7/27/15
onsta la yerbita - los destellos
onsta la yerbita - los destellos
Mientras Santana en Woodstock ponía cara de conejo haciendo una versión brutal de "Soul Sacrifice", en Perú triunfaban Los Destellos con su nueva cumbia peruana. Formados por Enrique Delgado en el 66 en su primer disco ya se incluía "Guajira psicodélica". Electrificaron el vals criollo, la cumbia de Perú y comenzaron a buscar un sonido propio que juntase la música popular peruana y los nuevos tiempos. En el 71 no tenían reparos en facturar un tema como este provocador "Onsta la yerbita". Claro que años después harían otro tema titulado "Marihuana no".
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| Los astros del instrumental cumbiero |
Los Destellos tocaban en el 66 en locales de Lima como El Durísimo o Los Mundialistas. Mucha guitarra y mucho instrumental al estilo de los Shadows o los Surfaris, pero con todo el sabor de lo que ellos mismos lanzaron como cumbia peruana. En Perú vacilan de ser los primeros punkies de sudamérica y oyendo esta canción del 68 hay que darles la razón. Un minuto de introducción psicodélica; "Cáscara de platano, mostaza, orégano, yerbabuena, volare.. cantare...", una lección de guitarras a cargo de los dos Enriques (Delgado y Medina), y la letra; "Yo quisiera saber oye nena si es que al fin yo puedo encontrar un poco de la hierba para vacilar... quizá yo aprenda bien, quizá yo aprenda mal... oh baby onsta". No se cortaban un pelo. Sonido electro-amazónico en estado puro.
http://cancionesparamishermanos.blogspot.com/2014/08/los-destellos-onsta-la-yerbita.html
Various Artists - Back to Peru: The Most Complete Compilation of Peruvian Underground '64-74
Various Artists - Back to Peru: The Most Complete Compilation of Peruvian Underground '64-74
The magic of compilations like this resides in their ability to to transport the listener to their era of choice, or at least give him/her an idea of the period. In 22 tracks, VampiSoul recordings takes us back to a period in Peruvian underground music in which psychedelia was recognizable everywhere. American influences are seen not only in the style of music played, but the language and image of the musicians themselves. However, as it usually happens, Peruvian musicians put some of their own influences on psychedelic rock, which makes this compilation a fun listen.
There are very few dull moments in which it may feel as if the performers are trying too hard to be American. Whether it's Los York's hazy atmosphere in "Abrazame Baby" or El Polen's take on Andean folk in "Mi Cueva", there's something distinctively Peruvian about the music on here, which can actually lead to non-Peruvian listeners or non-Spanish speaking listeners to miss some of the charm, especially in the lyrics. However, the compilation does not alienate anyone: A lot of the songs are in English and none feel "too Peruvian".
Back to Peru is essential for anyone interested in how American music influenced the South American underground, interested in garage rock, or anyone who wants a new take on psychedelic rock.
7/24/15
7/19/15
7/11/15
11 Nina Simone Songs You Need to Know
One of my favorite moments from Netflix’s new Nina Simone documentary, What Happened, Miss Simone?, is when she boldly calls herself a “rich black bitch.” The way she says it speaks to her timelessness, her free-thinking attitude, and her ability to anticipate trends long before being a “bad bitch” became a total thing. Nina Simone knew intuitively that she could be anything she wanted to be — damn if anyone tried to stop her.
And they did. She was a classically trained pianist who dreamed of becoming the first black woman to perform as a soloist at Carnegie Hall. Her ambitions were thwarted when she was rejected from the Curtis Institute of Music in Philadelphia. She had the skills for admission but not the right skin color. It was her first real taste of racism in America. In need of money, Simone turned to jazz, performing in nightclubs and restaurants where she incorporated contrapoint and other techniques usually reserved for classical music into her style. By the mid-'60s, she became a political firebrand, standing alongside radical minds like James Baldwin and Lorraine Hansberry as they rallied behind civil rights and against segregation. Her work during this period became some of her best-known. Those songs are still shockingly relevant today, but they don’t capture the full range of her output.
