lunes, 22 de octubre de 2007

Creamfields 2007 - Buenos Aires

Creamfields es la fiesta electronica más grande del mundo, esta fiesta que se realiza en 1 fecha en varios lugares del planeta dara una fecha en Buenos Aires.

Los artistas confirmados:
Chemical Brothers
Carl Cox
John Digweed
LCD Soundsystem
Dubfire (Deep Dish)
Hernán Cattaneo
James Zabiela
2 Many Dj's
Craig Richards
Christian Smith
Martín García
Mark Farina
James Murphy
Mathias Schaffhäuser
Zuker XP
16 Bit Lolitas
Aril Brikha
Wally Lopez
Carlos Alfonsin
Romina Cohn
Sean Miller

entre otros que van a estar presentes en la fiesta.

Creamfields Buenos Aires se realizara en el Autodromo de la ciudad y se espera para la fiesta alrededor de 70 mil personas.

Pagina ofcial del evento:

domingo, 21 de octubre de 2007

The Sex Pistols

Unabashedly crude, intensely emotional, calculated either to exhilarate or to offend, the Sex Pistols' music and stance were in direct opposition to the star trappings and complacency that, by the mid-'70s, had rendered rock & roll irrelevant to the common bloke. Over the course of their short, turbulent existence, the group released a single studio album that changed, if not the history of rock, at least its course. While the Sex Pistols were not the first punk rockers (that distinction probably goes to the Stooges), they were the most widely known and at least, to appearances, the most threatening. Never Mind the Bollocks, Here's the Sex Pistols unquestionably ranks as one of the most important rock & roll records ever, its sound a raw, snarling, yet mesmerizing rejection of and challenge to not only rock & roll music and culture but a modern world that offered, as Rotten sang in "God Save the Queen," "no future." Whether the Pistols were simply a sophisticated hype run amok or the true voice of their generation has been widely debated, yet, oddly, that neither matters nor explains how they came to spark and personify one of the few truly critical moments in pop culture-the rise of punk.

The Sex Pistols were the brainchild of young entrepreneur Malcolm McLaren. The owner of a London clothes boutique, Sex, which specialized in "anti-fashion," McLaren had conceived the idea of a rock & roll act that would challenge every established notion of propriety when, in 1975, he found himself managing the New York Dolls in their final months as a group. A part-time employee of Sex, Glen Matlock, played bass with Paul Cook and Steve Jones; he let McLaren know they were looking for a singer. McLaren approached 19-year-old John Lydon, whom he had seen hanging around the jukebox at Sex and who was known mainly for his rudeness.

Lydon had never sung before, but he accepted the invitation and thoroughly impressed the others with his scabrous charisma. McLaren had found his act; he named the group the Sex Pistols. Allegedly, Lydon's disregard for personal hygiene prompted Jones to dub him Johnny Rotten. Ten minutes into their first gig at a suburban art school dance on November 6, 1975, the school's social programmer literally pulled the plug. In the early months of 1976, McLaren's carefully cultivated word-of-mouth about the Sex Pistols made the band the leader of the nascent punk movement. Their gigs inspired the formation of the Clash, Buzzcocks, X-Ray Spex, Joy Division, Siouxsie and the Banshees, and countless other rebel groups in the second half of the '70s.

The press and the record industry ignored the Sex Pistols at first, but by the end of the summer the uproar-both acclamatory and denunciatory-was too loud to be ignored. In November EMI outbid Polydor with a recording contract worth £40,000. The Sex Pistols' first single, "Anarchy in the U.K.," was released in December. That month the band used the word "fucker" in a nationally televised interview; the consequent outrage led promoters and local authorities to cancel all but five of the dates scheduled on the group's national tour and EMI to withdraw "Anarchy in the U.K."-#38 on the U.K. chart in January 1977-from circulation and to terminate its contract with the Sex Pistols.

In March Matlock left to form the Rich Kids and was replaced by John Richie, a previously nonmusical friend of Rotten, who named him Sid Vicious. That same month A&M signed the Pistols for £150,000; just a week later the company fired them for a balance payment of £75,000. In May Virgin signed the Pistols and released their second record, "God Save the Queen," timed to coincide with the Queen's Silver Jubilee that June. The song was immediately banned from airplay in England. Nonetheless it was a top-selling single (cited as a blank at the #2 position on official charts, listed as #1 on independent charts).

When no British hall would book the Pistols, the group went abroad-to the Continent in July and to the U.S. in December, by which time the debut album had been released. In America the band found itself the object of a little adulation, considerable hostility, but mostly uncomprehending curiosity, which turned to scoffing when the group made only halfhearted attempts to live up to its reputation for savagery. Rotten was characteristically critical of the sensationalism and opportunism that had been attached to the Pistols (for which he blamed McLaren), and on January 14, 1978, immediately after a concert in San Francisco, he announced the breakup of the group.

Jones and Cook remained active in the punk movement and formed the Professionals; Jones materialized in the mid-'80s in Chequered Past, featuring former Blondie rhythm section Nigel Harrison and Clem Burke, exÐIggy Pop sideman Tony Sales, and singer Michael des Barres. Vicious initiated a haphazard solo career, which ended when he was imprisoned in New York on charges of stabbing his girlfriend Nancy Spungen to death in their Chelsea Hotel room. He died of a heroin overdose while out on bail before he could be tried.

Dismissing the Sex Pistols as "a farce" and reverting to his given name, Lydon formed Public Image, Ltd. In 1986 the surviving members of the group and Vicious' mother won a lawsuit against McLaren, charging he had tied up their royalties in two management companies. The plaintiffs were later awarded approximately $1.44 million. That same year, the critically acclaimed Alex Cox film Sid and Nancy was released.

