The Unthanks - Mount the Air

 

The Unthanks - Mount the Air

 

O SUB-NINGUÉM

 Anarquista inveterado, com o intelecto totalmente impermeável a fluidos contaminados pela idiotice reinante em mentes ditas capazes.
 Nem ouro nem prata ostento, brilhante nem diamante apresento, pois valores sobre a “casca” refletem pobreza na alma.
Porém: Quando bebo é Moet & Chandon
               Quando fumo é puro Havana
                Quando leio é Etcetera; Platão;  Roussel e Sócrates.
               Quando medito descubro minha real posição psicossocial, a qual tenho toda segurança em atestar: digamos que na linha do horizonte (reta; plana; uniforme; inflexível e banal), estejam os ditos “normais”; eu, reconhecidamente, ali não estou. No julgamento de comuns, em alguns posicionamentos estou abaixo da linha, em outros me colocam acima da linha; pra mim, isso é insignificante, me conforta mesmo é ter certeza de que na linha não estou, pois assim, fico fora do conjunto de humanos; usando o crachá de normal; que tantas insanidades cometem cotidianamente.
 Atesto ainda, sem nenhuma finalidade, comportamentos meus tão naturais que atingem as raias da contumácia: caráter elevado; conduta ética sempre; devoção ardorosa à Santa Rita de Sampa.

                                                                           Cid Lobo

 

*** 

 01. Mount The Air [10:34]
02. Madam [4:55]
03. Died For Love [3:49]
04. Flutter [3:38]
05. Magpie [5:07]
06. Foundling [10:52]
07. Last Lullaby [5:57]
08. Hawthorn [4:23]
09. For Dad [4:41]
10. The Poor Stranger [4:05]
11 Waiting [3:00]

 ***

Judee Still - Abracadabra

Judee Sill - Abracadabra

 Após sua morte, na mais completa obscuridade,  ganhou em sua biografia a seguinte qualificação:  "a former prostitute and reformed junkie" (ex-prostituta e viciada)  e há quem considere que deveria ser acrescentado: "drug dealer" (traficante). Sendo assim, acrecente-se também: ex-presidiária.

 Cantora de voz angelical admiradora de J.S.Bach, em quem se inspirava, profundamente mística, acompanhava-se geralmente, apenas por sua guitarra acústica, Sill usava sua música como forma de elevação transcendental no despertar da consciência Crística.

   Leia matéria completa sobre Judee Still   

          

01. Crayon Angels
02. The Phantom Cowboy
03. The Archetypal Man
04. The Lamb Ran Away with The Crown
05. Lady-O
06. Jesus was a Crossmaker
07. Ridge Rider
08. My Man on Love
09. Lopin’ Thru The Cosmos
10. Enchanted Sky Machines
11. Abracadabra  

