Thursday, September 18, 2008

What Brand Hair Does La La Wear?

Richard Wright - Richard Wright Discography Solo





Two lines for the blog, written more personal than musical, accompanied by links to two albums of Richard Wright.


It 'difficult to write about Rick Wright. Because it is always difficult stato un personaggio in ombra che, se pure schierato con Gilmour e Mason nella battaglia legale con Waters per i diritti sul materiale Pink Floyd, di fatto non è mai stato 'in prima linea'. Difficile se si vuole evitare di cadere nella cronaca della sua vita personale e musicale. Difficile perché tutta la sua musica, anche quella celeberrima, anche quella che sentiamo ogni giorno, anche quella che sembra 'esplodere' nelle nostre orecchie (fra tutti i brani ricorderò "The great gig in the sky"), in realtà contiene sempre una nota intimista, interiore. Musica fatta per essere compresa e goduta, non solo ascoltata; e di certo non solo con le orecchie. Musica che parla prima alla nostra mente che ai nostri sensi.







Wet Dream, 1978


Tutte le canzoni sono di Rick Wright, tranne dove annotato.


01 Mediterranean C

02 Against The Odds

03 Cat Cruise

04 Summer Elegy

05 Waves

06 Holiday

07 Mad Yannis Dance

08 Drop In From The Top

09 Pink's Song (Rick e Juliette Wright)

10 Funky Deux


Richard Wright - keyboards, vocals, Oberheim Synthesizer

Snowy White - Guitars

Larry Steele - Bass guitar

Reg Isadore - Drums and percussion

Mel Collins - Saxophone and flute








Broken China, 1996


01 Breaking Water

02 Night of a Thousand Furry Toys

03 Hidden Fear

04 Runaway

05 Unfair Ground

06 Satellite

07 Woman of Custom

08 Interlude

09 Black Cloud

10 Far from the Harbour Wall

11 Drowning

12 Reaching for the Rail

13 Blue Room in Venice

14 Sweet July

15 Along the Shoreline

16 Breakthrough


Songs composed by:

1, 2, 10, 12, 15, 16 Wright / Moore

3, 13 Wright / Gordon

4, 7 Moore

5, 6, 8, 9, 11, 14 Wright


Richard Wright - keyboards, piano, programming, synthesizers, voice

Tim Renwick - guitars

Dominic Miller - guitars

Steven Bolton - guitar

Pino Palladino - bass

Katché Manu - drums , percussion

Sian Bell - Cello

Kate St. John - oboe, English horn

Maz Palladino – voce

Sinéad O'Connor – voce in “Reaching for the Rail” e “Breakthrough”

Jason Reddy: computers

Anthony Moore – computer programming e arrangiamenti






Bruno Meoli


Wednesday, September 17, 2008

How Long To Keep Castor Oil In Hair



Richard Wright(July 28, 1943 - September 15, 2008)

How does my friend Bruno Meola: "I like to think that somewhere now, and an angel had just said - Hey Rick, I played The Great Gig in the Sky?"

Wednesday, July 9, 2008

Makeup And Hot Flashes

Sigur Ros - Hvarf / Heim

"With a buzz in our ears we play endlessly" Sigur Rós


Starting from the title of their latest effort to discover a great album ....

The first time I heard Sigur Rós has been in the beautiful finale of "Vanilla Sky" when the protagonist, on the roof of a skyscraper, is about to experience another life.
This is how it feels when you begin to enjoy their music. It feels
others. Elsewhere
.
Their music has the gift of being able to touch the heart of the listener.
Later I lost it.
I was feeling, almost a terogusto pleasure, and nothing more.
was not time.
Then my friend Mark told me about it and gave me a disk that was copied from somewhere. I did not recognize. The absent-mindedly listened well and then lost the record of my friend.
was not yet time.
Or maybe I'm just very messy.
few days ago I send the last Sigur Rós. Always him, Marco, my guide. We talk, too, tra poco faranno un concerto a Roma, ma i biglietti sono terminati da qualche mese. Peccato. Però la loro musica, ora, trova posto nel mio iPod. È un attimo, ritrovo quelle sensazioni perdute.
Adesso, è tempo.
Cerco i loro dischi, non mi accontento della codifica. Li trovo quasi tutti ed ora, finalmente, posso farmi toccare il cuore da quelle note.

Il doppio disco Hvarf/Heim si integra con il documentario Heima (Dean DeBlois, 2007), eletto miglior film documentario di tutti i tempi dagli internauti di IMDb, la bibbia del cinema in rete (al secondo posto c'è "Notte e nebbia" del 1955, di Alain Resnais, un capolavoro universalmente riconosciuto, tanto per capirsi...).
Hvarf ('scomparso' o anche 'rifugio') è un disco di 5 brani "elettrici" registrati in studio, Heim ('casa') è un disco di 6 brani "acustici" registrati dal vivo in Islanda insieme al quartetto d'archi Amiina, che sovente accompagna i Sigur Rós nei concerti.
Pressoché assenti le note di copertina (la track list è scritta direttamente sul CD), ma la scelta, a mio avviso, è orientata alla volontà di focalizzare l'attenzione dell'ascoltatore unicamente sulla musica e sulle due sfuggenti immagini, riprodotte anche sui CD, così da integrarli e "mimetizzarli" perfettamente con il contenitore, sempre sobrio ed elegantissimo quando si tratta dei Sigur Rós.

Il disco elettrico has three new and two songs were already on their first album (almost impossible to find the "Von") but re-interpreted in diametrically opposite: intimate night, hidden in origin, now airy, sunny, with growing wonderfully engaging. Attention to the third title, "Í Gaer": the attack after the chime is thrilling.

The acoustic record contains no previously unpublished, although some songs have a different title from the original, or better, now have a title, since "Samskeyti" was the third track on the album "untitled" ( ) "and" Vaka "was the first of the same. Basically, the extraordinary contribution of the four musicians of the group Amiina. The interpretations here are lighter, almost mellow, sweeter, intimate, despite the live performance.

Nothing else to say, unless in a phrase that I read about this group "... you do not need decades to recognize that Sigur Rós are among the few true great of recent years. Today."
Perfectly agree.
Enjoy.

http://www.mediafire.com/?xy3m4pzgz2t
http://www.mediafire.com/?o2dhzm2mrxw


Raniero

Tuesday, July 1, 2008

What Is An Rsd File Rosetta Stone

from the archives of Alexander ... Around

continue with David Sylvian .. ...
Alex sends us two of his articles on David to help us understand and read the wonderful annotated discography Renzo Pietrolungo published today.
An invitation to listen ......

---------------

"The First Day" - David Sylvian and Robert Fripp live on tour 1992
Alessandro Staines
published in the monthly "Music" While

hall of the Teatro Olimpico is filled almost to bursting, the speakers are still spread the notes of a memorable concert of the Crimson King (Pittsburgh, 1974). It 'a unique opportunity to hear a beautiful version of "Doctor Diamond" (an original band) and amazing improvisations that despite the age of eighteen still sound relevant today. But here comes the stage the "California Guitar Trio: Paul Richards, Bert Lams and Hideyo Moriya, three of the best students of the" Guitar Craft "by Robert Fripp, with their glittering Ovation Cutaway Shallowbody literally astound the audience: compositions and fresh innovative solutions not only in the harmonic composition, but above all in the spirit that animates them. In addition to its repertoire, the trio performs with unexpected transcripts for the New Standard Tuning (the new tuning for guitar by Robert Fripp in 1985) of classical compositions such as "Search", from "The Musical Offering, BWV 1079" and "Chaconne" ("Second Partita for Violin, BWV 1004 ") by Johann Sebastian Bach. Then the scenery changes abruptly, in the darkness creeps in a steady tone, the soothing sound of "Soundscape" soon to appear Sylvian, the imposing Trey Gunn and Robert Fripp. The light blue cosmic slide notes, until the atmosphere is literally torn apart by an attack of hard Les Paul Fripp who sings agreements burning of "Fire Power": the energy that is released to paste the public seats, while Sylvian sang bass and insert a dissonant sound in that magma. It 's a friction piercing and old fans of King Crimson are not slow to recognize the quality that has always distinguished King Crimson. The rarefied tones and lunar return with "Ascension"; Frippertronics Fripp makes extensive use of the new electronic edition that replaced the bulky modified Revox borrowed from Brian Eno. The concert continued with moments of intense lyricism of the total explosion sound to others: follow one another "Song # 1", "Subterranean Burn," "The First Day", "Jean The Bird Man", "Splatology", "In Which The House We Live, "" protopunk "," The Blinding Light Of Heaven. " Trey Gunn with his stick is capable of creating unusual and complicated polyrhythms that create an ideal structure for the actions of Fripp and Sylvian. David, who is accompanied by keyboards, from time to time Strap on a small Steinberger electric. The last piece of the ladder, "Urban Landscape" is a revisitation of an improvisation frippertronica already appeared in the first solo album by guitarist crimson "Exposure". They leave the stage while still flowing notes of the song, the style of the old performances "Fripp-Eno". Before greeting the public Fripp finally back on stage to perform with the California Guitar Trio, if they contribute to a piece of footage of the League Of Crafty Guitarists, along with Trey Gunn. Then it's time for surprises and charms that Sylvian fans (even noticed by England not to miss this unique opportunity!) proposing a memorable version of "Ghosts" from the repertoire of Japan. Then Fripp, Sylvian and Gunn conclude the concert repeating the title track "The First Day". King Crimson have not yet returned to life, but is only a matter of time. Fripp had promised that by the spring of 1992 would begin testing with the new line-up of the band. Sylvian was initially being the singer, but for various reasons the project was transformed into the collaboration. The new King Crimson, however, will stick with Trey Gunn, Tony Levin on bass (and it is because of the commitment to live with Peter Gabriel Levin that King Crimson will have to wait) Jerry Marotta on drums (with great disappointment that Bill Bruford, Fripp accused of "not to go on time"), the same Fripp on guitar duet with Adrian Belew, singer as in the previous edition. Yet, beyond the various characters that are from time to time to give them a voice, King Crimson were, at least in spirit, there on stage that night, to offer a small sample of what would have happened if it was David Sylvian Alex became the lead singer ...
Staines