Nina Simone would improvise and change keys in the middle of a song, weave together classical, jazz, gospel, soul, and folk. She was a rich black bitch, a political agitator, a pianist in an evening gown and pearls, and a volatile perfectionist. Her true gift was her versatility. In the spirit of that genius, here are 11 songs to reflect the breadth of her talent.
"For All We Know"
A Great American Songbook classic on which Simone demonstrates her balmy vocals and piano verve.
A Great American Songbook classic on which Simone demonstrates her balmy vocals and piano verve.
"Li'l Liza Jane"
Simone performed this song during her breakout gig at the Newport Jazz Festival in 1960; it's a great example of her affinity for folk and balladry.
Simone performed this song during her breakout gig at the Newport Jazz Festival in 1960; it's a great example of her affinity for folk and balladry.
"Strange Fruit"
Originally written for Billie Holiday, Simone’s version of this dark elegy for victims of lynchings in the South is just as haunting as Lady Day’s.
Originally written for Billie Holiday, Simone’s version of this dark elegy for victims of lynchings in the South is just as haunting as Lady Day’s.
"Mississippi Goddam"
Written after the assassination of Medgar Evers and the 16th Street Baptist Church bombing in Alabama, this Simone original has earned a place in the civil-rights canon.
Written after the assassination of Medgar Evers and the 16th Street Baptist Church bombing in Alabama, this Simone original has earned a place in the civil-rights canon.
"Trouble in Mind"
Simone’s deep voice calls to mind prior female blues legends like Big Mama Thornton and Koko Taylor, but Simone knew how to hold her own over eight bars as well.
Simone’s deep voice calls to mind prior female blues legends like Big Mama Thornton and Koko Taylor, but Simone knew how to hold her own over eight bars as well.
"To Be Young, Gifted and Black"
The playwright Lorraine Hansberry, a close friend of Simone’s, died an untimely death at 34. Her ex-husband, Robert Nemiroff, staged this play posthumously. Nina used the title to commemorate her friend. It’s part tribute, part anthem for black youth.
The playwright Lorraine Hansberry, a close friend of Simone’s, died an untimely death at 34. Her ex-husband, Robert Nemiroff, staged this play posthumously. Nina used the title to commemorate her friend. It’s part tribute, part anthem for black youth.
"He’s My God"
Eunice Kathleen Waymon changed her name to Nina Simone to keep her parents from finding out that she was singing secular music, but she never abandoned her gospel roots.
Eunice Kathleen Waymon changed her name to Nina Simone to keep her parents from finding out that she was singing secular music, but she never abandoned her gospel roots.
"I Loves You Porgy"
Her breakout single, a lovelorn piano ballad from Gershwin’s 1935 opera Porgy and Bess, featured those unforgettable vocals that you only need to hear once to remember forever.
Her breakout single, a lovelorn piano ballad from Gershwin’s 1935 opera Porgy and Bess, featured those unforgettable vocals that you only need to hear once to remember forever.
"Stompin’ at the Savoy"
Another American Songbook standard where Simone demonstrates her unique vocal phrasing.
Another American Songbook standard where Simone demonstrates her unique vocal phrasing.
"I Put a Spell on You"
Simone reinterpreted Screamin’ Jay Hawkins’s spooky rock 'n' roll dirge as a sensual jazz classic backed by an orchestra.
Simone reinterpreted Screamin’ Jay Hawkins’s spooky rock 'n' roll dirge as a sensual jazz classic backed by an orchestra.
"Sinnerman"
In a 1970 performance at the Montreux Jazz Festival, Simone reimagines this traditional black spiritual into a percussion-heavy African dance. Her version of this revival-meeting song has been sampled by Kanye West, Talib Kweli, and Timbaland, among others.
In a 1970 performance at the Montreux Jazz Festival, Simone reimagines this traditional black spiritual into a percussion-heavy African dance. Her version of this revival-meeting song has been sampled by Kanye West, Talib Kweli, and Timbaland, among others.
7/6/15
7/5/15
Fourth of July is deadliest holiday weekend
Be careful out there: Fourth of July is more dangerous than New Year's Eve
National Security Council estimated 385 deaths, 41,200 injuries this year on July 4 holiday
The Fourth of July is the most dangerous American holiday weekend of the year, experts say.