Judee Sill (1944 – 1979) was one of the most interesting American singer-songwriters of the 1970s, though she released only two albums and then disappeared from the music scene. She was a very talented, spiritual woman with a tragic life. A junkie and hooker, Sill wrote gentle, divine songs inspired musically by J. S. Bach and lyrically by mystic literature, especially by the idea of Jesus as a longed-for lover. Often accompanying her clear voice with just her acoustic guitar, Sill made music that seemed more suited to a small chapel than onstage at a club. As Jim O'Rourke put it: "Her songs were simultaneously personal and incredibly grand. If people sang this stuff in church a lot of us might still be there."
On the day after Thanksgiving 1979, Judee Sill, a 35-year-old singer-songwriter, deeply depressed and physically broken, took an overdose of opiates and cocaine in her North Hollywood apartment. The Los Angeles coroner ruled Sill's death a suicide, but those who knew her better have contended that the "note" found near her body -- a meditation on rapture, the hereafter and the innate mystery of life -- may just have been part of a diary entry or, perhaps, another one of her haunted, haunting songs beginning to take shape.
When Sill died, both of her albums for Asylum Records -- Judee Sill (1971) and Heart Food (1973) -- were long out of print; eight tracks recorded in 1974 for a third album had never been finished. Such was the obscurity to which Sill had fallen in 1979 that no obituary was published, and a number of her friends never knew what happened to her until many years had passed. Tom King's The Operator, a 650-page biography of David Geffen, who founded Asylum and signed Sill as the first artist to record on his new label, devotes only one sentence to her, calling her "a former prostitute and reformed junkie."
King might have added "stick-up artist," "drug dealer" and "street hustler" to his capsule biography, for Sill led a troubled and unsettled life. And yet, as a two-CD reissue from Rhino Records U.K., titled Abracadabra: The Asylum Years, makes clear, she was also an artist of extraordinary gifts, one whose best songs are suffused with a radiant, prayerful and excruciatingly tender innocence, all the more affecting because it must have been so hard-won.
The immediate temptation is to classify her with some of her more famous contemporaries -- Joni Mitchell, Laura Nyro and Carole King -- and, indeed, the similarities are there. Yet Sill's body of work is both more limited and more perfect. Virtually all of her songs are intensely devotional; along with J.S. Bach and Mahalia Jackson (two of her acknowledged influences), Sill believed that the purpose of music was the glorification of God. Instead of sharply etched social vignettes or cosmopolitan evocations of modern life and love, she wrote her own sort of hymns -- guileless, urgent, naked, absolutely personal.
Sill's lyrics might be described as high hippie Christian, cries of "Kyrie eleison!" ("Lord, have mercy") melding with references to angels and astral planes. According to Michele Kort, the author of Rhino's excellent liner notes, Sill insisted she wrote "country-cult-baroque -- country for the pedal-steel guitar, clip-clop Western beats and the twang in her voice; cult for the esoteric nature of her concerns and her small-but-fervent audience; and baroque for the Bach-like melodies she favored."
She was born on October 7, 1944, in Studio City, California, which is in the northern part of the San Fernando Valley area of Los Angeles. When she was still very young, the family moved to Oakland, where her father owned and operated a tavern called Bud's Bar. "That's where I started playing piano and found out I could harmonize with myself," Sill told Rolling Stone in 1972. "But even back then I knew something was wrong, that I was missing out on having a normal life. It was so seedy in the bar, you know -- people were always fighting and puking, there was illegal gambling, and my parents drank a lot."
Her father was also an importer of rare animals, mainly reptiles. Judee remembered him as a dashing, "Indiana Jones" kind of guy. He took his family on extended collecting expeditions into Mexico and South America. Judee adored him. When she was about 9 years old he suddenly died of a heart attack. Her mother soon remarried, this time to Kenneth Muse, an award-winning animator for Tom & Jerry, so the family moved back to LA. Judee saw her mother as a traitor and hated Muse from the start: she called him "mean, dumb, narrow-minded -- he used to beat dogs."