In 1996 all four original members reunited to embark on a world tour, including Europe, North and South America, Japan, and Australia, dubbed the Filthy Lucre Tour. The Sex Pistols, uncharacteristically "professional" onstage, nonetheless attacked the old repertoire with a fury. Filthy Lucre Live, which documented the re-formed band's London performance, was released in the States in time for the tour's U.S. arrival. In 2000 Julien Temple's The Filth and the Fury documentary on the Pistols included some of the footage originally released as The Great Rock 'n' Roll Swindle in 1980.

viernes, 19 de octubre de 2007

Biografia de los Rolling Stones

FORMED: January 1963, London, England

The Rolling Stones define rock 'n' roll. They are the longest running act in the history of rock music, having remained wildly popular and prodigiously productive over their 30-year career. The group was formed by Mick Jagger and Keith Richards, who met as schoolmates in Dartford, Kent. The legend has them bumping into each other on the platform at Dartford railway station, where Keith notices a blues album under Mick's arm. A bond is struck immediately and the pair go on to form a band with a variety of personnel, who eventually include a boogie-woogie pianist called Ian Stewart and a gifted blonde blues guitarist from Cheltenham called Brian Jones (although at the time he is calling himself Elmo Lewis for added authenticity). The best way to chronicle the Rolling Stones' accomplishments is to break it down by year:


The Stones are just three of a growing circle of musicians who were devoted to the music of American artists like Chuck Berry, Howlin' Wolf, Muddy Waters and Elmore James. They perform these artists' songs with an almost missionary zeal to further the R&B cause, as well as earn enough money to stay alive. For some months, the impoverished early Stones live in squalor in London's Edith Grove. They beg gigs from older, jazz-tinged luminaries like Chris Barber, Cyril Davies and Alexis Korner, yet such is the Stones' raw energy and rapid development, they soon leave behind the somewhat purist and divided world of the jazz and blues establishment.

In July, the Stones take their name from a Muddy Waters song called "Rollin' Stone Blues" and make their live debut at London's Marquee Club (minus Bill Wyman and Charlie Watts). They start playing pubs and clubs around the city and suburbs. Bill Wyman joins late in the year -- the popular story being that he was asked because he had his own amplifier!


In January, Charlie Watts joins the Stones and plays his first gigs. The band gigs constantly with residencies at venues like Ealing Jazz Club, Ken Colyer's Studio 51 and Eel Pie Island in Twickenham. Audiences often consist of fellow budding blues musicians like Jimmy Page, Eric Clapton and Pete Townshend. Their weekly steamy nights at the Crawdaddy at Richmond's Station Hotel result in ecstatic press reviews, and in April a sharp young mover called Andrew Loog Oldham catches the Stones at the Crawdaddy and signs them to his management company the next day. He starts the "Would you let your daughter marry a Rolling Stone" press campaign which endears the group to hordes of youngsters who find the Beatles a tad cute. The shockwaves are still being felt today.

In May, the Stones are signed to Decca Records by an A&R man infamous for turning down the Beatles. A month later "Come On," the first Rolling Stones single, is released. An older generation recoils in horror as the group performs the song on England's top pop TV show "Thank Your Lucky Stars." The song -- an obscure Chuck Berry cover -- climbs to No. 21 on the U.K. charts. The second single, "I Wanna Be Your Man," is given to the group by John Lennon and Paul McCartney after they run into the Stones on the street. They finish writing it on the spot. That reaches No. 12. Live gigs are already attracting hordes of screaming teenage girls who drown out the band.


The group start the year on their first major package tour supporting America's Ronettes, the girl group produced by Phil Spector. In January, the Rolling Stones EP -- four covers of current U.S. rock'n'soul classics -- appears. In February, they release a third single, a version of Bo Diddley's "Not Fade Away," which features Phil Spector on maracas.

By now the Stones are becoming a ferocious R&B machine. They ditch the stage uniforms, grow their hair longer and inspire a legion of lookalikes. No group in history has sparked such horror in the older generation. "Not Fade Away" becomes the Stones' first Top 10 entry, hitting No. 3. The first album immediately sparks controversy for being untitled and featuring no writing on the cover. It reaches No.1. The record mainly consists of raw, feisty covers by heroes like Chuck Berry and Willie Dixon. It also features the first bona fide Jagger/Richards composition, "Tell Me," which was written after Andrew Oldham locked them in his kitchen with the intent of writing some songs. In April, there's teen mayhem when they play the NME Pollwinners' Concert at Wembley Arena.

In June, the band's cover of the Valentinos' "It's All Over Now" becomes the Stones' first No.1 and gold record. It was recorded at Chicago's legendary Chess studios -- home of Muddy Waters and other Stones heroes -- during the group's first visit to the States that month. The Stones go on to predate the dance music explosion by 25 years and headline their fan club's "All Night Rave" at London's Alexandra Palace, which also features John Lee Hooker and winds down at 6:30 a.m.

In August, more Chess material appears on the Five By Five EP, and November caps an eventful year with another chart-topper -- a cover of Willie Dixon's "Little Red Rooster."


The momentum continues -- as does the band's superhuman schedule -- with a second chart-topping album, Rolling Stones Number 2. In February, the single "The Last Time" (the first A-side to be written by Mick and Keith) also hits No. 1.

In August "(I Can't Get No) Satisfaction" sweeps the world and becomes one of the biggest Stones anthems ever. Keith says he woke up in the middle of the night in a motel room with that riff in his head and had to whack it down there and then. The following month sees the release of the Got Live If You Want It EP -- a noisy record of the live show recorded over the first three days of the March U.K. tour. The Out Of Our Heads album, recorded between U.S. dates and featuring a bunch of Jagger/Richards gems, is released in July. The chart topping "Get Off My Cloud" puts the cap on another action-packed year.


February sees the single "19th Nervous Breakdown," followed by the ground-breaking, chart-vaulting Aftermath album, on which the Stones start to experiment with different instruments and 11-minute tracks. Every song is written by Mick and Keith. In May, the expansion of the Stones' sound continues on the number one "Paint It Black" single, where Brian's sitar rides the pummelling beat. September's "Have You Seen Your Mother Baby, Standing In The Shadows?" single sees the group's first dabblings with full-on psychedelia. October sees the group's last U.K. tour for three years (with Ike & Tina Turner supporting).


The Between The Buttons album sees a further flowering of the psychedelically inclined studio experimentation expanding the Stones' current whimsical English pop music. In February, Mick and Keith are arrested when Keith's Redlands home is raided by the police. Thus starts the run of high-profile court appearances that divide the nation's generations and are widely believed to be part of some greater conspiracy to silence the unbelievably powerful Stones. But despite all the charges hurled against Jagger, Richards and Jones, no Stone went to jail for any extended period.

After the bust, the Stones tour Europe to literally riotous responses in many cases, and headline the massively popular "Sunday Night At The London Palladium" TV show, where they perform the already-controversial "Let's Spend The Night Together" single and its genteel flip "Ruby Tuesday." They spark further outrage by refusing to ride on the silly roundabout at the end of the show.