---------------------------------


MUSIC BOX
INTERVIEW




With David Sylvian "Brilliant Trees” David Sylvian rompe il silenzio dopo lo scioglimento dei Japan. Poco prima era tornato a collaborare con Ryuichi Sakamoto, l’amico con cui aveva già lavorato in “Gentlemen Take Polaroids” e nel mix “Bamboo Music/Bamboo Houses”, per dare alla luce “Forbidden Colours”, colonna sonora di “Merry Christmas Mr. Lawrence”, noto al pubblico italiano come “Furyo”.

Giù la maschera
La seconda metà degli Ottanta ha visto Mr. Batt (il vero cognome di David) protagonista: i suoi album solisti dopo lo scioglimento della band hanno catturato il cuore degli ascoltatori. David è un artista nel senso più completo del termine: la raccolta di snapshots "Perspectives-Polaroids" video "Steel Cathedrals", the book of poems "Trophies", the installation of sculptures, lights and sounds created along with Russell Mills, who has seen the publication in an elegant case with the book "Ember Glance: The Permanence Of Memory ", are indicative of a subtle sensibility, a taste for experimentation always tense and prone to the gradient, all subtended by the dark atmosphere, glowing with a dim light, romantic. Discs such as "Brilliant Trees", "Gone To Earth," "Secrets Of The Beehive", have left an indelible mark as the beginning of a new musical style that just nei Novanta sta trovando il suo naturale svolgimento. L’ultimo tour di David “In Praise Of The Shaman”, che ha toccato nel 1988 anche l’Italia, ha presentato concerti che per la loro intensità e sacralità potevano essere paragonati ad una sorta di liturgia, un’offerta musicale dei tempi moderni. Poi la decisione di riformare i Japan: ma una volta in studio, David si è reso conto che il gruppo era ormai oltre, e ha scelto il nome di Rain Tree Crow. David torna in scena, e questa volta con Robert Fripp, altro “sacerdote della musica”. Il nuovo disco di David Sylvian e Robert Fripp si intitola come il tour che lo scorso anno ha toccato Giappone e Italia: “The First Day”, interamente registrato in the studio with a line up more comprehensive than the live performances that included the only characters, more Trey Gunn (a student of the school of Robert) to stick, the disc introduces crucial elements to understand in what direction will move the two artists over the nineties. The interview

Meet David Sylvian in one of the finest hotels in the capital. Her hair is shorter than the last time we met, nothing more than a hint of a beard and glasses that promises to become more dense in some time. The look is bright and the atmosphere that radiates is even warmer and more joyful. He is accompanied on this tour of promotional interviews Ingrid Chavez (formerly Prince's band), the twenty-eight and lovely wife of Mexican origin, which in a few months to give birth to an heir to David.
- How did "The First Day"?
"The latest performance with Robert, collaboration that began with" Gone To Earth "in 1986. The first record I heard Robert was 'No Pussyfooting', recorded together with Eno, and then I came to 'Discipline' which I very much loved. We kept in contact and Robert, in 1989, he asked me if I was interested in joining the new King Crimson. I was very interested in the project, but I realized that I had to work with Robert in a different context. We composed i nuovi brani specificamente per le live performances che sono iniziate nel febbraio 1992 in Giappone e che sono terminate a giugno in Italia. Il lavoro è andato man mano cambiando, evolvendosi, e quando ci siamo trovati in studio non sapevamo ancora che tipo di album avremmo inciso. Abbiamo iniziato con i brani più aggressivi del concerto, ma con l’aggiunta delle percussioni: i nuovi arrangiamenti li hanno trasformati e drammaticamente estesi in altre direzioni. L’album è piuttosto aggressivo, molto potente.”
- Ci sarà un altro tour in Italia?
“Sì, verremo in Italia nella seconda settimana di novembre, con la line-up al completo che per ora prevede, oltre me, Robert e Trey, Michael Brook alla chitarra. Brook suonerà anche l’opening act e poi si unirà al gruppo. Per il batterista sono in corso delle audizioni in questi giorni. Saremo in cinque. Probabilmente suoneremo anche qualche vecchia canzone di Robert e mia.”
- C’è un brano in particolare, “20th Century Dreaming (A Shaman’s Song)”, che mi sembra si ricolleghi concettualmente ai tuoi “Words With A Shaman”. Come mai ti interessa tanto al figura dello sciamano?
“Lo sciamano è una figura interessante con cui lavorare. C’è ormai un cliché dell’artista come sciamano nella società moderna, c’è anche il cliché dell’artista come medium. Sì sono cliché, ma are true. When an artist gives his best is as a medium: the energy that comes in the work goes beyond the mind and ego of the artist involved. And if the job is an achievement in itself when it reaches the listener puts him in touch with the energy and create a circle, a connection. And if the work has a cathartic effect, healing is a substantial work. This is the shamanic role of art in society: it has healing properties associated with a spiritual reality. If each of us is an artist in the sense that we all have our own creative potential, which is the most important element of our being, then it is true that each of us is also a shaman: we all have the opportunity to come into contact with these spiritual properties. This is very interesting for me, this can make a connection, we no longer need the shaman outside of us, the priest: the contact is made directly. If we recognize what we all agissimo and consequently, we could transform our nature and the world around us and could be held an evolutionary change. "
" I'm working, after the last one was with Russell Mills, a new installation audio / video with Robert for 1994 promises to be very interesting: I organized the 'concept' idea right now and I'm very excited, I think it will work fine, I've already talked to Robert. I'll just leave Rome to Zurich to meet Kaito, a Japanese sculptor of light. Work with us on this project which will be installed in a gallery housed in a temple in Tokyo. The temple itself is located where once there was a cemetery there is a very intense energy in that place, very powerful and tangible. The title was given by Robert Installation and 'Redemption'.
-Dall 'album listening takes you a feeling of joy: there is some relation to your personal situation?
"I came from a very difficult, very intense and destructive, the darkest of my life. As these crises are resolved and are now spent, I feel I can write like a natural resolution of my work on myself. So I can tell the frustrations I felt, watching the darkness and see absolutely nothing. It 'was very difficult, but experience very strong. I found myself in front of my life, realizing that much had been spent and that I should move in another direction. I saw myself in very different lights and it was not easy to recognize me, I was falling, I wanted to understand why. Yes, now my life has changed: I have a wife, I'm having a baby, e questo è splendido, e molte esperienze spirituali potenti e profonde: The First Day può essere considerato un documento di tutto questo.”
Alessandro Staiti

Spycam In Gay The Bushes

David Sylvian David Sylvian: Discography REASONS Renzo Pietrolungo

Da un caro amico, Renzo Pietrolungo, un articolo che rispecchia un grande amore.
L'articolo è apparso su:

=== ELEPHANT TALK ===
rivista musicale elettronica

diretta da Riccardo Ridi
--------------------------------------------------
Anno X Numero 62 (12 Aprile 2004)
--------------------------------------------------

e quindi non considera l'ultimo quadriennio, ma è di grandissimo interesse.
Thanks to Renzo for approval.

