"THE SPAGHETTI INCIDENT?" (Guns N' Roses, 1993) Click to listen on Spotify Artist: Guns N’ Roses (D+) Recording Dates: ‘92’- 93 Release Date: November 23, 1993. USA Record Label: Geffen Producer: Mike Clink, Guns N' Roses, Jim Mitchell Rating: 4 Era: Hard Rock (1968-???) Subgenre: Hard Rock Best Song: Ain't It Fun o algo más lejos, Since I Don't Have You Canciones: 1) Since I Don't Have You; 2) New Rose; 3) Down on the Farm ; 4) Human Being ; 5) Raw Power ; 6) Ain't It Fun ; 7) Buick Mackane (Big Dumb Sex); 8) Hair of the Dog ; 9) Attitude ; 10) Black Leather; 11) You Can't Put Your Arms Around a Memory; 12) I Don't Care About You ; 13) Look at Your Game, Girl. My theory is that the disgusting mass you see on the cover isn't spaghetti, as everyone suspects, but rather the state of Guns N' Roses' brains after fame, drugs, fights, excess, and the crushing Use Your Soul tour. Illusions, which left them without illusions and without ideas. The title was just a red herring. Only in this way can I explain how a band of Guns N' Roses' caliber could have released such a sonic monstrosity after a couple of simultaneous gems… Looking back, it wasn't the first time they'd done this. They'd already released the disappointing and sloppy Lies after the smash hit Appetite for Destruction. But hey, even though it was recycled, at least it was listenable and short. Here they went all out with 13 covers that basically said, “We're on top of the world, we're currently the most powerful band on the planet, and we can afford to release whatever crap we want as long as we make money. We've already put in too much effort and we're not going to waste a single drop of sweat (or even write any new material) on this album. If it worked once, it'll work again. Fuck you!”. So, they went into the studio in late '92. Needless to say, Izzy Stradin was no longer there, having quit the band on November 7, 1991, just a couple of months after the release of UYI, after getting off drugs, which presumably restored his common sense. He decided he was fed up with putting up with Axl's tantrums, by then an insufferable diva. Gilby Clarke would take his place as rhythm guitarist on the tour and when they entered the studio for this album, but the truth is that a good part of Guns N' Roses' magic left with Stradin. His departure would essentially be the beginning of the end. This was supposed to be an EP of UYI outtakes, but at some point someone had the brilliant idea that they had enough leftovers for a whole album, or that they could record the rest quickly. Remember that UYI was originally envisioned as a 3 or even 4-album project, so they had plenty of material. That's the problem: this sounds like leftovers, and old ones at that. That Spaghetti EP already stank. The result is an intolerable 46 minutes of a great rock band performing covers barely worthy of an amateur group, with a terrible selection of songs, mostly punk, that nobody knew and that couldn't be compared to anything else. In Izzy's absence, who had a good voice, Duff McKagan sings on four tracks, but apparently something happened to him between "So Fine" and this point, tonsillitis, perhaps. And Michael Monroe appears as a guest vocalist on "Ain’t It Fun", ironically, the most decent track on the album. The rest is, well… a lot of nonsensical noise. I understand they like punk, and that some of their roots come from there, but… do they understand that the simplicity of punk, the virtuosity of a guitarist like Slash, and Axl's glam attitude are polar opposites? The solos end up sounding forced and far removed from the melody, the soul, and the virtuosity that characterized it. I suppose we can't blame him; the result would have been more or less the same if we'd had Gilmour play songs by The Sex Pistols. Guns N' Roses had already shown themselves to be a band capable of doing great covers: “Nice Boys”, “Mama Kin”, “Live and Let Die”, “Knockin' On Heaven's Door”… they'd still include a decent version of “Sympathy for the Devil” on the Interview with the Vampire soundtrack. The thing is, the track selection was terrible, because since they were mostly iconic underground songs, they were still unknown to most people, making it difficult to compare them and, therefore, to have any interest in them as reinterpretations. The worst part is that you don't even feel like listening to the originals; you just assume they must be sonic garbage too. Guns N' Roses isn't a punk band, and in trying to create a simple sound, Slash's virtuosity is wasted, or flattened and completely out of place. Everyone feels uncomfortable and forced. The worst part is that the sound that made Guns N' Roses great is completely absent. These 13 tracks are unworthy of a top-tier band that rescued rock from the filthy pit it was in during the '80s and was at its peak in 1993. You can't hear that tight, cohesive machine that seemed to read each other's minds and maintain perfect balance. This is basically a soulless, spiritless album, with a defiant attitude faker than a Coldplay Grammy… basically, it's what you'd expect from one of those glam bands that got their asses kicked in 1987: a desire to mess around and cash in on their image. The title is a bad inside joke, like the rest of the album, in quotation marks and with a question mark. It supposedly comes from 1991, when Steven Adler sued the band for lost earnings. In court, he alleged that the rest of the group always took advantage of him, and when asked to elaborate, all he could manage to say was “The spaghetti incident?” This referred to an occasion when he left his spaghetti in the refrigerator and Slash ate it. This supposedly caused general laughter in the courtroom, and the title was a kind of revenge/joke by the band for this blunder. The album is, therefore, pejorative, disgustingly forgettable. Thirteen tracks, of which two are even remotely listenable, and only one made it onto the radio. Guns N' Roses was in a privileged position at that time, where they could have done almost anything and come out unscathed. This album is so bad, in fact, that it would be the beginning of the end, causing the arguments between Axl and everyone else that would ultimately lead to the band's demise in 1996. The album opens with "Since I Don't Have You" , a ballad that would be the only one played on the radio. It's originally by the Skyliners, from 1958. It's one of the few tracks where the band sounds somewhat sharp and balanced, with Slash delivering a great opening riff, licks, and… well, not a solo because it's basically the intro repeated. But it sounds good, maintaining a retro feel thanks to the piano in the background, but with Guns N' Roses' signature sound. Axl starts singing in a pleasant half-step and at some point goes up an octave, showing good vocal range without sounding excessive. For the coda, they add more distortion, Slash adds a great swing with his guitar, while Rose repeats "you's" until the very end, which he extends for quite a while and finishes with a drawn-out "yeah". It's not Guns N' Roses ' best cover, but it's one of the two best on this album. As a special mention, I must say that my wife cannot tolerate anything by Guns N' Roses, except this one, which is the only one she likes. “New Rose” is the first of the four songs sung by Duff, but they fail to emulate the ferocity and danger that The Damned brought to this track in 1977. At least the British band sounds genuinely furious, with a completely unrestrained drumbeat, and the sound is dirtier… and more honest. Here, it sounds like Nirvana tried their hand at it on Bleach. And that's not exactly a compliment. Slash tries hard to shine on guitar, but I insist, he sounds completely awkward and out of place. “Down on the Farm” is a song practically spoken by Axl, in which the main riff, consisting of a five-tone ascending chord, is repeated ad nauseam. It sounds cool at first, with Duff's deep bass line, Slash trying to make his guitar sound as badass as possible, and then that riff kicks in. Yes, the first 200 or 300 repetitions sound good, but then it gets tiresome… Again, they fall far short of the raw energy and drive that the UK Subs bring to the original, which isn't exactly a masterpiece either. You'd think they couldn't possibly ruin the New York Dolls' "Human Being" , but they manage it nonetheless. Not even the fact that the New Yorkers were more glam than punk helped. Guns N' Roses scream the lyrics in an unbearable high note and completely ruins David Johansen's attitude. If the original was already a bit long, Guns N' Roses stretches it out another minute. But they don't sound like they're having any fun. The little piano boogie in the background gives it a dive bar vibe that doesn't suit it. And Slash trying to sound like Johnny Thunders is just... ridiculous. By the end, Rose screams so much he becomes an unbearable drill, the guitars get muddy, and it seems like everyone is trying to make as much noise as possible with their instrument. “Raw Power” , released by the Stooges in 1973, also gets butchered. This time, they don't make as many changes. The problem is the attitude. Duff hardly has the charisma and attitude of Iggy Pop, who could sound good reciting the Lord's Prayer. Guns N' Roses tries to refine it a bit, making it faster and trying to make it sound better. The Stooges' rusty guitars, and even the almost cacophonous piano of the original, are refined and given a more hard rock treatment. While you buy the Stooges' version, you don't buy Gn'R's. The cover sounds like garbage in a pretty, perfumed package. It even seems longer, although due to the excessive speed, it's almost a minute shorter. The only track on this album that I could consider superior to the original is “Ain't It Fun" , and that's perhaps because the vocalist is Michael Monroe. The former Hanoi Rocks vocalist was an old friend of Axl's, and had already contributed by playing sax and harmonica on "Bad Obsession". A couple of things need to be emphasized here. The original song is very simple, but with a great arpeggio that transcends the simplicity with which the Dead Boys perform it. The song seemed to cry out for a master guitarist who could unleash its full potential, and Slash doesn't miss the opportunity, creating searing riffs amidst Gilby's dark arpeggios, and not holding back on the powerful explosions of the choruses. The band instrumentally recovers the level and cohesion of the UYI, and this is because the song is very well chosen; it's not that simple thing of three repetitive chords. THIS is the territory in which they feel comfortable, which allows them to use their full potential, to play with the tension. to insert soulful guitar solos. And second, Monroe sings with an attitude that Axl and Duff fail to achieve on the rest of the album. For the first time, we have a solid, sincere performance, one where he seems on the verge of breaking down, only to erupt into the roar of the choruses in an instant. The more than five minutes fly by. The track, then, works perfectly, and in my opinion, it's the best on the album, even though it went almost unnoticed. With “Buick Mackane (Big Dumb Sex)” , they essentially combine the powerful riff from T. Rex ’s 1973 song “Buick McKane” with Soundgarden ’s 1989 hit “Big Dumb Sex”. The idea itself isn’t bad, as T. Rex ’s wonderful riff complements the Soundgarden track. The problem lies in the execution, as Axl can’t seem to decide whether to sing like Marc Bolan, Chris Cornell, or Axl Rose, and he completely loses his way. This is especially true when they switch to that iconic “Big Dumb Sex” section where Cornell sings “Hey I know what to do, I'm gonna fuck fuck fuck fuck you, FUCK YOU!" With an attitude that knocks you off your chair, Axl seems to be reading the weather forecast. Meanwhile, Slash also meanders between Bolan's and Thayil's guitars, with tons of wah and sustained notes. An idea that had more potential, but it's not as bad as the album's average. “Hair of the Dog” , originally by Nazareth, also falls short. Of all the good songs the Scots have, they had to choose the one that was least suitable, but I suppose Axl couldn't resist shouting that “Now you're Messin' with a son of a bitch". While the original has a great groove that makes the riff work despite the repetitions, Guns N' Roses manages to make it sound overly heavy-handed, and it does become tiresome after a while. Slash tries to replicate Dan McAferty's strange talk- voice solo, and I think that's the only merit of the version, not ruining that great moment, although Axl later does so by unnecessarily speeding up the song for a chaotic ending. Then we have "Attitude" by the Misfits, which is precisely what's missing. It's not like Guns N' Roses were the greatest paragons of virtuosity in history, but to waste their talent on a song with only two notes? The vocals don't suit Duff (although I suspect it would have been worse with Axl), and the only good thing I can say is that it's only 1:27 long, just like the original. Next up is "Black Leather" by The Professionals, who are basically the Sex Pistols without Johnny Rotten, and obviously, Syd Vicious. Guns N' Roses delivers a more hard rock version, using that great riff and with Slash juggling some seriously forced licks. It doesn't sound too bad, but compared to the Runaways ' great version, Guns N' Roses is completely overshadowed, and in particular, Lita Ford's arrangements sound much more natural than Slash's. “You Can’t Put Your Arms Around a Memory” , from 1978, is the last song Duff sings, as a tribute to Johnny Thunders, guitarist of the New York Dolls. I think it’s the best of the songs McKagan sings on this album, approaching the emotional level of “So Fine”, and being an acoustic track, it shares certain similarities, although the spoken coda at the end somewhat ruins the mood. “I Don’t Care About You” seems to be the album’s mission statement. Axl vomits out the lyrics, the guitars are a shapeless mess, the melody is practically nonexistent, and it’s pretty clear they chose it just to yell “Fuck You!” They didn’t really have much to do with the original. The problem was choosing it in the first place. The album closes with “Look At Your Game, Girl" , which is more of a hidden track that starts at 2:30 of "Fuck You ("I Don't Care About You"). And well, if they wanted to make a radical change, they take a turn from a horrible song to an acoustic one, very serene and beautiful. What was Charles Manson thinking when he wrote it in 1967? It's a somewhat unsettling ending, if you look closely. The song is nice, but far from Guns N' Roses' great ballads and covers. And that's it. All bands start by doing covers. That's where they get their influences to achieve their own sound and create their own material. Especially with established bands, as is the case here, a cover should offer something new, respect the essence of the original, but at the same time showcase the character of the band doing the cover. Try to do it better with your own style, come on! There's no point in doing a cover if you're going to do it exactly like the original… I suppose Guns N' Roses were sure they were doing the 13 songs a favor, but the truth is they only manage to improve on one original, they have 4 or 5 that are completely forgettable, and the rest they butcher. An Allmusic critic couldn't have said it better: “It lacks courage and power”. The album started selling well due to the expectations of the UYI fans, but as soon as people realized what garbage it was, sales plummeted. Within the band, they began to blame each other for the failure, while passing the torch to Nirvana and Pearl Jam as the new world monarchs. What happened next is anyone's guess except them. A couple of years passed with rumors of a new album. Then they denied it. Slash would say Axl wanted bombastic ballads like "November Rain", Rose would say Slash wanted to return to the hard rock of Appetite for Destruction. Gilby Clarke would be the first to leave. Slash made his departure public at the end of 1996, turning Guns N' Roses into a myth. Then Matt Sorum was fired by Axl in 1997. Duff quit shortly after becoming a father and realizing it wasn't worth continuing the charade. There was never a real breakup date, but somehow we knew Gn'R was over. Axl would spend years gaining weight and clinging to the band's name, even though it was really his solo career with a very loud backing band. Years also spent clinging to the next album under the Guns N' Roses name, Chinese Democracy. That's the most disheartening thing about "The Spaghetti Incident?": we thought it couldn't get any worse... By Corvan May/6/2016

USE YOUR ILLUSION II (Guns N' Roses, 1991) Click to listen on Spotify Artist: Guns N’ Roses (D+) Recording Dates: Jan ’90 – Mar ‘91 Release Date: September 17, 1991. USA Record Label: Geffen Producer: Mike Clink & Guns N’ Roses Rating: 9.5 (ICONIC ALBUM, MUST HAVE) Era: Hard Rock (1968-???) Subgenre: Hard Rock Best Song: Estranged, So Fine, Knockin’ on Heaven’s Door, or Civil War… you choose. Tracklist : 1) Civil War ; 2) 14 Years ; 3) Yesterdays; 4) Knockin' on Heaven's Door ; 5) Get in the Ring; 6) Shotgun Blues; 7) Breakdown; 8) Pretty Tied Up ; 9) Locomotive; 10) So Fine ; 11) Estranged ; 12) You Could Be Mine; 13) Don't Cry" (Alternate lyrics); 14) My World . Use Your Illusion II was released on the same day as Use Your Illusion I, at midnight on September 17th, and was one of the most anticipated albums, since no one had taken Lies seriously. The format was quite unusual, as it consisted of two discs, but not a double album; rather, two albums sold independently. It was a very risky move that could have backfired, since the expectations generated by Appetite for Destruction led many to believe it would dethrone Michael Jackson's Thriller in sales. However, supermarkets like Walmart refused to carry it due to its potentially violent and obscene content (But why, Guns N' Roses, who had been so well-behaved, hadn't even caused a riot in St. Louis or Germany!). Nevertheless, half a million copies of both discs were sold in just two hours. In the long run, II would sell slightly more than I, since, although I had the most popular singles with "November Rain" and "Don't Cry", II is much more balanced and the overall quality of the waves is superior. This is partly because much of the material on Album I was written before and during the making of Appetite for Destruction . Album II features songs they had written more recently and that feel more modern, more detailed, and far removed from the 80s sound. In early 1990, they began planning and rehearsing a new album. Lies can't be taken seriously as an LP for the reasons already mentioned in the review, so they were under enormous pressure to create a tremendous follow-up to Appetite for Destruction. Axl saw an opportunity to incorporate new sounds, expanding beyond the hard rock they were known for, including classical influences, giving it a more epic feel, longer songs, and breathtaking solos. The band managed to gather a large amount of material, including some tracks that hadn't made it onto previous albums because they were still unfinished. They had enough material for two or three albums, so they decided to take a chance on a double album, considering they were inspired and the material was good. Very good. But it wasn't all smooth sailing. During the recording of "Civil War", the rest of the band realized that Steven Adler was completely out of his mind due to heroin addiction. He could barely keep time and constantly made mistakes with the drumsticks, forcing more than 30 takes. This not only increased production costs, but the biggest risk was when he tried to play it live. Shortly before, he had injured his hand during a concert and was briefly replaced by Fred Coury, drummer for Cinderella. Axl and Slash agreed that a drummer with metal roots gave them incredible power. According to them, they talked to Steve about going to rehab and regaining that swing that sounded so good on Appetite for Destruction, but Steven refused, and that's how Adler's departure began. It was made official on July 11th, and he was replaced by Matt Sorum, who had previously played with The Cult. Furthermore, they decided to officially incorporate Dizzy Reed as the band's keyboardist, since up to that point he had only been treated as a session musician and live backing player. Guns N' Roses was thus formed as a six-piece. The band is at its peak, delivering a brutal display of energy without sounding like adrenaline-fueled Neanderthals with electric guitars. Instead, they manage to convey anger, fury, and punk attitude with impeccable instrumentation, brimming with adrenaline and technical skill that's more reminiscent of 70s hard rock than 80s glam. And that's perhaps the greatest strength of this second part. They don't need to go full speed and use maximum distortion to sound better. In fact, they tone down the intensity a bit, and there are more mid-tempo tracks. Disc I reminds me of the bully bragging and threatening to kick your ass. Disc II is 14 direct punches to the face; that is, they ditch the talk and posing to inject that ass-kicking attitude into the songs. Instrumentally, both albums are magnificent, but on the second album, the songs are more polished and slightly more complex. While the first album features tracks that are pure riffs and pounding guitars, this one maintains tension, with several riffs in each song and spectacular solos. "Civil War" is the last time we hear Steven Adler on drums; the rest of the drumming is handled by Matt Sorum, who sounds more powerful and undoubtedly adds more punch with his fills and drum rolls, always precise and perfectly suited to the band's mood . Duff McKagan doesn't stand out, mainly because the bass is kept low (I suppose to showcase the guitars and drums), but if you listen closely, he does a very good job. He rarely plays lead guitar and generally creates his own effective and creative signature riffs. Izzy is incredibly underrated as a guitarist, perhaps because he had to play alongside Slash, but here Stradin shines as a rhythm guitarist, with power chords, riffs, and arrangements throughout the song that set the stage perfectly for Slash to shine. Izzy does a great job, but without him many songs would fall apart, and vocally he remains at a high level, with a treble not far removed from Axl's, but without his excesses. One wonders what would have become of the band if they had fired Axl and continued with them. Oh yes, I remember now, Velvet Revolver… Dizzy Reed also does a good job on piano; he has a more boogie style. He's not a prog keyboardist, nor does the band lend itself to him playing bombastic solos, but his arrangements always help to flesh out and complete the songs. Slash sounds brutal. He was at his peak, and listening to it again in depth, I understand why he's so overrated. And it's true that back then, his style and technique overshadowed any other guitarist of the time, although MTV's claim that he's only surpassed by Hendrix seems like an exaggeration. The most wonderful thing about Slash is that his solos sound emotional, not just a barrage of notes. They're very polished, certainly, but you don't hear a cold, mathematical guitarist, but rather one more inclined towards the blues, who sets himself on fire through his guitar playing. And Axl… well, whether we like it or not, he gives Guns N' Roses a very particular stamp and attitude. The lyrics, at least, feel more mature, and this is their most critical album, with "Get On the Ring", "Civil War", and their cover of Dylan's "Knockin' On Heaven's Door". The album opens with “Civil War” , the last Guns N' Roses song with Adler on drums. It's Axl who stutters and begins with the lines “What we've got here is failure to communicate?" Everything works in this song, and from the very beginning, you can tell the band is more mature, more composed, and more committed. A track full of hooks, with a formidable and meticulous creation of tension, crescendos, and tempo changes. The hooks begin with the mythical whistle that lends a desolate air. Nostalgic arpeggios with tinkling harmonic tones. Duff's deep bass line. This is perhaps the best. Axl Rose's lyrics on his life : “Look at your young men fighting, Look at your women crying, Look at your young men dying, The way they've always done before.” Did someone do their homework and listen to Bob Dylan? The truth is, the harsh, accusatory tone is just as powerful as “Masters of War.” After the second verse comes a couple of power chords that knock you off your feet, followed by a much more potent chorus, with distorted guitars and Rose's heart-wrenching scream, “My hands are tied, The billions shift from Side to side, and the wars go on with brainwashed Pride, for the love of God and our human rights”. It seems impossible that it was written by the same guy who sang “Back Off Bitch” on the twin album!!! At the end of the chorus, Axl holds a long note while Slash plays an exquisite sequence of notes in a devastating ascending scale, setting up a monumental guitar solo. I insist, he manages to capture the perfect mood for the song in every solo. Here it's slow and bittersweet, reflecting both courage and helplessness. And they continue with the sequence of slow verses that explode into violent choruses. At 3:25 comes the second guitar solo, more bluesy, dressing his guitar in mourning and making it literally weep while Stradin continues with the sequence of heavy, slow guitar riffs. Steve Adler makes his final contribution worthily, keeping the rhythm, running through the drums with fills and giving the song that solemn feel. At 5:00 comes the third solo, a kind of powerful riff that repeats and ends in the tremendous ascending scale and then a rapid diatribe and unintelligible. A minute later the song speeds up and the piano becomes more prominent, understated and elegant, leading into an incendiary Slash closing with fingertapping and the song's final, fastest guitar solo, ending with a wah-wah arrangement, storm sounds, and a melancholic whistle. A perfect song, not a second wasted. It's not even very complex or full of changes, but the band keeps you on the edge of your seat from beginning to end, and Slash's guitar work is out of this world. And the lyrics! I'd love to include them in full in this review, but I'll leave them as homework: they're worth it. We continue with “14 Years” , an Izzy song, sung entirely by him, except for the backing vocals, where Axl sings a duet. It’s an unusual song. It has a Western feel, with the piano dominating this time, carrying Reed’s boogie through almost the entire track. The guitars are content to emphasize the chords. Matt Sorum’s influence is noticeable, with his more impetuous style and more savage drumming. Stradin ’s raspy tone fits perfectly with the song’s nostalgic mood. The lyrics speak of the 14 years of friendship he had shared with Axl at that time. The lyrics are very powerful; they are full of reproaches from beginning to end: “I try and feel the sunshine, You bring the rain…” or in the Chorus: “It's been 14 years that are gone forever, And I'll never have again”. It's not on the level of “Civil War” but it's still one of the album's highlights. Then there's "Yesterdays" , another power ballad that seems to drive everyone wild, but I find it pretty average. I mean, it's not bad, especially the calm beginning before they go crazy with the power chords in the chorus. The solo is good, very bluesy. But even though it has a good melody from Axl, who returns to lead vocals, and a cute little piano part, it's never struck me as anything extraordinary. I don't know, I get the feeling that a more organic, acoustic format would have suited it better, although I don't have anything particularly against it. We continue with the sublime version of “Knockin’ On Heaven’s Door” . I maintain that Bob Dylan is great, but he always sounds even greater in other voices, and this is proof. Guns N’ Roses deliver one of the best covers in history, or