In August, the hastily assembled "We Love You" single is released to thank the public for their support during the Jagger/Richards trials. Lennon and McCartney pop up on backing vocals while Mick and girlfriend Marianne Faithful return the favor by joining in with the Beatles "All You Need Is Love" for the "Our World" simultaneous satellite TV broadcast. In December, the highly experimental Their Satanic Majesties Request album baffles many with its extended psychedelic explorations, but still hits the top three. Much attention is focused on its three-dimensional sleeve.


In May, the Stones make a surprise appearance at the end of the NME Pollwinners' Concert. It is immediately obvious that the group have returned to their blues roots as they tear into the new "Jumpin' Jack Flash" single and "Satisfaction." After the uncertainty of the previous year the Stones are back to claim their crown as Greatest Rock 'n' Roll Band In The World. "Jumpin' Jack Flash" is released later that month and pole vaults to the top. The Beggars Banquet album is supposed to follow in August, but Decca objects to the Stones' graffiti-splattered toilet wall sleeve and it finally emerges in a plain white cover in December. The album launch party ends up with the Stones hurling custard pies in the faces of Decca executives. The album itself shows a new maturity and bluesy raunch, as well as the dark and dangerous image epitomized by "Sympathy For The Devil."


After a meeting with other band members, Brian leaves the Stones on June 8, saying he wants to form a new group. A few days later the Stones hold a photo call in London's Hyde Park to introduce their new guitarist, Mick Taylor, who was formerly in John Mayall's Bluesbreakers. He will make his live debut with the Stones at a free concert to be held in the park on July 5, and plays on the upcoming single, "Honky Tonk Women"/"You Can't Always Get What You Want."

On July 3, Brian Jones is found dead in his swimming pool in Sussex. The Hyde Park gig becomes a memorial for Brian and the group unveil their new songs. The classic bar room raunch of "Honky Tonk Women" is unleashed a week later and shoots to No. 1.

The chart-topping Let It Bleed album is released in December and turns out to be another feast of apocalyptic blues ("Gimme Shelter"), salacious melodrama ("Midnight Rambler") and more tales from the darkside. The Stones embark on their first U.S. tour since 1966 and, in the new climate of audiences who sit and listen, find the new live power and sense of occasion which remains with them to this day. The U.S. tour climaxes in December with the tragic Altamont Speedway concert.


Two years after it was filmed, Mick Jagger's movie debut in Nic Roeg and Donald Cammell's Performance finally gets released. Jagger plays reclusive rock star Turner. It's accompanied by a soundtrack to which Mick contributed "Memo from Turner."

In September, a live album of the previous year's Madison Square Garden show New York, Get Yer Ya-Yas Out, hits No. 1. It's initially designed as an official alternative to the Stones bootlegs starting to appear. The 1969 tour also results in the movie, Gimme Shelter.


The Stones, whose contract with Decca has expired, launch their Rolling Stones Records imprint with the mighty double header of "Brown Sugar" and "Bitch," which continue to push the barriers and court controversy with their lyrics. The band undertake a farewell tour of the U.K. as they prepare to go into tax exile in the south of France. In April the mothership album, Sticky Fingers, appears with a sleeve designed by Andy Warhol, which depicts a mystery groin complete with adjustable zipper! While the rock 'n' roll is sleazier than ever, a beautifully damaged haze hangs over tracks like "Sister Morphine" and "Wild Horses," which features the country influence of Keith's new mate, Gram Parsons from the Flying Burrito Brothers.


In April, the Top Five hit "Tumbling Dice" is the first single to trailer the upcoming double album Exile On Mainstreet, recorded in the basement of Keith's house in the south of France. The album is derided at the time for sprawling self-indulgence, but Keith is always glad to point out that it is now held up among the band's most enduring work.

The Stones tour the States -- described by organizer Pete Rudge as "not like a rock 'n' roll tour, more like the Normandy landing." It sees the group setting a standard of the grand spectacle required for stadium gigs.


In August, the balladic "Angie" trailers the more melodic Goats Head Soup album, recorded in Jamaica; stirring it up with the controversial "Starfucker" finale. The tour hits Europe, including a spectacular stretch at Wembley Arena.


July's Top 10 single, "It's Only Rock'n'Roll," started life in Ronnie Wood's South London home studio, with David Bowie on backing vocals and the Faces' Kenny Jones on drums. The roughhouse rock feel is continued on the album of the same name, although the highlight could be considered the haunting ballad, "Time Waits For No One."

The Stones/Wood connection becomes closer when Keith appears on most of Ronnie's first solo album, I've Got My Own Album To Do, and both Mick Taylor and Jagger guest. Keith appears with Ronnie at his Kilburn State gig in July. In December Mick Taylor quits to pursue a solo career.


After much speculation and a string of recording sessions-cum-auditions in Munich, which eventually give birth to the Black and Blue album, the Stones announce Mick Taylor's replacement -- Ronnie Wood. (Candidates who didn't get past the jamming phase include Jeff Beck, Peter Frampton and Rory Gallagher). Ronnie has already taken leave from the Faces to tour with the Stones, and Keith admits he nearly asked him to join back when Brian left.


Black and Blue is released in April and features those guest spots from guitarists Harvey Mandel, Wayne Perkins and the successful Mr. Wood. "Fool to Cry" is the single and makes the Top 10. That summer, the group tour and appear straddling an unfolding lotus stage complete with giant inflatable penis and Tarzan rope for Mick.


In February, Keith and Anita Pallenberg are busted in Toronto, where the Stones are playing some low-key club dates to record for an upcoming live album. October's Love You Live double album features songs from the previous tour and a side from the Toronto gigs at the El Mocambo club.


The dance music-influenced "Miss You" (one of the early 12" singles) hits the number one spot in the U.S. The Some Girls LP follows. Originally called Some More Fast Numbers, some say the charged energy level is influenced by the recent punk rock explosion. In fact, the next single, "Respectable," shows the group commenting on their new status as "pillars of society" -- before slamming into brief acquaintance Margaret Trudeau, the Stones-slumming wife of the Canadian Prime Minister.

The Stones tour America to wildly enthusiastic audiences and equally ecstatic reviews. All stage props have been stripped back, to allow room for the new energy coursing through the group with a totally integrated Ronnie Wood and fully-cylindered Keith Richards.