David Sylvian: Discography reasons / Renzo Pietrolungo

When preparing to rebuild the discography of an artist who loves you should be aware that you can only make mistakes, those who know him well already know a few things that you can not already slightly know, but who may know little bored with the passing cold list. And so, despite the prospect of some and annoy others, I'll try to do a discography / list as complete as possible, trying not to be aseptic, perhaps with a few original comment supplied.
1982
After the dissolution of Japan, David Sylvian started his solo and collaborating ago with the musician with whom he split extemporaneously but thoroughly many phases of his career, Ryuichi Sakamoto. DS is steeped in the next twenty years some of the most interesting protagonists of modern music, the only unforgivable exception of Brian Eno.
in that year released the single Bamboo Houses that contains the original song and Bamboo Music - Japanese edition in the songs is added Forbidden Colours, which is the song that still is probably the fan favorite. At first confusing someone's voice with that of DS Bowie, which is rather the main character along with Sakamoto for the film "Merry Christmas, Mr. Lawrence" (in Italy "Fury"). Forbidden Colours is the most poignant of the whole soundtrack of the film.
A brief appearance on the album THE POLLEN Pierre Barouh and DS later this year working with Sandi and The Sunsetz in two songs (Living on the Frontline and Where The Fire Still Burns album immigrants) which consists of the words and participates as an accompanying voice.
A lovely duet (from the album Goodnight TO GA NAKUCHA NE) with Mrs. Sakamoto, Akiko Yano, closes the year, rather gloss over the quality of the other tracks on the album.
1983
The 1983 sees the publication of a single: Forbidden Colours with an instrumental piece on the back of Sakamoto: Seed and The Sower.
Two years of transition, 1982 and 1983, the sign of the influence of Japanese pop music.
1984
In 1984 he began to get serious, preceded by the single Red Guitar (Forbidden Colours as b-sides) released the first albumBRILLIANT TREES:
1. Pulling Punches
2. The Ink in the Well
3. Nostalgia
4. Red Guitar
5. Weathered Wall (Sylvian / Hassell)
6. Backwaters
7. Brilliant Trees (Sylvian / Hassell)
A sparkling debut album and a key location in the DS, which contains the seeds of all future works, great attention to sound and arrangements, ethnic references, distended atmosphere, songs of personal taste, recognizable style and of course the warm and deep vibrato that places him among the most beautiful voices in modern music. The music is heartbreakingly beautiful and often investigates the unknown and evocative.
album together great musicians such as Holger Czukay, Steve Jansen, Richard Barbieri, Ryuichi Sakamoto, Steve Nye, Jon Hassell, Kenny Wheeler, Mark Isham, Phil Palmer, Ronny Drayton, Wayne Braithwaite, Danny Thompson. Many of these musicians will accompany DS along most of his career.
The album is followed by two singles:
The Ink In The Well;
Pulling Punches
The first single includes the b-side instrumental version diWeathered Wall (
of the promo single contains a different version yet, without hat).
1985
In 1985 appears one of the objects of desire of collectors, it is published in the form of LaserDisc Preparations FOR A JOURNEY, which then comes out as a VideoCD (not that this is easier to find):
1. Preparations for a Journey
2. The Women at the Well
3. The Women at the Well (slow version)
4. Le Mystere des Voix Bulgares: Pilentze Pee (traditional)
5. Le Mystere des Voix Bulgares: Kalimankon Denkon (traditional)
6. Showing the Wound (A Will to Health)
The video documented the interest of the DS to work with Polaroid photos will be oggetto della mostra PERSPECTIVE, POLAROIDS 82-84, che mostra assemblaggi e montaggi di foto, un pò nello stile di David Hockney, un po’ come sulla copertina del secondo album dei Talking Heads. Il catalogo della mostra è molto ricercato dai collezionisti.
L’ultimo brano diventerà in seguito Steel Cathedrals colonna sonora di un documentario sulla periferia industriale di Tokyo. The Women at The Well non sarà mai pubblicata successivamente su cd.
Alla fine dell’anno viene pubblicato un singolo importante Words with the Shaman che sviluppa i temi più etnici della musica di BRILLIANT TREES.
Ancora musicisti di grande calibro come Steve Jansen, Jon Hassell, Kenny Wheeler, Holger Czukay, Ryuichi Sakamoto, Robert Fripp, Masami Tsuchiya, Percy Jones.
Il singolo viene integrato con Steel Cathedrals e Preparations for a Journey ed esce solo per il Giappone con il titolo di ALCHEMY – AN INDEX OF POSSIBILITIES:
1. Words with the Shaman
Part 1: Ancient Evening (Sylvian/Hassell)
Part 2: Incantation (Sylvian/Hassell)
Part 3: Awakening (Sylvian/Hassell/Jansen)
2. Preparations for a Journey
3. Steel Cathedrals (Sylvian/Sakamoto)
ALCHEMY viene rimasterizzato nel 2003 aggiungendo le b-side del singolo Pop Song uscito nel 1989:
1. Words with the Shaman (Ancient Evening) (Sylvian/Hassell)
2. Words with the Shaman (Incantation) (Sylvian/Hassell)
3. Words with the Shaman (Awakening) (Sylvian/Hassell/Jansen)
4. Preparations for a Journey (Sylvian)
5. The Stigma Of Childhood (Kin)
6. A Brief Conversation Ending In Divorce
7. Steel Cathedrals (Sylvian/Sakamoto)
Steel Cathedrals esce anche come video in edizione limitata a 2000 copie e sarà poi ristampato nel 1989 includendo:
1. Preparations for a Journey
2. The Women at the Well
3. Steel Cathedrals
e con questa nota: “This short film was shot in two days of November 1984 in, and around the outskirts of, Tokyo, Japan.A large part of the music was completed during that same month and recorded over a period of three days.I later updated the material in London, in an attempt to elaborate on the theme discussed earlier started in Japan, and to Further Improve the quality of the soundtrack. "DS, Aug 1985.
worth mentioning that DS plays keyboards in the song P-Machinery album A Secret Wish of Propaganda.
1986
A new collaboration with Sandi and The Sunsetz: The album is called BANZAI BABY and the song This Is Not Enough is almost entirely due to Sylvian.
The second part of the year lifts the veil on the second solo work GONE TO EARTH, release under the clear and strongly influenced by Robert Fripp, whom he played in most songs. The music changes direction from the first album which was closed in an ethereal and now the issues became more land.
The album is preceded by the single "Taking The Veil, which also contains Answered Prayers and also in some editions Taking The Veil (Julian Mendelsohn Mix) and A Bird of Prey Vanishes Into a Deep Blue Cloudless Sky - B-sides anticipate issues more ambient that will characterize the second LP / CD. Curiosa edition picture vinyl rectangular. GONE TO EARTH
released as a double LP, but the CD edition will contain all the songs, as usual in Japan goes something different and that the entire edition on 2 CDs. The cover is by Russell Mills, an artist with whom Sylvian will deliver excellent cooperation on several occasions. Musicians are Steve Jansen, Richard Barbieri, Bill Nelson, Robert Fripp, Ian Maidman, Steve Nye, John Taylor, Kenny Wheeler, Harry Beckett, Phil Palmer, Mell Collins, BJ Cole.
The first part of music is highly expressive, the colors are beautiful and materials. In the second part
many songs they could find space in the MUSIC FOR FILM by Brian Eno.
The Japanese edition contains:
1. Taking the Veil
2. Laughter & Forgetting
3. Before the Bullfight
4. Gone To Earth
5. Wave
6.
River Man 7. Silver Moon
8. The Healing Place
9. Answered Prayers
10. Where the Railroad Meets the Sea
11. The Wooden Cross
12. Silver Moon Over Sleeping Steeples
13. Camp Fire Coyote Country
14. A Bird of Prey Vanishes Into a Deep Blue Sky
15. Home
16. Sunlight Seen Through Towering Trees
17. Upon This Earth
Edition on a single CD does not contain the tracks No 12, 13, 14 and 16, which are present in the 2003 remaster, which are added:
1. Riverman (Remix by David Sylvian and Richard Moakes)
2. Gone To Earth (Remix by David Sylvian and Richard Moakes)
3. Camp Fire Coyote Country (Remix by David Sylvian and Richard Moakes)
The year ended with the single "Silver Moon Gone to Earth and that includes a different edition of Silver Moon Over Sleeping Steeples.