at least one of the most well-known, and it seems as if it were written specifically for them. Axl and company make it almost unrecognizable, unlike the Wings cover on the first album. The guitars play a sweet arpeggio, the deep bass lines keep the beat, the drums usher in the backing vocals, and Izzy and Axl alternate the lyrics for a perfect version, with Rose dominating the catchy choruses with his signature high notes. Slash’s solo at 1:30 has to be one of the most recognizable of the decade, and it’s really not difficult to play; any 15-year-old kid just starting out with guitar can give it a shot, but it’s absolutely iconic and out of this world. The rest is following the formula: slow verses, more powerful choruses, and a new guitar solo on the third fret, a bit more elaborate, but with the same feeling. Then comes a bridge where the rhythm section holds the song together and some effects are heard. Next comes a monumental chorus that responds to Axl, giving it a gospel touch. They also manage to adapt it to be a perfect stadium sing-along. On the surface, it doesn't seem like much. But no one else manages to give this song that definitive feel In my opinion, and without intending to inflate Guns N' Roses' ego, it's one of my favorite covers, and one of the songs that should be on the band's compilations and Top Ten lists , even though it's not their own. Then comes “Get In the Ring” , a rocker Axl Rose's "Ass-Kicking" song is a way of getting back at all the critics who tore him apart for his irresponsibility on stage, blaming him for the St. Louis incident. For those who don't know, before the album's release, during a concert in St. Louis, Axl saw a guy in the audience filming with a camera. He got incredibly angry and repeatedly asked arena security to remove him or confiscate his camera. When no one did anything, he jumped off the stage, argued with the guy, and punched him trying to take the camera. Then he got back on stage and said that thanks to security, he was leaving, leaving everyone speechless. The concert had barely started, so there was a massive riot that didn't stay in the arena but spilled into the streets with cars set on fire, injuries, arrests, and more. This was his response. It's also said that the song was directed at Vince Neil of Mötley Crüe, whom he couldn't stand and with whom he constantly exchanged threats. It's one of the more average tracks on disc II, but it's fun, and Slash's bluesy guitar at the beginning is worthwhile. Then it speeds up and they fall back on the heavy guitar riffs and the 80’s vibe of Appetite for Destruction. They even added a pre-recorded audience to give the false impression of a live performance. Matt puts on a tremendous display and at times delivers some monumental drum fills. In the middle section, Axl doesn't hold back and starts reciting: “And that goes for all you punks in the press", and he begins naming the reporters and their respective magazines. Then they add boxing ring effects for a hilarious coda in that the false public shout in unison “Get in the ring, Get in the ring, Get in the ring!” to fade away while Axl does that legendary closing “This song is dedicated to all the Guns N ' Roses fans, who stuck with us through all the fucking shit, and to all those opposed... Hmm ... well ?” Sometimes he's obnoxious, but when he does things like this I can't help but grin from ear to ear. Ironically, it's one of the few songs they never played live on their original era. We continue with “Shotgun Blues” , which is another more or less generic rocker, and much less fun than the previous track. The chorus is catchy, but it gets a bit repetitive after a while. Sorum goes wild, pounding the drums like his soul is being torn apart, and Slash and Izzy combine well on the riffs, but it's one of the average songs with a bluesy feel. Then comes “Breakdown” , which has a very Country-ish intro, this time complete with banjo included. Slash would say this was the most complicated part of the entire Use Your Illusion process, as coordinating the banjo, piano, and guitar was incredibly difficult. Matt created a particularly intricate intro pattern and was frustrated because he couldn't keep up with his bandmates in time, forcing multiple takes. The song is a kind of ballad, although it has sections where the tempo increases, but not to cataclysmic levels, before returning to a calmer feel, with the piano sounding like a gentle drizzle. It's towards the end that the acceleration really kicks in, culminating in an apocalyptic coda with more aggressive guitars, Axl adding strange effects to his voice while repeating the title, Matt becoming a machine gun, and going wild in the final seconds with the pyrotechnic closing solo. “Pretty Tied Up” is another Izzy track, with an exotic opening thanks to the sitar. Then comes a guitar with an incisive riff that has a certain darkness from the start. There's something that vaguely reminds me of “Paint It Black”, although I'm not sure if it's the sitar. But anyway, the malevolence dissipates in the chorus, which is melodic, catchy, and almost celebratory, with Axl emphasizing each syllable of the title. The lyrics and the anecdote behind them are what's truly worthwhile. It turns out that one particularly crazy day, a friend took him to visit a female friend Stradin didn't know. The girl gave them shots of tequila and then invited them to her room, and when they entered, they found a fat, naked guy with a fetish for leather, lingerie, and heels, tied up and with an onion in his mouth. They were both shocked and couldn't help but burst out laughing at the absurdity of the situation. The song is about the sadomasochistic episode, and it's quite funny. But it doesn't end there. Slash would say that when they composed the song at Stradin 's house. Stradin was so high that he improvised a sitar with a broom, a bucket, and some metal strings. That's where the sitar sound at the beginning came from, but especially the incredibly powerful riff. Overall, it's very well put together, again with great guitar work and a good solo (at this point it's redundant, I know), and bombastic drumming. It's not a classic, but it's fun, and I think it's one of those average ones, the kind that have a bit of a red tint. Next up is "Locomotive" , where Duff shines again, especially with the little opening he gets in the intro. It's an intense intro, by the way, with alternating riffs and strumming guitars. Then Axl comes in with a lazy melody and his peculiar phrasing. The song has a funky feel, and the real credit goes to McKagan, who keeps the song going with his powerful bass. But it's too long, becoming repetitive at almost nine minutes. I love the chagga-chagga they achieve by blending the bass with the guitars, but they don't add much else. Fortunately, this marks the end of that slight dip in the middle of the album, where, while not producing bad songs, they don't quite reach the heights of the opening and closing tracks. All things considered, I think the middle section of Album II is superior to the songs in the middle of Album I. Next up is “So Fine” , another magnificent ballad, this time sung by Duff McKagan, in a way that truly brings a lump to your throat. You might be tempted to think it's Axl, right? No, Rose only joins in on backing vocals. It's a perfect, emotive melody, with the guitar weeping arpeggios as Duff narrates the story of Johnny Thunders, guitarist for the New York Dolls and precisely the friend Izzy was talking about in “Pretty Tied Up” (the one who took him to the girl, not the one who was tied up). Johnny had just died of an overdose, and this deeply affected McKagan. He then tells the story from his friend's perspective, a heartbreak he had just suffered that plunged him into the depression that consumed him: “How could she look so fine, how could it be she "Might be mine?" and he does it in a way that makes it impossible not to get a lump in your throat. There are sections where they speed up, as if exploding all that frustration. The guitar solo is unique. Slash rarely mirrors the vocal melody, but here he does it with almost the same emotion with which he sings, doing something very simple, but that fits perfectly. One of my favorite ballads by the group. When everyone was bragging about " Knockin' On Heaven's Door" I was trying to play this beautiful thing. And now comes what I consider the best track on The Illusions and my personal favorite by the band. “Stranged” is perhaps the band's most underrated song. Everything about this track is perfect. EVERYTHING. Well, at least in the first half. The melancholic piano, the tone of perfect defeat with which Axl sings the opening verses, the monumental drumming (which would have been impossible with Adler), the explosions and timing… But the guitar. Slash delivers the solo of his life, and he does it for practically the entire first half of the song. He pours his soul out through the guitar, with truly heartbreaking, bluesy arrangements that seem more depressing and heartbreaking than Axl's wails. In fact, I wouldn't mind if it were an instrumental. It's the only time I've seen the band thank their guitarist in the album artwork for his tremendous performance on the track. And he certainly deserves it . The lyrics It comes to close that heartbreak trilogy, being the hardest and most depressive of the 3: “Old at heart but I'm only 28, And I'm much too Young, to let love break my heart, Young at heart but it's getting much too late, To find ourselves so far apart”. Being teenager Manic-depressive, Cobain's lyrics meant nothing to me, but this It really killed me: “Young at heart and it gets so hard to wait, When no one I know can seem to help me now…” Like, you could drink a bottle of tequila while listening to it. Well, what Slash does can't be reviewed, you have to hear it. Up to 3:40 it's a perfect piece of work. Then the song seems to fade, leaving only bass and piano playing a short bridge, gradually increasing in intensity and adding more instruments. So far, so good, but then Axl comes back in and the song shifts to major keys, with Rose singing about hope and resignation, breaking the heartbreaking spell of the first part. Don't get me wrong, it's still good, and at the 6-minute mark there's a fantastic solo, but the magic seems to break after the most depressing opening in the history of rock. It's as if after the perfect storm, the rain stops and the first rays of sunshine appear. Well, in the end it recovers. At 7:30 another piano bridge comes in, and then Slash and Stradin play some gorgeous slide guitar arrangements, reminiscent at times of the coda of "Layla," before immediately exploding into a colossal solo that seems to blend sadness and resignation. It ends with a great verse, which I love in both lyrics and melody: "I knew the storm was getting closer and all my friends said I was high, but everything we've ever known's here, I never wanted It to die", with Rose drawing out the last syllable and leaving the song hanging, until Matt puts the final period. My favorite of the group, by far. Then there's "You Could Be Mine" , with a crushing drum beat and another great riff. One of the heaviest tracks on the second disc. Axl practically raps in the verses, then switches styles and drags out the first syllables for ages. It sounds more like a song from the first album. It's good, but frankly, a killer track after the emotional rollercoaster that is "Stranged" leaves me absolutely unmoved. Then there's "Don't Cry (alternate lyrics)” , which instrumentally is identical to the first, with the guitars playing the sweet arpeggios. The lyrics are different in the verses, and Izzy even slightly changes the melody to fit the meter, although the choruses are the same. At the end, Axl seems to sing in a more explosive and wild way. But ultimately, it seems added to fill the same length as the first track. And we close with “My World” . This is a terrible joke by Axl. He made it himself, without the participation of the rest of the band, trying to make a cheap copy of Nine Inch Nails, who at the time had him completely captivated. It's awful, disgusting, from the singing style, the suffocating electronic instrumentation, the female wailing, the horrible screams. Slash didn't know this monstrosity existed until he heard the album for the first time. You can imagine his reaction and why they still can't speak to each other… Perhaps the worst in the entire Guns N' Roses catalog... Until Chinese. Fortunately, it lasts less than a minute and a half. In short. A tremendous album, with some of Guns N' Roses' best moments. The last ones. Being quite long, it's inevitable that not every song maintains the incredibly high standard set by the backbone, but at least the middle tracks aren't as steep a dip as on the first disc, and most of them have interesting or fun elements. Slash's level is even better here, and this album proves that Izzy Stradin was a phenomenal rhythm guitarist and had a huge creative influence on the band, one of the most underrated musicians in rock. Furthermore, the band achieves, in my opinion, their magnum opus with " Estranged", although it was somewhat overshadowed by "November Rain", and two monumental tracks of over 9 minutes each would have been asking too much. True, the two discs run for over two and a half hours. There's some filler, not necessarily bad, and out of 30 tracks, only a couple are downright awful. But in compensation, out of those 30, we have a dozen songs that stand out from the average of their time, and at least six that became classics and would become part of the soundtrack of life for those of us who were there. This doesn't make Guns N' Roses the best band in the universe, nor Slash the best guitarist in history, but I think it's necessary to acknowledge the difficulty of putting together two albums of that length with so many gems. Unfortunately, the band couldn't withstand the stress of recording, the low blows, or the subsequent tour. Izzy left the group after a few months and no longer appeared in all the promotional videos. Axl went power-mad, vying for attention with Slash, but they still had enough energy left to record their dissolution manifesto on the awful Spaghetti Incident?, as awful as its cover. But that's another story. As albums, Use Your Illusion is a masterclass in hard rock, from a band at its creative peak, and it profoundly marked an entire generation, to the point that what remains of Axl still keeps his band, a mere shadow of its former self, touring under the legend of these illusions. That's why they're must-haves. And that's why they're iconic… One wonders what would have happened to Guns N' Roses if they had continued at this level... but “if” doesn't exist. By Corvan May/1/2013

USE YOUR ILLUSION I (Guns N' Roses, 1991) Click to listen on Spotify Artist: Guns N’ Roses (D+) Recording Dates: Jan ’90 – Mar ‘91 Release Date: September 17, 1991. USA Record Label: Geffen Producer: Mike Clink & Guns N’ Roses Rating: 9 (ICONIC ALBUM, MUST HAVE) Era: Hard Rock (1968-???) Subgenre: Hard Rock Best Song: November Rain, Coma, Don’t Cry or Dust N' Bones Tracklist I: 1) Right Next Door to Hell; 2) Dust N' Bones ; 3) Live and Let Die ; 4) Don't Cry ; 5) Perfect Crime; 6) You Ain't the First; 7) Bad Obsession; 8) Back Off Bitch; 9) Double Talkin' Jive; 10) November Rain ; 11) The Garden; 12) Garden of Eden; 13) Don't Damn Me; 14) Bad Apples; 15) Dead Horse; 16) Coma . How to take Use Your Illusion? A double album or two separate ones? Well, I'm going to do what the band did: release two unpublished reviews on the same day, with different ratings. Although, to be honest, I've always seen it as a double album. The band's reputation and overrated fame owe much to these two albums. And well, the debut. Although many try to consider these two albums as the band's end, the truth is that they were followed by a couple of truly lamentable albums: the Spaghetti Incident, released during the group's disintegration, and Chinese Democracy, which should be considered more of a solo stubbornness on Axl's part than a reflection of the band itself. In any case, Use Your Illusion was one of the albums that marked 1991 as one of the best musical years in rock history. It was an extremely risky project, not only for a double album at the very beginning of the '90s, but also for the format in which they were released, in separate packages with separate prices. The risk paid off, as both albums shot to the top of the charts, an unprecedented feat. Well, as if they didn't already have colossal egos before these twins… Since the late 80s, Guns N' Roses was one of the most powerful bands on the planet, both musically and in terms of fame and influence. They headlined shows, eclipsed (and I'd say ridiculed) the Glam Metal movement, defied authority, left a trail of destruction in the cities they played, and by the end of '89 they were already opening for the Rolling Stones… with the curious fact that many people went to see Axl and company instead of their decadent majesties. By then, several members were up to their necks in hard drugs, and those who weren't were drowning their sorrows in alcohol. Axl threatened that if certain elements didn't stop dancing with "Mr. Brownstone" (heroin), that would be Guns N' Roses' last tour. Disc 1 is slightly more powerful than the second. For the first time, the band showcased a slightly more expansive sound, still rooted in the powerful hard rock that had dominated previous albums, but with hints of blues and punk, orchestrations, and alternative touches. Axl even plays piano on several tracks. The issue is that there's a slight dip in the middle. It's not terrible, but these are songs written during the Appetite for Destruction era. While not bad, these tracks might have been better suited to that album or as part of Lies. Here, “Perfect Crime”, “Bad Obsession”, and “Garden of Eden” sound out of place and slightly dated. Although Use Your Illusion albums aren't exactly philosophical, they do sound more mature than their predecessors, and these songs seem to revert to a more carefree, irresponsible era. Some tracks weaken the album and make it unnecessarily long. And while it features more kick-ass tracks than Use Your Illusion II, and generally has a more rock-oriented and powerful feel, it also includes more average songs. Nevertheless, killer tracks like “November Rain”, “Coma” (both over 9 minutes long), “ Don't Cry”, and “Dust & Bones” made Use Your Illusion a standout album. Illusion I, an essential album that defined an era, and which contributed significantly to burying Glam Rock and transitioning the band into the 90’s. Guns N' Roses shines, instrument by instrument. Slash cemented his status as THE guitarist of the moment with a dazzling, explosive, and precise guitar style. Matt Sorum made a grand entrance, bringing solidity, confidence, and immense power to the group, driving them forward from behind with his drumming. Izzy takes the lead vocals on several tracks of the first album, blending perfectly with Axl Rose and giving the songs a more rock-oriented and serious edge, something Rose couldn't achieve with his strident voice. One wonders how far they could have gone if egos hadn't ravaged the band. Use Your Illusion I kicks off with a bang with “Right Next Door To Hell” . It's a rocker. The ass-kicking track kicks off with a deep, 6-string bass line from Slash, layers of guitar, a colossal riff, another guitar playing harmonic games before the distortion kicks in, and Matt Sorum makes his entrance with a powerful, malevolent, tribal drumming style. The intro stretches to half a minute, then the beat accelerates to lead into the verses, with Axl singing at full speed in almost unintelligible phrasing. Thankfully, the lyrics arrive, because vocal clarity isn't one of Mr. Rose's strong suits. The lyrics tell of Axl's feud with his neighbor Gabriella Kantor in a Hollywood neighborhood. Their fights escalated to Rose suing her for allegedly attacking her with a bottle. Rose countersued, accusing her of being a crazy fan, and that's how these hilarious lyrics came about, dedicating "Right Next Door to Hell" to her, complete with the " Fuck You Bitch " line. Musically, it's relentless. From the colossal intro, the blistering guitars during the verses, the catchy chorus with backing vocals from the band, and Slash's tremendous, rockabilly- tinged guitar solo at the two-minute mark, relentlessly attacking a single note until it finally breaks free, then the intensity drops, preparing the intro once more before unleashing another full-throttle attack. Just three minutes long, but packed with a calculated energy and aggression that makes the track work perfectly as the album's opener. Next up is “Dust N' Bones” , where they slow down to a mid-tempo but improve the quality. Here, a significant evolution and change compared to Appetite for Destruction is noticeable. The song was written by Slash, Duff, and Izzy, and Stradin himself sings it, giving Axl a different touch. Not too much, though. This is further proof that when other band members take the lead vocals on certain songs, they almost exactly copy the style and modulation of their band's main vocalists. Izzy sings more subdued, in a more pleasant, raspy half-tone, without so much stridency, but if you're not paying close attention, you might get the impression that Axl is finally singing in a mature… or sober… way. It's a very melodic song with incredibly catchy verses in a hypnotic rhythm, finished off with some exquisite “that's” "Alright !!!" It has a touch of Country-Blues in the background. The guitars alternate between spidery textures, arrangements, and power. chords, with Slash giving a masterclass on Talkbox … and Dizzy Reed makes his debut as an official member of the group with a little piano A subtle but effective boogie. Axl provides a sort of second and third voice in the background (one high and one lower, for a super cool effect) and increases the volume when necessary, with his signature high notes. At 2:30 there's a bridge where the voices combine in a practically a cappella harmony to create tension: “Ya get out on your own, and you, take all that you own …” before exploding at 2:45 with a magnificent Slash solo. In the coda, Izzy alternates magnificently, singing “That's "Alright !" And Axl responds with a full-throated shout of "Dust N' Bones," closing with a furious guitar riff and a colossal drum intro. Wow! Everything works in this song. It's not aggressive in the traditional Gn'R sense, you know, clowning around and trying to sound tough, but this time the song has a naturally menacing quality. And it's not even a rocker song. With tracks like “Right Next Door To Hell,” the band achieves a perfect balance, blending seamlessly to the point where they sound even more aggressive at times. Special mention goes to Izzy Stradin for his impressive vocal performance… We continue with “Live & Let Die” , the well-known cover of the song Paul McCartney composed for the James Bond film of the same name. They don't stray too far from the original, and Axl even attempts one of his most emotional vocal performances, at least in the opening verses. But while they respect the original, they also put their own stamp on it, adding power and highlighting the role of the guitars in the explosive sections. The piano sounds almost beautiful at the beginning, and the backing vocals are reminiscent of Linda's (“you know you did , you know you did , you know you diiiiid”. When the song explodes into the instrumental section, the energy is palpable. Sorum adds much more punch with his drumsticks, and Slash, without stealing the spotlight and respecting the orchestration, adds plenty of distortion to further raise the volume. In short, the song is handled very well, seamlessly transitioning between the soft-heavy-soft-heavy sections. It maintains a short duration, and although it received criticism for not making too many changes, I think that altering it further could have ruined the song. In fact, I quite like the song, and I imagine it must have been a real powerhouse live, as Paul himself reaches incredible heights and it becomes one of the climaxes of his concerts. “Don’t Cry” in its original version is one of the gems of this album. A beautiful power ballad that was written during the Appetite for Destruction era. It forms part of the Illusion Trilogy along with “November Rain” and “Stranged”, which is about a girl dumping her man, leaving him completely devastated. The story behind the trilogy is that around the time the band was starting to take off, Izzy was dating a girl Axl liked, or had a huge crush on, but never made a move on her (according to Rose). Izzy and she broke up, and Axl looked for her, realizing that he couldn't even see her without betraying his friend. In their last conversation, Axl opened up, broke down, and she comforted him, telling him not to cry. According to Axl, he wrote the entire song in just five minutes after he got home. Perhaps that's why it's one of Axl's most emotive vocal performances. Izzy sings backing vocals, and again, they blend wonderfully. The structure is incredibly simple: an arpeggiated circle in A minor, which back in my day any novice guitarist could play, myself included. The lyrics are emotional; if you pay attention, they truly resonate deep within you, and you can feel Axl's pain in his sighs. The incident with Izzy's ex had probably been forgotten by then, but after that, Rose's marriage to Erin Everly crumbled after a fight over a gun in which they nearly killed each other. This may have prompted the rediscovery of the trilogy, even though Axl already had another girlfriend at that time. The guitars combine subtly and beautifully, creating that ethereal and sublime feeling. The verses are delicate and gentle, with a bittersweet and catchy melody, subtly increasing the tension in the choruses. The song builds tension until Slash unleashes those power chords at 2:10, setting the stage for a painful solo, one of the most memorable with Guns N' Roses. In the final choruses, it's truly moving how the guitar mirrors Axl's high notes; the song gains power without losing any drama and reaches a spectacular close, with Rose howling "Tonight" for about 30 seconds, until the last drop of oxygen in his lungs. That it was later over-recorded isn't the band's fault. It's one of the simplest and most magnificent songs they ever made. With “Perfect Crime” , we return to the band’s wild and immature side, marking the beginning of a rough patch halfway through the album. It’s a relentlessly fast rocker that might have fit better on one of their earlier albums. Axl practically vomits out the lyrics, the guitars sound excessively aggressive, the drums are frenetic, and the simple structure has a punkish feel. Fortunately, it’s short, clocking in at under two and a half minutes. But it’s one of those tracks that feels like filler and out of place. “You Ain't the First” brings things down a notch. It's actually a country-tinged acoustic ballad sung by Izzy. I suppose it's Slash who plays that great steel slide guitar, which gives it a nostalgic feel. The melody is good, and it has a very intimate mood. There's even a tambourine, which also lends it a certain folk touch. A welcome respite halfway through the album, pleasant and relaxing, although I don't think it's among the fans' favorites. Then comes “Bad Obsession” with a very cool riff and that cowbell and harmonica that again give it a Road Song feel with a Country vibe. Axl sings this time, in a very nasal, mid-range tone (it's in this tone that Izzy's superiority is noticeable, although he can't compete with Axl in terms of high notes). Also preceding Appetite for Destruction, it's a prelude to “Mr. Brownstone” and deals with the band's problems with drugs, which they couldn't break free from. The melody is playful, entertaining, with a fun back-and-forth that hooks you, and the instruments alternate very well. The thing is, this time there aren't too many