The National Safety Council estimated that there would be 385 deaths and 41,200 injuries -- including car crashes, swimming incidents and fireworks accidents -- this Fourth of July. Last year, there were eight deaths and 11,400 injuries from fireworks mishaps alone.
Research finds that the majority of deaths on and around Independence Day are from car accidents.
Between 2008 and 2012, July 4 had an average of 127 deaths in crashes each year, according to data collected by the Insurance Institute for Highway Safety. New Year’s Day followed with an average of 122 deaths annually.
July 5 also ranks up there, with an average of 110 deaths annually.
Independence Day has historically been the deadliest day on the road for Americans, according to the Insurance Institute. Between 1986 and 2002, July 4 was continuously the day with the most car crash deaths each year, totaling 2,743 deaths.
The day with the second highest number of deaths for that period -- 2,534 -- was July 3.
“The big summer holiday puts a lot of drivers on the road, which increases the likelihood of serious crashes,” Russ Rader, spokesman for the institute, said. “And there’s riskier driving, too. People are going to barbecues and fireworks displays that sometimes involve drinking.”
Alcohol is a factor in a greater number of crash deaths on both the Fourth of July and New Year's Day. Forty-one percent of the deaths on the Fourth and 51% on Jan. 1 involved high blood alcohol concentrations, according to the institute. This compares with 33% on Dec. 25.
Jeffrey Spring, spokesman for the Automobile Club of Southern California, said he thinks that the heat and sun on Independence Day adds to the problem. Dehydration, he said, intensifies the effect of alcohol, and even of simple drowsiness.
Although this year fatal incidents included a deadly fire in Philadelphia, shootings in Chicago, Indianapolis and Houston and a boat crash in Florida, such episodes aren’t necessarily part of the Fourth of July danger trend.
Fireworks mishaps raise the danger bar, according to a report by the U.S. Consumer Product Safety Commission.
The most common fireworks injuries were to hands and fingers -- 36% -- but 22% of injuries were to heads, faces and ears. Sixteen percent were eye injuries.
But according to the safety commission, emergency room visits for bicycle crashes, swimming incidents, exercise equipment accidents and basketball injuries topped those for fireworks injuries during the week of July 1 to July 7 last year.
On Saturday morning in Manhattan Beach, a man was attacked by a shark -- hardly part of past trends, but an example of what can happen by simply spending a day at the beach.
“It’s a celebration more than just a weekend off, so people tend to celebrate more,” Spring said. “They tend to try to cram a lot into these weekends and that’s where they get into trouble.”
7/4/15
7/3/15
Flower Travellin' Band 1971
Flower Travellin' Band - 1971 - Satori (full... by meir-rivkin
thx south willard
Flower Travellin' Band (フラワー・トラベリン・バンド Furawā Toraberin Bando?) were a rock band from Japan that was formed in 1968.[1] In Japan they often go by the moniker FTB.
They were connected to Japan's counterculture movement and noted for their mixture of early heavy metal with psychedelic and progressive rock. They received wide acclaim from critics but failed to achieve commercial success and disbanded in 1973 to pursue individual careers.[2]The band reunited in late 2007 when hippie influences became popular again in Japanese fashion, music and cinema; it was permanently disbanded after the 2011 death of vocalist Joe Yamanaka.
While the band's releases have never sold well they continue to be held in high regard by the music industry. Their albums have never been out of print[3] and they continue to be made available on new audiophile formats such as SHM-CDs.[4] The former members of the Flower Travellin' Band continue to perform FTB songs live together under the name Flower Power with other musicians.[5]
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The band was initially started as a side-project by Yuya Uchida when he returned to Japan after visiting his friend John Lennon in England in the mid 1960s, where he was introduced to various upcoming artists such as Cream and Jimi Hendrix. Yuya wanted to introduce a similar sound to the Japanese, and formed the "Flowers" as a cover band with various group sounds musicians, and two vocalists; male singer Chiba Hiroshi and female singer Remi Aso.[6] They released the album Challenge! in 1968, featuring covers of songs by Jimi Hendrix, Cream, Jefferson Airplane and Big Brother and the Holding Company, in addition to an original song. The cover caused a stir in the Japanese media as it depicted each member posing naked.
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