1987 is the year of Secrets of the Beehive, but before he writes and sings DS i testi di due brani di DREAMS OF REASON PRODUCE MONSTERS di Mick Karn: Buoy e When Love Walks In. Nell’album suona anche nel brano Land.
Canta in un bel duetto con Virginia Astley in Some Small Hope nell’album HOPE IN A DARKENED HEART, prodotto da Sakamoto. Il brano esce anche come singolo.
Suona anche la chitarra e il piano nel pezzo A Perfect Day dell’album LIFE IN MIRROR di Masami Tsuchiya.
In autunno esce il singolo Let The Happiness In che contiene un remix (più esattamente una extended version) di Buoy ma soprattutto è presente una spettacolare Blue Of Noon: outtake strumentale dalle sessioni di BRILLIANT TREES scritta da DS ma suonata da uno strepitoso Sakamoto al piano.
In novembre esce SECRETS OF THE BEEHIVE, a masterpiece of absolute level, everything is held in a more intimate album than the physical buttons of GONE TO HEART, where even the silence, the long pauses make sense. Great space here has
Sakamoto, present in all songs and curator of the string arrangements. Also play David Torn, Phil Palmer, Mark Isham, Danny Thompson, Steve Jansen, Danny Cummings:
1.
September 2. The Boy with the Gun
3. Maria
4. Orpheus
5. The Devil's Own
6. When Poets Dreamed of Angels
7. Mother and Child
8. Let the Happiness in
9. Waterfront
10. Forbidden Colours and
Forbidden Colours' this in a different version than the original. As usual
the Japanese edition is distinguished by the presence of Promise (The Cult of Eurydice) instead of Forbidden Colours. The LP version contains neither the one nor the other, as well as the CD included in the beautiful box set anthology Weatherbox (see 1990). The remaster of 2003 and contains the promo contains Promise Promise (Instrumental), which is the original version of the song; DS decided to add the vocals only then - a real headache for collectors. 1988
Exits the first of two collaborations with Holger Czukay, master of testing: Plight & Premonition, two long suites recorded during the winter 1986-87 but published later due to legal disputes. The music loses shape in favor of a more improvised and less immediate:
1. Plight (The Spiralling Of Winter Ghosts)
2. Premonition (Giant Empty Iron Vessel)
The year ended with the publication of the individual that Orpheus includeThe Devil's Own and in a different edition Mother and Child.
1989
You publish the second collaboration with Holger Czukay: Flux + mutability.
1. Flux (A Big, Bright, Colourful World)
2. Mutability (A New Beginning is in the offing)
The music recalls the first collaboration. In October, the individual appears
Pop Song:
1. Pop Song
2. A Brief Conversation Ending in Divorce
3. The Stigma of Childhood (Kin)
anticipates Pop Song more electronic arrangements of the collaborations of the most recent period. The last track is a fragment of the composition which was recorded for the play 'Kin', accounted for 8 September 1987.
DS said it has no intention to publish, a record "unofficial" made by an observer it appears that there ..
The year ended with the release of the object of desire for excellence for all the fans, a sumptuous package created by Russell Mills, and Weatherbox summarizes the sum of the DS's discography. The box set includes valuable BRILLIANT TREES, Alchemy (plus the two instrumental tracks from Pop Song), and Gone to Earth Gone to Earth INSTRUMENTAL, SECRETS OF THE BEEHIVE (without Promise or Forbidden Colours). It, along with the book PERSPECTIVE, POLAROIDS 82-84, fought more object of the auctions on Ebay.

1991 is the year of the only meeting of the four ex-Japan, in March, leaving two individual-based Blackwater and that this does not include a song on the album Rain Tree Crow - in the 2003 remaster I Drink To Forget "will instead be added as the last track:
1. Blackwater
2. Red Earth
3. I Drink to Forget
1. Blackwater
2. Rain Tree Crow
3. Red Earth
4. I Drink to Forget
In April comes the RAIN TREE CROW, release batch of great elegance and style that contains some gems, but le carriere dei quattro hanno preso strade diverse e l’esperimento non si ripeterà:
1. Big Wheels in Shanty Town
2. Every Colour You Are
3. Rain Tree Crow
4. Red Earth (As Summertime ends)
5. Pocket Full of Change
6. Boat's for Burning
7. New Moon at Red Deer Wallow
8. Blackwater
9. A Reassuringly Dull Sunday
10. Blackcrow Hits Shoe Shine City
11. Scratching on the Bible Belt
12. Cries and Whispers
Sylvian collabora con Hector Zazou nell’album SAHARA BLUE, ma qualcosa non va per il verso giusto. Due canzoni:
To a Reason e Victim of Stars vengono pubblicate nella prima edizione ma poi vengono tolte dalla successiva;
the reasons for this are still unknown, as stated recently by the same Zazou.
DS also plays at other tracks on the album and appears on the cover as "Mr. X ". DS also composed a song, Royauté, contained in a collection of outtakes and alternate versions from Sahara Blue, a collection of difficult to find.
Another box of exquisite, although quite delicate and hard to find in a "mint", again by Russell Mills, EMBER GLANCE is a book that contains 100 pages and the music for the installation of the same name in Tokyo. The ambient music is by setting clear and are functional works exhibited:
1. The Beekeeper's Apprentice (Sylvian / Perry)
2. Epiphany (Sylvian)
Together with DS plays Frank Perry.
There is a private video shot by Yuka Fujii, alongside DS has always been documenting the construction phases of the installation, from the collection of the material in English woods and ending with the full installation.
The video has been duplicated and is traded "Carbonaro" among the most diehard fan.
found DS in Sakamoto Heartbeat and in particular in the beautiful title track Heartbeat (Tainai Kaiki II) which also houses a stellar speech at the guitar by Bill Frisell, very effective. DS also sings on Cloud # 9. The album also sings
la futura signora Sylvian, Ingrid Chavez, incontrata proprio durante le sessioni di registrazione.
1993
THE FIRST DAY vede una formazione che è in parte King Crimson: sono presenti Fripp, Trey Gunn, David Bottrill, Jerry Marotta, Marc Anderson e Ingrid Chavez. Il suono, le strutture dei brani sono prepotentemente legate alle idee di Fripp, che chiede, senza esito, a DS di diventare il cantante dei King Crimson, ma la collaborazione non riesce ad esprimere tutte le potenzialità degli artisti coinvolti; meglio andrà con l’album dal vivo tratto dal tour in cui oltre a DS sono presenti Fripp, Trey Gunn, Pat Mastellotto, Michael Brook:
1. God's Monkey (Sylvian/Fripp/Gunn/Bottrill)
2. Jean the Birdman (Sylvian / Fripp / Gunn)
3. Firepower (Sylvian / Fripp / Gunn)
4. Brightness Falls (Sylvian / Fripp / Gunn)
5. 20th Century Dreaming (A Shaman's Song) (Sylvian / Fripp / Gunn)
6. Darshan (The Road to Graceland) (Sylvian / Fripp / Gunn / Bottrill)
7. Bringing Down The Light (Fripp)
The album will be two singles now hard to find and contain beautiful songs (especially the first one) published in other formats:
1. Jean the Birdman (Sylvian / Fripp / Gunn)
2. Earthbound / Starblind (Sylvian / Fripp)
3. Endgame (Sylvian)
and
1. Jean the Birdman (Sylvian / Fripp / Gunn)
2. Gone To Earth (1986)
3. Tallow Moon (Sylvian only)
4. Dark Water (Fripp solo)
Following a maxi single with a remix to the song dedicated Darshan
1. Darshan (The Road to Graceland) (Translucent Remix by The Grid)
2. Darshana (Re-constructed by The Future Sound of London)
3. Darshan (The Road to Graceland) 1994

the beginning of 1994 a collection released in USA promotional call RETROSPECTIVE - MONKEY GOD'S SILENCE approaching in September and matched the music to the music of the installation EMBER GLANCE another installation in Tokyo-REDEMPTION Approaching SILENCE edited with Robert Fripp
1. Beekeper
's The Apprentice 2. Epiphany
3. Approaching Silence
Esiste un promo uscito in USA con le stesse musiche ma con timbrica più aperta.
A fine anno viene pubblicato l’unico album dal vivo DAMAGE, dal tour del ’93: il repertorio guadagna molto dalle esecuzioni live, purtroppo non tutto lo spettacolo viene portato su CD, la produzione è di Fripp:
1. Damage (Sylvian/Fripp/Gunn)
2. God's Monkey
3. Brightness Falls
4. Every Colour You Are
5. Firepower
6. Gone to Earth
7. 20th Century Dreaming (A Shaman's Song)
8. Wave
9. Riverman
10. Darshan (The Road to Graceland)
11. Blinding Light of Heaven
12. The First Day (Sylvian/Fripp/Gunn)
La bella confezione in box , di nuovo curata da Russell Mills comprende un libretto di 32 pagine e il CD oro: sparirà dai negozi quasi subito.
Gli anni che seguono e fino alla pubblicazione di DEAD BEES ON A CAKE vedono DS esprimersi solo attraverso collaborazioni.
Nel 1996 con Nicola Alesini e Pier Luigi Androni nell’album MARCO POLO:
Come Morning
The Golden Way
Maya
Con Andrea Chimenti nell’album L’ALBERO PAZZO:
Ti ho aspettato (I’ve waited for you)
Con Russell Mills nell’album UNDARK:
How Safe Is Deep?
Brano che verrà ripreso nel singolo Godman con il titolo di Shadowland.
Nel 1997 partecipa in un brano dell’album DISCORD di Sakamoto recitando una poesia nel brano finale. It's the same poem recited in Thoroughly Lost To Logic EVERYTHING & NOTHING in the collection to be published in 2000. In 1998
always in Alesina and Andreoni MARCO POLO II with alternate versions of The Golden Way and Maya contained in the multimedia track of the album.
Although not mentioned in the booklet, wrote the music for the album I Was Waving At You ANAVOOG.COM Ana Voog.