variations, and the song stretches to almost 5:30, but in the end it feels a bit repetitive. With “Back Off Bitch” they start again with a massive intro, before unleashing a killer rhythm Ass-kicking. However, this time the melody is less memorable and the song feels disjointed. The guitar solo at 1:50 stands out, although it's brief, more of a bridge to the next verse. The real guitar solo comes at 2:50, where they even change key to match Slash's rapid-fire guitar. The chorus is somewhat catchier, and definitely made for people to sing along to in stadiums with that powerful "Back Off, Back Off Bitch !!!!" But aside from the solo and the high notes Rose occasionally hits, the track isn't as strong as the album's highlights. We continue with “Double Talkin' Jive” , sung by Izzy. Another fast-paced, rocking track, with great drumming from Matt. But this time, the low notes don't quite suit Stradin. He gets a little lost in the fast melody. The saving grace, once again, is the guitar solo. This time, Stradin himself plays the electric guitar, delivering a colossal, slow, dark, and menacing solo, without needing any unnecessary embellishment, and with certain flamenco touches as it fades into… indeed, a Spanish guitar outro where Slash adds sweet flamenco flourishes as the song winds down. A very strange track, seemingly trying to fit together three parts, the first of which doesn't quite work. Next up is the album's most iconic and famous track, one that would become an anthem of the early 2000s and whose video played on MTV at least every hour. “November Rain” , whose quality we can't deny, but which, like many iconic songs from many bands, is hardly their best. Anyway, I think I listened to it so much back then that it made me sick. At almost 9 minutes long, it's the second longest track on the album and the third longest by the band. An epic, massive, beautiful ballad that remains a central theme of both Illusions albums, and I think of the band itself. It's fully orchestrated (presumably by Axl himself!) and instrumentally perfect, with multi-part sections or movements that unfold subtly and without any instruments overwhelming it, maintaining interest throughout its entire length. And the solos. Oh, Slash! What a solo! Axl plays the piano during the intro, creating a calm, sweet, nostalgic atmosphere that sets the stage for the ballad. Violins are added, lending an autumnal feel, along with synthesizers; Sorum creates bursts of sound and occasionally builds tension with his drums; and that flute is essential for that distant, summery, melancholic feel. The intro lasts 1:15 and then Axl comes in with a pained voice “When I look into your eyes, I can see a love restrained". The orchestra dominates the opening verses, creating cascades that rise and fall in intensity. The guitars are content to keep the rhythm or play subtle arpeggios. Then come almost angelic choral arrangements, while Axl's voice grows increasingly desperate. The melody is beautiful, with small variations that give the song fluidity. Bridges like the one at 3:05 with "Do you need some time... on your own, Do you need some time... all alone", where the orchestra builds to a grand crescendo, leading into the first distorted power chords and Slash's entrance to prepare for the first of three solos. The solo at the 4-minute mark is a beautifully weeping guitar solo, inconsolable and technically impressive, without being explosive or bitter. It's the shock of the breakup, pure weeping. Then comes another bridge, and at 5:10, Slash plays an ascending scale for the second, shorter but slightly more fiery guitar solo. At 6:20, the orchestration mirrors Izzy's power chords, creating majestic descending scales and a stunning false ending. This was already an epic song. But then comes a breathtaking coda, overflowing with pain, rage, explosiveness, anger, helplessness, and all the emotions that arise when you begin to process the breakup. With a slightly faster beat, the song becomes an endless climax, with Axl initially tearing himself apart and Slash delivering a third solo. solo, or a circular, incendiary and spectacular riff, while a chorus sinisterly repeats “Don't ya think that you need somebody, don't you think that you need someone, everybody needs somebody, you're Not the only one, you're not the only one…” to close with weeping violins and the blanket of rain that closes one of the most spectacular ballads in history. Yes, the fact that it's overrated and overplayed, the wedding drama and the overall pretentiousness of the video don't detract from the song's tremendous quality. One of the most dramatic and representative ballads of the '90s. And it's no wonder, "November Rain" began to take shape even before Guns N' Roses. Axl started writing it back in '83. The lyrics kept evolving. There are supposedly some recordings from '86, but Slash and Izzy didn't want to touch something so colossal, and they didn't yet have the resources to finish it the way Axl intended. Slash would say that the first solo is exactly the same as how he played it the first time in '86. But Rose persevered, and in the meantime, he was able to visualize and put together the entire orchestral section, including the intro, which he wove note by note on the piano, as well as the coda. During the recording, the song began to cause conflict, as Slash and Izzy preferred to avoid epic, orchestrated themes and opted for harder, more rock-oriented tracks. Well, this time we have to agree with Rose. It's an impressive song, justifying its length, justifying the time it took to write and perfect. It features one of Slash's best solos, and I dare say, exceptionally, that it even justifies the lavishness of the dramatic video. Seeing Slash in close-up, circling from a helicopter, smoking inside the chapel, and closing the third solo over Axl's piano is one of rock's pinnacle moments. It would form part of that trilogy of suicidal heartbreak along with " Don't Cry" and " Strangered". Next up is “The Garden” , which opens with a dark bass line from Duff McKagan, a soft acoustic guitar, and a distant slide. It initially gives the impression of being a bittersweet ballad. But the chorus erupts into a hellish onslaught with distorted, piercing guitars and the appearance of the legendary Alice Cooper, sporting that ragged, dirty style. At 2:15 comes one of Slash's most ferocious and rapid solos, followed by a repeat of the sequence of calm, melodic verses and ferocious, almost metal-tinged choruses, which I find somewhat jarring. In other words, it feels like a very artificial spectacle, again trying to sound badass, but lacking the naturalness of “Dust N' Bones”. The song closes with Alice maliciously whispering “Bye Bye” amidst hellish screams and the guitar roaring in the background. Shannon Hoon, vocalist of Blind Melon, also collaborates on this track. With “Garden of Eden” , they hit the lowest point of this album. While the other tracks have at least something redeemable, here it's all punk speed, unintelligible phrasing devoid of melody, and distortion upon distortion. It lasts less than three minutes, but it feels much longer with that hammering rhythm and Axl's screaming. Truly unbearable, and I can rarely finish listening to it. Then we have “Don't Damn Me" , with which a cool, kick-ass, and memorable riff returns. Powerful drums and solid bass work from Duff. Axl sings somewhat breathlessly, but with enough melody. At the two-minute mark, the tempo slows to a bridge with ballad-like undertones, a stark contrast, but one that manages to work, featuring a good guitar in the background and Rose drawing out and swaying through the syllables. Then a bass-drum onslaught, and we return to the colossal rhythm and the solo, which is good, but at times sounds like generic metal, with Slash a bit uninspired and trying to sound as flashy as possible. At the four-minute mark, the song is sustained by the bass, and McKagan showcases his skill with the depth of the four strings, before unleashing himself again for the closing, in which Axl howls, "Don't Damn MEEEEEEEE !!! With “Bad Apples” they return to a certain blues influence, although the verses sound devilishly disorganized, and the different voices are sometimes completely out of sync. But the chorus is devilishly good and catchy, with the little piano playing being a highlight. Boogie . It sounds like a party with tons of distortion, and at times it's genuinely energetic. The problem is the verses, which seem to go nowhere, or at least with the way it's sung… you can't tell if he's rapping, convulsing, or just vomiting the lyrics. And towards the end, this makes it somewhat repetitive. But once again, Stradin 's rhythm guitar is colossal, and the solo is good, packed with dynamite and better structured than the one on the previous track. Then we have "Dead Horse" , which starts with Axl playing an acoustic guitar in a rather basic way. He sings almost a cappella for about a minute, with a pretty melody in a low voice. Then more acoustic flourishes come in, and it seems like it's going to be another relaxing ballad, but then comes a wild scream, and the entire instrumentation bursts in like an avalanche, sweeping everything away. It has a good riff, and it's fun. Axl manages to put together a melody without screaming too much. It's not a killer track, nor is it one of his best, but it's entertaining. The problem is that by this point, the album already feels a bit long. In the end, it always makes me think my CD player has frozen, until I remember that I'm not listening to it on CD anymore, but on MP3, haha. We close with “Coma” , another epic, kick-ass 10-minute gem, and this time it totally justifies its length. Up until now, we'd barely mentioned Duff, mainly because he effectively but discreetly fulfilled his role on bass. But here he blows the roof off with a tremendous, powerful, and incredibly dark bass line that has always amazed me with its simplicity and immense power, driven by Sorum's heart-pounding beat, adding that damn natural energy that so many songs try so hard and unsuccessfully to find. Here, it works from the start, effortlessly, from the perfect bass effect, the fade -in guitars, the snare drum, and the creation of tension, to Slash running his entire arm before finally launching into full fuzz, mirroring the bass riff. And then the staccato verses, where Axl sings a line and the guitars respond with a sawtooth effect. Then they get into the rhythm and staccato again. The strumming guitar, the changes in rhythm and melody… in short, they do a lot, a whole lot, and very effectively, leading the song to that climactic moment at 2:10 when Axl goes wild: “And someone to tell me, WHAT THE FUCK IS GOING OOOOOOOOOOON, GODDAMN IT!” And then the beep-beep of the electrocardiogram, the majestic riff, even more malevolent than before, and the vocal effects, one of them distorted in a chilling way. The song continues with a multitude of changes, rises and falls, making it impossible to stop listening. At 3:50 it seems to fade, but Matt keeps the beat going with a cymbal to the rhythm of the heartbeat. The song refuses to die. Some guitar arrangements while Axl sings almost timidly, in a whisper. Another change of tone at the 6-minute mark for another incendiary and flawless guitar solo from Mr. Saul Hudson. Wow, what a high level he brought to this album! At least in some tracks, he has tremendous timing, combining explosiveness, feeling, and technique, and it seems like not a single note is out of place. Towards the end, Rose stumbles a bit over the lyrics again, and the ending is somewhat abrupt, with the high note sustained by the feedback dropping off, until the snare drum hit that marks the end of the song and the album. In short, a great album, but it's certainly held together by a thread by the four or five killer tracks it contains, undoubtedly superior to the average of what any other band was doing at that time. Well, no, '91 was tremendous, but thanks to these songs, they were at the forefront of that rock resurgence. The problem is that it's too long. With 16 tracks and 76 minutes, it seemed like they could have cut 3 or 4 of the weaker or average songs, which might have been fine on Lies, but here they sound out of place with the "maturity" (if we can call it that) that Guns N' Roses displays in some of the songs. Use You Illusion I feels slightly inferior to II, which lacks so many average tracks and seems better structured. And well, people must have noticed, since this one, with its orange and red cover, sold slightly fewer copies than its blue and purple twin. The cover art, by the way, is taken from Raphael's "The School of Athens". All in all, it's an iconic album, one that would mark the resurgence of Rock in that spectacular '91, with some tracks that are now classics and that would also mark the beginning of the band's breakup. By Corvan May/1/2013

G N’ R LIES (Guns N’ Roses, 1988) Click to listen on Spotify Artist: Guns N’ Roses (D+) Recording Dates: ’86 – ‘88 Release Date: November 29, de 1988. USA Record Label: Geffen Producer: Mike Clink & Guns N' Roses Rating: 6 Era: Hard Rock (1968-???) Subgenre: Hard Rock Best Song: Patience Tracklist: 1) Reckless Life; 2) Nice Boys ; 3) Move to the City; 4) Mama Kin; 5) Patience ; 6) Used to Love Her; 7) You're Crazy (Acoustic); 8) One in a Million. Wow ! What happens if, overnight, with just one album, you become the most powerful band on the planet, with the most successful tour (so packed they cause fan deaths), with the members suddenly rubbing shoulders with rock royalty (opening for the Rolling Stones), with the guitarist being considered, at the time, if not the best, at least the greatest badass, even playing alongside His Majesty Michael Jackson… And with a kind of glam attitude, without so much makeup, and the added detail that they were genuinely “bad boys” and not just posers like Bret Michaels, John Bon Jovi, and company? Well, it goes to your head. The guys from Guns N' Roses really believed it, very seriously, that they were the best band in the world because of the success of their well-crafted Appetite for Destruction. And the result was that not only was their "bad boy" attitude far more authentic than that of their contemporaries, but they took it to extremes, embarking on truly destructive tours that ravaged the cities they visited, indulging in excesses of alcohol and drugs, and doing whatever they wanted. At one point, they were heard to say, "We're the Rolling Stones of the 80’s." The thing is, when a band has such a successful debut album, it generates enormous expectations for its follow-up. Guns N' Roses' Lies was perhaps the most anticipated rock album of the 80’s… and the most disappointing. Frankly, after such a debut, Lies leaves much to be desired. And to begin with, it should never have been released as it is. It's actually a mix of Guns N' Roses ' first EP , Live ?! *@ Like a Suicide from 1986, with the four tracks on side one presented as a "fake live" recording, in which the band displays more enthusiasm, attitude, and eagerness than actual quality. Two of the tracks are even covers … Side two features four acoustic tracks recorded on the fly in just three sessions, including a softer remake of "You're Crazy", which I still prefer in its Appetite version, and of which only "Patience" manages to stand out. The band didn't actually want to release a new album; they were fully immersed in the tour and enjoying the moment, and supposedly wanted to wait to write quality songs so their next album would be something worthwhile. I suppose the record label pressured them, and in the end, they succumbed to the temptation of a few more dollars, taking advantage of the momentum their debut album was still generating. So, instead of releasing the four new acoustic tracks on a second EP, they decided to compile the songs from Suicide (which they had recorded in the studio and to which they added fan screams to disguise it as a live recording) and sell it as an LP. Not stupid. The problem is that what could have been a more or less decent acoustic EP ended up being a bland LP, lacking unity and direction, and with the obvious aim of extracting money from their fans. So, either way, it's still disrespectful to them, and it falls very, very short of the level shown on their first album and on Illusion. The album opens with “Reckless Life” , featuring Axl screaming at the top of his lungs, I don't know what the hell, but it ends, predictably, with “Fuckin ' Roses”. The song is a furious rocker, reminiscent of early Aerosmith, with Axl unleashed, screaming more than singing the lyrics, in extreme tones. The drumming is tremendous, delivering powerful fills, while Slash and Izzy intertwine their guitars, trading barbs in those power metal- like grooves. At the two-minute mark, we get a blistering solo from Slash, while the rest of the drums continue to pound away in the background. The problem is that it sounds very generic, soulless, with Slash trying to hammer away at as many notes as possible without much order or purpose. That's actually the problem with the whole song (and the entire A-side): it sounds powerful, but generic, something any pseudo-metal band could have done back in 1986. It's not bad, but it doesn't stand out, and after listening to the album, it's not particularly memorable. Perhaps the best thing about it is McKagan 's great bass playing, which reaches about 25 beats per minute. Next up is “Nice Boys” , a cover of Rose Tattoo, another hard rock band. It’s not far removed from the original, wild, unrestrained, but I think Axl’s voice gets annoyingly high, especially at the end when they repeat the catchy chorus “Nice Boys don’t” countless times. "Play rock & roll…". With Rose Tattoo, the only interesting thing is that the rest of the band sings backing vocals. Here, everything sounds very heavy, disorganized, and forced. I don't know, with so many songs to cover, it seems to me that they not only chose a very bland and mediocre song, but compared to the original, they sound even worse and contribute absolutely nothing. It's because of songs like this that I say Rose can be an absolutely annoying and detestable vocalist. “Move to the City” is a slight improvement. The truth is, the combination of Guns N' Roses' power with a horn section could be bizarre, but it works. At least the song is more rhythmic, and there's actually a catchier vocal melody, without Axl's vocals being so over the top. The guitars blend well, combining with the swing of the trumpets and then each going its own way. Slash's solo at 2:30, with the key change and all, is shorter but more organized, without trying to be flashy, and it suits the song better, along with the riffs Izzy builds in the background. Overall, it's more enjoyable, with a very pleasant mood, maintaining a good mid-tempo, neither a furious rocker nor a slow song. The horns are the odd thing, which is perhaps the last thing we'd expect to hear in a Guns N' Roses song, especially from their early days. But it's worth remembering that they were heavily influenced by the Rolling Stones (whom they would later emulate), and around that time they had a horn section. Besides, it doesn't sound bad at all; it's part of the song's charm. I think this is the strongest point of that first EP and this first side, though not enough to make it a standout. Next up is the second cover, “Mama Kin” , this time by Aerosmith, another of Guns N' Roses' great influences. This time they make the song heavier, adding parts and simply having fun with it, although again it falls short compared to the original, which is lighter, more carefree, and vibrant. From the intro, this version loses Aerosmith's bluesier feel, and they significantly shorten the intro. But hey, the point of this song is to have fun, and they do it with gusto, putting in a lot of punch, and this time they do add an instrumental change; while they respect the song's structure and riffs, the drums, guitars, and bass add notes and small arrangements of their own that make it denser and more hard rock, although again it becomes repetitive and lacks variety towards the end. Presumably, this was the song they closed their concerts with. These first four tracks aren't so bad, and they showcase the band's power and the development of the live sound that would define them (they would become even more overwhelming over time), but a certain lack of maturity is still noticeable. The seeds of Guns N' Roses are there, but they need to refine their style and address their flaws to avoid sounding generic. Of course, by that point they already had a much more mature sound, which is why I maintain that including this '86 EP in 1988 was a mistake. The second part of the album is acoustic, recorded quickly in three sessions to complete the record. The first track is "Patience" , a beautiful ballad (perhaps the best in Guns N' Roses' entire repertoire), composed by Izzy Stradin. The lyrics are simple, melancholic, and autobiographical, with Axl singing heartfeltly and without exaggeration, in a mid-range tone that suits him perfectly. The vocal melody is magnificent, and Rose himself adds the whistling at the beginning, which replaces what would be a main riff. The absence of drums and bass is compensated for by a third acoustic guitar played by Duff, creating a warm and richly textured atmosphere between the three of them, without ever overpowering each other. At times one guitar plays arpeggios, another strums, and then Slash breaks away to deliver a crystalline and well-crafted solo, both melancholic and very melodic, occasionally carrying the whistling line. At 4:10 there's a false ending; the song seems to finish, but then another guitar riff kicks in with a more rhythmic flow. The other guitars join in and create an excellent coda crescendo, which doesn't explode or become violent, but serves as a welcome change that refreshes the song and adds a touch more drama. A great song that shows us a more delicate side of the band, capable of creating good acoustic, melodic, and catchy tracks. Not everything has to be apocalyptic hard rock when there's quality in the song. Wow ! I think this simple song is worth 5 out of the 6 points on the album. Next up is “Used To Love Her” , again with an acoustic base, but this time with a very rhythmic and pleasant bass and drums. The song is fun and basically just plain crazy. The chord progression is very simple, the kind any band starts with. It's not a masterpiece, but they create a great atmosphere with everyone singing along, a festive yet lighthearted vibe, and the lyrics are very funny: "I used to love her, but I had to kill her, I had to put her six feet Under, and I can still hear her complain" is as catchy as bubblegum. The solos are quite interesting; I'm not sure if it's Slash, but I think it's the closest thing to country we'll hear from Guns N' Roses. While not outstanding, it's a pleasant and refreshing song. On the other hand, the lyrics (which are clearly a joke) started to earn them a reputation as chauvinistic pigs. Then comes “You're Crazy" , which had already appeared in an electric version on Appetite for Destruction, is, in a way, a cover. However, it loses about three-quarters of its original character, being one of the most violent and powerful tracks on the debut album. Here, it's much slower, with Axl singing an octave lower, and then going wild in the middle section, surpassing Robert Plant with his vocal excesses. The solo is good, improving towards the end. It's not bad, but it doesn't add anything to the original, so it seems unnecessary. They supposedly chose this version to make acoustic because that was originally going to be the version on Appetite, but in the end, they sped it up to make it a semi- thrash track, so this is the song as it was actually conceived. We close with the controversial “One In a Million” , with Axl once again providing the riff with a whistle. This time, they blend rhythmic, acoustic guitar with a fuzz -laden electric guitar, creating intricate arrangements throughout the song. The combination works well. The vocal melody is also strong and catchy, especially in the chorus, where the guitar shines. It could have been another relatively successful song, were it not for the blunder with the lyrics. They were supposed to be a joke and not taken too seriously, but Rose uses them to launch into a diatribe that ranges from racism and homophobia to anti-immigrant rhetoric. Of course, it was censored everywhere, and despite Axl's apologies and attempts to explain that it was a joke, “One In A Million” has become one of the biggest anthems of radical intolerance. They even changed the lyrics in one of the reissues, but eventually reverted to the original after realizing that it wouldn't stop people from continuing to demand apologies. An album with more cons than pros, and two sides with ambivalent themes; on one hand, very powerful songs with somewhat generic rockers; and on the other, relaxed, acoustic tracks with a good mood, but which aren't particularly distinctive. Some average tracks, covers that don't add much, a beautiful ballad that stands out by far, and songs with potential ruined by the lyrics. I think that's one of Guns N' Roses' main problems. The lack of a consistent level, offering a mixed bag, with very noticeable ups and downs. That, and the notable excesses, and the ego clashes that would erupt within the band. I don't know, Guns N' Roses is a great band, with very good musicians and an attitude perhaps perfectly suited to the music they made, but despite two or three good albums, it seems they never managed to maintain their momentum or stop being an eternal promise that would save hard rock. This could have been a good acoustic EP, but ambition and a lack of planning caused it to end up as one of the band's weak LP’s, very short, and without much personality. By Corvan Jun/21/2011