Wood releases a third solo album, Gimme Some Neck, which again features Keith and Mick. In April, the Stones join together to support Keith, doing a set for the Benefit Concert for the blind which honors the Toronto court's sentencing commitment. Keith then joins Ronnie for the New Barbarians tour. The Barbs appear at the Knebworth Festival supporting Led Zeppelin.


In June a new single, the reggae and disco-tinged "Emotional Rescue," trailers the album of the same name and hits the Top 10.


August sees "Start Me Up" motor into the Top 10 as a slashing kickstart trailer for the upcoming album, Tattoo You, which also includes the warm follow-up single, "Waiting On A Friend." The Stones undertake the first of periodic mega-tours which sees them astride a colossal stadium-stage, complete with hydraulic platforms and huge avant garde paintings.


The Stones tour hits Europe, including several nights at London's Wembley Stadium. In June, the Stones release Still Life, a live album drawn from the '81 American gigs along with the group's cover of "Going To A Go Go."


It's August and in typical Stones fashion, an agreement is reached and signed at 3:00 a.m. in Paris' Ritz Hotel by Mick Jagger, Keith Richards and CBS head Walter Yetnikoff. The deal is reportedly worth 28 million dollars and calls for the Stones to deliver four studio albums.

In October, the "Undercover Of The Night" single is unveiled with the theme of South American political unrest dominating an epic video directed by Julian Temple. Mick's execution scene stirs some controversy while Keith sports a skull mask and a gun. The single reached the Top 10, as did the album with its peel-the-stickers-off-the-stripper sleeve.


In February, the Stones are in Paris recording Dirty Work at Pathe-Marconi Studio. Mick Jagger releases his first solo album, She's The Boss. In June he duets with David Bowie on the specially recorded version of "Dancing In The Street" for Live Aid. Mick also appears at the all-day event in Philadelphia, singing a saucy duet with Tina Turner in which he whips off her skirt. It's his first ever live solo set performed in front of 1.5 billion viewers. Later that day, Keith and Ronnie flank Bob Dylan for an acoustic set to close the show at JFK Stadium. Three months later, Keith and Ronnie repeat their acoustic act, backing Bono for a version of "Silver And Gold," which appears on the Artists United Against Apartheid album.

Later that year, the Stones begin work on a new album. Near the end of the sessions -- which the group later admit were not their most harmonious -- their road manager, soul brother and "Sixth Stone" Ian Stewart dies of a massive heart attack in London at the age of 47. Ian had been with the group since the start and still played piano on stage. "We all felt the glue had come unstuck," says a grieving Keith.


"Harlem Shuffle" -- a cover of Bob & Earl's 1964 hit featuring soul legend Bobby Womack on backing vocals -- is released in March and hits the Top 20. The Dirty Work album follows and is dedicated to Ian Stewart. It closes with one of Keith's most moving ballads, "Sleep Tonight." Again there is no tour although Charlie takes the big band across the States later that year and repeats the exercise during lulls in the Stones' schedule from then on.


Keith records his first solo album for Virgin Records at Montreal's Le Studio. Taylor Hackford's Chuck Berry tribute, Hail! Hail! Rock'N'Roll, opens in October. Keith is the musical director of the movie, which features performances by Chuck Berry, Eric Clapton, Etta James, Julian Lennon, Robert Cray and Richards himself.


Mick releases his second solo album, Primitive Cool, and enjoys an hugely successful tour of Japan and Australia. In September, Keith's debut album, Talk Is Cheap, is released. He follows this with a three-week sold-out tour of the U.S. with his back-up band, the X-Pensive Winos. "Take It So Hard" is the first single and video released.

On October 16th, Keith, whose house in Jamaica suffered hurricane damage, guests at the "Smile Jamaica" hurricane relief benefit concert at the Dominion Theater, London. He plays two songs with U2-- "Love Rescue Me" and "When Love Comes To Town."


At the start of the year, the Rolling Stones are inducted into the Rock and Roll Hall Of Fame. Mick, Keith, Ron and Mick Taylor are present at the ceremony held at the Waldorf-Astoria in New York. The absence of Wyman and presence of Taylor sparks rumors that the Stones will tour with Taylor replacing Wyman, and Ron Wood will move to the bass. Pete Townshend helps induct the Stones, telling them in his speech, "Guys, whatever you do, don't try to grow old gracefully. It wouldn't suit you." Mick replies in his own speech: "After a lifetime of bad behavior, it's slightly ironic that tonight you see us on our best behavior." Mick, Keith, Ronnie, and Mick Taylor join the now-expected all-star jam session, during which Mick duets with Tina Turner on "Honky Tonk Women," and with Little Richard on "Can't Turn You Loose" and "Bony Moronie." He then brings down the house with "Start Me Up."

Keith releases his second video "Make No Mistake," directed by Paula Grief, from Talk Is Cheap in March. In May, he is presented with the "Living Legend Award" at the International Rock Awards.

Earlier, Mick and Keith meet at Eddy Grant's studio in Barbados to see if they can still write songs together. Before the meeting, there's speculation as to whether the two can still remain in the same room. Two months later, they have 12 new tunes ready, plus the usual welter of unfinished ideas. Working like they did on the classic albums of the '60's and '70's -- from the groundfloor and building -- they come out with a string of gems, which are then honed and bashed into shape by the whole group at George Martin's AIR Studios in Montserrat with Chris Kimsey co-producing. The band whack everything down live in five weeks, with mixing to follow in London.

In July, the Rolling Stones hold a press conference at New York's Grand Central Station to announce their forthcoming Steel Wheels tour and album. Mick holds up a ghetto blaster and plays the new "Mixed Emotions" single to the assembled world media. It's released in August and puts the group back onto the world's charts.

Steel Wheels is a Stones classic. A complete album of new stuff, as opposed to touched up old demos like much of the late-'70's and '80's output. The sound is raw and bristling on tracks like the first single, "Mixed Emotions," but the album also proves the band can still deliver gorgeous ballads like "Almost Hear You Sigh," or Keith's lovely "Slippin' Away."