1999 is the year of DEAD BEES ON A CAKE preceded by two individual I Surrender:
1. I Surrender
2. Les fleurs du mal
3. Starred and Dreaming
1. I Surrender (edit)
2. Whose Trip Is This?
3. Remembering Julia
In the two individuals are included versioni definitive di 4 dei 6 brani di LITTLE GIRLS WITH 99 LIVES, un CD realizzato in 15 copie per amici di DS: una delle copie fu “sottratta” al legittimo proprietario e poi indebitamente duplicata e distribuita. Gli altri due brani: Lighthouse e Snowfall non sono stati ancora pubblicati. Tutti i sei brani sono leggeri e gradevoli, con la sola voce di Ingrid Chavez.
In marzo esce dopo lunga attesa DEAD BEES ON A CAKE, album complesso, discontinuo e permeato della nuova ricerca spirituale di DS. L’album propone una ricerca stilistica molto raffinata cercando talvolta di coniugare Oriente e Occidente in maniera originale:
1. I Surrender
2. Dobro #1
3. Midnight Sun
4. Thalheim
5. God Man
6. Alphabet Angel
7. Krishna Blue
8. The Shining of Things
9. Café Europa
10. Pollen Path
11. All of My Mother's Names
12. Wanderlust
13. Praise
14. Darkest Dreaming
Musicians are Ryuichi Sakamoto, Tommy Barbarella, Marc Ribot, Bill Frisell, Lawrence Feldman, Kenny Wheeler, John Giblin, Chris Minh Doky, Ged Lynch, Scooter Warner, Steve Jansen, Talvin Singh, Deepak Ram, Steve Tibbetts, Ingrid Chavez, Shree Maa.
A curiosity about the last track: during the 2001 tour, which ended the concert and during the exit of the public, was printed an Instrumental Darkest Dreaming that we hope to have a day on digital media. Some bootlegs of that tour contain valuable trace. In September
leaves the single media Godman, even in limited release (5,000 copies), even though there are many (slightly) higher than this number:
1. God Man
2. Shadowland
3. Godman (Wagon Christ Mix)
4. Shadowland (Northfield)
5. Godman (Guy Sigsworth Remix)
6. Video: Time Spent
(The last title, and 'a video that is already used as an "Electronic Press Kit" for presentation DEAD BEES ON A CAKE.)
also appears in the same month in collaboration with Russell Mills in the beautiful album PEARL + UMBRA
The Rooms of Sixteen Shimmers
(in the album are among others Peter Gabriel and Brian Eno)

2000 October 2000 released the first truly significant collection of pieces of DS with the addition of outtakes from previous albums including the legendary beauty stands out for laughs in all the fans expect us to publish the original version, recorded but not included in SECRETS OF THE BEEHIVE. We know for certain that ingegneree sound recording studio where he recorded the album Dutch have the master. A few years ago, at the insistence, began to
available about thirty seconds of a song, which was assembled and distributed network as the Ride (loop version).
Those few seconds were enough to ignite the curiosity of fans.
The library, the tracks are remastered, remixed some ed altri ricantati da DS. Il titolo è EVERYTHING AND NOTHING:
1. The Scent of Magnolia ('Dead Bees' outtake; nuovo mix e voce 1999/2000)
2. Heartbeat (Tainai Kaiki II) (remixed 1999/2000)
3. Blackwater
4. Albuquerque (Dobro # 6) ('Dead Bees' outtake)
5. Ride ('Secrets of the Beehive' outtake; nuovo mix e voce 1999/2000)
6. The Golden Way (remixed 1999/2000)
7. Ghosts (nuovo mix e voce 1999/2000)
8. Pop Song
9. Every Colour You Are
10. Wanderlust
11. God's Monkey
12. Let the Happiness In
13. I Surrender
14. Thoroughly Lost To Logic (inedito del 1989; mixed 1999/2000)
1. Jean the Birdman
2. Cover Me with Flowers ('Dead Bees' outtake; new mix voice and 1999/2000)
3. The Boy with the Gun
4. Riverman
5. Aparna and Nimish (Dobro # 5) ('Dead Bees' outtake)
6. Midnight Sun
7. Orpheus
8. Some Kind of Fool ('Gentlemen Take Polaroids' outtake; new mix voice and 1999/2000)
9. Cries and Whispers
10. Godman
11. Laughter and Forgetting
12. Buoy (1987 remix)
13. Weathered Wall (remixed 1999/2000)
14. Bamboo Houses (remixed 1999/2000)
15. As Morning (remixed 1999/2000)
bonus limited edition CD:
1. The Scent of Magnolia (edit)
2. The Blinding Light of Heaven (studio version - unpublished)
3. The Scent of Magnolia (Portobello Mix)
4. Brilliant Trees (Version 2000)
DS also sung in the album Cinemag Sakamoto Forbidden Colours.

2001 A collaboration with the French musician Readymade BOLD album is the first release in 2001 with the song "Sugar Fuel.
DS involved in the project promoted by Sakamoto No More Landmine - Zero Landmine released single:
1. Zero Landmine
2. Zero Landmine (Piano + Vocal version)
3. Zero Landmine (Piano + Cello version)
4. Zero Landmine (Short version)
5. Zero Landmine (Piano version)
6. Zero Landmine (The Track)
The track (20 minutes) is performed live coordinating artists from different backgrounds in geographically distant places (Japan, Mozambique, USA) that are connected via satellite. A major organizational effort and technology that is transmitted by Japanese TV. The following is a reprint of
DAMAGE, edited by DS this time that changes the mix and balance of sound, making it softer: they feel better even the guitar parts of Michael Brook, Darshan DS off and enters Jean The Birdman.
Another collaboration, this time with Chris Vrenna of Nine Inch Nails track in Linoleum included on the album THE ATTRACTION TO ALL THINGS uncertain. Vrenna and the album 'in the name Tweaker.
The track will then be taken up in a remix EP with different:
Linoleum (edit)
Linoleum (The Josh Wink Interpretation)
Linoleum (Wamdue 2-Step Vocal Experience)
Linoleum (King Britt's Scuba Mix)
Linoleum (Teargas & Plateglass remix)
Linoleum (Paul Leary Remix)
2002
In 2002 another collection, this time reserved for instrumental tracks: Camphor. Also here are some remixes:
1. All of My Mother's Names
2. Red Earth (As Summertime Ends)
3. Answered Prayers
4. The Song Which Gives the Key to Perfection ('EVERYTHING AND NOTHING TourBook / CD 2001)
5. New Moon at Red Deer Wallow
6. Praise (Pratah Smarami)
7. Wave (Version) (new mix)
8. Mother and Child (remixed by Jan Bang + Erik Honoré)
9. Plight (The Spiralling of Winter Ghosts) (nuovo mix)
10. Upon This Earth (nuovo mix)
11. Big Wheels in Shanty Town
12. The Healing Place
13. Camphor ('EVERYTHING AND NOTHING TOURBOOK/CD 2001)
14. A Brief Conversation Ending in Divorce
Bonus CD:
1. Plight (The Spiralling of Winter Ghosts) (nuovo mix)
2. Mutability (A New Beginning is in the Offing) (nuovo mix)
3. Premonition (Giant Empty Iron Vessel) (nuovo mix)
Nel brano Mother And Child è presente Nils Petter Molvaer alla tromba. La raccolta è l’ultima uscita per la Virgin: la casa discografica detiene l’intero catalogo che verrà ripubblicato rimasterizzato nel 2003, in confezioni arricchite rispetto agli originali. I rapporti fra Virgin e DS non sono mai stati idilliaci ma recentemente Sylvian ha dichiarato che non ci sono mai stati comunque nemmeno grossi contrasti, piuttosto una sorta di indifferenza.
2003
Nel 2003 DS pubblica per la propria etichetta, Samadhi, il suo primo lavoro post-Virgin. BLEMISH è un album che poco allo spettacolo e che trasmette disagio da ogni nota - numerosi ascolti sono necessari per entrare in sintonia con queste musiche. In tre brani suona Derek Bailey e nel bellissimo A Fire In The Forest è presente Christian Fennesz.
Quest’ultimo brano dà il nome al tour che si svolge negli ultimi mesi dell’anno:
1. Blemish
2. The Good Son
3. The Only Daughter
4. The Heart Knows Better
5. She Is Not
6. Late Night Shopping
7. How Little We Need To Be Happy
8. A Fire in the Forest
So as not to lose the habit, the Japanese edition and the edition limited vinyl include an additional track entitled Trauma. The song, incomplete, has been available for download (in error) from a page of data store the first version of the official website . Despite good intentions declared at the site, from the beginning, 'available for download only a live version of Orpheus from the 1988 tour.
To date, the last work published is a maxi-single: World Citizen, again, as often happened in 21 years, written in two hands with Sakamoto
1. World Citizen (I will not be disappointed) (short version)
2. World Citizen (short version)
3. World Citizen (I will not be disappointed) (long version)
4. World Citizen (Long Version)
5. World Citizen (Ryoji Ikeda Remix)
the song has been published in a looped piano version and a re-cycle the Japanese version of the album of Sakamoto Chasm - album due out in May 2004 in Europe with enriched content. VENICE
The album of Christian Fennesz, released in early March, Sylvian sings in the song Transit, in which the backing track pushes his voice to a melancholic tone and emotional stark contrast.
DS involved in the project CHAIN \u200b\u200bMUSIC Sakamoto, who is currently involved in this chain ten musicians. Each one adds something to the score it receives, then passing it to the next musician, "chain" network.
Finally, in early April made Sylvian For The Love Of Life, ending theme of the television series of the successful Japanese manga Monster.
During all these years Sylvian sounds on tour in 1988: In Praise Of Shamans, 1992: The First Day, 1993: The Road To Graceland, 1995: Slowfire, 2001: Everything & Nothing Europe, 2002: Everything & Nothing USA, 2003: In Fire The Forest.
During the tour are performed songs that have not yet been published and, in particular, Under Ingrid's Wheel, The House in Which We Live tour in 1992, I Do Nothing and It'll never happen again by Tim Hardin in 1995 and tour Blue Skinned Gods Was not Joe and I? tour in 2003. Today
David Sylvian is an artist who no longer depends on a major label and you can imagine for him greater freedom of action and expression. The projects for which you have news at the moment (mid-March 2004) is a new collaboration with Chris Vrenna under the name "tweaker" (the song is called Pure Genius), a song on the new album by Masakatsu Takagi (with Sylvian and Jansen in 'last tour to treat the visual part) and an album with his brother Steve Jansen, work stopped for the creation of blemish.
reached the end I would like to thank Vittorio Pio asked me to prepare this article, and I want to thank my friend Gerrit Hillebrand to be back this summer to keep alive what we all consider the reference site to David Sylvian and that . The site is a complete embarrassment and is a real treasure trove of information and many new visitors to confuse it with the official site, at least to read the messages in the guestbook.