COLORES SANTOS (Gustavo Cerati & Daniel Melero, 1992) Artista: Gustavo Cerati (C) Fecha de Grabación: principios 1992 Fecha de Lanzamiento: Marzo de 1992 Discográfica: Sony/BMG Productor: Gustavo Cerati y Daniel Melero Calificación: 9 Era: 90`s Rock en Ñ: La era de Oro Subgénero: Dream Pop. Nuevo Rock Argentino Mejor Canción: Vuelta por el Universo Canciones: 1) Vuelta por el Universo ; 2) Marea de Venus ; 3) Cozumel; 4) Quatro ; 5) Pudo Ser ; 6) Hoy Ya No Soy Yo ; 7) La Cuerda Planetaria; 8) Madre Tierra ; 9) Tu Medicina ; 10) Alborada ; 11) Colores Santos . El Colores Santos es un caso realmente curioso y accidental, podríamos decir que sin quererlo es el primer disco solista de Cerati y tal vez uno de los más influyentes en su carrera posterior. Este disco hecho a dúo, es el primero en el que Gustavo, sin vergüenza alguna se liga con la música electrónica y hasta puede que aquí esté la respuesta del por qué empezó a experimentar este género. Y es que sin Colores Santos, no podemos pensar en un Dynamo o un Bocanada. Esta especie de eslabón perdido entre Canción Animal y Dynamo, surge por la colaboración con Daniel Melero, personaje muy influyente en los 80’s, quien moviéndose por muchos rincones, se convirtió en una especie de referente underground. Podemos notar entre sus mayores reconocimientos el de traer el Electro Pop a la Argentina, de la mano de Los Encargados, y de componer la primer gran canción publicada por Gustavo, "Tratame Suavemente". Ya estaría más cerca de Gustavo en los 90’s, ya que sería el único colaborador directo en las letras de algunos de los tracks del Canción Animal, y seria definitivamente el Cuarto Soda para el disco Dynamo. Daniel, a diferencia de Gustavo, nunca necesitó de reflectores, además de siempre estar ligado a la música experimental, pero de alguna forma siempre estuvo colaborando en discos clave de los 80’s, como el primero de Soda, u Oktubre, el segundo disco de Patricio Rey y sus Redonditos de Ricota. Melero, con este disco se transformaría finalmente en un mito de principios de los 90’s, siendo un productor clave de las bandas nuevas, y convirtiéndose en un referente clave del fugaz y aclamado "Rock Sónico" o "Nuevo Rock Argentino", un movimiento de bandas nuevas muy influenciadas por el rock alternativo de USA y el Madchester Británico, como Babasónicos, Peligrosos Gorriones, Massacre, El Otro Yo, entre otras. Daniel por ejemplo, auspició de gran apoyo al igual que Gustavo, a unos recién salidos Babasónicos, grupo referente de esta naciente generación. Siguiendo con el disco, otra de sus curiosidades es la unión dispar de estos dos personajes, en el que lograron ensamblar una química enorme. Ya sabemos la genial habilidad que tiene Gustavo, buenas guitarras cargadas de efectos, letras oníricas, y su voz característica, aquí también aporta el rol del Bajo en mucho de los tracks. En el caso de Melero, le quedó la parte rítmica, secuencias, teclados con efectos, letras y voces en algunas canciones. Lo curioso es como encajaron bien las piezas y sus funciones, al tener una relación de amistad, controlando sus egos (creo igual que Daniel tenía claro quién era el que mejor componía). Es distinto al trabajo forzado y cansador que puede llevar un disco con un grupo ya consagrado. Como vemos, el resultado es una unión entre la Electrónica y el Rock muy adelantada a su época. Pensemos que el año 1992 algunos en Latinoamérica estaban recién digiriendo las bandas Madchester (Happy Mondays, Stone Roses). No se tenía ni la más mínima idea de la cultura Rave que explotaría aquí recién a fines de los 90’s. Además al tener aires psicodélicos, también logra un aura Dream Pop que sorprende, ya que aunque puede que Daniel y Gustavo por su melomanía y contactos con discográficas conocieran este género, en Latinoamerica el Dream Pop de grupos como Slowdive o Cocteau Twins era totalmente desconocido. Teniendo esto en cuenta el carácter experimental del disco, es un pequeño triunfo del Rock Latino sobre las discográficas, era tal vez una de las pocas veces que las discográficas grandes apostaban a discos tan experimentales en el Rock en Ñ. Es así que este disco fue bastante olvidado con el tiempo, muchos no lo conocen, y en su momento fue totalmente incomprendido. Lo podemos tomar como una de las piezas inaugurales del Underground de los 90’s, aquella que ponderaron como "Nuevo Rock Argentino" por lo avanzado, la producción casi casera y la poca notoriedad que se le dio. El disco abre con Vuelta por el Universo , tal vez el tema más conocido del disco. Inicia con un sintetizador espacial, al que una máquina de ritmos le responde, dando una secuencia repetitiva e hipnótica. La forma lenta de cantar de Gustavo, nos envuelve poco a poco en esa aura espacial. De a poco, pequeños sonidos se entrelazan con esta secuencia como si de un hermoso viaje se tratara, el efecto de guitarra (creo que de reversa), viaja al mismo tiempo que la voz de Gustavo, creciendo poco a poco. El verso eterno cambia a un mini estribillo con ese "Alto cada vez más alto" que canta Gustavo, para después agregarle una guitarra acústica a toda la secuencia anterior, como un rompecabezas que va encajando sus piezas una a uno. El final está marcado por la ausencia de esta guitarra, siendo sustituida por un bajo con un efecto de Fuzz, todo ello bajo la misma secuencia del principio. Lo increíble de este track es todo lo que hacen bajo la misma secuencia una y otra vez y es genial!! Continua Marea de Venus , uno de los más movidos del disco, y también mas rockeros, lo que hace Gustavo con la guitarra en esa electrificada intro es simplemente genial: un punteo, partido a la mitad en el que luego del primer verso se completa, llenando de electricidad el cerebro. El trabajo de Melero destaca mucho también, crea un armatoste de máquinas de ritmos lleno de energía en el que además de baterías, suenan bongos y congas de forma casi invisible. El track va creciendo exponencialmente hasta un final en silencio. Este es uno de los tracks mas olvidados del disco y además es en los que más parece un grupo el que toca en ves de dos personas. El tercer track es Cozumel , un track hipnótico cantado por los 2. Melero se encargaría de la voz principal, pero Gustavo destacaría también con los coros, creando con ellos el final de los versos, cantando ese "Sin respuesta". El sonido es realmente psicodélico y crea un aura realmente onírica en toda la canción. Entre sonidos de oscuros efectos, luminosos teclados y la secuencia rítmica lenta e imparable, nos da a entender con este track que el objetivo del disco es llevarnos en un viaje por distintos rumbos; ésta una especie de selva digital en el que algún Chaman nos lleva por rumbos seguramente nunca antes vistos. Continua la instrumental Quatro un tema electrónico, casi experimental en el que la verdad no sé si Gustavo participa aunque sea, tal vez en algunos efectos o en el bajo. Lo único destacable del track es ese frenesí semi progresivo e industrial que empieza en el minuto 2, ya que los efectos se vuelven cada vez más cristalinos y extraños al mismo tiempo. El resto es solo sonidos arriba de una máquina de ritmos. Continua la oscura Pudo Ser , un tema lento y pesado, con cierta aura Jazzística, y a diferencia del anterior track, Gustavo participa mucho y se entrelaza con la voz femenina de una desconocida Carola Bony. Ella conoce a Gustavo de forma casual en un bar, en el que consiguió entregarle un pequeño demo; para su suerte, Cerati la llamó para este proyecto. Como decía, el track es realmente oscuro, en el que la densidad del mismo es la clave, las guitarras lentas pero pesadas, los sintetizadores de fondo se entremezclan con una azulada esencia acuática. Sigue Hoy Ya No Soy Yo , una mezcla extraña entre lo acústico y lo eléctrico, en el que por un lado notamos congas y guitarras acústicas, pero a la vez tenemos baterías, bajos y guitarras eléctricas. La voz de Gustavo canta distintos versos, pero sin salirse del mismo patrón hasta el 1:40, es aquí donde arranca una especie de estribillo corto y flotante. Todo de pronto se vuelve muy lento, hasta que empieza devuelta la secuencia del principio. Tal vez la técnica en componer es la misma que la del primer track, Vuelta por el Universo, una especie de rompecabezas en donde todo encaja, esta vez siendo mas acústico que eléctrico, pero al mismo tiempo dando la sensación de estar hecha para ser reproducida para una pista de baile. Sigue La Cuerda Planetaria , un track mas dance, pero que empieza con una guitarra totalmente distorsionada, que se va entrelazando con sintetizador de fondo que envuelve toda la canción. El track es cantado por Melero, quien canta hasta que un teclado medio funky lo interrumpe con sus arpegios programados. En fin, esta canción como dije, tiene un fin mas Dance y bailable, tal vez su belleza se encuentra en los efectos de cada instrumento, ese arpegio programado que a la larga se vuelve hipnótico entre distintos gritos tribales. Continúa Madre Tierra , otro tema bien electrónico, dance e instrumental. Entre el pegajoso y repetitivo bajo se esconden unos extraños efectos que no paran de usarse sobre la imparable máquina de ritmos y algunos tarareos. Otra obra más cercana a Melero que a Cerati, puede que esta de las más flojas del disco. Continua Tu Medicina , en el que aquí vemos por lo menos un poco del Gustavo de Canción Animal, lleno de distorsión bien organizada, y momentos cumbres y explosivos con el estribillo que es el trance mismo del track. Entre la oscuridad de los versos de Gustavo y en el que al final del mismo se entremezcla casi sin notarlo la voz de Melero, cerca del minuto 2:30 tenemos el segundo estribillo mas explosivo y con un pequeño cambio de tonalidad previo, al igual que al final del mismo en el que con ese "besaré la cruz", se apaga todo para luego empezar con un largo final. Entre la voz suave de Gustavo y un estupendo solo de guitarra que se combinan, este track podría haber entrado tranquilamente o en el Canción Animal o en algún posterior disco solista de Gustavo. Sigue Alborada , que es bue… un montón de efectos atmosféricos, entrecruzados, dándonos una especie de sensación oscura y maligna como… mmh no lo sé la verdad. Pero en fin, este es otro de los detalles experimentales del disco, una bola de efectos que dura casi 3 minutos. Seguramente en una película existencial funcionaria muy bien. El disco se despide con Colores Santos . Este track nos anuncia de una manera estupenda el nacimiento de Dynamo. Entre esos sintetizadores en forma de Violines con efecto de reversa de la intro, que me hacen acordar a esos momentos extraños y geniales de My Bloody Valentine, las guitarras rabiosa de Cerati cargadas en efectos en las cuales me vienen a la cabeza cualquier grupo shoegazing… tal vez la enérgica forma en la que canta Gustavo nos aleja un poco de ese género, sin embargo creo que aquí logran enserio, al igual que en la primer canción, encontrarse de formas iguales Cerati y Melero, uno con su guitarra y el otro con sus efectos. En fin un, disco extraño, tal vez mas cerca de ser una obra maestra que un desastre entre amigos, sin embargo la esencia vanguardista del disco puede que lo aleje de ser paradójicamente una obra perfecta. Es así que su destino termina siendo el de ser algo incompresible en el buen sentido, y sin duda alguna muy adelantado a su época. Finalmente el objetivo del disco fue emplearse como elemento artístico al 100%, y es así que ese objetivo está cumplido. Este disco nunca fue para el público, fue de forma sincera para Gustavo y Daniel. Es por eso que tiene un 9 y no un 8 o un 10, porque sus irregularidades fueron necesarias para la totalidad del disco, ya que sin sus puntos malos no existirían sus buenos y viceversa. Es así que tal vez esto que se logró gracias a la revolución del mercado de la que Gustavo tiene gran culpa, pudo lograr que una discográfica apostara a este trabajo experimental, y ESE es sin dudas el gran triunfo de este disco. Por Homer 9/Oct/2014

FOR YOUR LOVE (The Yardbirds, 1965) Artista: The Yardbirds (C) Fecha de Grabación: Ago ’64 – Abr ‘65 Fecha de Lanzamiento: 5 de Jul de 1965, UK Discográfica: Epic Productor: Giorgio Gomelski Calificación: 8 Era: Rock & Roll II, Early Sixties (1960-1966) Subgénero: La Invasión Inglesa Mejor Canción: For Your Love o Heart Full of Soul Canciones: 1) For Your Love ; 2) I'm Not Talking ; 3) Putty (In Your Hands); 4) I Ain't Got You; 5) Got To Hurry; 6) I Ain't Done Wrong; 7) I Wish You Would ; 8) A Certain Girl ; 9) Sweet Music ; 10) Good Morning Little Schoolgirl; 11) My Girl Sloopy; BONUS TRACKS: 12) Baby What's Wrong; 13) Boom Boom; 14) Honey In Your Hips ; 15) Talkin' 'bout You; 16) I Wish You Would (long version); 17) A Certain Girl (alternate take); 18) Got To Hurry (take 4); 19) Sweet Music (take 4); 20) Heart Full Of Soul ; 21) Steeled Blues; 22) Paff Bumm (German issue); 23) Questa Volta ; 24) Paff Bumm (Italian issue). Los Yardbirds tienen una discografía absolutamente caótica. En realidad, lo que se dice disco, disco, así de estudio, de meterse a la cabina a grabar con la idea de un LP y todo, solo tienen un par de álbums: Roger The Engineer y el Little Games. El debut es un disco en vivo: Five Live; luego vienen dos compilaciones de sencillos (entre ellos, éste) después los mencionados Roger, y Little Games, con la banda ya desmoronándose, y finalmente un bastardo en vivo: Live Yardbirds Featuring Jimmy Page, que lanzó la disquera sin el consentimiento de la banda a manera de venganza porque Led Zeppelin iba a arrancar con otra distribuidora. Todo esto es porque el grupo tenía muy poca visión comercial/empresarial. No había nadie que se tomara este control y tenían una absoluta dependencia en el aspecto musical de sus distintos guitarristas, pero no había un líder per se que se encargara de evitar las manipulaciones y saqueos que les hacían las disqueras coludidas con Gomelski, hasta que en 1966 Peter Grant se volvió su manager, coincidiendo con los 2 discos de estudio y su mejor época. Pero eran tan inocentes, que Peter Grant y el recién llegado Jimmy Page se quedaron con los derechos del nombre apenas a unos meses de haber llegado. Ya me desvié hacia adelante! A lo que iba es que este disco no es “oficialmente” un álbum de estudio, sino un recopilatorio de sencillos editados en USA. Como la banda estaba preparando en ese entonces su primer viaje a USA, Giorgio Gomelski, su manager y productor, decidió aprovechar, juntar material y sacar una minita de oro. En realidad no es terrible en absoluto. El disco carece de unidad, por supuesto, pero recopila grandes canciones de la banda, y aquí tenemos ni más ni menos que la transición de Eric Clapton a Jeff Beck, a quien ya se le escucha en "I'm Not Talking", "I Ain't Done Wrong", y "My Girl Sloopy". De hecho a Clapton no se le menciona en los créditos interiores del álbum, ni sale en la foto de la portada, ya que terminaron más bien mal en Marzo del ‘65, y esto ocasionó que mucho tiempo hubiera confusión sobre quién tocaba la guitarra en las canciones; aunque escuchando bien, se nota claramente la diferencia entre el blues de Clapton y el más experimental de Beck. Así pues, de los 11 tracks originales del álbum, tenemos 3 que fueron sencillos de la era Clapton, otras 3 canciones que conformaban el primer EP con Beck, algunas canciones que no habían lanzado en absoluto. El relanzamiento tiene un montón de bonus tracks que habían estado escondidos, un par que por alguna extraña razón, sólo se habían lanzado en Alemania e Italia, junto con algunos demos, que terminan duplicando el tiempo del álbum, que aún así no es muy largo. Con Clapton, curiosamente, las canciones son cortas y los pocos solos que hay son breves. Aún no le daba por alardear, por lo que las canciones no pasan generalmente de los 3 minutos y el disco se va como agua. Como sea, este álbum es muy divertido y es una excelente muestra del sonido de la primer época de los Yardbirds. Es difícil definir a los Yardbirds. Ellos mismos nunca se tomaron demasiado en serio y al final parece que incluso se avergonzaban de “ser” Yardbirds, excepto Jimmy Page, claro. Lo curioso es que era de las bandas que parecían tomarse más en serio su manera de tocar música. Quizá no fueran virtuosos (salvo la triada de guitarros), pero en general lucen muy sobrios tocando. Se les nota la energía, pero en ningún momento se vuelven un desborde de salvajismo como los Rolling Stones, o los Animals, o The Who. Parecen enfocarse más en tocar bien, y el mismo Keith Relf, luce a veces demasiado tímido para ser vocalista. No desafina una nota, pero no se le nota el carisma que sí desbordan Mick Jagger o Eric Burdon. Aún así no se les puede reprochar nada en absoluto, tocan casi por nota, y las tres guitarras líderes que tuvieron son sorprendentes en cada etapa. Quizá tuvieron al mejor guitarrista del mundo en su momento: Eric del ’62 al ’65; Jeff del ’65 al ’66, y Jimmy en el ’66 al ’67. Bueno, en esa época estaban Hendrix y Clapton en su mejor momento, pero me siguen, no? El disco abre con “For Your Love” quizá la canción más emblemática de los Yardbirds, la más famosa, pero también la que orilló a Eric a renunciar al grupo por estarse volcando a un sonido más comercial y popero que el R&B puro que él prefería. Tampoco es que podamos rasgarnos las vestiduras por la salida de Eric de los Yardbirds: gracias a ello, pudimos escuchar a un hasta entonces desconocido Jeff Beck. Y por otro lado, Eric Clapton se iría con los Bluesbreakers y en poco más de un año estaría deleitando al universo entero con su verdadera capacidad en Cream. "For Your Love" fue escrita por Graham Gouldman, quien después formaría parte de 10cc en los 70’s. El tipo tenía un grupo de poca monta y escribió la canción basándose en el sonido Beatle. Su manager quedó tan impresionado que, de hecho, sugirió ofrecer la rola a los Beatles, así que fueron a una de sus presentaciones. La banda abridora eran los Yardbirds. Los Beatles para 1965 estaban grabando mayormente material propio, así que los mandaron a volar (incluso se dice que ni siquiera los recibieron) por lo que presentaron la rola a los Yardbirds, que quedaron impresionados. Evidentemente, el resto es historia. La canción es muy buena, es muy pop y las letras son absolutamente banales, pero es encantadora y pegajosa. De ese “pop inteligente” que estuvo lleno la mitad de los 60’s. Y por más que Clapton se esforzó en boicotearla, sus rasgueos tremolados con efecto de clavicordio le dan el toque exacto a la canción. La melodía vocal es quizá la mejor que cantará jamás Relf, y las armonías que entretejen en los coros, son quizá las más complejas que logre la banda jamás. Un clásico de la primera mitad de los 60’s y la canción que sacaría a los Yardbirds de tocar en tugurios de mala muerte. Después está “I'm Not Talking” , que fue de las primeras con Jeff Beck en la guitarra líder. La canción es un original de Mose Allison, y ya rockea con bastante potencia para 1965, siguiendo un poco la potencia y el fuzz que imprimió su amiguísimo Jimmy Page a “You Really Got Me”, pero jugando con los feedbacks de la guitarra al estilo de Pete Townshend (como nota, Clapton le ofreció su puesto a Page, pero éste desistió porque le iba muy bien como $e$ioni$ta y les recomendó a su amigo Jeff Beck, desconocido por todos, para ocupar el puesto). Los requintos son de primer nivel para la época, salvajes, con harta distorsión, con una técnica depurada, y es perfecto como van a toda velocidad y de repente se paran todos para que Beck estire las cuerdas en un delicioso efecto. No está al tope de su capacidad, pero se le nota un estilo más experimental y salvaje, aunque aún en base blues. Lástima que Clapton tuviera más bien poca oportunidad de lucir en solos como éste. Luego viene “Putty (In Your Hands)” , una divertida y casi inofensiva canción. Digo “casi” por ese intoxicante riff que hace Eric, y el soberbio bajeo de Paul Samwell-Smith en los puentes. Salvo eso, la canción es simple y pura diversión. Los chicos cumplen su papel, pero le falta esa aura amenazante que pudo haber tenido por ejemplo con los Animals. Aunque por supuesto, Burdon nunca habría dicho que es como plastilina en las manos de una chica. "I Ain't Got You" es un R&B simple, compacto y muy bien ejecutado. Aquí se escuchan atisbos de solos de Eric al minuto 1, pero termina destacando más la armónica de Keith. Pero la canción muestra un buen trabajo grupal, con la voz sosteniendo por momentos la rola y luego esos remates pegajosos de todo el grupo. Después está “Got To Hurry” , un instrumental que escribió el manager, Giorgio Gomelsky, bajo el pseudónimo de Rasputín. La cuestión es que Gomelski difícilmente sabía tocar la puerta, menos la guitarra, por lo que es difícil creer que él creó este riff, por más simple que sea. Así que posiblemente este instrumental sea ni más ni menos que la primer canción escrita por Eric Clapton sin ayuda alguna. Sin embargo, los solos son un poco flojos a comparación de “A Certain Girl”, y parece que Eric se queda a medio camino en su potencial. Aún así, siempre vale la pena escuchar los solos de Slowhand. Enseguida está “I Ain't Done Wrong” , que escribió el mismo Keith Relf. La canción es muy básica, y definitivamente es Keith quien arma toda la rola con la marcada melodía vocal y los atisbos de armónica. Después de Keith, hay que seguir a Jim McCarty, que hace una gran labor en la batería para darle vida a esta canción, que, por lo demás, no tiene mucho. Tenemos a Jeff en la guitarra, pero no parece sentirse cómodo ni explota su potencial. “I Wish You Would” de Billy Boy Arnold es otro R&B fiero y compacto, donde los Yardbirds se dan el lujo nuevamente de “esconder” la capacidad de su genial guitarrista. Lo bueno es que esta vez la armónica se lleva la canción y da cátedra de ejecución. A mi me parece demasiado buena como para ser el mismo Keith Relf, pero no viene nadie más en los créditos de este instrumento. En fin, la canción vale la pena por escuchar la armónica zumbando deliciosamente desde el primer instante, dialogando (y opacando ) a la guitarra de Manoslentas. Eso y la especie de “orgasmo musical” del 1:20 hace que la canción sea de las mejores. En “A Certain Girl” Eric se acuerda de que es un mago de la guitarra. La canción es pegajosísima, quizá la otra cara del pop “inteligente” que representa “For Your Love”, pero es imposible sacarse la melodía y el riff y el ritmo y la manera en que el resto de la banda le contesta “I can’t tell ya…” y luego ese como “uhhhh…” de decepción. Diversión pura. Pero para darle vitaminas y hierro a este alimento sonoro hay que escuchar el solo de Clapton al minuto 1. Aquí es cuando nos damos cuenta que se trata de un Guitar Hero en ciernes, al que le llamarán “God” en unos cuantos meses. Salvaje, preciso, rápido, cargado de un fuzz incisivo y casi demasiado brutal para el 1964 en que fue grabado, éste es el Clapton que nos gustaría oír más seguido! Después viene “Sweet Music” , una balada pop del estilo de “For Your Love”, pero más cursi y menos inteligente. Son los Yardbirds intentando sacudirse un poco su base de fans intelectuales y con harta sapiencia de blues, pero con pocos centavos en el pantalón, y en cambio conquistar a adolescentes gritonas, encopetadas y con papis ricos. Podría jurar que esta canción, más que “For Your Love” fue la que sacó a Eric del grupo. Aquí no sólo desperdician el talento de su guitarro, sino el de toda la banda. Siendo los Yardbirds uno de los grupos más inteligentes y fieles al R&B, esto se queda muy, pero muy lejos de su nivel y esencia. Tache! “Good Morning Little Schoolgirl” es un rockanrolito también más comercial y en el mismo sentido light. Lo que lo salva es que es bastante más divertido, tiene una armónica entretenida, una buena armonía vocal y otro buen solo de Clapton al 1:20, que arranca sosteniendo un tono durante varios segundos de manera excepcional. Es curioso como se las arregla para destacar en las canciones menos esperadas, y en las que debiera brillar, el resto del grupo lo esconde. En fin, por eso los Yardbirds son un grupo de C que nunca alcanzó a explotar todo su potencial y Cream uno de B que revolucionó para siempre la manera de crear Rock. El disco termina con “Girl Sloopy” que es la versión original de “Es Lupe”, canción harta conocida en México por la versión de los Teen Tops. La canción es divertida, y la guitarra de Beck, nuevamente es desaprovechada en pos de una rola comercial y mas del estilo de los Isley Brothers. Pero hay toneladas de diversión, suben la intensidad, luego bajan la rola casi al silencio, hacen terceras voces, luego esa escalada tipo “Twist & Shout” y todo es realmente diversión inofensiva. Demasiado inofensiva. Y voy de nuevo al desperdicio del talento de los YB con rolas como esta cuando eran capaces de hacer un R&B perfecto. Al menos la banda se nota un poco más salvaje y en ambiente fiestero, pero es una prueba de que ni ellos se tomaban demasiado en serio. Tristemente. Luego están los Bonus Tracks de la reedición en CD, que afortunadamente dan más tiempo. Hay cosas muy buenas y cosas nefastas, así que no se puede decir que afecten a la calificación del disco… “Baby What’s Wrong” es una vieja grabación que data del ’63, en la que aparece el primerísimo guitarrista del grupo, Andrew Topham, tocando la guitarra líder. No es particularmente impresionante. “Boom Boom” está muy bien ejecutada y todo, es casi de los puntos fuertes, pero no tiene nada que ver con la oscuridad amenazante que le dieron los Stones o los Animals. Ni siquiera la que le da el mismo John Lee Hooker. Otra prueba de que el grupo siempre tocaba al borde, pero le faltaba ese filo para convertirse en una banda excepcional y de primer nivel. “Honey In Your Hips” es otra original de Relf, quizá lo mejor que escribió en su vida (al menos tiene melodía) con un mejor trabajo de Clapton en los solos y los remates, y con una escala maravillosa y jazzerona de Samwell-Smith. Es de los grandes aciertos de los Bonus. “Talkin' 'bout You” es un buen rockanrolito, con un buen solo y un ambientazo, pero insustancial por lo demás. Después vienen versiones alternativas de “I Wish You Would” en una versión más larga y donde improvisan más y de mejor manera, oyéndose a la banda más suelta, “A Certain Girl”, “Got To Hurry” (con un amplificador mucho más distorsionado) y “Sweet Music” que no aporta (o mejora) mucho al original. “Heart Full of Soul” merece mención aparte. Ésta es la versión en demo en la que Beck toca un sitar en vez de guitarra, pero a mi me parece más auténtico que la versión de guitarra que salió en sencillo un poco después, a pesar de que el sonido era muy similar. La canción está escrita que el mismo tipo de “For Your Love” y es igualmente rítmica, pero inteligente y refinada. La canción tuvo éxito en su versión de single con guitarra, pero me sigue pareciendo que fue de las canciones subestimadas de los 60’s. Como curiosidad, ésta fue la “revancha sin querer” de Clapton, ya que Eric no fue tomado en cuenta en los créditos ni en la portada del LP, pero en este sencillo él aparece por error de la disquera como guitarrista y en la portada, aunque fue Beck quien la interpretó. “Steeled Blues” es una canción instrumental de Beck, en donde escuchamos su depurada técnica con el slide, aunque es un blues genérico. Keith hace también algunos buenos arreglos de armónica. “Paff Bumm” es absolutamente abominable. Fue un sencillo solamente lanzado en Alemania del mismo tipo que “Sweet Music”, con base en un piano repetitivo y olvidable. Los Yardbirds no combinan con azúcar. “Questa Volta” es todavía peor. Si Keith apenas puede con el inglés, escucharlo en italiano es una tortura. Y de nuevo: Lo de los Yardbirds no son los teclados, son una institución en la guitarra… porque se afanan en boicotearse a si mismos??? Horrible. HORRIBLE!! Esta versión es ya en 1966 para el festival de San Remo, por lo que Eric debió haberse carcajeado hasta el cansancio ya con los nombres de Jack y Ginger en la mente cuando escuchó esta versión. Finalmente, no contentos con “Paff Bumm” en alemán, la lanzaron también para el mercado italiano… ni siquiera me voy a molestar. Ahrg! Es una tristeza que los mismos Yardbirds hayan desaprovechado su talento así. Por eso sus enormes guitarristas salían corriendo. Aún así, el disco vale la pena por escuchar la transición de la era Clapton a la era Beck y por los breves pero grandes momentos de guitarra del disco. En serio. Hay fragmentos que no parecen que sean de 1965, adelantados a su tiempo y ya dando atisbos de los gigantes que se convertirían este par unos 2 o 3 años después. En fin, es un disco que da cuenta de la evolución de la banda y de sus guitarros Por su puesto que todo el trabajo se verá reflejado en el siguiente álbum, mucho más maduro y con un Jeff Beck convertido en una máquina, pero ésta vale la pena para todos los fans de Eric, de Beck o simplemente de la buena guitarra, para saber de donde salieron estos tipos. Por Corvan 6/Dic/2010

