Non è kitsch, non è obsoleta, non è un vezzo: è il momento di rivalutare la chitarra synth | Rolling Stone Italia

Andy Summers - Roland GR-300 Guitar Synthesizer Demo with Jools Holland - G-808

Today's theme (somewhat serious, challenging, and "heavy," thus perfect for the context):

"I don't think the synthesizer is really an instrument," said a great Irish guitarist.
But what happens when the guitar and the synthesizer are one single instrument?

Join the discussion.
Ingrandisci questa immagine

Rick Astley - Never Gonna Give You Up

With a polite smile of a good boy and an impeccable "blue eyed soul" voice, Rick Astley was one of the thoroughbreds of that (yet another) British Invasion of the late '80s, with Duran and Spandau in slight but constant decline and a need for new names at the top of the charts.
A talent as a child prodigy with all the right cards to break through, with his first album, Rick - the back cover notes literally state - "he achieved what most people can only dream of."
A parade of killer singles one after another (but two above all: 'Never Gonna Give You Up' and 'Together Forever'), topping charts all over Europe, enthusiastic reviews: we found the Tom Jones, if not the Sinatra (yes indeed: they were aiming high) of the '80s.
The singer of the future.
But the future didn't exactly unfold that way.
The '80s are the '80s, and you don't come out alive. And it's hard to replicate such massive success.
Moreover, Rick, the boy from Northern England (specifically, from a town famous for a locomotive factory), doesn't want to play the part of a disposable pop star.
Like his colleague Nick Kamen, he makes an album - "Free," eloquent from its title - in which he distances himself from the frivolous disco of his early days in search of a more authentic and truly soulful style. Elton John and his idol Michael McDonald participate, but sales are lower. Slightly, at least for the moment.
However, the subsequent commercial flop of '93 heralds a very long absence from the scene. Rick Astley remains relegated to the '80s, the phenomenon of that era and nothing more. They don't call him anymore, and when they do, it's only for revival TV shows.
Yet he has many fans in the music business. Even surprising ones. One is Dave Grohl, who wants him on stage with the Foo Fighters. It's the beginning of a resurgence.
And thanks to his entry into a meme, the video for 'Never Gonna Give You Up' becomes viral even among millennials. It is still speeding towards a billion views, a milestone only within reach of today's pop stars.

Is Rick Astley back? After all, he never really left.
Odd Couple - Yada Yada (Official Video)

Beautiful German things

(beautiful... sort of)
El General - Te Ves Buena

Just as Bush senior was commanding the deposition of Pineapple Face-Noriega, Edgardo Armando Franco, better known as El General, was taking his first (dance) steps in Panama.
The decorated Panamanian, who had nothing to do with Noriega and had studied management in the USA, began in the early '90s to experiment with his personal fusion of Spanish reggae, dancehall, and hip hop.
Something for which there was still no name, since hardly anyone was talking about reggaeton yet. And certainly not far from San Juan.
But the General arrives on his own, seemingly without predecessors and without ties to the Puerto Rican scene. Except, of course, for those Spanish reggae singers who had been crossing through the isthmus since the '70s.
The rhythm is what we all know by now, but imagine how something like this might have sounded (between '90 and '91 or so). Three minutes of pure tunz-ta-tunz to sing to a "mami" shaped like a Coca-Cola bottle.
Cola included (for the cocaine, one only had to look around).
Overwhelming success and a cascade of platinum records, until his sudden and irreversible retirement to become a Jehovah's Witness.
From which comes the saying, famous in Panama: "if a Jehovah's Witness knocks at your door, be careful, because it could be the inventor of reggaeton."

But don’t tell Puerto Rico.
Erika Vikman - Cicciolina (Lyric Video) // UMK20

From Finland, the tribute to the most famous Hungarian in Italy.
Rave On Van Morrison #RaveOnVanMorrison

A veil of pitying embarrassment cloaks some recent outbursts from the man from Belfast. A veil that I will not remove. Instead, I opt to highlight 'Rave On Van Morrison', an initiative by the Irish magazine Hot Press, to celebrate (as well as could be done given the circumstances) the 75th birthday of Sir Van. Over 80 Irish artists—sacred monsters, established names, and various emerging talents—pay tribute, each with a cover. Mostly, home recordings from lockdown (irony intended). Many versions succeed, others less so. But what I like is that all phases of his career are represented. For a Hozier and a Damien Rice choosing 'Moondance', we have a Moya Brennan interpreting a piece from 2002 with her harp, and a Bob Geldof never so bucolic Bob Geldof – I'm Tired Joey Boy (Van Morrison Cover) #RaveOnVanMorrison amidst the landscapes of 'Avalon Sunset'. The interpretation of the instrumental 'Scandinavia' from 'Beautiful Vision', by the folk group Beoga, is remarkable. The reappearances of Leslie Dowdall from In Tua Nua, a band from the '80s that some may remember, and especially Shuhada' Davitt alias Sinéad O'Connor, are surprising. She chooses 'Veedon Fleece' Sinead O'Connor – Who Was That Masked Man (Van Morrison Cover) #RaveOnVanMorrison

The recited part of 'Rave On John Donne' is entrusted to the President of the Republic of Ireland himself.