Renzo Pietrolungo

Saturday, June 28, 2008

Local Area Connection Packets

Bergamo close to the free music! Fishing

Su richiesta dell'autore, volentieri aderiamo alla diffusione
A Bergamo non si può più suonare...
MUSICA NON LIBERA A BERGAMO !!!
di Diego Ancordi VENERDI 23 MAGGIO
Di ritorno da Milano per un servizio, sono andato direttamente al Caffè Letterario, dove suonava il Modal Sound Trio.A parte il trio in scena, sapevo che fra il pubblico avrei trovato altri vecchi amici che non vedo molto spesso e la cosa mi faceva piacere.Arrivato intorno alle 22,30, in via San Bernardino, ho visto che i vigili avevano chiuso la via con le macchine a lampeggianti accesi e c'era polizia in giro. Ho pensato fosse successo qualcosa, che avessero trovato God knows that in some apartment, but after coming to the door of that room I saw was in place a control inside the room between ten stesso.Una brigade and police had invaded the Literary Cafe requisitioning documents to all those present, carrying out searches and of course stop by the concerto.Mi said that the room will certainly be fined because a recent order of our mayor prohibits the use of the premises percussione.Una tools made available to existing but so far little considerata.All 'procedure of LIBRARY BAR-there were many patrons over 40 years, including a pregnant friend of mine (not my doing) and grandparents of one of the eighty muscisti immediately taken away to avoid them an excessive fear, seeing the incredible array of forze.L 'atmosphere was calm and relaxed, as it should be in a quiet place where people should be quiet to listen to quiet things: the audience several old friends meet after long time and was perfectly 'jovial atmosphere and distesa.D' suddenly cheerful and serene atmosphere has become a clear example of terrorism and intimidation and there was found full of what looked like a veritable den of robbers in a raid Albanian: road closed (!?!?!), agents everywhere, checking and harassment are now commonplace. Even in the 70s ... The people were appalled and shocked.
BUT WHY'????? ????????? ????????? ????????? ?????
WHAT DID ??????? ??????
DID hurt someone?? ????????? ?
HAVE CREATED SOME DAMAGE?? ????????? ??
controls all documents (including my own after that, waited for about twenty minutes to get into a culture of which they are a member, I protested because the thing I was blocked for no reason) and searches in an atmosphere totally Gestapo unmotivated. An agent told me that the initiative had been taken by the head of the Food and arrogant policewoman explained that it is one of the initiatives announced as part of security package and that even the local newspapers had announced. "Security" is of course in going to stop the concerts, preventing honest citizens who work and pay taxes to go and drink in a club on Friday evening and listen to some 'Music in peace. We know that public safety is best to prevent their seditious gatherings in places where they sell books, held meetings and presentations by authors and listening to music, because that is where the criminals are born! !!!!!!!!! Evidently in this shitty place where we have the misfortune to live there are still enough delinquents because the army forces of order begin to deal with them instead of breaking his cock to normal people. So, in this lousy place not wish anyone to be young, continues unabated, the criminalization of musicians, music lovers and the rooms where you musica.La situation has become untenable, soon we will find the agents that stop dangerous drummers in handcuffs, the locals will all be closed and the city is finally in the hands of criminals, the Moroccan with a knife in his pocket, and the Bolivian drunken gang that already exist also in our (mainly composed of young Bolivians and South America, brought here in droves by our Bishop). When, fifteen, I started playing drums I never expected, 30 years later, while the rest of the civilized world goes on, to see me ORGANIZED AS MUSICIAN FROM MY TOWN 'and to assist in this situation surreale.Abito station area, where now the evening comes home with caution and these pieces tensione.E shit continue to make life impossible for people and places where a culture is and where it maintains a minimum of life in a city fantasma.Probabilmente it is the culture that bother those in power: the culture and makes us free Music is a passion for sound, but the smart people around here do not like ... PERO 'BOB DYLAN TONIGHT WE WILL HAVE A BERGAMO! SHOT THAT! How wonderful! WHICH CITY 'STATE OF THE ART! RIEMPIAMOCI MOUTH AND CELEBRATE THIS SPECIAL EVENTO!
Nel frattempo impediamo ai nostri figli di prendere in mano uno strumento musicale, tanto qui non avranno mai possibilità di suonarlo o dovranno farlo di nascosto come dei malviventi.Perdonate lo sfogo, sono solo un appassionato di musica, critico musicale e musicista per hobby criminalizzato e pervaso da un'infinita e profonda tristezza.Quella sera sono tornato casa con un nodo alla gola senza trovare risposte al mio interrogativo: PERCHE'? Ora ci diranno che nel locale avranno trovato irregolarità (forse la presenza di un non socio?) o di avere sequestrato droga o chissà che altro.In realtà hanno trasformato in un INFERNO una serata bella, piacevole e tranquilla senza uno straccio di plausibile pretesto. Cosa che ormai succede sempre più spesso.MA PERCHE'? PERCHE'? Ma non è tutto.Quella che sta colpendo i locali dove si fa musica è una persecuzione vera e propria e riguarda tutta la nostra schifosa provincia. Vi riporto solo alcuni esempi. BERGAMO – Daragi: In occasione delle Selezioni Provinciali per il concorso nazionale Italia Wave, una pattuglia dei Carabinieri e una della Polizia Locale fanno interrompere le esibizioni alle ore 22,10.L'intervento è richiesto dal solito derelitto del piano di sopra.TORRE BOLDONE – Arci Delta House: I Carabinieri creano gravi problemi e minacciano la sospensione della licenza se non viene impedito l'ingresso ai non soci e obbligano i gestori a telefonare A ME per aggiungere nelle segnalazioni sulla pagina degli Appuntamenti dell'Eco di Bg la dicitura "ingresso riservato ai soci".BERGAMO – Druso: Da tempo vige l'assoluto divieto di far suonare strumenti a percussione. Solo roba acustica.Ma qui siamo in un condominio e la cosa può essere comprensibile.CITTA' ALTA – Chiostro di San Francesco: La sera dell'inaugurazione arriva subito la Polizia Locale e rovina l'intera stagione imponendo la chiusura alle ore 23.CURNO – Keller: Dopo anni di heavy metal in un locale dove non ci sono case e che quindi non rompe il cazzo a nessuno, arrivano le Forze dell'Ordine e interrompono la programmazione live imponendo al locale la chiusura a mezzanotte.CITTA' ALTA – Parco Sant'Agostino: un luogo splendido per i concerti, ma i ricchi delle ville sottostanti non accettano il "rumore" per qualche giorno all'anno e i residenti, che pensano Città Alta sia di loro proprietà, non vogliono gente in giro.A me, due anni fa, per un parcheggio sbagliato, tagliarono una gomma dell'auto.Quindi, quest'anno, niente più concerti a Sant'Agostino.Sono solo alcuni esempi, quelli che mi sono stati riportati.Ma sicuramente ce ne sono altri.A tutto ciò aggiungiamo la gravissima repressione fatta di controlli in ogni angolo, posti di blocco ovunque, e criminalizzazione di gente che fa cose normali nella vita, come andare a cena o a bersi una birra e per questo vedersi rovinare, sequestrare l'automezzo, eccetera.IO NON SO COME I RAGAZZI POSSANO ACCETTARE TUTTO QUESTO SENZA REAGIRE.D'ACCORDO CHE LE NUOVE GENERAZIONI They are composed of spineless attracted only FROM MOBILE PHONES, NIGHTCLUBS AND BIG BROTHER OF SHIT BUT THEY ALSO HAVE DIGNITY 'is a freedom' to defend! ! At this point, dear friends, I believe it is necessary to join forces and do something about this state of cose.Invito local musicians and managers to organize, to meet in a general meeting and propose the establishment of an association of local musicians, to promote initiatives to denounce this serious situation and try to difendersi.Difendersi the criminalization of things that are absolutely normali.La sound and music is a passion there that the person is being treated in this modo.Diffondete this message to all the musicians you know, even those not bergamaschi.E comunicate la vostra eventuale disponibilità ad associarsi e ad impegnarsi per organizzare iniziative di protesta.
Cazzo... ORGANIZZATEVI!!!!!!! !!!!!!!!! !!!!!!!!! !!!!!!!!! !!!!!!!!! !!!!!!!!!