THE FREEWHEELIN' (Bob Dylan, 1963) Click to listen on Spotify Artist: Bob Dylan (B+) Recording Date: Apr '62 – Apr '63 Release Date: May 27, 1963, USA Label: Columbia Producer: John Hammond, Tom Wilson Rating: 9.5 (MUST HAVE, ICONIC ALBUM) Era: Folk, Folk-Rock (1940 -???) Subgenre: Folk Best Song: Masters of War o Hard Rain Tracklist: 1) Blowin' In The Wind ; 2) Girl From The North Country ; 3) Masters Of War ; 4) Down The Highway; 5) Bob Dylan's Blues ; 6) A Hard Rain's A-Gonna Fall ; 7) Don't Think Twice It's Alright ; 8) Bob Dylan's Dream; 9) Oxford Town; 10) Talking World War III Blues; 11) Corrina Corrina; 12) Honey Just Allow Me One More Chance; 13) I Shall Be Free. There are albums that, while not necessarily the best by a band or artist, were among the most revolutionary in the history of rock and marked a significant shift in the direction music had been taking up to that point. They're not even masterpieces, like the Sex Pistols' and Nirvana's Neverminds, or perhaps they're overshadowed by the rest of the band's discography, like the Beatles' Help! or the Rolling Stones' debut. Dylan's Freewheelin' is one of those albums that I think deserves some recognition, but because it was later surpassed by other albums when Bob went electric, its true significance was somewhat eclipsed or forgotten. And this album deserves its due. Many complain that it's monotonous. Well, it's an album of pure guitar, harmonica, and Dylan's "beautiful" voice! It is what it is. But it might just be the best album of pure guitar and harmonica in English in the whole wide world. If you're looking for an album with grandiose instrumentation, perhaps you should check out an ELO record. Bob Dylan presents himself here in his purest form. It's almost unbelievable that he's the same young man who released his debut album months earlier, full of covers; but I've already explained the possible reasons and circumstances behind Bob's debut. There are people and fans who are unaware of, or pretend to be unaware of, the true debuts of certain artists because they were very local releases, generally only available in their country of origin, as was the case with AC/DC or Bob Marley. Others, simply due to their quality, aren't taken very seriously. Many people, in fact, consider Freewheelin' to be Dylan's first album, and in a way, it is. The self-titled album is the equivalent of a covers album that I could have easily recorded during my folk-song phase. Freewheelin' is a huge album that would establish Bob Dylan as a devilishly creative artist, the best (in my opinion) lyricist or rather, poet of English Rock, and one of the most influential musicians in history. Me defending Dylan? I swear this is the last time. But I really do find a lot of criticism of this album, and it's generally forgotten that without it, we'd still be listening to silly songs about cars and girls. Well, maybe not, we'll never know; but the fact is that it was THE album that made an entire generation see beyond the limits that existed at the time. Its effect might have taken a few years to fully manifest; it was slow but devastating, and now it's impossible to understand the qualitative leap of rock in the mid-60s without Dylan's influence with this album. The Beatles listened to it while they were in Paris and were told about their first number one hit in the USA; Paul would say that they listened to it nonstop for 15 days and that the celebration was overshadowed by the awe of Dylan's lyricism, which left them wondering what was next for them, particularly Lennon. Brian Jones was blown away, and he would end up forging a true friendship with Bob. Van Morrison even went so far as to say that at the time it was as if Moses had parted the waters of music, revealing a completely different universe of possibilities. In short, the entire British Invasion would be marked by this, and the symbiosis that would transform rock and roll and R&B into what we know today as rock would begin. In the United States, the future hippie stars would be forged under Dylan's folk sound. Until then, folk was more underground, something obscure, and closer to Dylan's debut album. That's why it's surprising that his first album was basically covers, and that in such a short time, he was able to release an album in which 11 of the 13 songs were his own, but in which he also combined that folk root in a more accessible way. I wouldn't dare call it pop, or commercial, but it served as a bridge between old folk and the concerns of an entire generation that had been repressed in the late 1950s, but which had a lot of anger, political courage, a thirst for poetry, for something intellectually challenging. Dylan took the old forms and added a new depth, translating them into a language that still sounds current and relevant today. The Rock & Roll and Rhythm & Blues of the British Invasion weren't inherently dangerous; at most, they contained some sexual metaphors that made American puritans uncomfortable. What they truly feared was that this generation would realize they were being taken for a ride, that they would realize they could think for themselves. And this album did precisely that. It made everyone think… What happened between March of '62 and May of '63 that changed the very young Bob so much? The most logical answer seems to be named Suze Rotolo. Suze was a young woman of Italian descent living in New York. Bob had just arrived in the big city to begin his career, and he met her in July of 1961 through her sister, Carla Rotolo, who introduced them at a folk concert. Bob would say he was struck by lightning when he saw her (those who've read The Godfather will understand), and they started dating. Suze wasn't just a romantic inspiration. Her parents, of Italian descent, were members of the Communist Party; the whole family had a strong leftist influence. Carla was a folk composer at the Greenwich Village Club. And Bob was penniless, so meals at the Roloto house were frequent, and he absorbed all the ideology from the table conversations. In early '62, they moved in together, and it was then that he cut the umbilical cord with Woody Guthrie and began writing about civil rights, the bomb, and the Warlords. Legend has it that he had already written half of Freewheelin' before releasing his debut album, but he didn't dare release that kind of music because it was too risky. We'll never know. The truth is that around that time, right after releasing his first album, Dylan became a devilishly prolific songwriter, debuting new songs at almost every performance. Peter Seeger asked him one day how many songs he had recently written, to which Bob replied, "I can go up to two weeks without writing anything... But just yesterday I wrote five." His debut album was a commercial failure, as expected, but curiously, he began to gain fame in New York folk circles for his live performances and because he broke the mold of traditional folk. In June of '62, Suze went to Italy to study. This separation greatly affected Bob, who dedicated many songs to her, songs that convey nostalgia and distance. The presence of women in Bob's albums is undeniable. But he speaks of women with breathtaking poetry. Today we might not appreciate it, but at the time it was a huge turning point. Until then, in rock and even blues, women occupied the position of "my girl." They were mere objects, objects of desire or possession. Bob treated women as equals, radically changing the perspective and their role in songs. Rotolo would be crucial to Dylan's ideology and poetry, and she's the girl who accompanies Bob on this simple yet iconic album cover. Dylan began recording his second album on April 4, 1962, not even a month after releasing his debut, with John Hammond producing, with whom he had also worked on his first album. Bob would record a lot of songs and then disappear for months. By the time he returned, he had already composed new tracks and discarded the ones he had recorded. From these initial sessions, only "Bob Dylan's Blues," which would be the album's working title, and a preliminary version of "Corrina Corrina" would emerge. In July, he recorded "Blowin' in the Wind," and it was around this time that he caught the attention of Albert Grossman, who would become his manager and convince him to transfer the rights to his songs to Witmark Music, a division of Warner. Grossman secretly negotiated a 50% royalty deal with them, which would lead to a tremendous legal battle when Dylan found out years later. Grossman, as his manager, immediately used his cunning to argue that the contract Bob had signed with Columbia was invalid because he hadn't yet turned 21 when he signed it. This allowed him to renegotiate much more favorable terms with the record label. On November 22nd, he performed at Carnegie Hall as part of a folk festival lineup. There he premiered a song called “A Hard Rain’s A-gonna Fall,” which left everyone speechless. Many would say it was about the Cuban Missile Crisis, but that song wasn't released until a month later, when Kennedy made his televised address about the crisis and the nuclear threat. Shortly after, he returned to the studio, this time with a small backing band, with whom he recorded a bunch of songs, mostly outtakes (I would have loved to hear “That’s All Right Mama”), of which only “Corrina Corrina” made it onto the album. In December, he traveled to London to appear on the BBC. But the important thing was that he struck up friendships with some musicians from the circle called “The Trovadour,” particularly Bob Davenport and Martin Carthy, who taught him some things about British folk, including the arrangement of the traditional English song “Scarborough Fair,” which would become the basis for “Girl From The North of the Country,” and “Lady Franklin’s Lament,” which he used to compose “Bob Dylan’s Dream.” During his stay in London, he composed “Masters of War” in one sitting. From England, Bob traveled to Italy to surprise Suze, only to be surprised himself, as she had already returned to New York. Bob returned to the USA in January to find that Grossman wasn't happy with Hammond's production and was replaced by Tom Wilson, a much more astute producer, who ended up getting along very well with Bob. Suze and he moved back in together. The album is a gem. It took him 14 months to record it, but it captures the essence of Dylan and is basically a summary of all the styles he would later develop. The debut is a kind of introduction to his roots, but this is his true calling card, perhaps his most honest album, before fame and before he self-censored tracks like “Masters of War.” I understand those who say it’s monotonous, because it’s simply Bob and his guitar, and his harmonica. But I have to agree with Starostin that it must be the best guitar and harmonica album in the world, and with John McFerrin, who says that we have all of Dylan’s possible facets on a single record. And since I can't say it any better, I'll just translate: We have the Bob of anthems (“Blowin’ In The Wind”), the Epic Dylan (“A Hard Rain”), the furious protest Dylan (“Masters of War”), the gentle protest Dylan (“Oxford Town”), the slightly misogynistic one (“Don’t Think Twice, Is Alright”), the anecdotal one (“Talkin’ World War III”), the reinterpreter of traditional folk (“Down The Highway”), the introspective Dylan (“Bob Dylan’s Dream”), the one of folk love songs (“Girl From the North Country”), and the one who clowns around (“Honey…” and “I Shall Be Free”). Not bad for a “monotonous” album. The album opens with “Blowin’ In The Wind” . An anthem through and through, and perhaps the most famous song in Dylan’s colossal catalog. There are even adaptations for Catholic Mass, and I remember when I bought my first Bob Dylan compilation, my mother was thrilled because she thought I was finally interested in religious music. Meh. It’s true: It’s the epitome of folk clichés. Anyone learning folk music should know how to play it; it’s the equivalent of the “Cantares” in Spanish. But isn’t it perhaps that all the clichés stemmed from this song, and not the other way around? Its beauty and simplicity are moving. A simple semi-arpeggiated, semi-strummed circle, with harmonica interludes mirroring the vocal melody. Bob sounds masterful, and that nasal voice helps him highlight that aura of disenchantment, hope, and doubt. In each rhetorical question, Bob subtly plants barbs: “How many years can some people exist, before they're allowed to be free? Yes, how many times can a man turn his head, pretending he just doesn't see?” And in certain lines, he launches more venomous barbs, perhaps the ones he sings with the most tenderness: “How many times must the cannon balls fly, before they're forever banned?” or “Yes, how many deaths will it take till he knows, that too many people have died?” Verses that remain relevant, especially now that Gaza is being wiped off the map with heartbreaking impunity, but which are not only accusatory, but also imbued with sublime poetry. The chorus's answer leaves us in the same place, although it implicitly tells us that the answer lies within ourselves. Many of the verses don't accuse the leaders who drop the bombs, but us, who sin through indifference. “Blowin’ in the Wind” is one of the most perfect folk songs in just 2:40, and despite everyone playing it and its potential for being overplayed, it's one of the best in Dylan's discography. Peter Seeger, with whom he had a sort of rivalry/friendship, identified that the melody was based on “No More Auction Block,” from which it borrows the sequence of tones, although the vocal melody is entirely different, and lyrically it's among Dylan's best work. In fact, many of the supposedly original tracks on this album have “too much” influence from previous songs. You see? Led Zeppelin wasn't the only one with those tricks. Another thing to mention is that it was one of the first Dylan songs to be covered, by the folk trio “Peter, Paul & Mary,” whose version became more famous than Bob's at the time, and also the beautiful version by Joan Baez, with whom he had a brief romance. Finally, this is perhaps the only song I like better sung by Dylan than by any of his other interpreters. That's no small thing. Next up is “Girl From The North Country” , a beautiful ballad with a swift, delicately fluttering arpeggio, loosely based on “Scarborough Fair.” Bob wrote the song not in England, but in Italy, when he went there to find Suze. Upon his return to London, he sought out Bob Davenport and Martin Carthy and told them, “There’s your Scarborough Fair.” The song is deeply melancholic, with poetic touches reflected in Bob’s mournful voice: “I’m a-wonderin’ if she remembers me at all, Many times I’ve often prayed, In the darkness of my night, In the brightness of my day.” Dylan was always secretive about who it was dedicated to. Some say Echo Helstron or Bonnie Beecher, two previous girlfriends, but although the song has a farewell feel, it can’t be ruled out that it was about Suze, born of his frustration at not having been able to reach her in Italy. The harmonica enters as a kind of lament between the verses. The melody is beautiful, entirely independent of the traditional British song, which he would later plagiarize for "Boots of Spanish Leather" in '63. Anyway, the song is beautiful, simple, perhaps one of the most underrated in his discography, and one of the first where he begins to approach women from a different perspective, more poetic, more personal, giving them greater importance: "So if you're travelin' the north country fair, Where the winds hit heavy on the borderline, Remember me to one who lives there, She once was the true love of mine." A dramatic ending, followed by barely a second of sound as if the recording tape had run out. He would re-record the song with Johnny Cash for the album Nashville Skyline, much more rhythmic. I still don't know which one I like more. Fierce. There is no other adjective that better describes the superb "Masters of War" . You can almost see Dylan trembling with rage as he sings. This is a unique song in Bob's catalog, unusually violent, and for that very reason, it displeases many. A song "based" on a traditional English song, also written in London and mostly in two keys with slight variations, which might make it monotonous for some, since the harmonica doesn't even appear. It's not needed. The simplicity of the guitar (which Lennon would later evoke in his "Working Class Hero") and the fury with which Bob seems to spit each word at the Warlords are more than enough. Well, that and the gigantic lyrics, perhaps the greatest protest lyrics ever written in English. True, they are furious, almost bloody; it's the only song in Bob's entire catalog in which he wishes death upon someone. But it's not directed at anyone in particular; it's that ethereal, omnipresent figure, a constant throughout time, who uses war for profit, who uses young people as cannon fodder, who orders missiles to be launched at schools and civilian areas without remorse… But he does it with a poetry that simply leaves you speechless. It's not that the lyrical style tempers that fury; on the contrary, it highlights it, but I think no one has ever done anything like it. Never. “I just want you to know, I can see through your masks.” The entire lyric is a true gem, and I don't know if politically it will ever reach the same level as on this album. I don't even know which verses to highlight: “Like Judas of old, you lie and deceive, a world war can be won, you want me to believe.” Does that sound familiar? The War on Terror? “Propaganda” in the purest Nazi style? Those who put guns in young people's heads, but run when the shooting starts, or aren't even near the conflict? One of the most powerful refrains in history isn't the closing one, but the one before it: “Let me ask you one question, Is your money that good? Will it buy you forgiveness? Do you think that it could? I think you will find, When your death takes its toll, All the money you made, Will never buy back your soul.” This is a lyrical sledgehammer, and at the same time, it fills me with tremendous helplessness to know that in over 50 years nothing has changed, because the feeling is the same. And yes, I understand those who say that a pacifist can't wish death on anyone. But the last verse is symbolic; that final line, “Til I’m sure that you’re dead,” isn't directed at someone by name, but at that breed of rats and murderers. It's Dylan's wish that there be no successors who continue doing the same. It's pointless for one person to die if someone else takes their place. And Masters of Politics, Masters of Banking, Masters of Pharmaceuticals, and others should be included here. That's why I don't know which is my favorite Dylan song. Without being an expert, my Top Ten is always changing, but just like with the Beatles' "A Day in the Life," Zimmerman's "Masters of War" is always in my Top 3. Although I prefer Pearl Jam's spectacular and fierce live version. We continue with “Down The Highway” , in which Dylan pays tribute to the bluesmen with a 12-bar blues. In theory, it's very simple and generic; it can't be considered a blues rip-off because it's all the blues at once. Lyrically, it also repeats the blues pattern of repeating verses with hardly any melody. However, he manages to make it sound interesting, not generic. Between each verse, he plays a rapid guitar riff that ends in a bass note, and at the same time, he uses his voice as a hook, delivering the first part of each verse at lightning speed and adding dissonance by lengthening the last syllable: “Lord, I-reallymissmy BABYYYYYYYYYYYYYYYYYYY, She'sinsomefar-of-land.” The lyrics also touch on the trivialities of the blues, which we all nevertheless admire. In this case, Bob speaks of how alone he feels after Suze's departure for Italy, making it very clear in the following verse: “Yes, the ocean took my baby, My baby took my heart from me, She packed it all up in a suitcase, Lord, she took it away to Italy, Italy.” Then comes “Bob Dylan’s Blues” , one of the tracks that could be considered filler, the weakest point of the album. It begins with Bob chatting, in that fast-paced and somewhat mocking way, about the origins of folk music: “most of the songs that are written uptown in Tin Pan Alley, that’s where most of the folk songs come from nowadays.” The rest is really a kind of nonsensical improvisation. Perhaps a tribute to that era when folk music was beginning to separate from the blues and musicians were simply improvising lines without much meaning. It's not that it's bad, nor does it hurt the ears, and it only lasts two and a half minutes… but it feels truly inconsequential. Fortunately, he returns to his best form with “A Hard Rain's a-Gonna Fall” , another classic, in which he uses a similar formula to that of “Blowin’ in the Wind.” It's simple, emotional, beautiful, and timeless. For some, Dylan's best song. Again, a very simple structure with only slight variations for the chorus, in which he builds a vocal crescendo to explode with the title. It's based on the traditional ballad “Lord Randall.” Dylan was 21 when he wrote it, first performing it in a café, and one of his friends remembers him scattering sheets of paper with the lyrics all over the floor, and no one understood what he was doing. When he finished playing it, there was a profound silence. Everyone was moved, impressed, some with tears in their eyes. Clearly, it's a monumental lyric, and he hadn't even learned it yet. He premiered it publicly on September 22, 1962, when he was given the opportunity to perform three songs at Carnegie Hall. Peter Seeger was the organizer and told his friends they could only play three songs because they had ten minutes each. Bob, feigning innocence, asked, "What am I supposed to do? One of my songs is ten minutes long?" They took it as a joke, but "A Hard Rain" is actually almost seven minutes long. It's Bob's first epic song and one of the first songs of such length (anything over three minutes was considered scandalous) to gain relevance in its time. God only knows how many standards Dylan broke with this song. As I said, the song is very simple, but its value lies in Dylan's incredibly powerful and complex lyrics, and we could say that it was truly this song that catapulted him to stardom. It's still a protest song, but the lyrics take on a more literary quality, completely breaking with established standards. It's closer to Eliot, Joyce, and Yeats than to Guthrie or Seeger. It combines beautiful imagery with simple yet gorgeous melodies. It accuses with poetry, and each line achieves a unique connection with the listener, creating vivid imagery in every line. In fact, Bob would say that he wrote it using titles for songs he knew he wouldn't have time to write. Only he knows if he was boasting or how much truth there is to it. He managed to structure it as a dialogue between a father (the first two lines of each stanza) and his blue-eyed son, who is just beginning to discover the world, with its beauties and horrors. Perhaps that's why it's so easy to identify with one or the other. In each stanza, the father asks him, "Where have you been? What have you seen? What have you heard? Who have you met?" He concludes by asking, "What will you do now?" The son responds with those poignant metaphors that blend beauty and horror, culminating in the crescendoing refrain, "It's a hard, it's a hard, It's a hard, IT'S A HARD, IT'S A HARD RAAAAAAAAAAIN that's a-gonna fall." It's pointless trying to choose a single line or fragment. I think this is proof of a highly educated Dylan pouring all his knowledge of the great poets into the lyrics, but at the same time, there's a kind of philosophy in the lines, in the disdain for the world, in the question of what his son will do. The song left everyone stunned, but it took on special significance when, a month after its performance at Carnegie Hall, Kennedy gave a statement on national TV announcing that the Soviet Union had sent missiles by ship to Cuba and warning of the imminent danger of nuclear war. “A hard rain, it’s a-gonna fall” seemed to resonate in every American mind, although Bob maintains that he obviously wasn't referring to a rain of atomic warheads, but to something else, a reset, a reboot that would erase all the bad. The criticism wasn't directed outward, but at American society itself, and somehow it was misinterpreted. Anyway, it's a great song, perhaps the best lyrics by the best composer of English Rock, the song for which he would begin to be called "The Spokesman of His Generation", much to Bob's annoyance. We continue with “Don’t Think Twice, It’s Alright” , which I really don’t know why so many people label misogynistic. It must be emphasized that the swift arpeggio is perhaps one of the most complex guitar arrangements he does, reminding me of those Delgadillo would create in his ballads, like a thousand years later, and based in turn on Paul Clayton’s “Who’s Gonna Buy You Ribbons (When I’m Gonne).” A harmonica joins the hummingbird-like arpeggios between verses. The melody is simple, beautiful, a kind of calm tide, while he delivers verses that are both reproachful and, at the same time, grant his beloved the freedom to do as she pleases. True, there's a hint of frustration in some lines: “I ain't a-saying you treated me unkind, You could have done better but I don't mind,” but I think deep down, he's applying that simple and universal saying, “If it's yours, let it go; if it comes back, it's yours; if it doesn't, it never was.” It's clearly dedicated to Rotolo, written when he told him of his intention to stay in Italy for another year. The lyrics can be interpreted in many ways. Bob would say it wasn't a love song, but one of self-liberation, something he had to sing to himself: “Don't Think Twice, It's Alright,” a survival mantra. It's not without a certain bitterness: “I gave her my heart, but she wanted my soul,” which creates a contradictory atmosphere. The truth is, it's one of the most personal songs in this early period of Dylan's career, and one of the album's highlights. “Bob Dylan’s Dream” is another weak point on the album. Not necessarily bad, but musically it's very simple, with a rather weak melody. It's based on the traditional song "Lady Franklin's Lament," in which Lady Franklin dreams of finding her husband. Here, Dylan dreams of reuniting with his childhood friends (??? But he was only 21!!!), in the room where they used to hang out, sing, joke around, and solve the world's problems. And that's it. I mean, I also terribly miss the days when I used to get together to play with my bands, or just stay up all night with my friends talking and joking, but things change; that's just a phase of adolescence. Dylan sings, "I wish, I wish, I wish in vain, That we could sit simply in that room again, Ten thousand dollars at the drop of a hat, I'd give it all gladly if our lives could be like that." I understand the nostalgia, but the theme seems very simple by Dylan's standards, and the song is rather forgettable without a strong melody and with a somewhat generic guitar arrangement. Then comes “Oxford Town” , a short track of less than two minutes that he composed at the invitation of Broadside magazine to recount a significant event from ’62. So Dylan chose the admission of James Meredith to the University of Mississippi, becoming the first Black man to begin university studies… in the USA. This was followed by a series of protests and threats from reactionary segregationists. Bob seizes the opportunity to make a veiled protest with verses laden with irony: “He went down to Oxford Town, Guns and clubs followed him down, All because his face was brown, Better get away from Oxford Town.” It’s not a classic, but it again demonstrates Dylan’s sharp pen in a short time. We continue with “Talkin' World War III Blues” , in which he pays tribute to spoken blues. That is to say, there's no melody; Dylan basically recites the lines with almost unintelligible phrasing. A very basic guitar, reminiscent of country blues, a more nasal voice than usual, harmonica breaks… there's not much musically. But the lyrics are what stand out again, or at least save it. Dylan takes advantage of the spoken format to tell the psychiatrist about a strange dream he had. And there he displays his humor and cynicism, recounting his adventures after the nuclear holocaust in which only he and one other guy remain: “I saw a man I said 'Howdy friend, I guess there's just us two' He screamed a bit and away he flew, Thought I was a Communist.” That reference to “I thought I was a communist” is a gem, because Bob actually was one! The doctor replies that he had the same dream, but that he didn't see him. "I'll let you be in my dreams if I can be in yours." The narration is fast-paced and funny, and it certainly has its moments of humor, but I picture Bob more like he's facing a brick wall at a comedy show than with his guitar and harmonica. "Corrina, Corrina" is a traditional song, to which he added an arrangement with bass and drums, but the delicate arpeggio and the melancholic harmonica he uses for the instrumental interlude, longer than usual for him, still stand out. Bob sings with a delicacy and emotion that are also unusual. In fact, the entire album *Freewhwwlin'* features one of Bob's best vocal performances; it's worth noting. The song is simple and beautiful, but not particularly groundbreaking, and its inclusion is understandable simply because it reflects how much he missed Suze: "Corrina, Corrina, Gal, where have you been so long?" “Honey, Just Allow Me One More Chance” is a song by Henry Thomas, written in 1928, though Dylan co-wrote the arrangement. It’s a folk tune with a bluesy feel, in which he begs the girl for one last chance. Bob plays the clown with the guitar riffs, the intonation and inflections, the rhythm, and the lyrics he adapted: “Well, I’ve been lookin’ all over, For a gal like you, I can’t find nobody, So you’ll have to do, Just-a one kind favor I ask you: ’Low me just-a one more chance!” An innocent, charming little song, barely two minutes long, that shows Dylan also has a lighter side. The album closes with “I Shall Be Free” , which is “based” on Lead Belly’s “We Shall Be Free” and reinterpreted by Woodie Guthrie. One might think from the title that it will be another civil rights anthem, but here too it's just clowning around, and it's more of a song meant to be played in front of a brick wall than with a harmonica and guitar. At least there are some amusing lines: “Well, my telephone rang it would not stop, It's President Kennedy callin' me up, He said, "My friend, Bob, what do we need to make the country grow?" I said, "My friend, John, Brigitte Bardot, Anita Ekberg, Sophia Loren, Country'll grow." But it's definitely an anticlimax to close the album, especially considering it clocks in at almost 5 minutes. Anyway. It's a tremendous album, one that broke many molds and, at the same time, laid too many foundations. I must add that it's incredibly difficult to strike a balance between protest songs, love/heartbreak songs, light comedy, and anecdotes. Only Silvio Rodríguez can match it with such apparent ease, although I've promised myself I'll try not to compare them. I don't think he'll achieve that balance on any other album. *The Times They Are A-Changin'* is much more political, but it loses that balance, that sincerity and spontaneity that prevails here. That's the magic of *Freewheelin'*. Bob still lacked pretension; he sounds fresh, at times too mature, incisive, and philosophical, but you can also see his spontaneous, fun, and somewhat naive side. It's true, perhaps it's a bit too long. Fifty minutes for an album is a lot, not just for that time, and there are one or two somewhat disposable tracks that don't contribute much musically or lyrically, which is why I'm hesitant to give it a perfect score, although I might change my mind one of these days. But most of the songs have interesting elements that are revealed layer by layer with each listen, and there are at least three or four tracks that would become timeless classics, still relevant today, especially now that the genocidal intent against the Palestinian people is so evident. That's why this album is so important. It didn't just make his generation think. It MUST make us think, more than 50 years later. Needless to say, it's his best acoustic album. In English, I insist, only Bob Dylan is capable of making a majestic, radiant, and nourishing album with just a guitar, a harmonica, and his sharp pen… An absolute must-have. By Corvan Aug/2/2014

