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B16 said in Ottobre 3rd, 2010 at 11:35


Modern Times – Bob Dylan
Thickfreakness – The Black Keys
Rubber Factory – The Black Keys
Le Noise – Neil Young
Loaded – The Velvet Underground
Songs from a room – Leonard Cohen
Leonard Cohen Live at the Isle of Wight 1970 – Leonard Cohen
Live Songs – Leonard Cohen
New Skin for the Old Ceremony – Leonard Cohen
Monk’s Dream – Thelonious Monk
Live at the 1964 Monterey Jazz Festival – Thelonious Monk
Is there anybody out there ? / The Wall Live 1980-81 – Pink Floyd
Animals – Pink Floyd
In Rainbows – Radiohead
Lisbon – The Walkmen
The Suburbs – Arcade Fire
Hombre Lobo – Eels
Electro-Shock Blues – Eels
Boxer – The National
Faith – The Cure


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buzzandmusic said in Ottobre 3rd, 2010 at 17:48



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B16 said in Ottobre 3rd, 2010 at 20:02

….del Robert Plant Buzz che ne dici?


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buzz said in Ottobre 3rd, 2010 at 20:53

dico che si e’ permesso il lusso,dopo il successo “grass” con la Krauss,di rispolverare il nome della vecchia band e di inoltrarsi nelle sperdute praterie del blues rock doc tanto caro a lui dai tempi dei LedZep:questo e’ l’album riassunto dellaa sua vita,dei suoi pensieri,delle su sensazioni.A me piace tanto,e’ un fenomeno perche’ non dimentichiamo che e’ prima di tutto cantante e non arrangiatore o compositore.Sul precedente con la Krauss c’era T Bone Burnett e la Krauss stessa a sostenere lui e tutto il bastimento.Qui c’e’ il suo mood il suo feeling con gli Usa e con tanto di musicale che proviene da quelle zone.Il pop o il rock uk non fa per lui ora.Anche se si e’ lasciato scappare la frase che ho postato ieri qui. La speranza di una vera reunion non muore mai ,ma Jason e’ coi Communion (mi pare si siano dati questo nome) di Bonamassa,Hughes e uno dei Dream Theater altro supergruppo oltre ai Them Crooked che a me piacciono molto. Staremo a sentire…….spero di essere stato esaustivo,ciao b16 ps altro grandissimo disco Young con Lanois,secondo me.


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B16 said in Ottobre 4th, 2010 at 16:32

Young con Lanois mi emoziona piu’ di Plant…che ha fatto senza dubbio un buon lavoro, ma qualche traccia dal mio punto di vista poteva risparmiarsela…comunque dopo la tua spiegazione Buzz mi piace di piu’!


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B16 said in Ottobre 4th, 2010 at 16:34

E da oggi c’e’ pure Gilmour…

Metallic Spheres
The Orb / David Gilmour
Metallic Spheres
[Columbia; 2010]

The Orb have never hidden their art-rock leanings. Their debut album, released in 1991, was a double-vinyl epic entitled, with a knowing nod to the bongs-and-blacklights crowd, Adventures Beyond the Ultraworld. Despite being marketed as house music, Ultraworld was really designed to flow like those spacey prog-song suites that so captivated stoned 70s kids who gorged on sci-fi novels. (The Orb just ditched the “songs” part of the suite equation.) And though the rhythms on the new Metallic Spheres occasionally recall techno and hip-hop and other more recent inventions, this albums sounds a hell of a lot like it could have been playing in a planetarium circa 1974.

Again, as much of that is due to the Orb as to special guest legend David Gilmour of Pink Floyd. The Orb’s music got chillier, tighter, and altogether less shaggy as we moved away from rave’s sloppy love-in and toward the precision-tooled club music of the 21st century. But over the past few years, Orb co-founder Alex Paterson has been gently nudging the group’s sound back toward its techno-hippie roots. Collaborating with Gilmour feels in some ways like the Orb’s coming home after a good many years spent wandering the post-rave wilderness. Their last few albums have sounded as if the band were wondering where exactly they could take their music next, while not quite sure if they truly wanted to revert to their old sound, and the master’s presence feels like it gave the disciples license to go all-out retro.

Mostly wordless, full of spaced-out sound effects, and making no concessions to good ol’ verse-chorus-verse structures, Spheres is a trip, to use a term once unabashedly uttered by Floyd devotees and revived by Orb aficionados with more of a knowing wink. A headphones record, in other words. Light show and chemical refreshment totally optional. Over two long tracks subdivided into shorter movements, Paterson and fellow Orb-er Youth thread together a post-rave library’s worth of slow-rolli ng chillout-room rhythms, referencing everything from dub to krautrock along the way, as Gilmour sweeps in and out on guitar, dropping little shiver-inducing melodic runs like it’s no big deal. Though his playing here meanders by design, Gilmour sounds neither lazy nor indulgent, more like a virtuoso who doesn’t want to actually seem like he’s sleepwalking through his performance. The Orb, on the other hand, are showing off in the best way possible, again crafting the lush, cosmic rhythms they were once so good at, hoping to impress a long-time hero. In the process, they also manage to impress listeners who’ve stuck with the band through some pretty ropey recent material.

Records like Spheres usually get filed as “ambient” these days, but that’s not quite right here. Sure, it’s gorgeous and hypnotic and more about beats than songs and all the things you’d probably expect from this pairing. It’s also immersive in an old-school way, a long-player of a very pre-digital vintage, a record for people with enough free time (or a long enough commute) to lose themselves in a 50ish-minute composition. With its dramatically orchestrated peaks and valleys, it’s an album designed to be listened to, to Take You Somewhere as you lay on your bedroom floor, to conjure futuristic images in the mind’s eye of folks who were once teenage fans. In that sense, it’s still not quite as successful as the Orb’s classic material, and a little too subdued, lacking both the goofy sampleadelic grandeur and the ear-grabbing pop pulse of the Ultraworld era. But it’s still the most focused and listenable Orb album in years. And hey, if you want to treat it as background music, that’ll work just fine, too.

— Jess Harvell, October 4, 2010


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buzzandmusic said in Ottobre 5th, 2010 at 08:46

grazie b16


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B16 said in Ottobre 5th, 2010 at 09:26

Roger Waters has responded to accusations that his stage show of ‘The Wall’ is anti-Semitic.

The allegations came last week when the Anti-Defamation League claimed the stage show uses imagery associated with stereotypes about Jews and money.

In particular, the claims pointed out that during the performance of the song ‘Goodbye Blue Sky’, an animated projection shows aeroplanes dropping bombs in the shapes of Jewish Stars of David followed by dollar signs, although various other religious and corporate symbols are also depicted.

Waters has since denied such claims saying that Abraham Foxman, the director of the ADL should come to watch the show before “passing judgement and commenting publicly”.

“Contrary to Mr Foxman’s assertion, there are no hidden meanings in the order or juxtaposition of these symbols [in the video],” Waters said in a statement on his official website,

“The point I am trying to make in the song is that the bombardment we are all subject to by conflicting religious, political, and economic ideologies only encourages us to turn against one another, and I mourn the concomitant loss of life.”

He added that if ‘The Wall’ show did have a political message it was “to seek to illuminate our condition, and find new ways to encourage peace and understanding, particularly in the Middle East”.

Roger Waters, who is currently on the US leg of his world tour of ‘The Wall’, will bring the show to the UK and Ireland in May and June 2011.


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