While the album is generally acclaimed as the group's best in years, the group make it a double whammy with the awesome scope and spectacle of the "Steel Wheels" tour. The stage set is the biggest ever, a surreal post-nuclear nightmare factory, all girders, funnels and catwalks bathed in ferocious lighting and walls of fire and smoke. The set straddles the Stones' entire career in over two hours with every song a piece-de-resistance -- from the giant inflatable "Honky Tonk Women" to Mick's materialization one hundred feet above the stage for "Sympathy." The group play like their lives depend on it, and also like they were having a total blast.

Starting in Philadelphia on August 30, the huge operation (a veritable mobile army) goes on to play around 70 gigs. In December, the U.S. leg ends up at the Atlantic City Convention Center for a radio-TV simulcast. Guests include John Lee Hooker, Axl Rose and Izzy Stradlin from Guns 'N Roses, and Eric Clapton.


In February, the Stones tour Japan for the first time with 10 sold-out shows at Tokyo's Korakuen Dome, playing to 50,000 a night. For Europe, Steel Wheels gives way to Urban Jungle -- partly because European stadiums aren't big enough for the huge set, partly because they just fancied a change of scenery. The new stage resembles a post-nuclear tropical ruin, with giant inflatable dogs appearing during "Street Fighting Man." It hits London's Wembley Stadium in July, then again in August at the end of the tour, with the resurrection of the Steel Wheels set. Over the past year, the Stones have played 115 shows to over six million people.


All five members of the band immerse themselves in solo projects. In November, at the London office of the Stones' financial advisor Rupert Loewenstein, Mick, Keith, Charlie, Ronnie are present for the signing of the Stones' deal with Virgin Records.


The Stones take the year off to recharge their batteries. Meanwhile Richards records and releases his second solo album, Main Offender, on Virgin. He tours Europe and then goes where no Stone has gone before -- Argentina, where the X-Pensive Winos play to a Buenos Aires crowd of 40,000.


The Stones celebrate the 30th anniversary of the release of their first single. During a live interview on the BBC's "London Tonight" news program in January, Bill Wyman finally makes it official: "I really don't want to do it anymore." Regarding his efforts to prevent Bill from quitting, Keith states: "I did everything but hold him at gunpoint." Also in January, Ronnie plays the first of four solo concerts in Japan, wrapping up on the 14th at Tokyo's Budokan. Meanwhile, Mick releases his third solo album, Wandering Spirit. The night of the release, Mick plays a private concert for 1,200 invited guests at New York's Webster Hall. Guests include Robert De Niro and Francis Ford Coppola. Mick performs 11 songs from his new album, then encores with the Stones' "Rip This Joint," "Live With Me," and "Have You Seen Your Mother, Baby (Standing In The Shadows)?" The tour ends with sell-out shows in Tokyo. Three days later in Seattle, Keith opens the U.S. leg of his Main Offender tour. Later in the year, Billy Joel ind
ucts Keith into the Songwriters' Hall of Fame.


After pre-production in Barbados, the Stones gather in Dublin, Ireland at Windmill Studios to start work on a new album. Their first under a new deal with Virgin, the band sees much of the back catalogue re-mastered on CD. Don Was is picked as co-producer of Voodoo Lounge alongside the Glimmer Twins. Was, who made his name with the surreal rock 'n' soul of Was Not Was, has recently produced Bonnie Raitt, the B-52's, Bob Dylan and Iggy Pop. Bassist Darryl Jones and keyboard player Chuck Leavell are called in to help out. Other guests include Ivan Neville, Bobby Womack, Bernard Fowler, Benmont Tench, Flaco Jimenez and Luis Jardim.

The results are staggering. As virtually all reviews have pointed out, Voodoo Lounge is peak Stones; a group firing on all cylinders. After the success of the Steel Wheels project, the Stones know they have nothing to prove and the new sound seems less self-conscious and more inventive than their recent work. It's the sound of a group getting together and raising the hell they know and love. Mick's singing is stronger and more expressive than usual, notably on the chilling anti-terrorism ballad "Blinded By Rainbows," and lascivious car song "Brand New Car," which is in the best tradition of double entendre blues. Like all Rolling Stones classic albums, each song is propelled by Keith's explosive guitar riffs and underpinned by Charlie's ferocious drumming.

The album and its accompanying tour is announced in New York -- this time after the group arrive via boat at Pier 60. The tour kicks off on August 1 at Washington. D.C.'s RFK Stadium, and plays the U.S., Canada, Japan, Mexico, South America and the Far East. As Bobby Keys, long time Stones sax player, once remarked in a choice moment during the 1971 outing: "Looks like rock 'n' roll is on the road again!"

And how! The Voodoo Lounge tour launches with a shower of praise from critics and fans alike. In between playing to sold-out shows in stadiums across the U.S., the Stones find time to pick up an MTV Lifetime Achievement Award, plus a Billboard Award for Artistic Excellence. The band also make history on November 10, when they become the first rock 'n' roll band to broadcast a concert live on the Internet. By the end of the year, sales of the Voodoo Lounge album pass the four million mark, and the North American leg of the tour is written into the record books as the most successful tour in history.


The year starts in Stones' usual breathless fashion -- this time because of the high altitude of Mexico City's Autodromo Stadium. A lack of oxygen was no problem throughout the South American leg of the tour. Having never played South America as a band before, the Stones are greeted with a fever-pitch hysteria that's overwhelming, even by Latin standards. In Argentina, they are mobbed wherever they go and are kept awake by 5:00 a.m. reprises of the chorus of "Wild Horses."

The band sweep through South Africa, a seven-night sell-out stand at the Tokyo Dome, and Australasia before embarking on the final leg of the tour in Europe on June 3 in Stockholm. In Montpellier, they are joined on stage by Bob Dylan for the aptly-titled "Like a Rolling Stone." The band later release their version of the song as a single. While on the road, the band find time to stop and record acoustic versions of classics like "Street Fighting Man," and more arcane numbers like "Spider and the Fly" and "I'm Free." These tracks make up the live acoustic album Stripped. The tour ends in Rotterdam on August 30 with the promise that this will definitely not be the last time.

While the release of Stripped is seen as a present-day celebration of past glories, the Stones end the year by re-enforcing their commitment to the future by making it enhanced with multimedia content. The band also launch their second official website (Stonesworld) and release their debut CD-ROM (Voodoo Lounge).