LO QUE 1968 NOS DEJÓ Hechos Sobresalientes: Asesinatos de Martin Luther King y Robert Kennedy, La Primavera de Praga, El Mayo Francés, 2 de Octubre en México. Oscar a la Mejor Película: Oliver! Oscar al Mejor Director: Carol Reed (Oliver!) Oscar a la Mejor Actriz: Katharine Hepburn (El León En Invierno) Mejor Oscar al Mejor Actor: Cliff Robertson (Charly) Grammy al Mejor álbum: By the Time I Get to Phoenix (Glenn Campbell) Premio Nobel de Literatura: Kawabata Yasunari (Japón) Hecho Deportivo: Olimpiadas 1968 XIX edición Ciudad de México (con levantamiento de muertos como nueva disciplina) Películas Icónicas: 2001: Odisea Espacial, El Planeta de los Simios, Night of the Living Dead, Hasta que Llegó su Hora Libros Icónicos: 62 Modelo Para Armar (Julio Cortázar) Un Mago de Terramar (Ursula K. LeGuin) Si 1967 es insuperable en el aspecto musical, 1968 evidentemente representa un pequeño bajón y giro en cuanto a las tendencias musicales. Peeero 1968 en cambio es quizá el año histórica y políticamente más interesante y violento de la historia reciente. Me llevaría muchas páginas ahondar en los 5 hechos sobresalientes, además de lo que representó la Ofensiva del Tet, las represiones poco mencionadas a lo largo del año en todo USA, y los movimientos geopolíticos. A grandes rasgos, 1968 fue el sistema reaccionando a la Primavera del Amor, y rompiendo a macanazos y gases lacrimógenos el sueño hippie. Fue como si los gobiernos reaccionaran ante esa amenaza que empezaban a ver en la juventud volcada en las calles y dijeran “Ah sí? Pues te bajo de tu nube idealista directito a la realidad”. Y no hablo simplemente de los movimientos masivos en Checoslovaquia, París y México, sino los magnicidios, que también fueron maneras de callar voces muy fuertes y que estaban impulsando reformas. Latinoamérica además se fue volcando a dictaduras militares, agregándose Panamá, Perú y Brasil, a los ya existentes, mientras que en México quedaba claro que gobernaba “La Dictadura Perfecta”. Incluso en países comunistas, como China y República Checa, las fuerzas militares hicieron uso excesivo de su fuerza para “restablecer el orden”. 2 de Enero: En el hospital Groote-Schuur de Ciudad del Cabo (Sudáfrica), el equipo del Dr. Christian Barnard realiza su segundo trasplante cardiaco, siendo Philip Blaiberg la segunda persona en recibir un corazón. 5 de Enero: En Checoslovaquia, llega al poder Alexander Dubcek que dirigirá el intento de democratización socialista en su país conocido como la "Primavera de Praga". Esta tentativa de apertura será reprimida sangrientamente por las tropas soviéticas del Pacto de Varsovia en agosto. 21 de Enero: En Vietnam el Viet Minh y el FLN atacan la base aérea de Khe Sanh, dando comienzo a las fase preparatoria de la Ofensiva del Tet. 31 de Enero: Nauru se independiza del Imperio británico. en Saigón (Vietnam), soldados del Viet Cong atacan la embajada estadounidense durante los primeros comienzos de la Ofensiva del Tet. 2 de Febrero: En Paraguay, el dictador Stroessner es reelegido como presidente en elecciones fraudulentas. 11 de Febrero: En China, fuerzas del Ejército chino controlan Pekín ante la agitación de los guardias rojos revolucionarios. 13 de Febrero: En Saigón (Vietnam) bombarderos estadounidenses del tipo B-52 atacan barrios periféricos de la ciudad (habitadas por civiles), con el objetivo de destruir unidades del Vietcong. 14 de Febrero: en Nueva York, se inaugura el Madison Square Garden. 23 de Febrero: En Vietnam las fuerzas estadounidenses y del ARNV recuperan completamente la ciudad de Hué, que queda prácticamente destruida y dando por concluida la Ofensiva del Tet. 16 de Marzo: En Vietnam del Sur, tres compañías del ejército norteamericano inician una operación de búsqueda y destrucción de un batallón del Vietcong en el área de My Son, que según inteligencia tienen su base en la aldea My Lai-4. Se lanza un ataque con helicópteros. Al no encontrar resistencia se envían dos secciones al poblado. Al verlos llegar, los aterrorizados aldeanos comienzan a correr y son abatidos a tiros. Se arrasa el villorio, arrojando granadas dentro de las chozas y disparando a los que intentan huir. Violan y asesinan a las jóvenes del lugar, rodean a los civiles y los matan. Al final de la masacre morirán 347 personas, todos ellos ancianos, mujeres y niños desarmados. Por estos hechos, año y medio más tarde, el teniente del ejército americano William Calley Jr. será enviado a juicio, declarado culpable y condenado a cadena perpetua, pero se le liberará tres años después cuando un juez federal americano declare el juicio inconstitucional. 27 de Marzo: El cosmonauta ruso y primer hombre en orbitar la Tierra el 12 de abril de 1961, Yuri Gagarin, muere al estrellarse el caza a reacción MIG-15 que pilota. 4 de Abril: En Memphis, USA, es asesinado Martin Luther King, líder espiritual del "poder negro" y, en 1964, el más joven premio Nobel de la paz. A raíz de este crimen, una ola de violencia se extenderá por todo el país. Su presunto asesino, James Earl Ray, será detenido por la policía aunque la familia King nunca creerá que Ray tenga nada que ver con el asesinato. 10 de Abril: En las cercanías del puerto de Wellington, Nueva Zelanda, a primeras horas de esta mañana, un frente cálido tropical choca con una masa de aire frío originando una de las peores tormentas que ha sufrido este país, dando lugar a gigantescas olas y vientos de más de 160 km/h. Al tratar de entrar a puerto en estas inclementes condiciones meteorológicas, el ferry Wahine se ve empujado contra los peligrosos arrecifes Barrett, que dejan inutilizado el sistema de radar del buque, zozobrando a continuación con el trágico balance de 51 personas fallecidas. 3 de Mayo: En la plaza de la Sorbona (París, Francia), se reúne un grupo de estudiantes para escuchar las comparecencias de Cohn-Bendit y sus compañeros. A las cuatro de la tarde la Universidad estará rodeada por la policía que detendrá, en contra de lo pactado, a varios estudiantes. Esto originará numerosas manifestaciones espontáneas. Ha comenzado el "Mayo del 68" o “Mayo Francés”. 16 de Mayo: Estudiantes franceses toman la Universidad de la Sorbona tras dos semanas de disturbios callejeros. Solicitan medidas urgentes al grave problema del desempleo. La ocupación de la Universidad parisina será la chispa para que otros estudiantes y trabajadores de toda la nación se declaren en huelga, paralizando en una semana todo el país. Charles de Gaulle, presidente de la República, se verá obligado disolver la Asamblea Nacional y convocar nuevas elecciones. Curiosamente ganará la reelección pero el descontento popular seguirá vigente e irá erosionando poco a poco su gobierno, hasta que no le quede más remedio que presentar su dimisión en abril de 1969. Esta serie de protestas de obreros y estudiantes se conocerá como "Mayo del 68" o "Mayo Francés". 5 de Junio: Justo al acabar un mitín en el Hotel "Ambassador", en Los Ángeles, el senador y candidato presidencial Robert F. Kennedy resulta herido de muerte a consecuencia de los disparos de pistola que Sirhan Bishara Sirhan, un hombre de 22 años residente en Los Ángeles y con ascendentes palestinos, le dispara por ser contrario al apoyo político a Israel del senador Kennedy. Sirham será condenado a cadena perpetua sin aclarar si actuó por cuenta propia, o fue la mafia quien trazó el plan y lo utilizó para despistar a la policía y a la opinión pública. El crimen aún no ha sido aclarado totalmente, aunque todo hace pensar que fueron las mismas células de la mafia en colaboración con la CIA (temiendo un regreso a la política de colaboración con los soviéticos de JFK, así como una investigación a fondo del asesinato de su hermano) quien perpetró el crimen. Robert Kennedy morirá al día siguiente en el hospital donde ha sido trasladado. 7 de Junio: En España es asesinado el guardia civil José Ángel Pardines Arcay: primer asesinato de la banda terrorista ETA. 29 de Junio: En Costa Rica, el volcán Arenal entra en erupción, destruye dos aldeas y mata a 87 personas. 1 de Julio: Aunque no entrará en vigor hasta 1970, se firma por triplicado en Londres, Moscú y Washington, el Tratado de No Proliferación Nuclear que restringe la posesión de armas nucleares. La gran mayoría de los estados soberanos del mundo formarán parte con el tiempo de este Tratado. Sólo a los cinco países, que poseen armas nucleares en el momento de la firma, les estará permitida la posesión de armas nucleares: Estados Unidos (firmante en 1968), el Reino Unido (1968), Francia (1992), la Unión Soviética (1968, en la actualidad Rusia), y la República Popular de China (1992). Pero estos cinco Estados Nuclearmente Armados, se comprometen a no transferir tecnología sobre armas nucleares a otros países, y los Estados No Nuclearmente Armados, se comprometen a no tratar de desarrollar armas nucleares. (NO LE PIERDEN?????) Los estados de la India, Pakistán e Israel nunca querrán sumarse a este Tratado y un cuarto, Corea del Norte, renunciará a pertenecer a él en 2003. 21 de Agosto: De madrugada, las tropas del Pacto de Varsovia, con 200.000 soldados y 5000 tanques bajo la orden de Leónidas Breznev, entran en Praga (Checoslovaquia) para sofocar el experimento de un comunismo abierto hacia la democracia. Con ello se pone fin a la ilusionante "Primavera de Praga" y se suma otra violentísima represión a las acontecidas durante el año. 2 de Octubre: 10 días antes de inaugurarse los Juegos Olímpicos de México, una manifestación de entre 5.000 y 10.000 jóvenes que llena la plaza de Tlatelolco es reprimida a balazos, por las órdenes de un comando paramilitar (Batallón Olimpia) que reportaba directamente a Secretaría de Gobernación. El ejército cercó la manifestación, que quedó atrapada en la Plaza de las 3 Culturas en Tlatelolco. Sin embargo, el comando paramilitar, apostado en las azoteas de los edificios circundantes, fue el que inició los disparos de metralla contra el ejército, ocasionando que éste respondiera al fuego. No hay cifras oficiales (20 muertos es una cifra ridícula), pero se estima que al menos 1500 estudiantes resultaron asesinados por imágenes no oficiales de las pilas de cadáveres. Otros tantos desaparecerían o serían encarcelados en la Prisión de Lecumberri. La consigna del Gobierno sería no dejar huella y a día de hoy se desconoce el responsable final de la matanza, y el gobierno se esfuerza en ignorar la fecha, aunque el clamor del pueblo mexicano sigue siendo “2 de Octubre no se Olvida!”. Una de las fechas más negras en México y un símbolo de la brutalidad del Priísmo. Luis Echeverría, presunto responsable y entonces titular de Gobernación, sería electo Presidente en 1970. 3 de Octubre: En Lima, Perú, el general Juan Velasco Alvarado derroca al presidente electo Fernando Belaúnde Terry. Se inicia el régimen militar entre 1968 y 1980. 11 de octubre: en la ciudad de Panamá el teniente Omar Torrijos y el mayor Boris Martínez dan un golpe de estado contra el presidente Arnulfo Arias Madrid e imponen una Junta Provisional de Gobierno que suprime todas las libertades y derechos políticos de la ciudadanía panameña, y eliminan la Constitución de 1946. Se inicia un período dictatorial que durará 21 años, y que se caracterizó por el populismo, el revanchismo político y el exilio y el asesinato de opositores. 12 de Octubre: Con la presencia de 112 países y 6.626 deportistas, se inauguran en Ciudad de México las XVI Olimpiadas de la Era Moderna. Se clausurarán el 27 de octubre. Se registrarán 252 récords que serán atribuidos a la altitud en que se desarrollan las pruebas. Al inaugurar los juegos, el presidente Días Ordaz recibió un abucheo aplastante por los sucesos del 2 de Octubre. Guinea Ecuatorial se independiza de España, convirtiéndose en una República cuyo presidente será Francisco Macias Nguema. 5 de Noviembre: En USA., Richard Nixon, candidato republicano, gana por estrecho margen las elecciones para la presidencia. Tras un reñido recuento de votos, que ha puesto al país al borde de una crisis constitucional, Nixon surge como el próximo inquilino de la Casa Blanca, después de que el vicepresidente demócrata Hubert Humphrey le conceda la victoria, tras 24 horas de tensa espera en el recuento. Finalmente sólo 25.552 votos son los que separan a ambos candidatos. 11 de Noviembre: En la guerra de Vietnam comienza la Operación Commando Hunt, que dejará caer 3 millones de toneladas de bombas sobre Laos. 23 de Diciembre: Tras arduas negociaciones, los 82 miembros de la tripulación del USS Pueblo, buque de inteligencia de la Marina estadounidense, son liberados después de 11 meses de cautividad en Corea del Norte. El incidente se inició el 23 de enero pasado cuando el USS Pueblo, buque espía, se encontraba en una misión para determinar las ubicaciones de puestos radar en tierra y evaluar la capacidad naval bélica de Corea del Norte, así como seguir el movimiento de las unidades navales soviéticas en aguas coreanas. Al percatarse el comandante y la tripulación de que buques de guerra de norcoreanos se disponían a detenerlos, el comandante del USS Pueblo comprobó que la distancia a la que se encontraban de tierra era de 15,8 millas, por lo que contestó que estaban en aguas internacionales. Sin embargo al saber por comunicaciones interceptadas que los norcoreanos tenían intención de abordar el buque, la tripulación fue puesta en alerta mientras intentaban alejarse de la zona. Cuatro lanchas torpederas y dos aviones MiG se añadieron a la flotilla, mientras el USS Pueblo intentaba realizar maniobras evasivas para no ser detenido. Uno de los buques norcoreanos efectuó varios disparos que alcanzaron el mastil del radar y el puente hiriendo al comandante y a otros dos miembros de la tripulación, uno de los cuales falleció posteriormente. El comandante del USS Pueblo ordenó destruir todos los documentos clasificados así como todos los dispositivos y equipos electrónicos. Radió un mensaje de emergencia al Comando de la Flota del Pacífico solicitando ayuda que no llegó a tiempo. La nave nunca será devuelta. 1 de Diciembre: Rafael Caldera gana las elecciones presidenciales en Venezuela. 13 de Diciembre: En Brasil, el dictador Artur da Costa e Silva decreta la quinta acta institucional, que durará hasta 1978 y marcará el comienzo de los peores años de la dictadura militar. 20 de Diciembre: En Nueva York, USA, fallece el escritor estadounidense John Steinbeck, ganador del Premio Nobel de Literatura en 1962, cuya novela de 1939 "Las uvas de la ira", dio esperanzas a los desposeídos de la Gran Depresión. 24 de Diciembre: El módulo de mando del Apolo VIII entra en órbita lunar, para dar 10 vueltas alrededor de nuestro satélite, como ensayo previo al envío del primer hombre a su superficie. Cada órbita tiene una duración de unas dos horas y lo hace a una altura aproximada de 100 kilómetros. Con este viaje queda demostrada la posibilidad de recuperar el contacto con la nave tras volver de la cara oculta de la Luna. Se baten todos los récords existentes hasta entonces para vuelos espaciales tripulados; también es la primera vez que se escapa de la fuerza de atracción terrestre. El 27 de diciembre, la tripulación formada por Frank F. Borman II, James A. Lovell y William A. Anders, amerizarán sanos y salvos en el Océano Pacífico habiendo conseguido un logro sin precedentes. 27 de Diciembre: Tras haber despegado el 21 de diciembre, regresa a la Tierra la nave Apollo VIII, con los tripulantes Borman, Lowell y Anders, después de orbitar 10 veces la Luna, como ensayo para poner el primer hombre sobre su superficie. Cada órbita Lunar ha tenido una duración de unas dos horas, siendo elípticas las tres primeras y circulares las restantes, sobrevolando nuestro satélite a una altura aproximada de 100 kilómetros. Queda así demostrado la posibilidad de recuperar el contacto con la nave espacial tras surgir de la cara oculta de la Luna. Se baten todos los récords existentes para vuelos espaciales tripulados hasta ese momento. No; ya nada será nunca igual a 1967, pero no por ello el año que le siguió no fue fascinante. 1968 significó un giro, con las bandas comenzando a dejar la psicodelia y dando un volantazo hacia el Roots Rock. Las bandas líderes dejaron de lado los sitares y magnánimas orquestaciones y comenzaron a filtrar sonidos del Country y el Blues para hacer algunos de sus mejores discos. Creedence sale de la nada y se coloca como uno de los grupo más influyentes del año. Después de su viaje a la India, los Beatles lanzaban Apple, su propia compañía discográfica, así como el considerado por muchos el mejor sencillo Doble A de la historia, que es lo único que me impide poner la perfecta “Jumpin’ Jack Flash” encabezando la lista de sencillos del tremendo año. Los Stones por su parte organizan el Rock & Roll Circus, con varias bandas invitadas, incluyendo el improvisado supergrupo Dirty Mac. Aunque no lanzan su debut dicho año, se forman las bandas Deep Purple, Led Zeppelin, Black Sabbath y Rush, preparándose la oleada de Hard Rock que dominaría un par de años después. Iron Butterfly lanza ese año el mítico In a Gadda Da Vidda que es una especie de eslabón perdido entre la psicodelia y el Hard Rock. Joe Cocker la rompe con su versión de “With A Little Help From My Friends”. Syd Barret sale oficialmente de Pink Floyd y es sustituido por David Gilmour. Janis se separa de la Big Brother, mientras Cream y The Experience se rompen en pedazos. The Pretty Things lanzan la primer ópera Rock de la historia, su S.F. Sorrow, antes que The Who. El año cierra con Elvis haciendo su primera aparición en vivo con su banda original en años, haciendo un gran set acústico con el que cerraría su etapa fílmica sesentera y comenzaría a transicionar a su etapa en Las Vegas. No, no es igual de grande que 1967, pero se queda muy, MUY cerca! Lo que 1968 Nos Dejó: Beatles - The Beatles (White Album) Rolling Stones - Beggar's Banquet Janis Joplin - Cheap Thrills Jimi Hendrix - Axis Bold As Love Cream - Wheels Of Fire Iron Butterfly - In A Gadda Da Vida Creedence Clearwater Revival - Creedence Clearwater Revival Kinks - Are The Green Preservation Society Jeff Beck - Truth Doors - Waiting For The Sun Janis Joplin - Live at Winterland '68 Zombies - Odissey & Oracle Jefferson Airplane - Crown Of Creation Procol Harum - Shine on Brightly Byrds - Notorious Byrd Brothers The Left Blanke - The Left Banke Too Traffic - Traffic Johnny Cash - At Folsom Prision Buffalo Springfield - Last Time Around B.B. King - Lucille Jimi Hendrix - Electric Ladyland Jefferson Airplane - Live at the Fillmore East Grateful Dead - Anthem Of The Sun Jimi Hendrix - Live At Winterland Moody Blues - In Search of the Lost Chord Deep Purple - Shades Of Deep Purple The Pretty Things - S.F. Sorrow Fleetwood Mac - Peter Green's Fleetwood Mac Creedence Clearwater Revival - Bayou Country Frank Zappa - We're Only in It for the Money Simon & Garfunkel - Bookends The United States Of America - The United States Of America Iron Butterfly - Heavy Jethro Tull - This Was Van Morrison - Astral Weeks The Mamas and the Papas - The Mamas and the Papas Beach Boys - Friends Ten Years After - Undead B.B. King - Blues on Top of Blues Otis Redding - The Dock of the Bay Sly & The Family Stone - Life Byrds - Sweetheart of the Rodeo Rolling Stones - Rock & Roll Circus Steppenwolf - Steppenwolf Kinks - Live at Kelvin Hall Taj Mahal - Taj Mahal Aretha Franklin - Lady Soul Allman Brothers- Band The Hour Glass The Band - Music From Big Pink Duke Ellington - And His Mother Called Him Bill The Who - Magic Bus Manfred Mann - Mighty Garvey! Muddy Waters - Electric Mud Pink Floyd - A Saucerful of Secrets Miles Davis - Nefertiti Animals - The Twain Shall Meet Sly & The Family Stone - Dance to the Music Ten Years After - BBC Sessions Fleetwood Mac - Mr. Wonderful John Mayall - Blues From Laurel Canyon Neil Young - Neil Young Quicksilver Messenger Service - Quicksilver Messenger Service Small Faces - Ogdens' Nut Gone Flake Johnny Cash - The Heart of Cash Spirit - Spirit Guess Who - Wheatfield Soul Thelonious Monk - Underground Bee Gees - Horizontal Serge Gainsbourg - Initials B.B. Johnny Cash - From Sea to Shining Sea Buddy Guy - A Man and the Blues Turtles - The Battle of the Bands Canned Heat - Living the Blues Blue Cheer - Outsideinside Monkees - The Birds, The Bees & the Monkees B.B. King - The Kings' Jam (Live Bootleg) (w/Jimi Hendrix) Silver Apples - Silver Apples Johnny Cash - Carryin' On - Johnny Cash & June Carter Elvis Presley - Elvis: TV Special Bee Gees - Idea Monkees - Head Nico - The Marble Index George Harrison - Wonderwall Music Velvet Underground - White Light White Heat Marvin Gaye & Tammi Terrell - United Singles: The Beatles - Hey Jude / Revolution The Rolling Stones - Jumpin' Jack Flash Jimi Hendrix - All Along the Watchtower Joe Cocker - With a Little Help From My Friends Big Brother & The Holding Company - Piece of My Heart Cream - White Room Iron Butterfly - In-A-Gadda-Da-Vida Creedence Clearwater Revival - Suzie Q Simon & Garfunkel - Mrs. Robinson The Doors - Hello, I Love You Steppenwolf - Born to Be Wild Deep Purple - Hush The Zombies - Time of the Season The Foundations - Build Me Up Buttercup The Animals - Sky Pilot Creedence Clearwater Revival - I Put a Spell on You / Walk on the Water The Kinks - Starstruck / Picture Book Steppenwolf - Magic Carpet Ride Otis Redding - (Sittin' On) The Dock of the Bay Bob Marley - Stir It Up The Turtles - You Showed Me Sly & the Family Stone - Everyday People Tommy James & The Shondells - Crimson and Clover Classics IV - Stormy The Rolling Stones - Street Fighting Man The Beatles - Lady Madonna / The Inner Light The Band - The Weight Love - The Daily Planet The Doors - The Unknown Soldier Jefferson Airplane - Crown of Creation The Who - Magic Bus The Who - Mary Anne With the Shaky Hand / Can't Reach You Bee Gees - I Started a Joke Simon & Garfunkel - Scarborough Fair (Canticle) Manfred Mann - Mighty Quinn Bob Dylan - All Along the Watchtower Fleetwood Mac - Need Your Love So Bad The Doors - Touch Me / Wild Child The Pretty Things - Talkin' About the Good Times The Byrds - You Ain't Going Nowhere Johnny Cash - Folsom Prison Blues (live) Love - Alone Again Or The Kinks - Days The 13th Floor Elevators - Slip Inside This House Spirit - I Got a Line on You Hugo Montenegro - The Good, the Bad and the Ugly Fairport Convention - Meet on the Ledge Dusty Springfield - Son-of-a Preacher Man Elvis Presley - A Little Less Conversation Jethro Tull - Love Story Marvin Gaye - I Heard It Through the Grapevine Por Corvan 21/May/2013