Diego Ancordi,
giornalista e musicista di Bergamo, con la preghiera di diffusione

Thursday, June 26, 2008

Adolf Hitler Antisocial Personality Disorder

among the memories ..... We talk about the Banco del Mutuo Soccorso

Un articolo del 13 maggio 1992 di Alessandro Staiti
pubblicato sul quotidiano "QuiGiovani"

IL CONCERTO DEL BANCO DEL MUTUO SOCCORSO A ROMA INAUGURA IL NUOVO TOUR

A Tour to the rescue of Italian music or



From here, Sir, overlooking the valley

Among the enthusiasm of old and new fans can relive the glories of the Seventies

Banco del Mutuo Soccorso marked the birth of rock art in Italy. In the wake of the phenomenon of English in the Seventies were the foundations of our traditions to evolve beyond the more usual pattern of pop music: the tracks expand, they become true suites, the texts are linked to poetry, TOOLS technology becomes an essential means of expression. Al Palladium, martedì scorso, si è compreso che gli anni di piombo del rock, come sono stati definiti gli oscuri Ottanta, sono finiti e che finalmente c’è spazio per la ripresa di un discorso interrotto soltanto accidentalmente. Il Banco del Mutuo Soccorso è tornato sul palco romano per inaugurare il nuovo tour “Da qui messere si domina la valle” che li vedrà impegnati per tutta l’estate nella Penisola, in occasione della recente pubblicazione dell’omonimo cd che ripercorre album celeberrimi come “B.M.S.” e “Darwin” rivisitati e ri registrati per l’occasione. Se a prima vista, sul vinile, sembra di imbattersi in un’operazione nostalgica, dal vivo questa impressione viene subito fugata, non solo dall'entusiasmo di fans giovanissimi, ma dall’energia che Gianni Nocenzi (tastiere), Francesco Di Giacomo (voce), Pierluigi Calderoni (batteria) e Rodolfo Maltese (chitarra), (al basso, per l’occasione, l’ottimo Tiziano Ricci) sono riusciti a sprigionare. Il concerto è partito con “R.I.P.”, e subito l’atmosfera si è scaldata. Man mano che scorrevano brani come “Il ragno”, “L’evoluzione della specie”, si poteva assaporare l’incredibile vitalità delle composizioni, ormai ventennali, che non hanno perso un briciolo di attualità, e anzi hanno guadagnato dalle nuove interpretazioni che possono far tesoro dell’esperienza di professionisti ai quali funzionano bene non solo le mani e la testa, ma soprattutto il cuore. Il gruppo ha reso omaggio al pubblico eleggendolo a vero protagonista della serata e del video che è stato girato appositamente per l’occasione. Grande sorpresa per la sentita versione di “Hey Joe”, di Jimi Hendrix, unica cover della serata in omaggio non solo ad un musicista ma ad un’intera epoca d’oro per il rock. La voce di Di Giacomo era a grandissimi livelli, non ha perso nulla della dolcezza e incisività che l’ha sempre contraddistinta. Anche la chitarra di Maltese, che a tratti si è alternato alla tromba, si è fatta sentire pulita e puntuale, di grande gusto, lì dove non ha mai exaggerated solos way. Calderoni proved to be a real motor rhythm, with an imaginative drumming, while impressed literally energy and virtuosity of Nocenzi, the true protagonist of the keyboards. Roar of applause to the unforgettable and evocative "750,000 years ago ... love," "The garden of the magician," "I do not break." Then the rig went over the catchiest hits of "Moby Dick" and "Away from" and then propose an incredible '"Metamorphoses." A Final worthy of a grand concert to "We did not" and the beautiful "Track II". Immediately after the concert abbiamo incontrato il gruppo nei camerini, affollati da vecchi amici che si congratulavano con i musicisti:
“Spero che il rapporto di stasera non sia stato di nostalgia, ma di vitalità” mi chiede Gianni Nocenzi. Siamo d’accordo con lui in pieno. “Me ne sono accorto - riprende il tastierista - quando ho riascoltato il lavoro finito dopo due anni dalla registrazione. Gli anni di piombo per la musica sono stati gli Ottanta. Usciti dalle utopie, dalle ideologie, c’è stato un grande riflusso di creatività, di contenuti. Gli artisti, anche i migliori, hanno sopravvissuto professionalmente adeguandosi a delle versioni soul o soft-soul, canzoni, come Phil Collins, Peter Gabriel, il Banco, cercando di non ammainare mai la bandiera della creatività, come abbiamo fatto con ‘Moby Dick’. Poi il Banco non si è fermato mai con l’attività live e le richieste dei giovanissimi di 15 anni, che ci chiedevano ‘Il giardino del mago’, ‘Metamorfosi’, ‘Darwin’, ci ha fatto capire che stava cambiando il vento. Sì la produzione, sì i dischi di plastica, ma una grossa fetta di pubblico mostrava di preferire il sudore, la credibilità, il muscolo. Così è partita la nostra scommessa, per vedere se gli anni Settanta sono stati vera gloria, l’unica primavera in cui la musica italiana ha realmente dialogato con l’Inghilterra e l’America. Molti artisti stranieri, come lo stesso Gabriel, ci hanno confessato personalmente che ascoltavano in quegli anni i dischi del Banco, forse più di quanto noi facessimo con loro”.
-E poi c’è un gran seguito in Giappone…
“Sì, infatti dovremo fare un nuovo l.p. di materiale inedito con un editore giapponese, che poi verrà importato anche in Italia”.
A “Big” Di Giacomo abbiamo chiesto cosa ne pensasse anche lui di questo ritorno.
“Io mi auspico, al di là del ritorno, una conferma di tanti gruppi giovani, di ragazzi che dovrebbero trovare conferma della loro forza e creatività. Chi suona deve rappresentare solo se stesso, così si è credibili.”
-Come avete fatto you?
"Yes, although this does not always pay. Here comes the fashion and crosses you, the important thing is to take the blow and move forward with conviction "
-D 'now that will move towards the Bank, the style" Moby Dick "?
"No, the Bank will keep some songs of prestige, but will be back to do a certain kind of composition, instrumental music, suites.
Alessandro Staines

Sunday, June 22, 2008

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the young Neil Young - Florence, June 22, 2008 - Mandela Forum

by Mauritius and Fulvia a nice review of the concert in Florence.

