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Aloisio said in Luglio 2nd, 2009 at 09:46

PRINCE A MONTREAUX quasi confermato

The Montreux Jazz Festival is going to be a little bit more funky this year as a musical genius is planning on taking the stage not once, but twice.
The one and only Prince WILL be performing 2 shows at Montreux this year and he is bringing a musically talented band with him. Playing with Prince at the legendary festival will be Rhonda Smith, Renato Neto, and John Blackwell.
In 2007, Prince gave a legendary performance at The Montreux Jazz Festival where tickets sold out in record time. So when ticket information and tickets become available this time, make sure to reserve your spot if you plan to attend.

info update:
We just got word that Prince has rehearsed the 3 players: John Blackwell, Rhonda Smith and Renato Neto for 2 weeks now and taught them new and old material alike as well as a few covers. Sounds cool.
Prince is using a smaller crew these days to allow space for the audience to properly hear his favorite players right now.
We are being told that Prince will, of course be featured on guitar throughout the concert but mainly this year his goal is to showcase his sometimes overlooked vocal abilities.
Hence the stripped down vibe of this crew.
As shown on his most recent performance on the Tonight Show, Prince feels he is improving as a vocalist and has taken the time to re-work arrangements to showcase his gift.
Some tunes will just feature Renato on piano and Prince on vocals. He is Prince’s favorite pianist and as a fan of his work, it’s a treat for him just listening to Renato every night without any audible distraction.
Prince has also been listening alot to new jazz star Esperanza Spalding. He attended her concert in St. Paul, Minnesota recently and she and her impressive band came over to Prince’s Paisley Park Studio for a tour and jam session that lasted til sunrise. Now that’s hot! He loves to play with her and always teases he will join her band one day when he’s good enough. Ha! BTW, she is a must see if you ever y’ll get the chance.
In addition to Esperanza, Prince is a big fan of Ana Moura. Her command of an audience is very impressive. She has a strong voice that radiates sensuality. Accompanied by 3 musicians when Prince saw her, Ana was a template as well as Esperanza for Prince’s new approach to performance.
Awesome news. Let’s hope this concert makes it’s way to the United States soon!

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Aloisio said in Luglio 2nd, 2009 at 09:53

Recensione di drownedinsound sul nuovo degli WILCO. Non l’ho ancora scaricato, ma solo ascoltato una volta e non mi sembra male tutto sommato.

A reasonable question to ask of Wilco (the album) – particularly given its definitive title – is exactly which Wilco we’re being offered here. Recent years have seen us graced with the yearning soundscapes of Yankee Hotel Foxtrot, the migraine-approximating krautrock of A Ghost Is Born and the polished (if rather unexciting) gait of Sky Blue Sky. Of course, throwaway descriptions paint a picture far from complete. Numerous constants can be drawn over their seven-album career, chiefly Jeff Tweedy’s dry, plaintive tone and frazzled yet very real sense of humour. Returning to the original question though: quelle Wilco? The answer – the logical one, really – is a largely successful union of all of them.

Most likely it’ll be the sense of humour that hits you first. I mean, check out that new typography, that album title; that cover (his name is Alfred, incidentally). Then there’s the opening track, ‘Wilco (the song)’. All chugging chords, squealing lead guitar and well-intentioned lyrics (“Wilco will love you baby”), it might well dismay the purists, were it not so wonderfully addictive.

The album deftly changes tack via tales of doomed boxers, stunted flights and most notably murder, courtesy of ‘Bull Black Nova’. ‘Via Chicago’ this ain’t; instead the song comes over like some kind of less effusive, blessedly compact cousin of Ghost centrepiece ‘Spiders (Kidsmoke)’. Replete with striking imagery evoking the Coen Brothers’ sun-bleached take on No Country For Old Men, it wraps up in a maelstrom of guitar, ivories and screams, constituting by far the most thrilling moments of the record.

For (the album) is a curious beast. It certainly doesn’t endear itself with immediate effect, yet there’s much to love here. Leslie Feist’s guest turn on ‘You And I’ feels particularly well-judged, her sparkling enunciation the perfect foil to Tweedy’s husky drawl, on a simple reflection of love and vulnerability that could be lifted straight off Summer Teeth’s back end. Elsewhere, disillusionment is expertly wrought on ‘Country Disappeared’, an agreeably languid strum that resonates on a whole new level once you get a handle on the increasingly surreal lyrics it’s comprised of.