In high school Judee was part of a clique of wealthy, rebellious teens, who thought of themselves as "hip and cool". At 15 she succumbed to the charms of an older man who happened to be an armed robber. "I saw a lot of terrible injustice all around me, so I fell in with a bunch of hoodlums to express myself poetically." Together this Bonnie and Clyde of the Valley held up gas stations and liquor stores, stick-ups that got him a jail sentence and Sill nine months in a girls' reform school where she learnt to play the church organ.
Enrolling in 1963 at San Fernando Valley Junior College, where she majored in art, Sill played piano in the orchestra, but after the summer of 1964 she flunked out of college. Orphaned when Oneta Muse died of cancer in the early winter of 1965, she was now alone in the world -- her only brother was killed in a car crash soon after her father's death. She began to dabble with heroin, which she called "the black peace" as opposed to "the white peace", cocaine, in the company of keyboard player and her future husband and producer Bob Harris.
Arrested for forging cheques, Sill spent some time in jail. While there, she began writing songs, one of which -- "Dead Time Bummer Blues" -- was recorded by LA garage band The Leaves.
At the end of the '60s, Sill was performing herself in local dives while studiously writing songs. When Jim Pons left The Leaves and joined The Turtles, he continued to champion Sill: their final single in 1969 was a wondrous version of her "Lady-O", on which she played guitar. At that point, Geffen -- who was already managing Nyro, Mitchell, Jackson Browne and Crosby, Stills and Nash -- spotted her playing sets at various Hollywood clubs and offered Sill the chance to make her own album on his newly founded Asylum Records, the label that would epitomize mellow West Coast rock.
Judee Sill, an album of 11 original songs, was issued in 1971. Its immediate impact came from the purity of her voice, oblique lyricism and bewitching, hymn-like songs. Well-received, the album still wound up marginalized, despite the Graham Nash-produced "Jesus Was a Cross Maker" being heavily promoted.
Heart Food, which appeared two years later, had the same lyrical deviance but more stunning musicality, swathed in expansive Bach-like arrangements and exquisite vocal harmonies. Closing song "The Donor" grew into an epic choral requiem intoning "Kyrie Eleison". It's as if Sill was writing her own epitaph.
Heart Food suffered poor sales and diminished critical response. Sill's lyrics, displaying a deep philosophical core that reflected her fascination with theosophy (she had a complete collection of Blavatsky works), alchemy and obscure literature, failed to engage people. She wasn't kidding, telling NME in 1971 that her influences were "Bach, Pythagoras and Ray Charles."
On the sleeve of her first album Judee wrote "David Geffen, I love you", but by the release of Heart Food her feelings towards him had changed. By now, Sill was feuding with the mogul, who dropped her from his label after her second album sold wretchedly. (Some say her career ended due to a falling out with Geffen over her alleged outing of him.) The eight further songs she worked on recording during 1974 were never finished and would be released only in 2005 on a two CD compilation Dreams Come True, mixed by the versatile musician-composer-producer and long-time Sill's aficionado Jim O'Rourke.
Sill was a complex poet and person. The minute she started singing she was transported into a heavenly world, but in mundane life she could be selfish, arrogant, sometimes wicked and full of vile jokes. Like her kindred spirit on Asylum, Laura Nyro, Sill was bisexual. She had a few female lovers, but she professed to disdain them: "I just have her around to clean my house" was a mocking comment. In fact, she had an emotional need for women, which became the dominant direction of her bisexuality as she entered her middle thirties.
By that time, a series of automobile accidents had destroyed her back. Surgery made things worse, and she spent her last years in chronic pain. Because she was a convicted drug user, doctors were reluctant to prescribe medication strong enough to ease her suffering, and so she scored again on the street. And then she took an overdose.
In 2006, Rhino U.K. released the definitive two-CD collection of Judee Sill’s two Asylum albums Judee Sill and Heart Food complete with outtakes and several live performances plus some previously unreleased recordings. Judee Sill features 10 additional tracks. These include "The Pearl" and "The Phoenix" which were left off the album to make way for the late addition recording of a new song, "Jesus Was a Cross Maker". The remaining seven tracks were recorded live at Boston Music Hall on October 3, 1971. They were recorded at the same time as recording the headline act of David Crosby and Graham Nash. Heart Food adds the previously unreleased outtake, "The Desperado", along with eight solo demos for the album itself.