Even when not active, the Stones are everywhere, with music featured in Casino (released late in '95), Basquiat (in which Keith also has a song called "Nearness to You" recorded in 1980), and The Fan. Meanwhile, the band once again get involved in solo projects. Charlie Watts is the first to break cover with the release of his quintet's Long Ago & Far Away, which features classics from the likes of Cole Porter, Duke Ellington, Louis Armstrong and Hoagy Carmichael. At his home in Jamaica, Keith completes production work on an album which features traditional Rastafarian Bingi drums (to be released later this year).


The Stones continue to redefine rock music and themselves in the process. The ageless rockers begin recording the follow-up to Voodoo Lounge in a Los Angeles studio with executive producer Don Was and producer Kenneth "Babyface" Edmonds. The Dust Brothers (Beck, the Beastie Boys) take over behind the mixing board, with mixer/producer Danny Saber (who has re-mixed tracks for U2 and Garbage) and Was also producing a few songs each. Bridges To Babylon is released in the fall.


In November, the Stones chronicle their 1998 tour with the release of No Security, their third live album of the decade.

sábado, 29 de septiembre de 2007

Run Run Run - Velevet Undergound

Teenage mary said to uncle dave
I sold my soul, must be saved
Gonna take a walk down to union square
You never know who youre gonna find there

You gotta run, run, run, run, run
Take a drag or two
Run, run, run, run, run
Gypsy death and you
Tell you whatcha do

Marguerita passion had to get her fix
She wasnt well, she was getting sick
Went to sell her soul, she wasnt high
Didnt know, thinks she could buy it

And she would run, run, run, run, run
Take a drag or two
Run, run, run, run, run
Gypsy death and you
Tell you whatcha do

Seasick sarah had a golden nose
Hobnail boots wrapped around her toes
When she turned blue, all the angels screamed
They didnt know, they couldnt make the scene

She had to run, run, run, run, run
Take a drag or two
Run, run, run, run, run
Gypsy death and you
Tell you whatcha do

Beardless harry, what a waste
Couldnt even get a small-town taste
Rode the trolleys down to forty-seven
Figured he was good to get himself to heaven

cause he had to run, run, run, run, run
Take a drag or two
Run, run, run, run, run
Gypsy death and you
Tell you whatcha do

jueves, 27 de septiembre de 2007

Imagine - John Lennon


Imagine there's no heaven
It's easy if you try
No hell below us
Above us only sky
Imagine all the people
Living for today...
Imagine there's no countries
It isn't hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace...

You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will be as one

Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world...

You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will live as one


"No va a morir frente al Dakota,
no alcanzara,
dice que el amor se muere
y no dice mas."

Este quizá no sea nuestro heroe del whisky ke canta el Indio Solari, quizá no sea más que un simple hombre que se le antojo revolucionar la música. John Lennon merece un lugar en la memoria colectiva más haya del gusto que tengamos por su obra o por su estilo, la gente no tendría que morirse asesinada por enfermos psicopatas y menos los artistas que lo menos que le han hecho a la sociedad es daño.
Los hijos de puta siempre estaran sueltos y los pobres desgraciados que toman LSD y cantan que quieren estar en un submarino amarillo pueden morirse sin más a la salida de un Hotel.

No hay más que decir simplemente, gracias John.-

jueves, 20 de septiembre de 2007

Like a rolling stone? - Bob Dylan

Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn't you?
People'd call, say, "Beware doll, you're bound to fall"
You thought they were all kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging for your next meal.

How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone?

You've gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody has ever taught you how to live on the street
And now you find out you're gonna have to get used to it
You said you'd never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

You never turned around to see the frowns on the jugglers and the clowns
When they all come down and did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Princess on the steeple and all the pretty people
They're drinkin', thinkin' that they got it made
Exchanging all kinds of precious gifts and things
But you'd better lift your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can't refuse
When you got nothing, you got nothing to lose
You're invisible now, you got no secrets to conceal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

jueves, 23 de agosto de 2007

Molotov - Voto Latino

Voto Latino - Molotov ....

Voto Latino, Lyric:

“You start to run yeah
that figures out i pulled my triggers on you
brothekilla man.
I´ll kick
your ass yo mismo por supporting el racismo, blow your head hasta
la vista
por ser un vato racista.

Que sentirías si muere en tus brazos a brother who
got beaten up by macanazos asesinos yeah es lo que son es la única raza que
odio de corazón.

Voto Latino de entre las masas
voto latino para la
igualdad de razas.

Pinta tu madre patria de colores so you can´t tell
the difference entre los
Aquí en la banda estoy yo el americano los
tres mexicanos me tratan como un
Qué sentirías si cae junto a ti
una hermana que canto una "Rebel Melody"
asesinos yeah es lo que son la
única raza que odio de corazón.

Voto Latino de entre las masas
voto latino para la
igualdad de razas. x2.”

Ayer me dedique a escuchar a los Molotov por un largo rato, y mientras intercambiaba opiniones con mi partener auditivo (aka Carito ^_^), me convencia segundo a segundo y cada vez más de que estos mexicanos estaban en el camino correcto.

¿Dónde jugaran las niñas?

Ironico titulo haciendo la gracia a detractores de Mana pero con la suficiente onda como para que ni Mana se quejara de tal cosa.

1997 vera entre sus discos celebres del año el tan preciado primer disco de los Molotov, 3 mexicanos y un yankee haciendo las de hip hop alternativos rapers de la nueva era del Latin Rock.

De la mano de su Voto Latino como corte de difusión y a todo video en MTV©, los Molotov con letras que cantaban odio a casi todo y con especial hincapié en la televisión, los medios de comunicación y el estado. Empezaban con el pie derecho.

Es difícil encontrar discos de los que uno nunca se aburre, eso pasa con este ¿Dónde Jugaran las niñas? de Molotov. Un discazo para no dejar de escuchar jamás.

Lamentablemente los molotov quedaron un poco atrapados por el show business y la creatividad se estanco y salía a la calle el segundo disco lleno de mixes y con tan solo una nueva canción que era otra de las super criticas de los Molotov a la televisión Mexicana.

Con estas características en 1998 se lanzó a la calle el Molomix, un disco totalmente para el olvido de donde sobresale la versión por mas extraña y latina de ‘Bohemian Rhapsody’ el emblemático tema de Queen, canción que se incluye también en el disco hispano de tributo a la banda de Mercury.

La historia de los Molotov sigue viva y ellos siguen tocando, creo que todavía no encuentran el rumbo para volver a hacer un disco tan fantástico como el primero, pero sin dudas esta banda tiene mucho para ser escuchada.