Great great concert that confirms the extreme vitality 'of the Canadian born in 1945. Creative streak intact and a lot of desire to play and sing - that lui sono la stessa cosa, perche' i suoi lunghissimi soli di chitarra sono estensioni e variazioni delle sue linee melodiche e ritmiche ... un altro modo di cantare insomma. Neil Young, che non avevo mai visto dal vivo, e' un musicista, un artista vero e a tutto tondo.
Sul palco erano in sei.
Per terra, tra i suoi monitor-spia e la sua pedaliera di effetti aveva due foto incorniciate come su un como'.
Accanto ai due coristi (di cui uno era la moglie Peggy Young) dietro alla prima linea dello stage, un pittore dipingeva in diretta quadri che intitolava a ciascun pezzo della set-list e che metteva ancora freschi su un cavalletto a destra del palco per annunciare il brano successivo. Una gran figata! Accanto al pittore hovered in a profile of antique furniture that I could not understand what he was and what he was doing them '. Neil and only when we 'went down in front to attach a piece called Mother Earth, I realized it was a pipe organ that triangulated from the Hammond B3 and grand piano painted with pastel floral motifs at the ends' right and left the stage.
course during the performance of Old Man - the only old piece in the lineup along with The Needle And The Damage Done - I burst into sobs and sound obvious lucciconi of happiness'. Sareimai I do not expect to be able to listen to those songs from the lips of the author and the guitar during my shitty life (Editor's note - for Mauritius).
We left the Mandela Forum more 'satisfied and, if possible, piu'grassi before:)
If you have not begged the latest albums by Neil Young rush to buy: E' REAL MUSIC!
Thanks to Maurice and Fulvia

Wednesday, June 18, 2008

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REPORT A BEAUTIFUL, WONDERFUL TWO CONCERTS, NOT A HISTORY OF EVERYDAY .....


Vittorio Thanks .....


............... Saturday night (06/14/2008 ed) I was at the Royal Festival Hall in London, and I've enjoyed Massive Attack, with my daughter, too happy at the end. A band of a dozen people, a concert preceded by a shared anti-Bush campaign, and fueled by the fact that the day after Bush was visiting London. I was standing alongside the stage, but on the high side, so it was like I was on stage. The acoustics were bad in my case, but the view was first class. Del Naja constantly present to his DJ equipment, its socioinvece that came and went from the stage like a bar. A black bass, bass, wide as a wardrobe, just as bad on the ropes. Crimsoniane two batteries, a nice guitar, even from these things you understand that the love naja Fripp, a huge battery of keyboards and two great vocalists, especially the black, the blonde seemed to be much smaller intriguing. Volume unusually modest, but perhaps it was due alfatto that we were in a theater rather chic. The new songs I can not judge them, I once heard have said little, but it is likely that riscoltati calmly, will collect their success. The historical passages, however, have dance / unpack all. Are to be reviewed as soon as possible in the Veneto, for strength. On Sunday evening, instead I was forced to choose between the Gong, in a classic old dirty smelly room in the suburbs, with YMO and Sakamoto in the theater next to the luxurious Royal Festival Hall. I chose Gong, my daughter has been at the hotel, so I took the Northern line (infamous subway, known as the black) and went down in a popular neighborhood those very experiences. I must say that I was fine, I've just had a fight with a bagarrino who wanted to give me five pounds for my second ticket in the end, exhausted, I gave them 12, then I queued in the middle of an aura of characters not all of you could imagine. I was certainly among the youngest. In short, people who see Gong c'eratutta Aellen & Co. has long been known, only aged by 40 years. Beautiful place, rivers of beer, quiet people, not by us that if you take a seat (in feet) and then do so to move to get a beer and come back after you stab. I was behind the counter mix-lights, and I saw very well, felt even better. The concert say a few things: la prima, un Theo Travis veramente di livello superiore, suona con una padronanza straordinaria. Magnifico David, con la babbiona che ormai fà quello che può. Stupefacente, a dir poco, il batterista di colore, non ricordo il nome ma ormai da anni è coi Gong. Sopra tutti, Howlettal basso. Credetemi, è uno dei più grandi bassisti esistenti, poi si concia come un pazzo (aveva una tunica da monatto, poi è entrata una marocchina incazzata, l'ha spogliato da terra, e lui è rimasto con la solita maglietta color argento e gli occhiali con le spirali). Nel mentre, ha ballato, saltato, ha fatto un casino dell'ostrega sempre suonando pazzescamente. Invece, Hillage e la Michetta mi sonosembrati fuori quadro. E' ovvio che quando Hillage parte con la chitarra, c'è ben poco da dire, ma è anche vero che l'ultimo tipo di musica dei Gong, secondo me, non gli si addice. Il repertorio è stato cmq molto all'insegna del passato, con un paio di pezzi nuovi molto rocchettari di Hillage. Voi tutti sapete che cultura hanno gli inglesi ai concerti. Noi siamo lontani anni luce. Anni luce. Ho messo 4 foto, ma di scarsa qualità. Ho usato la compatta di mia figlia, per un imperdonabile errore non avevo la mia Leica. Obsps. : un nanetto : sono fermo all'uscita del tube di Baker street e mi si avvicina un sessantenne dall'aria italiana; mi offre unbiglietto per quei bus scoperti che girano londra, e che sono molto utili se volete vedervi la città comodamente seduti. Mi parla subito in a very good Italian, but I ask him where, he says,''I have a small Greek island, no one knows.'' I stung my passion for the Aegean, I say, what? he answers: the name is Castellorizo, to which I reply: sorry, try to be more precise, Castellorizo \u200b\u200bis the name of Venice, the island is called in your source Megisti! (You may have guessed I am speaking of that island). Even after 10 'whooping conversation, he wanted at the end of his turn to go to his house to drink un'ouzo homemade and taste of the feta that had just arrived. I must say that I enjoyed, when, thanks but andandomene, I heard him say to his English colleague: christ, this is the first con cui parlo in 3 annic he sà da dove vengo ! proprio vero, una fazza una razza.


Vittorio

Tuesday, June 17, 2008

What Is The Rash Between My Boobs

Toni Malco and his "uncomfortable feeling"




TONI MALCO E LA SUA “SENSAZIONE SCOMODA”
Il 10 giugno l’artista ha presentato il nuovo album al Teatro Greco di Roma

È tornato nel teatro del suo quartiere per presentare il nuovo album “Sensazione Scomoda” prodotto da Luigi Barion, presidente AFI. Martedì 10 giugno Toni Malco ha proposto alla affollatissima platea del Teatro Greco un piacevole mix di vecchi successi e nuovi brani, accompagnato da Stefano Zaccagnini (chitarra elettrica), Fabrizio Guarino (acoustic guitar), Adriano Lo Giudice (bass), John Aquilino (keyboards), Piero Pierantozzi (drums), Miguel Jimenez (trumpet) and vocalist Jade Letizia Mongelli and Olivetti. Piero Calabrese also present in the room, Mimmo Di Renzo, Sandro Di Loreto and Emily Tomasini, authors of the texts of the new album. Two hours of beautiful songs, performed with the transport and professionalism that have always distinguished the style of Malchus. A style that ranges from melodic rock to traditional pop, which did the major in Italy have played an important role of undisputed and timeless. He opens the show, the novel "A story that does not fly," highlighted by crystalline guitar arpeggios, followed by the beautiful "The stagione dei perché” e “Non finisce mai”, mentre sullo sfondo scorrono le immagini dei video che accompagnano tutto il concerto. Splendida la cover di “Mio fratello è figlio unico”, indimenticato successo di Rino Gaetano, caro amico con cui Toni ha condiviso l’inizio della carriera e perfezionato il suo stile compositivo. Ancora dal nuovo album la romantica “Fuori piove”, poi la sorpresa di “C’era un ragazzo che come me amava i Beatles e i Rolling Stones”. “Ehi”, segnata da un liquido assolo di Zaccagnini, precede l’altra cover contenuta in Sensazione Scomoda, “I giardini di marzo” di Lucio Battisti, in un’elegante versione jazz/lounge Toni plays with innate feeling. Same feeling that releases the touching "Under the sky of Rome," as sung on the CD (when there is also the video track of the song) along with the beautiful and talented Antonio Ippoliti, special guest of the evening. The concert continues with the rocking and novel "Gods and Monsters" (still a nice Zaccagnini only), "And then they just left," "Zodiac," "Inside." Another cover, this time the beautiful "With you I'm no more" by Paolo Conte. Rounding out the show that gives the song the title track, "Feeling uncomfortable," and the sweet "while asleep Giulia" impreziosite dai testi di Di Loreto.

Alessandro Staiti

Monday, April 7, 2008

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Sunday, April 6, 2008

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Friday, April 4, 2008

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Wednesday, April 2, 2008

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Tuesday, April 1, 2008

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Wednesday, February 20, 2008

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Tuesday, February 19, 2008

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Sunday, February 17, 2008

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Friday, February 15, 2008

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