Créditos:

"A Brief Life, an Enduring Musical Impression", by Tim Page, The Washington Post, December 2006
"The Lost Child", by Barney Hoskyns, The Observer, December 2004
"Spirited Away", by Mick Houghton, Uncut, April 2005

Over-Load - Projection

 Over-Load - Projection

Terminada a Santa Semana, estamos de volta com nossas (comportadas ) diabruras. Over-Load é rotulado de Psy Ambient, Dubstep, Experimental... Aqui vai para a recém criada Página: Música Pop, em defesa da tradicional Classic Rock. 
E Deus nos livre do Brasil.

Reality we see is only a projection, we cannot break shell of our own perception...

01.Fall Silently  02.Echoes  03.Coma  04.The Skyscraper Delusion  05.Titan in Shivering Sand 06.  Resident Evil 07.  Astral Flight 

"Todo homem e toda mulher é uma estrela".

" NÃO HÁ DEUS ALÉM DO HOMEM"

1- O homem tem o direito de viver pela sua própria lei
de viver da maneira que ele quiser;
de trabalhar como ele quiser;
de brincar como ele quiser;
de descansar como ele quiser;
de morrer quando e como ele quiser.
2- O homem tem o direito de comer o que ele quiser
de beber o que ele quiser;
de se abrigar onde quiser;
de se mover como queira na face da Terra.
3- O homem tem o direito de pensar o que ele quiser
de falar o que ele quiser;
de escrever o que ele quiser;
de desenhar, pintar, esculpir, gravar, moldar, construir como ele quiser;
de vestir-se como quiser.
4- O homem tem o direito de amar como ele quiser
"Pegai vosso quinhão e vontade de amor como vós quiserdes, quando, onde e com
quem quiserdes." (AL 1.51)
5- O homem tem o direito de matar aqueles que possam frustrar esses direitos
"Os escravos servirão." (AL 2.58)
"Amor é a lei, amor sob vontade." (AL 1.57).

"A Lei de Thelema não deve ser interpretada como uma licença para a realização de qualquer capricho individual, mas sim como uma missão divina de se encontrar sua verdadeira vontade, o propósito da vida de cada um, permitindo que todos possam percorrer seu autêntico caminho individual. A compreensão e aceitação da Lei de Thelema é o que define um thelemita, que tem na descoberta de sua verdadeira vontade sua maior motivação. O Liber Oz (CROWLEY, 2009) é um manifesto que resume os preceitos da Lei de Thelema e serve como declaração thelêmica dos direitos da humanidade no Novo Aeon."

Los Índios Tabajaras

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Los Índios Tabajaras

  "Los Indios Tabajaras was a guitar duo of two brothers from Ceará, in the Northeast of Brazil.

Free download

Their beginnings are not clear, though most stories have them becoming accomplished guitar players after finding a guitar near Ceará, Brazil. Playing in Rio de Janeiro, they found success as Natalicio and Antenor Lima - dressing in ceremonial Indian costumes. Using classical guitars and playing transcriptions of classical violin and piano works, they were soon playing all over South America.

Probably as early as 1943, RCA's Latin American arm signed them to a recording contract. In the early 1950s, they took a break from performing and went back to study the guitar. After returning to the stage later that same decade, they released an album in the United States on an RCA-owned label named Vox.

Throughout this period, they had a steady stream of releases on RCA in Mexico and one of these, a Mexican folk tune named "María Elena" (Lorenzo Barcelata; named after the wife of a Mexican president and recorded in 1958), became a steady seller, a success throughout Latin America and was finally re-released in the U.S. in 1962. It spent 14 weeks on the Hot 100 in the fall of 1963, four of which were in its top 10 in November 1963, and had similar success in the United Kingdom. It sold over one million copies, and was awarded a gold disc.
Los Indios Tabajaras continued touring throughout the Americas and Europe, and in 1964 they had another release, "Always in My Heart". Although it made the Billboard Hot 100, this release failed to replicate the success of "Maria Elena."

Their fluent guitar playing caught the ear of American guitarist Chet Atkins and, along with pianist Floyd Cramer, they recorded an instrumental album in Nashville, Tennessee. They also recorded and released material with singer Don Gibson, including the song "Oh Lonesome Me".