Of course, among the songs, 'Born To Be Free' is absent, a personal perspective on restrictions and masks, released on September 25 on Spotify. But I would say we can come to terms with that.
Oasis - Don't Look Back In Anger (Official HD Remastered Video)

"Without me, today he would still be ironing underwear."
A brother said this about the other brother, but guess which one.

The fact is, it’s been 25 years since the album that you know by name, even though it seems like yesterday.
And even though the single in question was the hit of spring '96, when everyone (absolutely everyone, even those who hadn't noticed before) got acquainted with these faces.

Was it really a "generational" album? Did it really make its mark in the history of Music - and if so, in what way and to what extent exactly?
Were they perhaps the greatest of the '90s and beyond? (excluding four from Liverpool - if we must)
Did you love them, did you like them or was it instinctive and uncontrollable hatred at the mere sound of the cough between Roll With It and Wonderwall?
And more importantly: without this album (and the merits that one of the two brothers - but guess which one - attributes only to himself), would they really be ironing underwear in 2020?

Contextualize, but only if you think it’s necessary.
Ein Kessel Buntes, Friedrichstadtpalast Berlin, 27.09.1975 (Karel Gott, The Rubettes, Peter Albert)

Ein Kessel Buntes ("A Cauldron of Colors") was a sort of Top of the Pops in the GDR. But it aired much less frequently: just six episodes a year, featuring the crème de la crème of German and international artists. Obviously, only those who WERE DOING WELL. It was nonetheless a top-notch show, so much so that even West Germans (who could receive the signal) watched it, despite having Musikladen.

In this East Berlin show from '75 we have: at minute 1, the Czechoslovak nightingale Karel Gott, at minute 20 the Polish trio 2 + 1 (Dwa plus jeden) with their folk-pop still appreciated in the West, at minute 45 the little Norwegian singer and trumpeter Eivind Løberg, at minute 58 the schlager of Erfurt's idol Peter Albert, at 1 hour and 12 more bucolic folk with the duo Sandra Mo & Jan Gregor (the Sonny & Cher of Dresden), at 1 hour and 22 finally the rock moment with the (still harmless and super-sweet) Rubettes, at 1 hour and 45 Karel Gott returns for an encore to cheers, at 1 hour and 49 a trio of divas from the ČSSR (Jitka Zelenková, Vlasta Kahovcová & Jarmila Gerlová), at 1 hour and 52 Karel Gott, who you must have understood was quite appreciated, for the third time.

In between: sketches, folk dances, and - I note - dancers doing tricks with hats at 1 hour and 08.
Kid Blue - Louise Goffin
Oh My God (feat. Van Dyke Parks)

Chapter DAUGHTERS OF-.
There’s no need to specify whose daughter she is, both by surname and because she is the spitting image of her mother.
She resembles her in voice as well, and in her debut album (recorded as a teenager), there was some effort to emphasize this resemblance.
As much as possible, because that album was actually closer to certain AOR than to her mother's "classic" style.
The production and the involvement of certain names (Steve Lukather, David Paich, Mike Porcaro) speak for themselves. But it was a nice album for a nineteen-year-old who, with the right - inevitable - connections, should have made a certain career.
However, I later deduced that she likely didn’t care about becoming the new Pat Benatar or the new Stevie Nicks of the '80s, and I would say: fortunately.
So, few (relatively) albums in over forty years of activity, always away from the limelight, a few appearances opening for her mother’s concerts, zero opportunistic maneuvers to live off past glories.
Until the latest album, self-produced and self-promoted through her Facebook page, with a cover that is an old drawing by a certain Joni Mitchell, a family friend.
Among others, a piece orchestrated by a certain Van Dyke Parks, also a family friend, who doesn’t even have a Facebook page.
Ingrandisci questa immagine

Not to brag about owning it, mind you...
After all, it's an album that is far from rare. If you search for it, you'll find it, and you might even come across it without looking.
It is indeed particular, though, and not just because it's a soundtrack.
I’d say it's a bit underrated. It was unfortunate enough to be released between Night and Day and Body and Soul.
How much I've appreciated it, you can infer from the condition of the cover. I'm just sorry I've never seen the film (with Debra Winger).
For which - what a pity - it seems they only used a minimal part of Joe's music, replacing it with some anonymous theme by John Barry.
It needs to be listened to because it’s a work in full Joe style (the Moonlight theme is beautiful, vaguely derived from A Slow Song but I don’t see that as a flaw; Cosmopolitan has great energy; and eleven minutes of Latin instrumental that would make quite an impression even on a fusion record).
He plays the sax, but that's the most obvious detail.
THAI 80S CITY POP COMPILATION VOL.1
THAI 80S CITY POP COMPILATION VOL.2

The years between 2523 and 2532 were extraordinary for Siamese music.
Zero distorted guitars, zero roughness, zero psychedelic rock and similar stuff.
Just the softest, smoothest, and luxuriously packaged CITY POP.
Socrates - Phos* 1976 (full album)

