Jimmy’s fall from mod. It’s mainly Pete’s story, but Roger Daltrey, who has aged into dinosaur rock’s most generous elder statesman, is the down to earth yin to his cohort’s sturm and drang and offers an affectionate but knowing counter to Townshend’s slagging of the long-gone Moon, who drifts through the proceedings like a cackling poltergeist. (Interviewer: “What was Keith like in 1973?” Daltrey: “Just a little bit drunker than we was in 1972.”) Just as Quadrophenia is not the place to start if you’re a Who novice, this is a documentary for aficionados – but if you’re one, it’s a thoroughly engrossing trip into the heart of a record that still feels under-appreciated

Full BBC Documentary

In his home studio and revisiting old haunts in Shepherds Bush and Battersea, Pete Townshend opens his heart and his personal archive to revisit 'the last great album the Who ever made', one that took the Who full circle back to their earliest days via the adventures of a pill-popping...

But in 1973 Quadrophenia was an album that almost never was. Beset by money problems, a studio in construction, heroin-taking managers, a lunatic drummer and a culture of heavy drinking, Townshend took on an album that nearly broke him and one that within a year the band had turned their back on and would ignore for nearly three decades.

With unseen archive and in-depth interviews from Townshend, Roger Daltrey, Keith Moon, John Entwistle and those in the studio and behind the lens who made the album and thirty page photo booklet.

Contributors include: Pete Townshend, Roger Daltrey, Ethan Russell, Ron Nevison, Richard Barnes, Irish Jack Lyons, Bill Curbishley, John Woolf, Howie Edelson, Mark Kermode and Georgiana Steele Waller.

Piada do dia

Um destes dias juntaram-se num café o Keith Jarrett, o Herbie Hancock e o Chick Corea.

Vai o Corea e diz: " li ontem na revista Down Beat que eu sou o melhor pianista do mundo". 

Diz o Hancock: "Olha, Deus disse-me que eu é que sou o melhor pianista do mundo!"

Vem o Jarrett e diz: "O quê??? Não me lembro de alguma vez ter dito isso...!!!"

Hiatus Kaiyote: Nakamarra

Ambiente cool jazz, pleno deserto e carros abandonados: cenário para estes australianos de Melbourne a seguir. Recomendação de Renato C.

Nova Música: Steven Wilson: Grace for Drowning

Sempre prolifico, Steven Wilson divide as suas atividades pelos Porcupine Trees, a recente associaçao com Akkerfeldt dos Opeth, Storm Corrosion, e o trabalho a solo.

BjorK: Video para Mutual Core

Um novo vídeo de Bjork, para um tema de "Biophilia", "Mutual Core". À volta do tema Terra. Visualmente espantoso, como sempre.

Black Mountain: The Hair Song

Com muito feeling zeppeliniano, um bom tema do álbum 2010 dos Black Mountain (Wilderness Heart)

 

Revisitando os Clássicos III: Yes - And you and I

Um dos mais emocionantes temas dos YES, do "Close to the Edge" ilustrado com a arte onírica de Roger Dean, autor da quase totalidade das capas dos próprios. Sugestão do amigo Vitor S.

Elisa Rodrigues no 5 para a Meia Noite

Uma das revelações do Jazz Português deste ano (a outra é a Susana Cruz!), ontem no 5 para a meia noite, com Júlio Resende ao piano.

O tema Run é da pena da própria Elisa.

Revisitando os Clássicos II: David Bowie - Ziggy Stardust

Pois é. Um dia acordamos e descobrimos que os nossos amores têm 40 anos...

 É um choque, mas depois reparamos como estão bem conservados e até melhores do que nos lembramos deles...

Mais uma edição dos 40 anos, desta feita de 2012 (editado originalmente em 1972), este clássico de David Bowie é um disco seminal (como se dizia para aí há uns anos, daqueles que não só contribuiram decisavamente para a carreira do seu autor como ajudaram a definir o futuro da música pop rock.

Este é um album que aparece ciclicamente na lista dos melhores de todos os tempos, veja-se por exemplo esta enumeração da wikipedia: "In 1987, as part of their 20th anniversary, Rolling Stone magazine ranked it #6 on "The 100 Best Albums of the Last Twenty Years." In 1997, Ziggy Stardust was named the 20th greatest album of all time in a Music of the Millennium poll conducted in the United Kingdom by HMV Group, Channel 4, The Guardian and Classic FM. In 1998, Q magazine readers placed it at number 24 and Virgin All-time Top 1000 Albums ranked it at number 11, while in 2003 the TV network VH1 placed it at number 48. It was named the 35th best album ever made by Rolling Stone on their list of the 500 Greatest Albums of All Time. In 2000 Q placed it at number 25 in its list of the 100 Greatest British Albums Ever. In 2004 it was placed at number 81 in Pitchfork Media's Top 100 Albums of the 1970s. In his 1995 book, "The Alternative Music Almanac", Alan Cross placed the album in the #3 spot on the list of '10 Classic Alternative Albums'. In 2006, the album was chosen by TIME magazine as one of the 100 best albums of all time.[25]"

Os temas que mais se destacam: Ziggy Stardust, Five Years, Rock'n'Roll Suicide, Starman...