LO QUE EL 2014 NOS DEJÓ Hechos Sobresalientes: Restablecimiento de las Relaciones USA-Cuba, las muertes de Cerati y el Gabo Oscar a la Mejor Película: 12 Años de Esclavitud (Meh) Oscar al Mejor Director: Alfonso Cuarón (Gravity) Oscar a la Mejor Actriz: Cate Blanchett (Blue Jazmin) Mejor Oscar al Mejor Actor: Matthew McConaughey (Dallas Buyers Club) Grammy al Mejor álbum: Random Access Memories (Daft Punk) Premio Nobel de Literatura: Patrick Modiano (Francia) Hecho Deportivo: Copa Mundial 2014 - Sede Brasil - Campeón Alemania - Subcampeón Argentina Películas Icónicas: El Gran Hotel Budapest (Wes Anderson), Guardianes de la Galaxia (James Gunn,) X-Men: Days of Future Past (Bryan Singer), The Hobbit: The Battle of the Five Armies (Peter Jackson) Libros Icónicos: El impostor (Javier Cercas); Adiós, Primos (Muhsin Al-Ramli) Ya sé que parece pleonasmo y cada año empiezo diciendo que el anterior fue un año negro, pero el 2014 fue un año tormentoso, donde la esperanza de un buen futuro parece irse diluyendo con pequeños hechos que parecen aislados. El 2014 no sólo estuvo marcado por crisis muy fuertes en diversos países, propiciados por los gobiernos y la economía que no termina por funcionar bajo este modelo, sino que además hubo muchas muertes, al menos de figuras simbólicas, que representaban otra forma de pensar. Desde Bob Seeger, Gabriel García Márquez (el mayor ícono del boom latinoamericano de los 60’s) y Gustavo Cerati, sin duda el mayor ícono del Rock Hispanoamericano. El año estuvo repleto de muertes de famosos de mayor o menor influencia, pero que pegó en diversos ámbitos, desde los actores como Robin Williams y Phillip Seymour-Hoffman; Joe Cocker, Jack Bruce y Phil Everly en el Rock, escritores como Vicente Leñero, Juan Gelman, y José Emilio Pacheco; Joan Rivers y Chespirito, en el entretenimiento. O la abdicación del Rey Juan Carlos I de Borbón en España, tratando de dejar el país ante un liderazgo más fresco. A esto se suma esa sensación de total impunidad a los gobiernos que hacen y deshacen, con un cinismo casi cruel, ante economías afectadas como en España, Argentina, Venezuela, Ucrania, donde es evidente que el sistema Neoliberal está colapsando las clases medias. En México, país usualmente apático y adormecido, la gente finalmente salió a las calles a exigir al gobierno la aparición con vida de los 43 normalistas desaparecidos a finales de Septiembre a manos del ejército, en coordinación con el narco. Tristemente, todos sabemos que los normalistas están muertos, por lo que la exigencia de facto es la renuncia del presidente Enrique Peña Nieto, y el desmantelamiento del PRI y Televisa, dos entes corruptos hasta sus cimientos, con relación directa con el Narcotráfico, que se benefician mutuamente y que tienen secuestrado al país, manipulando los medios para crear en el exterior la sensación de una democracia, falsa por donde se vea. Las manifestaciones multitudinarias desgraciadamente se han ido diluyendo tras el periodo vacacional decembrino y parece que la impunidad seguirá reinando en México. USA mientras tanto, sigue expandiendo su poder, colonizando indirectamente países a través del FMI y acuerdos petroleros, donde el Fracking se ve como una amenaza ecológica. La crisis Ucraniana fue una especie de regresión a la Guerra Fría, donde a pesar de todo, queda claro que Putin sigue siendo el hombre más poderoso del planeta y que no todas las economías europeas están sometidas a la Casa Blanca. Este año pudimos ver cómo una nave aterrizaba en un cometa, al más puro estilo Armaggedon, pero fuimos incapaces de encontrar un avión perdido. Vimos como las farmacéuticas aprovechaban el pánico causado por el ébola, y a la vez el ejército estadounidense aprovechaba para tomar posiciones estratégicas en el mercado de diamantes con dicho pretexto. Pero lo más significativo sea acaso otra muerte, simbólica, a finales de año. Aún no sé si para bien o para mal, pero termina el bloqueo cubano y comienzan las relaciones USA-Cuba en un potencial primer paso a la democratización. Pronto veremos McDonalds en la Habana? No lo sé, lo que sí es seguro es que veremos torres petrolíferas estadounidenses en los alrededores dela Isla, que había sido el último bastión de un socialismo que nunca cuajó… Un año negro, no sólo por todas las muertes de famosos y de miles de civiles anónimos, sino por el rumbo hacia donde nos perfila. Cabe señalar que en La Caverna tuvimos el mayor cambio desde la mudanza a Webs, pero con un impacto mayor. La carga de trabajo y personal, pero sobre todo, el darme cuenta de que hay géneros y músicos en los que tengo un conocimiento muy limitado, pero necesarios en la página, me llevó a invitar a Marlaior, El Hombre Mojón y a Homer, a agregarse a este proyecto. Los 3 aceptaron, abriendo el abanico de bandas, y sin duda La Caverna ha ganado mucho con sus reseñas en los últimos meses, algo que hubiera sido imposible por mi cuenta. Agradezco a ellos por su tiempo y dedicación, y a ustedes por el apoyo. 27 de Enero: En la ciudad de Nueva York, fallece a los 94 años de edad el músico de folk Pete Seeger, personaje central de la cultura musical estadounidense e incansable luchador por la justicia y la igualdad. Sus canciones inspiraron a jóvenes, como Bob Dylan, Joan Baez o Bruce Springsteen, que durante los sesenta vieron en su obra el poder de la música 28 de Enero: En Ucrania, tras dos meses de revueltas, el Gobierno cae en pleno, ante la firme protesta de los opositores, a la vez que el Parlamento anula las leyes que endurecían las penas por manifestaciones no autorizadas y prohibían montar tiendas de campaña en la ciudad. Pese a este cambio de actitud, la gente continúa en la calle solicitando la dimisión del Presidente Yanukóvich, origen de la protesta, al haber vendido el país a cambio del apoyo del Presidente ruso Putin para las elecciones presidenciales. Los disturbios han costados varios muertos. 2 de Febrero: Elecciones presidenciales en Costa Rica y en El Salvador. 7 de Febrero: Boicot en Argentina durante 24 horas contra los principales supermercados y gasolineras debido a los aumentos de precios. (Deberíamos hacer lo mismo en México). 13 de Febrero: El primer ministro de Italia, Enrico Letta, se ve obligado a dimitir presionado por el líder de su propio partido Matteo Renzi. 18 de Febrero: La crisis política que vive Ucrania se salda en su capital, Kiev, con 22 muertos y cientos de heridos en los enfrentamientos entre opositores al presidente Víctor Yanukóvich, que piden cambios en el país desde la plaza de la Independencia para presionar en favor del cambio constitucional prometido, y las fuerzas de seguridad, que responden con balas de goma, gases lacrimógenos y bombas de humo. Dos días más tarde, el 20, Yanukóvich intensificará la represión utilizando francotiradores apostados en los tejados para abatir a los manifestantes, produciéndose cerca de 80 muertos. Al día siguiente, 21, Yanukóvich y la oposición firmarán un pacto que quita poderes al presidente, fija elecciones anticipadas y la vuelta a la Constitución de 2004. 22 de Febrero: En Ucrania, el presidente Víctor Yanukóvich abandona Kiev a toda prisa y el Parlamento lo destituye por 328 votos a favor y 6 abstenciones mediante una moción de censura ante una presidente ausente, en medio de los abrazos y aplausos de los diputados. Además se convocan elecciones presidenciales para el 25 de mayo y la ex primera ministra Yulia Timoshenko es liberada de su pena de prisión por orden del Parlamento tras eliminar el artículo del Código Penal por el que había sido condenada. En las calles, los manifestantes celebran con júbilo los nuevos acontecimientos. 1 de Marzo: En Moscú, el Senado ruso autoriza al presidente Vladímir Putin a utilizar las Fuerzas Armadas rusas en Ucrania "en vista de la situación extraordinaria y de la amenaza a la vida de ciudadanos de la Federación Rusa. 8 de Marzo: Vuelo 370 de Malaysia Airlines: Desaparece un avión de Malaysia Airlines con 239 pasajeros a bordo. Cinco países del sudeste asiático participan del operativo de búsqueda entre las aguas entre Malasia y Vietnam. 11 de Marzo: Nace la República de Crimea: A cinco días del referéndum, el parlamento crimeo decide independizar su península y declara su independencia de Ucrania. 16 de Marzo: Referéndum sobre el estatus político de Crimea de 2014 convocado diez días antes por el parlamento regional de Crimea. El 95% de los votantes aprobaron la incorporación de la República de Crimea a Rusia. El 18 Se firma en Moscú la adhesión de Crimea y Sebastopol a la Federación de Rusia. 1 de Abril: Terremoto 8.2° sacude a Chile causando 6 muertos, y a kilómetros de la costa de Iquique, alertando sobre posibles tsunamis. (Es considerado el mes "telúrico", ya que después del terremoto de Chile, el planeta empezó a sacudirse durante todo el mes, más de 13 temblores y 5 terremotos con una magnitud mayor a 7,8 grados por día en todo el mundo). 3 de Abril: El gobierno de Malí anuncia que han aparecido en su país tres casos sospechosos de fiebres hemorrágicas asociadas al virus Ébola, que ya han causado 87 muertos en Guinea, 7 en Liberia y 2 en Sierra Leona. 4 de Abril: En México se crea el Instituto Nacional Electoral en sustitución del extinto Instituto Federal Electoral tras su crisis de credibilidad. El gobierno del Presidente Enrique Peña Nieto comienza a sufrir niveles alarmantes de desaprobación por las Reformas negociadas con la oposición y aprobadas durante 2013. La Narcoviolencia se dispara tras el desarme de las “autodefensas”. 17 de Abril: En México D. F., fallece a los 87 años el escritor y periodista colombiano Gabriel García Márquez, Premio Nobel de Literatura en 1982, creador de obras clásicas como "Cien años de soledad", "El amor en los tiempos del cólera" (a mi gusto su mejor libro), "El coronel no tiene quien le escriba", "El otoño del patriarca" o "Crónica de una muerte anunciada". 27 de Abril: Canonización de los beatos Juan XXIII y Juan Pablo II por el papa Francisco. 15 de Mayo: Oleada de protestas en Brasil a un mes de la celebración del Mundial de Fútbol. 22 de Mayo: golpe de Estado en Tailandia, impulsado por las Reales Fuerzas Armadas tras meses de revueltas y crisis social. 25 de Mayo: Elecciones presidenciales en Colombia y Ucrania. 2 de Junio: En España, y después de 39 años de reinado, el Rey don Juan Carlos I anuncia que abdicará el próximo día 18 debido a problemas de salud. Todo se prepara para proceder a la proclamación como Rey de su hijo, el Príncipe de Asturias don Felipe, el día 19. 12 de Junio: Comienza la Copa Mundial de Fútbol de 2014 en Brasil. 19 de Junio: En Madrid, España, y tras haber anunciado el pasado día 2 el Rey Juan Carlos I su intención de abdicar a favor de su hijo el príncipe Felipe, tiene lugar, en un acto solemne que se celebra en el salón de plenos del Congreso de los Diputados, la coronación como Rey de su hijo, que reinará como Felipe VI. 21 de Junio: En España, se registran numerosas manifestaciones que rodean cada uno de los 17 parlamentos regionales (uno ubicado en cada comunidad autónoma) en contra de los recortes económicos, que son resultado de la crisis que aquejan al país desde 2008. 4 de Julio: El parlamento de Rusia condona el 90% de la deuda que contrajo Cuba con la extinta Unión Soviética y que ascendía a 35.000 millones de dólares. El 10% restante se dedicará a inversiones en la isla. 6 de Julio: 6 de Julio: logran escapar en Nigeria unas 63 mujeres, de las 68 que habían sido secuestradas por el grupo terrorista Boko Haram en junio, en la localidad de Damboa. 13 de Julio: Finaliza la Copa Mundial de Fútbol de 2014, Alemania es campeona tras derrotar a la selección Argentina 1-0 en tiempo extra, y después de humillar al anfitrión Brasil en semifinales por un histórico 7-1. 17 de julio: El Vuelo 17 de Malaysia Airlines se estrella en la ciudad ucraniana de Grabovo por un misil. No hubo sobrevivientes y 298 muertos, entre ellos, importantísimos investigadores sobre el VIH y el Ébola. 10 de Agosto: En Sonora, México, una mina de cobre de Grupo México contaminó un río con miles de metros cúbicos de sustancias tóxicas. En el accidente se derramaron aproximadamente 40 mil metros cúbicos de lixiviados de cobre en el río Bacanuchi. 4 de Septiembre: Muere Gustavo Cerati a los 55 años. Músico, cantautor, compositor y productor discográfico argentino, el más influyente y reconocido músico del rock iberoamericano, una leyenda del rock al abrir las puertas a la internacionalización y boom del “Rock en tu Idioma”. Llevaba 5 años en coma tras un accidente cerebrovascular en 2010. Aún así, su muerte fue un golpe durísimo para todo el Rock en Español. 18 de Septiembre: Se celebra un referéndum en Escocia (Reino Unido), para ver si se independiza o permanece en el Reino Unido, en el que los sondeos han mostrado un empate entre las dos opciones. En la madrugada siguiente, al irse completando el escrutinio, la opción contraria a la secesión, el NO, se irá imponiendo poco a poco hasta lograr un 55,4 % de los votos frente al 44,6 % del SÍ. 23 de Septiembre: Como parte de la contienda contra el Estado Islámico, Estados Unidos bombardea Siria con la guerra civil de por medio. 26 de Septiembre: En Guerrero, México, estudiantes de la Normal de Ayotzinapa tomaron dos camiones para llegar a Iguala, lugar en el que tomaron otras dos unidades, adonde se dirigían —según testimonios de algunos estudiantes— a tomar dos camiones que les faltaban para viajar a sus prácticas a la Costa chica de Guerrero, así como enviar una comitiva a la Ciudad de México a la marcha conmemorativa del 2 de Octubre. Sin embargo, ya en Iguala, el alcalde José Luis Abarca, impuesto por el cartel local Guerreros Unidos, ordenó a la policía municipal detenerlos, y para ello pedir apoyo a la policía de Cocula (un municipio cercano), al suponer que se dirigían a boicotear el acto de informe de gobierno de su esposa, María de los Ángeles Pineda. En el hecho murieron seis personas, entre ellas tres normalistas, 25 resultaron heridos y 43 más desaparecieron. 30 de Septiembre: Iguala, México: 22 policías son detenidos por presuntamente haber participado en el asesinato de seis personas en Iguala. Fueron trasladados al Centro de Reinserción Social (Cereso) de Las Cruces, en Acapulco, donde enfrentarán un proceso jurídico por el delito de homicidio. El titular de la Procuraduría General de Justicia (PGJ) de Guerrero, confirmó ese día que los hechos de violencia en Iguala se debieron a un uso excesivo de la fuerza por parte de 22 efectivos policiacos. El alcalde de Iguala, José Luis Abarca, pidió licencia a su cargo por 30 días para facilitar las investigaciones que involucran a la Policía Municipal, solicitud que fue aprobada por unanimidad en sesión de cabildo. El caso comienza a tener gran difusión, mientras que el gobierno Federal no da declaraciones. 1 de Octubre: En Guerrero, México, el gobernador Ángel Aguirre Rivero anunció la emisión de una orden de presentación en contra del alcalde con licencia de Iguala, José Luis Abarca Velázquez, quien en ese momento ya se encontraba prófugo junto con su esposa, familiar directa del cartel Guerreros Unidos, para quien lavaban dinero. El día 3 la ONU condena la desaparición. El 6 de Octubre, Once días (11 DÍAS!!!) después de la desaparición de los jóvenes, el presidente Enrique Peña Nieto habló por primera vez sobre el caso. Elementos de la Gendarmería tomaron el control de la seguridad en el municipio de Iguala, según información del comisionado Nacional de Seguridad, Monte Alejandro Rubido. 5 de Octubre: Suecia se convierte en el primer país de la Unión Europea en reconocer al Estado de Palestina. 8 de Octubre: Se realiza la primera Jornada de Acción Nacional e Internacional por Ayotzinapa. “¡Ya no podemos permitir ni un muerto más!”, miles de personas marcharon en México y el mundo por los normalistas desaparecidos. El gobierno Federal minimiza la situación. Televisa manipula la información que llega a la mayoría de mexicanos que no tienen acceso a otras fuentes de información. Crece la indignación general. El día 13, Colectivos de la UNAM convocan a un paro de 48 horas para demandar la aparición con vida de los 43 estudiantes. Comienzan a encontrarse fosas repletas de cadáveres en las cercanías de Iguala, pero el gobierno con toda tranquilidad, anuncia que no son restos de los estudiantes, sin dar mayores explicaciones. El 16 hay un paro de las principales universidades del país. 12 de Octubre: En Bolivia, Evo Morales, con el 61 % de los votos, se proclama vencedor de las elecciones generales para elegir presidente y renovar la Asamblea Plurinacional (el Parlamento), lo que le da derecho a un tercer mandato hasta 2020. El candidato opositor Samuel Doria obtiene el 24% de los votos. 16 de Octubre: Argentina envía al espacio exterior su octavo satélite artificial, el ARSAT-1, primero en ser construido y desarrollado en el país. 22 de Octubre: Ciudadanos de México y el mundo se unieron al Día de Acción Global por Ayotzinapa. Al final de una multitudinaria manifestación en la Ciudad de México, los padres de los estudiantes desaparecidos dieron a las autoridades dos días para encontrar a los normalistas. Un día después El gobernador Ángel Aguirre solicitó licencia a su cargo. 25 de Octubre: Muere Jack Bruce, compositor, cantante y multi-instrumentalista británico, mejor conocido por ser el cantante y bajista del power trio británico Cream, entre 1966 y 1968. 29 de Octubre: Los padres de los 43 estudiantes desaparecidos llegaron a la residencia oficial de Los Pinos para reunirse en privado con el presidente Enrique Peña Nieto. Tras la reunión que duró unas 5 horas, los padres dijeron que no confían en las investigaciones del gobierno federal sobre el paradero de los jóvenes. El descontento con el gobierno federal es generalizado y se exige la renuncia de Enrique Peña Nieto al ser de todos conocido que el Grupo de Atlacomulco, al que pertenece, tiene relación con los carteles de droga, y que su carísima campaña presidencial fue financiada por el narco y Televisa. 5 de Noviembre: 5 de Noviembre: Se realizó la Tercera Jornada Global por Ayotzinapa. Miles de personas marcharon en la Ciudad de México y todas las ciudades del país para exigir la aparición con vida de los normalistas. En Ciudad de México, el gobierno infiltró porros que generaron violencia y dio excusa a las fuerzas policiales de hacer detenciones arbitrarias de los manifestantes que ya se retiraban. 9 de Noviembre: fecha anunciada por la Generalidad de Cataluña para la celebración de un referéndum sobre la independencia de Cataluña respecto al resto de España, acordado con otros partidos; el Gobierno español ha manifiesta que dicho referéndum no se llevará a cabo, por ser inconstitucional 12 de Noviembre: Por primera vez en la historia un artefacto fabricado por el hombre consigue aterrizar en la superficie de un cometa, al alcanzar, la sonda Philae, un módulo de 100 kilos de peso de la Agencia Espacial Europea, la superficie helada y cubierta de polvo del cometa 67P/Churyumov-Gerasimenko, a 510 millones de kilómetros de distancia de la Tierra. La sonda, que forma parte de la misión Rosetta, culmina un proyecto que busca encontrar respuestas científicas al proceso de formación de los planetas. 16 de Noviembre: En medio de la peor crisis política del siglo en México, el presidente Enrique Peña Nieto se va de gira de negocios a Asia, con su esposa y su cosmetólogo. Durante su ausencia, se filtra un nuevo escándalo al revelarse que la mansión propiedad de su esposa, Angélica Rivera (exactriz de Televisa), tiene un costo de 7 millones de dólares. Lo peor es que fue vendida por Grupo Higa, empresa constructora beneficiada por millones de dólares en licitaciones durante su gubernatura y actual presidencia. La actitud del gobierno es arrogante, cae en contradicciones, y al volver, la primera dama da un comunicado diciendo que es “ganada con el sudor de su frente durante su trabajo como actriz”. El gobierno cae en su peor nivel de aceptación histórico. Posteriormente saldrán escándalos del Secretario de Hacienda, Luis Videgaray, y otra casa de Peña Nieto, también relacionadas con Grupo Higa. 17 de Diciembre: Barack Obama desde Washington (EE.UU.) y Raúl Castro desde La Habana (Cuba) anuncian al mundo que, tras una conversación telefónica mantenida entre los dos líderes, deciden restablecer relaciones diplomáticas después de 53 años de Guerra Fría entre ambos países. Desde 1961 el bloqueo estadounidense ha resultado inútil y únicamente ha servido para causar dolor y ahogar al ciudadano cubano, y al régimen castrista para justificar el control político. 22 de Diciembre: Muere Joe Cocker, músico británico, a los 70 años, de cáncer de pulmón. Musicalmente ha sido el año más flojo desde 1985, y eso es mucho decir. No hay, como en años previos, un solo disco que acapare aplausos de críticos y fans, y esta vez las opiniones sobre el mejor disco están muy divididas, pero no parece haber un disco que se acerque al 10. Los géneros siguen pulverizándose, con bandas muy locales, sonidos muy dispersos, en el que cada vez es más difícil enfocarse en una de las bandas nuevas, y cada vez es más difícil definir a qué suenan. Entre las bandas nuevas, acaso sobresalen los debuts del duo británico Royal Blood y el debut del irlandés Hozier, además de la banda Islandesa Kairon IRSE, que logra densas texturas de Shoegazing en su debut. El 2014 marca algunos regresos interesantes, el más logrado sin duda el de Damon Albarn que lanza su Everyday Robots, aunque ello nos deja la sensación de que un nuevo disco de Blur está muy lejano. AC/DC tuvo también un regreso más que decente, superando con el Rock or Burst su anterior Black Ice, dando una cátedra de riffs y recuperando poderío, aunque con una sensación de despedida ante la demencia de Malcolm, que lo separó de la banda para el tour, así como los problemas legales de Phil Rudd. Posiblemente esta sea la despedida de la mítica banda australiana. Los Black Keys lanzaron un disco que de entrada se siente más flojo que los dos previos, pero creo que va creciendo con las escuchas, y muestran nuevamente sus exquisitos riffs, con un sonido más electrónico y melancólico. Wolfmother retomó su nombre, pero no logró alcanzar el nivel de su primer disco, creo que ni el del segundo... Los Foo FIghters lanzaron también un disco mediano tras las expectativas creadas por su anterior trabajo. Jack White, Zakk Wylde y sus Black Label Society, Robert Plant, Morrisey y Roger Daltrey superaron las expectativas haciendo discos muy sólidos. El momento del año quizá fue el lanzamiento del Endless River de Pink Floyd, con descartes retrabajados de las sesiones del Division Bell. El disco es muy atmosférico, más centrado en texturas, y los mejores temas son los instrumentales, pero no creo que se pueda considerar realmente como el último disco de estudio de la banda, sino como un tributo a Richard Wright. La decepción más grande fue U2, que tras haber recompuesto algo el camino con el No Lines in the Horizon, había creado expectativas desde hace 2 años con el Songs of Absent, que terminó llamándose Songs of Innocence. El disco está bastante desangelado, y ni siquiera suenen los ganchos pop melosos de inicios de los dosmiles. Es tan malo, que tuvieron que recurrir a Apple para incluirlo precargado en el iPhone 6, causando molestia en algunos usuarios que tuvieron que descargar una aplicación para eliminarlo. Bono se disculparía por la pésima jugada, pero creo que U2 fue el que salió más mal parado de este difícil año. Los Rolling Stones siguen girando aunque sin visos de nuevo disco. El mundo del Rock se puso de luto con la muerte de Gustavo Cerati, aunque la esperanza de verlo recuperado era casi nula desde hace 5 años. Cerati fue quien abrió las puertas al movimiento del Rock en tu Idioma en los 80’s, y marcó pauta con Soda Stereo para la evolución y boom del Rock en Español en ambos lados del Atlántico. Ya no hay líderes así, ni de lejos, y el Rock en Español está en una de sus peores crisis, solo con los españoles Vetusta Morla dando la cara, quienes por cierto, lanzaron un buen disco con La Deriva, pero lejos de sus 2 primeras placas. Otra sensible muerte fue la de Joe Cocker, unas de las mejores voces del Rock-Blues. Tras su muerte, parece ir retomando ese status que merecía desde los 60’s, y que se vio eclipsado por el club de los 27. Y ni qué decir de Jack Bruce, uno de los bajistas bajista más influyentes de la historia, que llevó al bajo a nuevos niveles con Cream, sin duda el más grande maestro para mi. 2014 fue un año flojo, en el que se pueden encontrar buenos temas, pero es complicado encontrar discos redondos, ya sea de debuts o de artistas establecidos, confirmando la tendencia de ésta década, en la que las bandas que lanzan buenos discos, no logran consolidarse. Lo Que el 2014 Nos Dejó: Royal Bood - Royal Blood Hozier - Hozier Damon Albarn - Everyday Robots Kairon IRSE - Ujubasajuba AC/DC - Rock or Bust Jack White - Lazzaretto Black Keys - Turn Blue Black Label Society - Catacombs of the Black Vatican Morrissey - World Peace is Non of Your Business Swans - To Be Kind Slash - World on Fire Emigrate - Silent So Long Thruston Moore - The Best Day Wolfmother - New Crown St. Vincent - St. Vincent The Pretty Reckless - Going to Hell The War on Drugs - Lost in Dream Sun Kill Moon - Benji Robert Plant - Lullaby and the Ceaseless Roar Wilko Johnson and Roger Daltrey - Going Back Home Foo Fighters - Sonic Highways Manic Street Preachers - Futurology Atlas - Real State Wenlock Hill - Merrymouth Temples - Sun Structures Spoon - They Want My Soul Anathema - Distant Satellites Nick Cave & The Bad Seeds - Singles 1990-2013 Pink Floyd - The Endless River Beck - Morning Phase Rival Sons - Great Western Valkyrie The Smashing Pumpkins - Monuments to an Elegy Mastodon - Once More 'Round the Sun Slipknot - .5: The Gray Chapter Ariel Pink - Pom Pom Transgender Dysphoria Blues - Against Me! Jungle - Jungle Blues Pills - Blues Pills Wolf Alice - Creature Songs Flying Colors - Second Nature Islander - Violence & Destruction Accept - Blind Rage Guardians of the Galaxy - VA Tom Petty and the Heartbreakers - Hypnotic Eye Elbow - The Take Off and Landing of Everything U2 - Songs of Innocence Singles: Royal Blood - Ten Tonne Skeleton Chevelle - Take Out the Gunman The Virginmarys - Just a Ride' Turn Blue - Black Keys Black Label Society - My Dying Time' AC/DC - Sweet Candy' Kyng - Electric Halo' The Pretty Reckless - Heaven Knows' Royal Blood - Figure It Out Emigrate featuring Frank Delle - Eat You Alive' Fever - Black Keys Pink Floyd - Nervana Slash- World on Fire'(suena tan Gn'R en los buenos tiempos!) AC/CD - Playball Slipknot - The Negative One Islander - Coconut Dracula Foo Fighters - Something From Nothing RObert Plant - Rainbow Against Me! - True Trans Soul Rebel' Hellyeah - Moth Español: Vetusta Morla - La Deriva Ballenas Muertas en San Sebastián - El Columpio Asesino Porter - Moctezuma Siddartha - El Vuelo del Pez Chambers - Lorelle Meets the Obsolete Por Corvan 13/Ene/2015