Originally (and also later, but only on special occasions), they were called Socrates Drank the Conium, "Socrates drank the hemlock." However, since a considerable amount of literature had already been produced about the death of the Athenian, and not to mention that it wasn't exactly the most agile name for a band, they chose to shorten it (even on the covers) to Socrates. Synthesis is always important.
They entered history - and the English charts, where they lingered for a couple of weeks - with the album Phos (Light) in 1976. It was produced by Evangelos Papathanassiou, whose (omni)presence on the record goes far beyond the role of "special guest" and co-writer ascribed to him.
Under Papathanassiou's artistic direction, the muscular blues rock of the band - dominated by the Hendrixian riffs of Piraeus guitar hero Yannis "John" Spathas - allows for airy and evocative ambient/progressive openings highlighted by celestial synth textures (the majestic coda of 'Every Dream Comes To An End'), as well as complex folk frameworks of Hellenic and/or British flavor, particularly paying homage to Gentle Giant ("Time of Pain") and inevitable yet valuable nods to the pop of Aphrodite's Child ("A Day in Heaven").
A radiant testimony of the potential of Greek rock, less prolific than that of the nameless Anatolian counterparts but certainly no less inspired, and a way to remember Yannis Spathas, who passed away in 2019.
Ragazzo dell'Europa

Of course... heartbreaking piece, how could it not be, on par with Pagani's violin and mandolin.
But we, who split hairs, don't really care about that, at least not as a priority.
What matters to us first and foremost are the studio backstories, like the one about the drummer.
Gianna wasn’t having it - and she made that known to Annie Lennox, who was also present at the sessions.
But what kind of drummer is this? He looks like an accountant, plays stiffly - assuming he really knows how to play.
You need someone more muscular, Annie Lennox seemed to say, someone truly rock'n'roll.
So Gianna goes to the producer: a "certain" Conny Plank, German... he had brought the musicians.
Is there any chance we could change this drummer?
Conny Plank didn’t say anything but shot her a very nasty look. The thought of replacing the drummer didn’t cross his mind.
The drummer was also German, his name was Jaki Liebezeit.
Promo Rai 3 Soap Opera "Un Posto Al Sole" Prima Tv (1998)

Stories that take your breath away.

#moments
Spot Lunar BIVIO Gioielli 30' - Barbara Chiappini

A name can be enough - if the name is Barbara Chiappini.

#momenti
Che fine hanno fatto i protagonisti di 'Pappa e Ciccia'?

WHO hasn't asked themselves the same question? (over all these years)

#moments
José José - Gavilan O Paloma
gavilan o paloma pablo abraira djrally73

2019 was a tragic year for melodic Spanish songs. Indeed, just twenty days apart, we lost Camilo Sesto (ubiquitous in the jukeboxes of the '70s and a key figure in the Iberian version of Jesus Christ Superstar) and the Mexican José José.
Defined 'El Príncipe de la Canción' par excellence, José José was for a long time the world's leading interpreter of ballads and boleros. Naturally, they were sentimental in nature, with that tragic/pathetic vein that all connoisseurs of the genre still attribute to him.
'Gavilán o Paloma,' a composition by the Spaniard Pérez-Botija, is one of his timeless hits. A film of the same name was even made around the song in 1985. The protagonist was none other than José José himself—already a victim of alcoholism and other health troubles that, at the dawn of the new millennium, would leave him voiceless.
In Spain, however, the version that all those over fifty know by heart is not José José's but Pablo Abraira's. The song is not as well-known here, except for an Italian version by Julio Iglesias titled 'Amico,' from the album 'Sono un pirata sono un signore.'
The song tells of how, at the end of a 'noche de copas,' the predatory male is fatally ensnared by a mysterious (and lonely) woman who has enchanted him with her gaze. The adventure is inevitable.
However, at the first contact with the seductress, the male senses something unusual. Something unexpected comes between him and the object of his desire.
The warmth of the encounter suddenly turns to ice.
"Upon looking closely at you, I felt betrayed. Your appearance had deceived me."
And the predatory male, convinced that he was the hawk and she the dove, realized that the roles had reversed.

Julio could never have sung such a text. The lyrics of 'Amico,' in fact, have nothing to do with the original: the birds, hawks, and doves are gone, leaving behind a very simplistic love triangle, a given passing, and a cuckolded friend to whom Julio (repentant) turns in the heartfelt refrain.

..."for what I've done to you, I feel like a rag..."

But for once, we can say, the Number One was not Julio.
Sbaglia a leggere i risultati del calcio

The (real) beauty would have arrived on Vicenza-Bologna.

#momenti
I BTS raggiungono i Beatles: hanno venduto più di un milione di copie nella prima metà del 2020 - Radio 105

The theme of the day (that I would like to propose) is some recent news. It has been widely discussed in recent months, and this possibility was anticipated, but now it’s official: the BTS equal the Beatles. The last remaining records fall as the numbers that formed the History of Music are being shattered. The point is not whether the BTS are currently the biggest band in the world. Restating that would be redundant. The question is: will the BTS be satisfied with having matched the Beatles, or will they aim for the surpass, establishing further records and becoming, at that point, the greatest of all time without any doubt? That is the topic.

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