Donde jugaran las niñas es uno de mis discos favoritos y creo que no voy a dejar de escucharlo nunca, Molotov ... bueno hace tiempo que no los escucho con mucha atención pero por ahí todavía tienen una parte de mi corazoncito.

¿Qué sentirías si cae junto a ti
una hermana que canto una
“Rebel Melody”?


The White Stripes - Part (III)

The White Stripes
Biografia - Cap III

Este ex matrimonio (aunque ellos siguen jugando bobamente con lo de si son hermanos o si dejan de serlo, habiéndose casado el 21 de septiembre de 1996 con los nombres de John Anthony Gillis y Meg Martha White) amante de los colores rojo y blanco es una de las grandes sensaciones dentro del rock de este comenzado siglo XXI, instituyendo su éxito en ejecutar con acritud, minimalismo y distorsión una diversidad de géneros (garage-rock, punk, blues, hard rock, folk, pop o country) y ascendencias (Led Zeppelin, Stooges, Pixies, Kinks, Blue Cheer, Troggs, Robert Johnson, Jon Spencer Blues Explosion, Jimi Hendrix o Black Sabbath) para crear discos estridentes, estimulantes por su empuje rítmico y su retorno a los sonidos clásicos del rock.

El dúo proviene de la ciudad de Detroit y está compuesto por el cantante, compositor, guitarrista y pianista Jack White (nacido el 9 de julio de 1975) y la batería Meg White (nacida el 10 de diciembre de 1974).
Tras casarse a finales del año 1996, la pareja formaría The White Stripes, un proyecto que le sirviría a Jack, que había pasado por una banda llamada The Goober and Peas y tocado con la banda garajera The Go, para grabar temas que recuperasen el brío rockero de las bandas de finales de los 60 y comienzos de los 70, ejemplificado en sus vibrantes interpretaciones en vivo.

En 1997 debutaron en disco con el single “Let’s shake hands”, un tema publicado en el sello Italian Records, en donde también publicarían su segundo sencillo, “Lafayette Blues”, aparecido en 1998.
Un año después ficharían por Sympathy for the Record Industry y gran “The Big Three Killed My Baby”, un tema en el cual se aprecia su ruidosa resonancia en base a su mezcla de sonidos blues, punk y rock, con voces impulsivas, una retumbante batería y una destemplada labor guitarrera, con reminiscencias de Led Zeppelin, Stooges o Troggs.

Este single sería incluido en su potente y sucio Lp debut, “The White Stripes” (1999), un disco en el cual se aprecia la variedad de registros vocales de Jack, con una mezcolanza entre Robert Plant, Iggy Pop, Ozzy Osbourne, Frank Black o Dave Davies, y su querencia por el blues desde una cruda perspectiva rock’n’roll con Led Zeppelin, Black Sabbath y el proto-punk y el garage-rock 60’s como principal referencia.
Incluyen temas propios de gran valía como “Cannon”, “Jimmy The Exploder”, “Do” o “Suzie Lee” y versiones de Robert Johnson (“Stop Breaking Down”) y Bob Dylan (“One more cup of coffee”).

Las constantes apuntadas en este primer disco se repetirían en los siguientes trabajos, como en “De Stijl” (2000), un gran trabajo en el cual pulen más las melodías, añadiendo a los nombres básicos de su sonido retazos de los Kinks en algunas piezas, sin perder su característica pujanza garajera y pasajes folk, hard rock, punk, country y blues, con temas en formato eléctrico y acústico.
Las huellas de Hendrix, Page o Plant se encuentran en estos riffs demoledores de guitarra, baterías primarias y enérgicas, letras básicas de acerba gradación y cierta propensión al absurdo con memorables temas como “You’re pretty good looking (for a girl)”, “Little Bird”, “Hello operador”, “Apple Blossom” o “Why can’t you be nicer to me?”. El amor por el blues de Jack White, además de en sus composiciones, se manifiesta en la versión de Son House “Death Setter”.

Tras la aparición de “De Stijl”, los White Stripes comenzaron a llamar la atención en los mass media, provocando un interés creciente entre los amantes del rock.

Este catálogo de música directa, fresca y sin complicaciones conquistaría definitivamente al público con “White Blood Cells” (2001), un disco también aparecido en el sello Sympathy for The Record Industry con el que acrecentaron sus seguidores especialmente en el Reino Unido, en donde por esa época eran más populares que en su propio país.
A pesar de oler el mainstream, la pareja, que se había divorciado en el año 2000, prosiguió su rumbo invariable en “White Blood Cells”, un Lp en el cual Jack desplegó su notable capacidad como compositor y su éxito crítico impulsó el interés de las grandes compañías estadounidenses en una oleada de bandas garajeras, que carecían de la diversidad conceptual de White y su fuerza instrumental en base a dos únicos componentes.

“Fell in love with a girl” se convirtería en un gran hit (número 12), estimulado por la emisión constante del videoclip por la MTV. Otros cortes destacados del álbum son “Dead leaves and the dirty ground” o la cínica “I’m finding harder to be gentleman”.
Para la grabación de “Elephant” (2003), Jake y Meg firmarían por un sello importante, V2, pero su aspereza y mixtura de estilos no cambiaría un ápice, escribiendo un sobresaliente disco sin concesiones comerciales que se iniciaba con “Seven Nation Army”, un estupendo single principiado con un sugestivo ritmo producido por un riff de guitarra que simula la apariencia sonora de un bajo.

Este disco está plagado de excelentes temas y letras ingeniosas, alternando baladas como “In the cold, cold night”, interpretada por Meg a lo Peggy Lee o “I want to be the boy to warm your mother’s heart”, pieza con piano y voz con un ligero feeling a lo Rod Stewart en su etapa Faces y “You’ve got her in your pocket”, ambas acústicas de buen trato melódico, y piezas de gran ímpetu y ritmos básicos como el blues-rock zeppeliano “Ball and biscuit”, la punk-rock “Girl you have no faith in medicine”, con un riff idéntico al de “Positive Bleeding” de Urge Overkill, la excelente “The air near my fingers”, un corte que podría ser firmado por los Troggs en los 60 (el riff tiene un aire al clásico “Wild Thing”), o “The hardest button to button”, canción de cierto cariz stoniano.

