La canzone di oggi II

noel80 · Messaggio da **noel80** » sabato 28 dicembre 2024, 21:50

It seemed like centuries ago
When the monks crossed the mountain tombs
Malibu, El Camino and a sipping tea lemonade room
We ponder all that we could lose
In a theater dark
The cross of Jesus sees it all
His red blood’s on the bark
Those beach-kids try and break their hearts
Out at Point Doom
Beach nation, blacker chords
And a wild and restless moon
That dumb green took all my friends
You know they try to be so surf
They’re acting like they don’t care
Gonna ride it till it hurts
We skate behind the studio
Asphalt and slammed doors you know
That west coast tried to drag me down
Inside my cold and crazy head
Can’t get no sleep in LA
Gotta get back to my own bed
Sitting in my room
Think about our time at Point Doom
Everything was so young
Spent our summer howling at the moon
Everything went black
Doesn’t help to take a look back
All alone in the dark
Filling up the pieces of my heart
Now I live the endless summer
Always follow his son
Red rocks to my left
Pacific sand on my tongue
Now my body is the Spirit’s home
And I never have to be alone

noel80 · Messaggio da **noel80** » domenica 29 dicembre 2024, 8:49

La seconda facciata, in particolare, colpisce per la coraggiosa improvvisazione registrata in un antico monastero (come facevano i Popol Vuh): un luogo sacro in cui la band ha utilizzato un organo a canne rinascimentale, strumento dal timbro avvolgente e quasi mistico

https://www.debaser.it/no-strange/chied ... recensione

noel80 · Messaggio da **noel80** » lunedì 30 dicembre 2024, 8:20

A reviewer identified as the Barman from i94bar.com describes Radio Moscow as "an old-style power trio with an overload of psychedelic headspace, structured around guitarist Parker Griggs whose exemplary six-string work carves sonic holes."[2] He goes on to describe "The Great Escape of Lesilie Magnafuzz" as an album filled to the brim with "spiraling guitar lines and warm yet slightly disembodied Griggs vocals run through bubbling bass-lines and drumming that's all over the kit but firmly anchored to the floor."

noel80 · Messaggio da **noel80** » martedì 31 dicembre 2024, 8:13

noel80 · Messaggio da **noel80** » mercoledì 1 gennaio 2025, 10:45

and Jimi was off with Gypsy bassist Billy Cox, and another drummer entirely, Buddy Miles. And they were threatening to play freeform jazz.

Besides, the sessions weren’t anywhere near as impenetrable as Jeffrey apparently feared. Tracks like “Ezy Rider,” “Stepping Stone,” “Lover Man,” “Izabella” and “Born Under A Bad Sign” proved that for all his far-reaching musical ambitions, Hendrix remained a bluesman at heart, and no matter how far his
bandmates tried to tug him, he’d always follow his instincts in the end.

It was those instincts that informed him that the Band of Gypsys was never going to come to fruition if they stayed at the Record Plant. So much of the band’s music was a split between intuition and spontaneity, and those were elements that couldn’t simply be summoned out of nowhere when the studio tapes started rolling, and which certainly weren’t compliant to the ticking of the clock. In early December, then, shortly after he returned to New York from Toronto, Hendrix began looking around for a second home for the band, some place they could just practice, jam and mess around, and not have it cost an arm and a leg for the pleasure.

He found it at Baggy’s.

Located down on Grand Street, Manhattan, Baggy’s was the most informal kind of rehearsal space imaginable. It was run by Tom Edmonston, the Soft Machine’s road manager when they toured with The Experience, and if you cast a jaundiced eye over the place, it was an absolute dump, a roughly appointed warehouse space with rugs on the walls and floor, big enough for two bands to fit in at once, but only if they didn’t both want to play.

It was cheap, though – $25 an hour – and it was familiar as well. All three members of the Band of Gypsys had spent time in places like Baggy’s, and they took to it like ducks to water. There they would work through the song ideas that arose during the Record Plant sessions; but were suppressed because there wasn’t time to explore them; there, too, they would put the finishing flourishes to the songs they’d already finished, readying them for the Band Of Gypsys’ great unveiling at the Fillmore East on New Year’s Eve.

The presence of The Ronettes, five years on from their chart-topping high, but still some of the sweetest voices on the scene, lightened the mood a little, though, particularly once they delivered their backing vocals; and by the time the Gypsys had reconvened at Baggy’s, spirits were both high and playful.

During the December 18 and 19 Baggy’s sessions, the tapes rolled, the band played, and the uninvited audience on the roofs and fire escapes outside braved the bitter city chill to catch every note they played. It might even have been for their sakes that Jimi decided to unleash a little Christmas cheer at the end of the session, to send them all home with something to smile about. First, a funky “Little Drummer Boy,” an effortless segue into a sweet “Silent Night,” then a pause, and farewell with a passionate “Auld Lang Syne.”

The Gypsys caught his drift and threw themselves into the moment. Billy started singing, and outside, maybe the listeners did as well, and when it was over, Jimi just laughed “hey, how long was that?”