In an oddly cohesive set, only ‘You Never Know’ really founders, the band seemingly on creative autopilot as sunny harmonies and guitar solos thread themselves around an eerily familiar refrain. Conversely, ‘Solitaire’ finds Tweedy at his ruminative best, ‘I’ll Fight’ skips along dusty paths with resolute determination and ‘One Wing’ hits like one of Sky Blue Sky’s stronger cuts, Nels Cline’s influence (and staggering virtuosity) palpable throughout. ‘Everlasting Everything’ sees us out here, and much as its title implies, dwells on the concept of love in the face of eternity. It’s also something of a sonic treat: a capacious tapestry gradually filled by strings, brass and shimmering lead guitar.

One of Wilco’s biggest and most admired strengths has always been their ability to confound. Whether it be through lyrical turns scarred by unswerving frankness, the audacity of their tracklistings or the heartrending beauty they exemplify at their finest, theirs is a career peppered with shimmying left-turns and dazzling highs. Although unfairly maligned by some (for surely respite was necessary in the wake of Ghost’s elliptical disposition), Sky Blue Sky saw them trade this spontaneity for a neat set of songs punctuated by an occasional dropping of the baton completely.

While (the album) tips far more convincingly on the successful end of the scales, there remains the sense of a band playing safer than needs be; a sextet pushing against their limits but never straining outright at them. Put simply, it doesn’t stick like their best work has, despite all its qualities and engaging nature. Which isn’t to say it’s weak – au contraire – it’s just, I suppose, the residual lingering of a (perhaps unrealistic) weight of expectation.

One thing is abundantly clear, however: Wilco love you, baby. Right now, that’ll do just fine.

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Aloisio said in Luglio 2nd, 2009 at 09:53

Recensione di drownedinsound sul nuovo degli WILCO. Non l’ho ancora scaricato, ma solo ascoltato una volta e non mi sembra male tutto sommato.

WILKO: WILKO

A reasonable question to ask of Wilco (the album) – particularly given its definitive title – is exactly which Wilco we’re being offered here. Recent years have seen us graced with the yearning soundscapes of Yankee Hotel Foxtrot, the migraine-approximating krautrock of A Ghost Is Born and the polished (if rather unexciting) gait of Sky Blue Sky. Of course, throwaway descriptions paint a picture far from complete. Numerous constants can be drawn over their seven-album career, chiefly Jeff Tweedy’s dry, plaintive tone and frazzled yet very real sense of humour. Returning to the original question though: quelle Wilco? The answer – the logical one, really – is a largely successful union of all of them.

Most likely it’ll be the sense of humour that hits you first. I mean, check out that new typography, that album title; that cover (his name is Alfred, incidentally). Then there’s the opening track, ‘Wilco (the song)’. All chugging chords, squealing lead guitar and well-intentioned lyrics (“Wilco will love you baby”), it might well dismay the purists, were it not so wonderfully addictive.

The album deftly changes tack via tales of doomed boxers, stunted flights and most notably murder, courtesy of ‘Bull Black Nova’. ‘Via Chicago’ this ain’t; instead the song comes over like some kind of less effusive, blessedly compact cousin of Ghost centrepiece ‘Spiders (Kidsmoke)’. Replete with striking imagery evoking the Coen Brothers’ sun-bleached take on No Country For Old Men, it wraps up in a maelstrom of guitar, ivories and screams, constituting by far the most thrilling moments of the record.

For (the album) is a curious beast. It certainly doesn’t endear itself with immediate effect, yet there’s much to love here. Leslie Feist’s guest turn on ‘You And I’ feels particularly well-judged, her sparkling enunciation the perfect foil to Tweedy’s husky drawl, on a simple reflection of love and vulnerability that could be lifted straight off Summer Teeth’s back end. Elsewhere, disillusionment is expertly wrought on ‘Country Disappeared’, an agreeably languid strum that resonates on a whole new level once you get a handle on the increasingly surreal lyrics it’s comprised of.