También tienen tiempo para componer “It’s true that we love one another”, un humorístico tema de sabor country interpretado por Jack y Meg junto la cantante Holly Gollightly e incluir una versión de un famoso tema de Burt Bacharach y Hal David, “I just don’t know what to do with myself”, adaptado con anterioridad por, entre otros, Dusty Springfield o Dionne Warwick.
El álbum alcanzó el puesto número 6 en el Billboard, confirmando la presencia del dúo en el estrellato rockero del momento.

Jack, al margen de su faceta como músico, ha hecho sus pinitos como actor en la película de Anthony Minghella “Cold Mountain” (2003).

En el año 2004 produjo, compuso y tocó en el disco de la artista country "Van Lear Rose" (2004).

Posteriormente con los White Stripes grabaría "Get behind me Satan" (2005) e "Icky Thump" (2007).

Jack White contrajo matrimonio en secreto con la modelo británico Karen Elson, mujer que aparece en el videoclip de "Blue Orchid".

Al margen de los White Stripes, Jack White creó una banda junto a Brendan Benson denominada Racounters, en la cual también se encuentran el bajista Jack Lawrence y el batería Patrick Keller.


martes, 21 de agosto de 2007

The White Stripes - Part (II)

The White Stripes

Cápitulo II

Let’s Shake Hands

“Oh, let's shake hands
Oh, baby, let's shake hands
Well, there's something here in the air
Jump up and let me know when you're there
Baby, let's shake hands

Oh, let's be friends
Oh, baby let's be friends
I can't come up with a better plan
Put your fingers in my hand
Baby let's be friends

Oh, say my name
Oh, baby say my name
Well, you can do what you want to do
Throw it in the garbage can
But just say my name

Con esta canción es que el dúo comenzó su carrera. ‘Let’s Shake Hands’ es el primer corte de difusión de los White Stripes. Este sencillo salió a la calle en 1997 editado por Italian Records sello con el que publicaran su segundo sencillo en el 98 llamado ‘Lafayette Blues’

En mi visión particular The White Stripes es la mejor banda de los ultimos diez años, en particular no sabia que estos fueron sus primeros temas cuando los escuche y realmente ‘Let’s Shake Hands’ es una canción con muchísima fuerza, con una guitarra bien de garage que es sin duda alguna uno de los fuertes en el sonido de los Stripes.

Estas dos canciones las podemos encontrar en el “The White Stripes B-Side Collection” disco que todavía no me queda muy clara su clandestinidad o su legitimidad ya que este no figura en la web oficial de la banda, pero que circula por internet desde hace un tiempo y que recoge varios de los temas que nunca fueron grabados en los LPs. Es interesante de escuchar para los fanáticos.

Let’s Shake Hands :)

domingo, 19 de agosto de 2007

The White Stripes - Part (I)

The White Stripes...

Me era dificil empezar un blog en el que hablaría de música pensé como evitar y eludir muchos sentimientos personales y tratar de dar una opinión más o menos sería de lo que pensaba de algunas bandas y lógicamente empecé por donde me fue más fácil, aquellas bandas geniales las mejores, las que lógicamente se fueron metiendo en la historia grande del Rock & Roll. Todo esto tratando de evitar compararlas con lo que actualmente suena en mi winamp, lo que yo mismo me paso horas y horas escuchando una y otra vez.

Algún día en algun momento iba a tener que hablar de los Stripes, primero porque son geniales, segundo porque son famosos, tercero porque estan sonando ahora mismo en el mundo, cuarto porque me encantan. Como hablar de los Stripes y ser objetivo es algo que no me sale, voy a hablar de los muchachos del rojo, negro y blanco como me salga.

Seven Nation Army

"I'm gonna fight 'em off
A seven nation army couldn't hold me back
They're gonna rip it off
Taking their time right behind my back
And I'm talking to myself at night
Because I can't forget
Back and forth through my mind
Behind a cigarette
And the message coming from my eyes
Says leave it alone

Don't want to hear about it
Every single one's got a story to tell
Everyone knows about it
From the Queen of England to the hounds of hell
And if I catch it coming back my way
I'm gonna serve it to you
And that ain't what you want to hear,
But that's what I'll do
And the feeling coming from my bones
Says find a home

I'm going to Wichita
Far from this opera for evermore
I'm gonna work the straw
Make the sweat drip out of every pore
And I'm bleeding, and I'm bleeding, and I'm bleeding
Right before the lord
All the words are gonna bleed from me
And I will think no more
And the stains coming from my blood
Tell me go back home"

Sin lugar a dudas todos conocemos esta canción de memoria, si escuchamos la radio alguna vez la tuvimos que oir, si nos gusta el rock alguna vez la bajamos, si nos gustan los White Stripes alguna vez la escuchamos acompañada de todo el disco.

Seven Nation Army, por ahí lei varias interpretaciones para esta canción, de las más variadas visiones hasta las mas delirantes. Una canción que parece hablar de todo según los fanáticos de Jack y Meg White, una canción que habla de drogas, de la reina, de las fuerzas inglesas, del imperialismo, de la devastación en fin miles de lecturas para un simple tema que hable de lo que hable es fantástico.

La canción es raramente simple, es muy simple no hay muchos brillos en la maravillosas manos de Jack White, una melodía si así me dejan llamarla por de más facil de tocar en las manos de tan habil guitarrista. La canción sin maravillas logro capturar algo que es para mi la fuente del sonido adrenalinico. La mera repetición de las mismas notas tocadas en distintos lugares de la guitarra, tocados de distinta forma acopañado por una distorsión muy medida para poder sonar siempre igual y muy distinta.

Este tema que fue la primera pista de su cuarto disco “Elephant”, hasta ese entonces los Stripes eran una banda que prometía y de la que se esperaba bastante. Con “Elephant” y su ‘Seven Nation Army’ llegaron al top de los charts y a la difusión hyper masiva de su música. Llegando al primer lugar en el reino unido y al sexto en el mercado americano.

Esta canción es la escencia de The White Stripes y como tal va a ser el tema ‘himno’ que los acompañara hasta el fin, aunque no lo toquen en todos sus recitales motivo que ha generado critica por algunos de sus fans pero que demuestra que The White Stripes tiene un compromiso con su creación en conjunto y que no van a tocar el mismo single toda su vida por mas que le deban toda su fama a tal composición.

Video Seven Nation Army – The White Stripes

Blanco? Negro? Rojo?

Stripes o/