RCA released albums by Los Indios Tabajaras into the 1980s. Though Antenor retired from performing, Natalicio Lima continued to perform into the 1990s with his wife, Michiko. He died in November 2009".(Wiquipédia)

01. Maria  (Ary Barroso - Luiz Peixoto)
02. Garota De Ipanema (The Girl From Ipanema)  (Jobim - Vinicios - Gimbel)
03. The High And The Mighty  (Tiomkin - Washington)
04. La Mer (Beyond The Sea)  (Trener)
05. Autumn Leaves  (Kosma -Prevert - Mercer))
06. Smoke Gets In Your Eyes  (Harback - Kern)
07. Não Tenho Lágrimas (Come To The Mardi Gras) (Milton De Oliveira - Max Bulhões)
08. Always In My Heart  (Lecuona)
09. Somos Novios (It's Impossible)  (Manzanero - Wayne)
10. Some Of These Days  (Brooks)
11. As Time Goes By  (Hupfeld)
12. The 3RD Man Theme  (Karas)

                                                                                                                                                      

Música Pop / Testamento

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Testamento

Free download

 Muitas vezes, o pessoal aqui da redação do pianoclassico  tem dúvidas acerca da classificação de determinadas músicas, de determinada forma musical, de certos discos... Claro que a turma sabe subdividir a Música Erudita em Escolas, e, a Música popular em estilos, épocas, regiões e etc... Mas (tem sempre um mas...) às vezes deparam-se com estilos estranhos, excêntricos, esquisitos, extravagantes e, sempre que isso acontece, percebi que o pessoal tem o hábito, repreensível, por sinal, de qualificar tudo que soa diferente como Rock e publica  tudo na Página Classic Rock, como se fora um bauzão onde se põe de tudo. Muito impróprio para uma seção denominada Classic Rock pois, o "Classic" exclui um bocado de coisa, e a lista se torna bem restrita se formos qualificar a Página no sentido estrito, rigoroso, do termo "Classic Rock"

 Fazendo uma pesquisa rápida, achei, desavergonhadamente hospedados na Página Classic Rock: Willie Nelson;  Eden Ahbez;  Keith Jarrett entre outros tantos. Todos, títulos muito impróprios à denominação de Classic Rock concorda comigo?

 Pois bem, em defesa do Rock de qualidade e, valendo-me da  dignidade de primaz, como editor chefe deste esdrúxulo e indefectível Site, resolvo decretar certos ordenamentos, dimanados exclusivamente de minha personalíssima e inaudita autoridade (é mole?):

 Art.1º Par. Único: A partir de hoje, tudo que for estranho, excêntrico, esquisito, extravagante, singular, estrambótico e esquipático, esquipático? Sim, esquipático, terá como destino a recém criada Página "Música Pop", resguardando-se a Página Classic Rock apenas para obras universalmente reconhecidas como Rock Clássico ou seus assemelhados. Revogam-se as disposições em contrário!

 Agora veja que coisa, o CD objeto da presente postagem, de autoria  do grande Raphael Mandra, já foi rotulado de Dark-ambiente, Horror Music, No Wave, Folk, Industrial, Spoken Word... só para citar alguns.

 O pessoal aqui do pianoclassico não faz a menor idéia de qual seja o estilo deste Disco (creio que nem o autor), e é aí que entra o meu Decreto salvador: "Pimba! é pop e pronto". E fica preservada a Página Classic Rock, para aonde, tenho certeza, seria enviado o CD.

 Agora tentando falar sério, esta é a primeira postagem da Página Música Pop, onde esperamos postar tudo que não se enquadre nas tradicionais Páginas aqui do Site, como Classic Jazz; Classic Rock; Brazilian Music e etc. Achamos que será uma Página bem eclética e contudo, não interferirá na especialidade do pianoclassico que é a Música Erudita. Esperamos que seja mais um belo espaço aberto aos jovens (ou velhos) músicos nacionais e estrangeiros e, que agrade a todos.

 Bom, o tempo o dirá. Por ora devo dizer:  Sim, o papa é Pop e Deus nos livre do Brasil!

  

Ad Mortem
Gótica Profana
Misantropia
Santa Vadia
Garota Cadáver
O Indigente
Vultos Satânicos
Urubus na Carniça
O Vale da Sombra da Morte
Testamento
A Eternidade
Terra dos Sonâmbulos
Apocalipse

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pop

EM BREVE