In an oddly cohesive set, only ‘You Never Know’ really founders, the band seemingly on creative autopilot as sunny harmonies and guitar solos thread themselves around an eerily familiar refrain. Conversely, ‘Solitaire’ finds Tweedy at his ruminative best, ‘I’ll Fight’ skips along dusty paths with resolute determination and ‘One Wing’ hits like one of Sky Blue Sky’s stronger cuts, Nels Cline’s influence (and staggering virtuosity) palpable throughout. ‘Everlasting Everything’ sees us out here, and much as its title implies, dwells on the concept of love in the face of eternity. It’s also something of a sonic treat: a capacious tapestry gradually filled by strings, brass and shimmering lead guitar.

One of Wilco’s biggest and most admired strengths has always been their ability to confound. Whether it be through lyrical turns scarred by unswerving frankness, the audacity of their tracklistings or the heartrending beauty they exemplify at their finest, theirs is a career peppered with shimmying left-turns and dazzling highs. Although unfairly maligned by some (for surely respite was necessary in the wake of Ghost’s elliptical disposition), Sky Blue Sky saw them trade this spontaneity for a neat set of songs punctuated by an occasional dropping of the baton completely.

While (the album) tips far more convincingly on the successful end of the scales, there remains the sense of a band playing safer than needs be; a sextet pushing against their limits but never straining outright at them. Put simply, it doesn’t stick like their best work has, despite all its qualities and engaging nature. Which isn’t to say it’s weak – au contraire – it’s just, I suppose, the residual lingering of a (perhaps unrealistic) weight of expectation.

One thing is abundantly clear, however: Wilco love you, baby. Right now, that’ll do just fine.

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buzzandmusic said in Luglio 2nd, 2009 at 11:34

tu gust is mej che uan eh eh eh grazie Aloisio per Wilco e Prince,tienici sempre aggiornati ,qua nessuno skerza,a volte si kazzeggia ma per il resto il ROCK per noi e’ una COSA MOLTO SERIA……se qualcuno ha JUMBOS di Wilco e Alice In Chains faccia un fischio eh eh eh…..e siamo a meno 5 giorni da San Siro eh eh eh eh

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B16 said in Luglio 2nd, 2009 at 14:31

…sai che roba… col concertino che fanno, la scaletta pessima, tutto look e niente arrosto penso che ormai degli U2

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B16 said in Luglio 2nd, 2009 at 14:31

non gliene freghi più nulla a nessuno….

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buzzandmusic said in Luglio 2nd, 2009 at 14:38

eh caro b16 che ci vuoi fare……non c’e’ peggior sordo di chi non vuole sentire e peggior cieco di chi non vuole vedere,giudicherete voi.Adesso mi metto al commento e le foto sono gia’ pronte in rampa di lancio stile THE CLAW eh eh eh eh ROCK ON

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Generale Lee said in Luglio 2nd, 2009 at 14:46

Eh…today the answer is……..

My my, hey hey
Rock and roll is here to stay
It’s better to burn out
Than to fade away
My my, hey hey.

Out of the blue
and into the black
They give you this,
but you pay for that
And once you’re gone,
you can never come back
When you’re out of the blue
and into the black.

The king is gone
but he’s not forgotten
This is the story
of a Johnny Rotten
It’s better to burn out
than it is to rust
The king is gone
but he’s not forgotten.

Hey hey, my my
Rock and roll can never die
There’s more to the picture
Than meets the eye.
Hey hey, my my….

E’ CHIARO STU’FATTO????

AUGH

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B16 said in Luglio 2nd, 2009 at 15:22

claro generale…. ci mancherebbe!

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B16 said in Luglio 2nd, 2009 at 15:39

comunque milano che incensa madonna e spara sugli U2 sa di ridicolo….

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Generale Lee said in Luglio 2nd, 2009 at 16:07

io ME NE FOOOOOTTO…giudicherò con le mie orecchie…cmq Laffranchi fa pena….alura al podi fa anca mi ul critico dul curiere…

AUGH

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buzzandmusic said in Luglio 2nd, 2009 at 16:14

grande NEIL YOUNG! A Milano c’e’ qualche poveretto che ha preso il pentagramma e i concerti per Eurodisney………ma chi se ne frega,io li ho visti e li rivedro’ come anche voi,per il resto che vadano a farsi fot……….

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