 Portanto, esta história de um extrarrestre que se torna um idolo rock é uma daquelas obras que não pode faltar na cdteca de qualquer amador de música. E esta edição do 40 anos é muito boa.

Aqui fica o álbum na íntegra:

Revisitando os Classicos: The Doors - Strange Days

Os Doors são daquelas banda intemporais, ouvidos em 2012 não têm marcas da idade e, alguns modismos próprios dos anos 60 à parte nas letras, a sua música é fresca e vital. São um verdadeiro clássico.

Como não podia deixar de ser, 40 anos depois (o primeiro disco data de 1967), surgiram as reedições com som remasterizado.

Os japoneses sempre fizeram boas edições em CD, bastante caras e procuradas. Por isso, encontrar a edição japonesa do "The Soft Parade", de 2007, a 10€ em segunda mão, quando o preço normal em segunda mão é de 30€, é o que se pode chamar um excelente negócio. E de facto o sm não tem nada a ver com a edição anterior que tinha. Tem uma excelente separação dos instrumentos, os metais, tão característicos deste álbum, ouvem-se nitidamente e não se "intrometem" com os restantes instrumentos,

Este é talvez o mais mal amado dos discos dos Doors. O omnisciente Allmusic guide diz dele: "The weakest studio album recorded with Jim Morrison in the group, partially because their experiments with brass and strings on about half the tracks weren't entirely successful. More to the point, though, this was their weakest set of material" . Eu discordo totalmente, tanto no no que diz respeito às experiências mal sucedidas com os metais (ouça-se a potentíssima "Touch Me") como a ser o seu material mais fraco. Notoriamente eles quiseram experimentar, mudaram de registo e os fãs duros de ouvido nunca lhes perdoaram. A história é cruel, remetando para o caixote do lixo obras maiores por força do senso comum repetido...

Quanto a mim... altamente recomendado!

Concertos através de uma app para iphone? Wow!

Ainda por cima o concerto é bom...

David Gilmour In Concert available as an iPhone/iPad App for the first time

In a new development, DVD authoring group The Pavement have created a new technique to convert DVDs into smartphone Apps, and the first one in the world will be David Gilmour In Concert. It has already been a big success on DVD, but this new App is a way to enjoy it on the move.


Released on November 19, 2012, it will be available for iPhone, iPad, and iPod Touch, with a version for Android phones to follow shortly afterwards.

Including all the content of the original DVD – including the extras – it will be available worldwide on the Apple App store at a price of £5:99, $8.99, €6.99 or equivalent.

Programme details:

In 2001 and 2002, Pink Floyd's singer and guitarist David Gilmour performed some solo dates, originally as part of Robert Wyatt's Meltdown Festival at London's Royal Festival Hall, returning to the venue in the subsequent year. Playing in a solo context, the critically acclaimed run of concerts saw David performing some tracks with just voice and guitar, and others with a mostly acoustic group including double bass, guitar, cello, drums, a large vocal choir, and the late Michael Kamen on piano and cor anglais. In 2001, Robert Wyatt guested on Comfortably Numb, while the 2002 concerts also saw contributions from Bob Geldof (Comfortably Numb) and Pink Floyd's Richard Wright (Breakthrough).

Directed by the award-winning David Mallet, the original programme's features have been retained in full.

The concert songs are: Shine On You Crazy Diamond (Parts 1-5); Terrapin; Fat Old Sun; Coming Back To Life; High Hopes; Je Crois Entendre Encore; Smile; Wish You Were Here; Comfortably Numb (featuring Robert Wyatt); Dimming Of The Day; Shine On You Crazy Diamond (Parts 6-8); A Great Day For Freedom; Hushabye Mountain; Breakthrough (featuring Richard Wright); and Comfortably Numb (featuring Bob Geldof). Extras include: Spare Digits (closeups of David Gilmour's guitar parts); Home Movie (shot at rehearsals); High Hopes Choral; I Put A Spell On You (with Jools Holland and Mica Paris); Don't; and Sonnet 18.

Música para ouvir hoje

O que estou a curtir: Anathema: Crestfallen

Do mais recente e orquestral "Falling Deeper". Estiveram em Lisboa dia 20 de Outubro.