... makes ultra published , and was one of those albums that ilusonan, inviting, that charm. have the cathartic effect of the Blues or Pink Floyd. Encarna my rage not forgetting to repeat the breeze blowing out there, sunshine spring offensive. Heimlich maneuver is a beast.
1997 was a year of those, destroyed and built again. And it is happening again. Same but different. And today, in a critical day he came out at random and opens her lap. Today I am with sore joints that I would leave. You apologize. Or not.
Oh weep the tears That You Tortured For the poor souls Who fall at your feet With Their love begging bowls all All the clerks and the tailors The sharks and the sailors All good at Their trades But they'll always Be Failures
music Any comments? only one: please notice how it expands harmony in the last bar of the A, just before it's martyrs Needs Love ... It could do a lot more, but not touch today.
Following the can lately has given me my love of Peter for the Beatles, (we made the plan to destroy one of his albums in the next Audio course), I keep thinking about the loneliness of musical tastes - all that will happen? - and I wonder, for the umpteenth time, why conditions. I'm sure that has to do with intimate and tender moments that are attacking us over there, with sudden flashes of light in which children suddenly ordering the cosmos, with moments of fragility or class origin, with intelligence, with chance. Still too many variables, and finally nothing explains why only my understanding of music as me, and I do not understand how can you like x ... Now there are companies that are dedicated to making analytical information on successful components of songs, develop complex programs for publishers to maximize their resources on the safe bet. Fortunately fail ... if I'm going to feel even more alone.
The only object of study I have on hand myself, and, for starters, I have been able to identify feelings that have to do with the nights when my mother read me or Sandokan adventures of Tintin. Hergé Salgari have in common and very vivid descriptions of places they had never seen romanticizing , if I may, the environments in which they placed their stories, it provides them with a particular power, and have an ability to stimulate enormous imagination, perhaps stronger by the fact of having to promote themselves to make credible his stories, or his own need to escape. This false
exoticism, that need to travel without leaving one's head was inoculated me since childhood, and has resulted in music search. Maybe so, but a couple of exceptions, can not stand the rock in English: me too real and immediate, words weigh more than the music, and words of the rockers rarely interest me. The music, while mystery, resists understanding. So I am a musician.
And strange things have happened to me, for example: flamenco gave me a huge fascination while living in Mexico. Their sound, their strength, were added to the illusion of having roots in another country that gave new meaning to my life. Now that I've walked their land, their flavors tasted, smelled its aroma, has ceased to interest me at all. I appreciate it as a genre and I enjoy it rationally, but for me it has lost its magic. It is no longer exotic. To make sense in context is dead fantasy.
intangible worlds to which music takes me is so real and horrible and dirty street because are music, and music is absolutely real. are part of it as much as the instruments that play music or pancreas. Are possible universes, infinite and individual, and each contains a unique collection of music for each spirit. The travel route is often lonely. At most we can hope for is a fortuitous collision, sporadic connections, a laugh here, a crybaby there. As I say, as real as life itself.
What happens to the bass is often condemned to immobility, he chained to the root of the chord and, if anything, are allowed to visit the fifth or a passing note. as a teenager is full of hormomas to which forces them to stay at home on a Saturday night ... believe me I know that. sad fate for such an instrument, I would call it musical castration.
Fortunately there are exceptions, such as Mick Karn and John Taylor. reescucha I delivered to Gary Numan, to see if I can put into context all this eighties revival and finish convince me that retro is trivial and banal, that nostalgia is beautiful as it is intangible, loss, misleading reconstruction of our mind bored by this. fortunate in that I stumbled upon Odyssey We take mystery (to bed) and Music for Chameleons. Both songs have a spectacular bass lines and thought that it was Paul Gardiner, bass player of Tubeway Army. What was my surprise when, researching researching, I find that the album bassist I, Assassin (1982) by Gary Numan was Mick Karn, one of the culprits that today I am a bassist wannabe.
Within the cataract of nonsense that is to commit to the time of cataloging a musical moment, the "wave" Britain's early 80's has been in memory as New Wave. had one foot in punk and the other in the disco or funk, reggae or post-psychedelic glam, and almost always in the wake of David Bowie or Roxy Music. Between this subgentuza difícilmete qualifying groups are as Japan, Simple Minds, Depeche Mode, Duran Duran, OMD, The Cure, Siouxsie and the Banshees and of course Tubeway Army. the middle of the decade the market had digested them all and suffered groups to find something new to say. Few did so, I must say ... Live Aid had become politically correct, Princes of Wales gave his permission. However there is a technical breakthrough that I have never heard mention of the critics and try to figure out the profane: In December 1982 he launched the Prophet 600 Sequential Circuits house, the first synth with MIDI. The technological revolution of the music gave a huge leap. M usical I NSTRUMENTS D igital I nterface is the universal protocol that allows synthesizers chains to add their capabilities, connecting computers to ultra-detail set at the smallest musical event, synchronize devices ... now used for many applications including non-musical by multimedia artists. What happened? MIDI euphoria that filled our plastic music, sequencers, synthesizers towers placed under his dictatorship and forced to comply with all the music functions in the service of fashion and vocal star of the moment. Just as video killed the radio star, MIDI killed the rock. The triumph of the machine. The currency of the digital age. Born "synth pop". The logical consequence was the return to the caves that we proposed the grunge the sake of honesty and rawness ... fortunately happened and it seems that the waters return to normal, the MIDI is just another tool and the bands have returned to play, the rock is dead, but nobody give a damn. MIDI But before, when the synthesizer was a more of a band, the sound spectrum required instruments: drums, guitars and of course low. And in that context, those two or three years earlier New Wave to MIDI, excel in Japan Mick Karn and John Taylor in Duran Duran. Without them, the bands had not been the same. Karn is for the New Wave which is the jazz Pastorius: electric bass and frees you do live in the foreground, is almost a solo. Brings a world of color scales introducing rare short chain movement whiff syncopations of funk and music makes the whole thing is a new and exciting, completely different from what they were doing their peers. If we add to David Sylvian, Richard Barbieri and Steve Jansen in Japan, Peter Murphy in Dalis Car, or Gary Numan have one of the tastiest dishes and more undervalued in the past thirty years. John Taylor is more discreet but no less effective, perhaps more elegant. Duran Duran is one of those bands that make intellectual and enjoying wince at the bottom of his heart unspeakable. A crucial aspect of their sound is low, especially in the first two albums. Confessed admirer of Bernard Edwards (Chic), John Taylor becomes simple harmonies contrapuntal lines while being functional, are the glue that binds the melodies of voice with the guitar funk rhythms or arpeggios, with the harmonic subtleties keyboards and of course with the battery. Always energetic, but with a sense of melody. He gave as an example Lonely in your nightmare by not raising one of the songs famous, but more missing songs exemplify the very suggest Rio This time I'm going to start analyzing the songs because I want to illustrate is told himself, Just have to have a team that plays the bass a little better than typical computer speakers. Since I discovered how to put music on the blog I am much happier.
Gary Numan, 