A DAY AT THE RACES (Queen, 1976) Click to listen on Spotify Artist: Queen (C+) Recording Dates: Jul-Nov 1976 Release Date: December 10th, 1976. UK Record Label: EMI / Elektra Producer: Queen Rating: 9 Era: The Great Transition (1970-1980+) Subgenre: Art Rock Best Song: Somebody To Love Tracklist: 1) Tie Your Mother Down ; 2) You Take My Breath Away ; 3) Long Away; 4) The Millionaire Waltz; 5) You And I; 6) Somebody To Love ; 7) White Man ; 8) Good Old-Fashioned Lover Boy ; 9) Drowse; 10) Teo Torriatte (Let Us Cling Together). After the spectacular A Night At The Opera in 1975, Queen had set incredibly high standards, and the whole world eagerly awaited their next album, as always happens after the release of an album of that magnitude. It's hard to say that A Day At The Races has anything wrong with it. Well, maybe "White Man". But it's still a great album, very solid, light without being banal, and still with some very rock-oriented and almost prog-like touches from Queen's early days. They're still in that transitional phase where they're neither as light as in the '80s nor as heavy as on their first albums, combining the best of both worlds. The band didn't want to take too many risks, and this album is essentially a sequel to A Night At The Opera. It even takes its name from another Marx Brothers film (the next one chronologically), and the cover is the same except for the inverted colors, using a black background and white lettering. I disagree with Starostin that the titles should have been reversed. To me, this one seems more cheerful, more daytime-like; Night has a more nocturnal atmosphere, but perhaps they should have reversed the cover colors to fully realize the idea. What is certain is that they could have easily been released as a double album. You can't blame Queen for not taking risks. After all, this is arguably their second-best album in their entire extensive discography. That's the point. Listening to it, it falls short of A Night at the Opera in terms of overall vision. It doesn't feel so much like an album as a collection of songs, and perhaps that's what Queen lacked to truly take off and reach the level of a Led Zeppelin or a Pink Floyd: a groundbreaking album , a true masterpiece, a DSOTM. Don't get me wrong, Mercury and company are still phenomenal, and no one questions their legendary status; one can only wish for albums like these today. But despite having tremendous tracks to spare throughout their discography, they don't have albums that truly shook the world, and even A Night at the Opera relies heavily on "Bohemian Rhapsody" to be considered a landmark album. This was the main argument for the band's rating. This is confirmed on A Day At The Races. While it's a great album, it doesn't seem to have 100% of the band on every track. I understand the idea of democracy and that May, Taylor , and Deacon contributed their own compositions; but having Brian and Roger sing them still strikes me as, more than a nice gesture from Freddie, a waste for the band, given they have the best vocalist in history. At times they sound very simplistic, at times very pretentious. The album generally works, but it has its flaws; they don't quite maintain the standard of a perfect 10, much less a landmark album. On the other hand, this is the first album where Queen shook off their fear and produced it entirely themselves, without Roy Thomas Baker's production assistance. They once again toured various studios in England, including Sarm West, Manor, and Wessex, to achieve the atmosphere they were looking for. Mike Stone was the engineer, contributing to the album's clarity of sound and its colossal vocal performance. Despite its imperfections, it remains a very good album and a worthy successor to A Night At The Opera. Queen maintains their classic sound (specifically that of these transitional years) with its endless layers of vocals for a spectacular, operatic sound. They retain their sense of humor (from the Marx Brothers tribute, most evident in this sort of "sequel"), continue with excellent melodic storytelling, a high level of instrumental skill, and a wide variety of genres. The thing is, although they try to sound fresh, there's a certain sense of déjà vu: "Tie Your Mother Down" is definitely better than "Death On Two Legs," but it still serves the same purpose as a kick-ass rock opener; "Somebody To Love" takes on the starring role of "Bohemian Rhapsody" on this album. And it comes pretty close: personally, it's my second favorite Queen song ever and ever. “Take My Breath Away” is beautiful, but not that far removed in mood from “Love Of My Life”, “Long Way” isn’t that different from what May already did on “39,” “Good Old Fashioned Lover Boy” is an improvement on the retro and cheeky vibe of “Lazy Sunday Afternoon”, and even “Drowse” seems like a slower, less punchy version of “I’m In Love With My Car”. It evokes a similar feeling to what King Crimson did with their first two albums. Even so, that’s no reason for Rolling Stone (surprise, surprise) to criticize it, saying Freddie had a passable pop voice, and predicting that Queen had no future… The album opens with a one-minute instrumental "Intro" by Brian May. I find it colossal and magnificent, and I struggle to separate it from "Tie Your Mother Down"—I consider them one and the same. But many disagree and criticize May for this fragment of just over a minute. I see it as a continuation of the instrumental piece that closes Night At The Opera, "God Save The Queen," and I even find it superior, with Brian using the tritone and then introducing an ascending synthesizer scale that prepares us for… “Tie Your Mother Down” is a kick-ass, unusually aggressive rocker for Queen, one that could easily have fit on their earlier albums, but surprisingly doesn't sound out of place here. The band sounds fresh and loose, with May unleashing his full guitar potential and even outshining Freddie. The song was actually written by May, and while it has a certain resemblance to “Death On Two Legs” as a powerful opener, I think it's more comparable to “Keep Yourself Alive” because of May's unusual power and because it slipped in as one of the band's “atypical” classics. Mercury plays a major role with his powerful voice, not overexerting himself, but with great attitude in his phrasing and intonation, also sounding menacing at times. The backing vocals are spectacular, using overdubs for the choruses and especially in the climactic bridge around the three-minute mark, showing that even in the most rock-oriented moments, they still skillfully incorporate operatic touches. Immediately following is one of my favorite May solos, a powerful blend of slide and blues, hard rock, setting his guitar ablaze like few others, as May can sometimes be quite mathematical. The riff is legendary, and Brian wrote it while finishing his PhD in astrophysics in Tenerife. Yes, he has a PhD in astrophysics, no less! He woke up with the tune in his head and composed the monumental riff on his Spanish guitar, singing the title along with the melody. When working on it in the studio, he considered changing it to something more fitting, but Mercury was captivated by "Tie your mother down! Tie your mother down!" The lyrics aren't particularly brilliant, they're more playful, but it's the chorus that gives it its brilliance. An iconic riff, attitude, a powerful guitar, a chorus you won't be able to get out of your head for a month… what more could you ask for? They should do more things like this, that's all ! I don't understand how it didn't make the Greatest Hits album, but for me it would be in the top ten or very, very close. Then comes “You Take My Breath Away” , one of the most beautiful and moving ballads ever written. It’s basically just Freddie and his piano. Well, and the spectacular multitrack intro for an angelic effect. Freddie plays heartbreaking piano arpeggios over a minor key. The lyrics are incredibly sentimental. They ooze a sweetness that if anyone else sang them, it could induce a diabetic coma. But Mercury sings them with such passion that it doesn’t matter; every line truly moves you, and you buy into every verse. He sounds particularly spectacular when he sings, “ I’ll get no sleep until I find you, to tell you that you just take my breath away,” interspersed with the rest of the band’s backing vocals. Then comes a gentle, brief, and warm guitar solo, perfectly suited to the song, while they repeat the last verse, closing with a very unusual effect of a reverse arpeggiator with several layers of Freddie repeating “you take my breath away,” creating that circular effect at the end. A beautiful song. Not even honey can ruin it because of the way it's sung. The only problem is the tremendous contrast with the opening theme, which is a sudden shift from a volcanic eruption to a paradisiacal haven without any transition. “Long Away” is a lovely ballad, with a bit more energy, written and sung by Brian. I stand by my theory that “unofficial” vocalists copy (consciously or unconsciously) the lead singer's style. The difference is obvious in range (and passion—Brian sings almost asleep here), but a non-fan's ear would hardly be able to tell it wasn't Freddie. The song is beautiful, with that guitar launching sizzling, very Byrd-esque arpeggios. It's one of the few songs where Brian doesn't use his “Red Special,” but rather a 12-string Burns to achieve that very 1965 effect. The melody is good, the guitar solo very cute, somewhat following the vocal pattern until it takes off with the tritone. John plays a good bass line , although it's a bit buried in the mix. Freddie joins in from time to time to help with the operatic backing vocals and the high notes. Although the lyrics are melancholic and lonely, I find the song cheerful and full of hope, and it ends up putting me in a good mood. Perhaps it seems unnecessary given that I already have "39," but I think this one is slightly better. Then we have “The Millionaire Waltz” , which is indeed a waltz. It begins with one of John Deacon’s most intricate bass lines, playing with the highest notes of the bass and using tones and figures almost like an English horn. The figures he creates throughout the song are truly superb. Freddie plays a playful piano, keeping the waltz time, but making it shine with the enormous dynamism of his voice, taking us from a cheerful and carefree atmosphere to one that brings us to the verge of tears. It’s the most operatic vocal performance on the album, and I can almost picture Freddie on stage, moving back and forth. Halfway through the song, out of nowhere, the guitar ignites with some tremendous backing vocals; the song explodes, Roger adds a drum roll, and suddenly we’re in the middle of a glam rocker in the purest Broadway style. Just as quickly as it ignited, it fades away, leaving us with May playing a fun guitar solo. The song continues to build, with surprising vocal overdubs, tritones, flares, Roger running all over his drum kit at the end, a tinkling piano, and that epic final line from Freddie: “Make me feel like a millionaire.” The song is dedicated to John Reid, the band's manager at the time , which explains the playful yet friendly tone of the lyrics. Based on the dedication, it could easily be mistaken for “Dead in Two Legs” from the previous album, but really, due to its tremendous musical complexity, multi-part structure, a certain prog feel, and backing vocals, this is the “Bohemian Rhapsody” of Races. It obviously falls short, and there's a touch of pretentiousness, but it will remain one of the best bass performances in history. Next up is “You and I” by John Deacon, but cleverly, he let Freddie sing it. Like all of Deacon's songs, it leans more towards soft pop. There's nothing wrong with that, but nothing special either. The dark bridges contrast with the brighter verses, but May's guitar solo is a plus. Well, not the solo itself, but the chugga-chugga rhythm it starts with. It has good choral effects, but it's already starting to sound more formulaic. The lyrics are corny again, although this time they're John's. I suppose they were all very much in love at the time. But the fact is that Freddie sings with a certain lack of enthusiasm; he doesn't seem to feel what he's singing. Roger does some good fills, trying to give the song a boost. I insist, it's not bad, but we're only five songs in, and three of them are ballads… And then comes another ballad, but the mother of all Queen ballads. “Somebody To Love” is one of the songs that gave Queen its legendary status . They may not have produced monumental albums, but they have these kinds of songs that the rest of the band can only dream of making. Freddie never denied the song's gospel influences. Freddie, Roger (on the higher vocals), and Brian (on the lower ones) recorded 100 tracks to achieve the impressive, dazzling, incredible harmonies that shine throughout the entire song, creating that dialogue-like effect and a more complex instrumentation than it actually has. If you listen closely, it's really just piano, bass, and drums, with a simple rhythm section. Brian comes in at 1:40, building up to one of the most spectacular guitar solos of his career, an explosion of color and melody, playing with almost the same passion as Freddie sings. Who, by the way, delivers the performance of his life. He'll reach higher notes in other songs, but here he sings with an otherworldly passion. He's not just "performing" the song, he's living it, tearing himself apart inside! The moment when everyone falls silent at the false ending at the 3-minute mark and the long crescendo begins with "Find me somebody to loooove," with Taylor pounding the drums in the background, leading up to the polyphonic explosion of voices, has to be one of the most glorious moments in rock history. Then Freddie finishes a cappella with a soaring "Somebody toooOOOOOOO," a pause, suspense, and ends with another "loooooOOOOve" in which his soul pours out with the long scale he hits, before the coda begins and the piano finishes with a tinkling melody. Wow! The song is perfect, not only because of the incredibly complex way Mercury sings and the immense army of nonexistent clones responding to him. The desperation with which he sings must be genuine. Either that, or Freddie is the greatest vocal actor in history. The passion with which he performs the song is heartbreaking, and I don't know if they're his best lyrics, but I think they're the most honest, at least until he realized he was dying. I've always complained about Queen's lyrics, but this time I take my hat off to lines like "Can barely stand on my feet, Take a look in the mirror and cry, Lord what you're doing to me" or "They say I'm goin' crazy, They say I got a lot of water in my brain," in one of the most unusual yet moving phrases I've ever heard. I mean, on this album everyone was dedicating love songs to their wives; can you imagine Freddie's desperation and helplessness? Today, Mercury's homosexuality is common knowledge, but later his bandmates revealed that he struggled quite a bit during that time. He really couldn't find true love; he was a rather solitary figure. Yes, I must admit, “Bohemian Rhapsody” is far more complex and perfect, a magnum opus. But this one is much more emotional, and unlike “Bohemian,” “Somebody To Love” manages to overwhelm me with its tremendous beauty and sincerity. Without fear of being wrong or regretting it at some point, it's my second favorite Queen song. Unfortunately, "White Man" follows, and they completely ruin the delicate mood they'd established. It's so awful that I'm surprised Taylor doesn't sing it, because Freddie practically butchers the song like Roger. I understand that Brian is trying to critique the USA from the perspective of a Native American facing the white invaders who come to steal their land; it's one of Queen's few political songs... the attempted riff and melody try to emulate something Native American, and May's guitar has moments of a Western feel. But it just doesn't work. It's pseudo-prog with a very weak melody, a terrible vocal performance from Freddie, and a distorted guitar that sounds like a diesel engine. Roger is perhaps saved by a spectacular drum performance, but the song itself is a waste of over 5 minutes that mars the album and prevents it from being a perfect 10. Thankfully, “Good Old-Fashioned Lover Boy” continues with its lighthearted style and sense of humor to pull us out of our rut. It's a light, very retro song with a Music Hall feel. It begins as a ballad with a great, very McCartney-esque melody and cute piano arrangements, before taking off at 1:20 with a cymbal crash from Roger and that incredibly catchy mid-tempo rhythm: “Ooh love - Ooh Loverbooooooooooy, What're you doin' tonight, hey boy.” It's intoxicating from beginning to end, with each of its constant changes: the serenade-like intro that evokes tango, the incredibly catchy chorus, the following darker verses, but without losing its humor and theatricality, then the lullaby-like section at 1:20 with an incredible vocal arrangement, before moving on to a dark and menacing mini-section at 1:45: “Hey boy where do you get it from, Hey boy where did you go?” Then we move on to the fun guitar solo where May seems to be answering himself with his Red Special. The lyrics are lovely. I suppose if the others were dedicating songs to their wives, Freddie wanted to do something as close as possible on this album. He hadn't yet fully embraced his sexuality at this time, although I think the song's message is very clear. It's a really good song, another great bass line from Deacon, with great attitude, a sense of humor, multi-part guitar, a retro feel, a great guitar solo, layers and layers of vocals, and it stays in your head for months… what more could we ask for? And here comes the fly in the ointment of every Queen album. “Drowse” isn't actually that bad, at least not as bad as “White Man.” But it seems like Roger took “I'm In Love With My Car,” stripped it of all its punch and attitude, and spat out Drowse. The vocal performance is terrible, even by Roger's standards. It sounds like he was asleep when he recorded it. And May just keeps sliding his guitar up and down his arm, over and over again. Really . It lulls you to sleep , but It could be worse . The album closes with “Teo Torriatte (Let Us Cling Together)” , a tribute from May to the band's massive Japanese fanbase . Brian plays the piano; apparently, it's the only Queen song where Mercury doesn't play it. Freddie sings with a particularly theatrical and dramatic tone. There's an entire verse sung in Japanese. It's not a huge difference, though; the rest of the lyrics are unintelligible anyway. Oh, and the sections with a choir, which seems to be made up of children and not half a trillion Freddie-May-Taylor clones—apparently, also a one-off in their discography! The song itself isn't bad, but it's nothing special, and it's even a bit boring. It sounds like a preview of the lackluster tracks of the '80s. But it's not catastrophic either. It closes with a keyboard scale that, with a lot of imagination, could be joined to the beginning of "Tie Your Mother Down" (after the guitar intro and Taylor's "gong"), giving the album a very subtle circular effect. It's not a perfect album, but it's still a great one, featuring at least four of the band's timeless classics. You can criticize it all you want, but it's still highly enjoyable, fluid, and varied, showcasing Queen at their best in their many facets, doing precisely what made them legendary: top-tier rock, without being overly complex or complacent. (Overly is the key word.) They rarely rock as hard as "Tie Your Mother," open their hearts as deeply as "Somebody To Love," or are as fun as "Old Fashioned." Freddie is at his vocal peak, and instrumentally, the band displays great balance. They exaggerate in some parts and err on the side of simplicity in others, but overall, it's a good album. For better or worse, they won't release albums as consistent as this pair of twins: Night & Day, which together, I think, comprise three- quarters of their Greatest Hits. Perhaps that's what they needed to jump to that next level, to release it as one of the best double albums in history... By Corvan Oct/23/2013

The Rolling Stones, Olé Tour 2016 March 17th, 2016 Foro Sol, Mexico City Those of us who are over 30 will remember the TV series "The Wonder Years," which chronicled the adventures and tragedies of middle-class teenager Kevin Arnold, set in the late 60s and early 70s. The one with the great intro to Joe Cocker's version of "With A Little Help From My Friends" gave those of us who were children of that generation a powerful perspective on the era. So, what's the point of all this? Well, I vividly recall an episode where the Rolling Stones were supposed to perform at a small bar near where Kevin, Winnie, and their friends lived. The owner was supposedly a friend of Keith Richards, and the kids ran away and went through all sorts of mishaps before realizing it was a hoax (not entirely), but in the end, they had the best night of their lives. Anyway, I remember that at some point in that episode, they mentioned that the 1973 tour was possibly the Rolling Stones' last. The LAST ONE!!! This has been rumored for over 40 years! To be honest, I never thought I'd get to see the Rolling Stones live. So, as soon as I heard about the tour and the date in Mexico, I didn't hesitate for a second. Well, actually, the tickets for the first show, on Monday, March 14th, sold out in seconds, back in November 2015. "They're old now anyway," I tried to console myself, "and we have to travel all the way to Mexico City or whatever it's called." But when they added a second date, I made arrangements in advance with El Rojo, a friend of mine since the Moby Dick days, and we bought tickets. The bonus was that we'd be going with his uncle, Jaño, who had lived through that whole era and who, in our teens, had taught us a few guitar tricks during Moby Dick rehearsals. Jaño was accompanied by George and Agustín, aka "Angus," all rock aficionados who had experienced the golden age of rock firsthand. So the trip was a lot of fun, listening to anecdotes from the 60s and 70s, exchanging information about bands, and watching that show where Rojo and I seemed like the adults and they were the kids. Once in Mexico City, we left the airport and strolled around Coyoacán for a while, killing time until the concert. Towards sunset, we arrived at Foro Sol, where the crowds were starting to swell. It was no surprise to see five generations gathered there with a band like the Stones, all wearing black t-shirts with their tongues sticking out, browsing the vendors of bootleg merchandise. Hours before it started, the vibe was unbeatable. The immense venue was beginning to fill up. Around 8 pm, Little Jesus, a Mexican band that's something like psychedelic indie, opened the show. They came and went without much fanfare. I honestly didn't know them, and I have no idea why the Stones chose them over other bands. They finished after about 25 minutes. The beer started flowing, clouds of smoke (not necessarily cigarette smoke) rose, and the three gigantic screens behind the stage lit up and began displaying images of the Stones' logo, which took on different textures with surprising clarity. Before it started, I should mention that I'd already been warned about what to expect. David had told me that the concert in Peru a couple of weeks earlier was the best he'd ever seen, surpassing McCartney's. And a coworker had also been blown away by the first concert in Mexico City. "After all, it's their last tour..." It was 9 pm. The Stones are known for their punctuality. A few more minutes passed, and the lights finally went out. Total euphoria. The three giant screens lit up with the Mexican flag and the Stones' logo instead of their crest. A voice introduced the band, and an incredible video, customized for Mexico City, began, showing the Rolling Stones' South American tour with the band members at different times, their album covers, and images that symbolized their songs, in the purest psychedelic and hyperrealistic style of the Beatles' Rock Band intro, lasting just under a minute and a half. Then a roar, which simply introduced the band: “Ladies and Gentlemen, THE ROLLING STONES!” And then it happened… The furious, powerful, incredible riff of “Jumpin’ Jack Flash,” with an explosion of lights, sent the 60,000 souls into a frenzy. I was in total ecstasy, screaming the lyrics at the top of my lungs, and delirious with Keith Richards’ magical guitar, tuned to open G, which gives that almost sensual touch to one of the best riffs in history. Keith came out wearing a bright blue jacket and carrying a green Telecaster. Mick wandered around the T-shaped stage, which allowed him to get a little closer to the crowd. He came out in a jacket and shirt, black pants, and with a devastating attitude and energy that I could only dream of. Ronnie wore a blue-green jacket, also carrying a Telecaster and sporting his untamed mane. Charlie wore a simple dark green t-shirt, very serious in the back, as always. Darryl Jones wore a gray suit, playing his bass almost vertically at times as a tribute to Wyman, barely captured by the cameras. The version, faithful to the original but with a more modern touch, featured incredible interplay between Keith and Ronnie, compelling the 60,000 voices to scream the chorus: “But it's AAAAALL right now, in fact is a gas, but it's AAAAAAAAAAAAAALL right now, I'm Jumpin' Jack Flash it's a gas, gas, gaaaaas!” That tone, that guitar riff Keith delivers right after the chorus and before launching into the next verse… Pure rock perfection. They kicked things off with one of my three favorite songs from their entire discography, I think even better than with “Start Me Up,” which they used to open the first show. Keith stepped off for a moment to change guitars, a black Epiphone Sheraton, I think. Then Keith played an intro to what I thought was "Carol," but it was simply to set the tone for Mick to launch into "It's Only Rock 'n' Roll." Perhaps not their best song, but it's the one that defines the spirit and philosophy of the Stones, an anthem. Yellow tones flooded the stage, while the guitars sizzled with the R&R of the title. The euphoria was immediate, and the people at the front began to jump to the rhythm, already chanting the chorus with a monumental roar, while we raised our fists with every "I Like It." Richards and Wood blended their guitars like they'd been playing together for 40 years, alternating roles in that mix of Blues and Rock & Roll. The song rose and fell in intensity at Mick's whim, with Richards' licks interspersed throughout. The concert was off to a flying start. “Thank you, thank you very much! Many thanks, hello Mexico!” Jagger shouted after the ovation. The rhythmic opening of “Tumblin’ Dice,” from the legendary album Exile, followed. The Stones logo transformed into a giant die before the camera focused back on Mick, who was swaying from one side of the stage to the other with his characteristic impatient movements. Sasha Allen, the spectacular backing vocalist they had brought along, was already showcasing her powerful voice, and the horn section also made its presence felt. “You got to roll me and call me the tumblin’ die.” Woods took over the solo, while Keith continued to unleash his guitar riffs. They joined forces in the center, smiling; it was clear they were thoroughly enjoying themselves, as they began to build the intensity for the coda, which everyone accompanied with clapping. “You got to roll me…” The song faded out as the dice flooded the three giant screens. “It’s so awesome to be back! I hope this second concert is totally better than the first,” Mick said in somewhat halting Spanish (but the gesture was appreciated), before introducing Darryl Jones, now on screen, who kicked things off with the dark bass line of “Out of Control” from Bridges to Babylon, the newest song they would play all night. Ronnie contributed with a Gibson Les Paul full of wah pedals. It’s incredible how Jagger handles those spectacular crescendos with just his voice, generating a tension that explodes in the chorus with the addition of the two guitars and Watts at full blast. Jagger danced wildly all over the stage, with the dark ambiance of London’s slums, almost stealthily during the verses, increasing the intensity along with the song, throwing off his red jacket and unbuttoning his shirt at one point. He also played a great harmonica solo. Keith, with his reggae-colored bandana on his head, had already taken out his legendary 1953 Telecaster, with which he inserted the Power Chords and generated the sonic explosions. “Now for the song you voted on… This is spectacular!” They continued with “Let’s Spend The Night Together,” the song they had left open for voting and the one I was most eager to hear over the other options. It was a shame that one of the sacrificed songs was “She’s a Rainbow.” The song was explosive, modernized, with a much more dynamic and refined bass line from Darryl. Personally, part of the charm of the original is the rough, pick-based bass line that Keith played. From the very beginning, the 60,000 voices of the Foro Sol joined together to sing the choruses “Pararará Papa-parara!” The stage changed from blue to violet tones. There would be no pyrotechnics tonight due to the environmental emergency the city was experiencing. Mick came out again with his red shirt open and untucked. “Let’s Spend The Night Together, Now I need you More Than Ever…” I love that moment when the song seems to fade out and then they reignite it with even more energy. “Pararará Papa-parara!” Most of the lights went out, and the glow of cell phone lights flooded the Forum. “This is for the romantic Mexicans,” Mick said, as Keith ran to get a Spanish guitar to play the acoustic opening notes of “Angie.” The lighting bathed the venue in nostalgic shades of purple. This song replaced “Wild Horses” in the set, but it didn’t matter, at least not to me. The beauty of the song completely enveloped me. Chuck Leavell, on keyboards, added those beautiful piano scales, while we all sang along to “With no loving in our souls and no money in our coats…” It was at that moment that the magnificence of this band, this living piece of Rock & Roll history, the gigantic legacy, the meaning of the precious song Keith composed for his daughter Angela—the song that accompanied her down the aisle at her wedding—hit me like a ton of bricks. I couldn't help but feel the first lump in my throat and shed a few tears, a little overwhelmed by it all. “Comon Baby, dry your eyeeeeees.” Ronnie accompanied Keith with a black Stratocaster and a cigarette in his mouth. Mick whispered the verses to make the atmosphere even more intimate. The song ended with thunderous applause, and I think more than a few people felt the same way I did. Keith thanked everyone. “It’s great to be here… I want to make an announcement: Today is my wife’s birthday, so I want to say Happy birthday… is that right? Yes, that’s right. To Patricia. For her, I’m going to play Happy.” He picked up his green Telecaster, and after a few chords, he didn’t seem happy with the tone or the tuning. He took his time to get it right, and then Charlie inserted that drum roll, and the song kicked in at full speed. Ronnie sat down to play the steel guitar on a small table, a cigarette in his mouth, while he made the powerful slide vibrate. “I need a love, to keep me happy… Happy! Happy!” These two songs are perhaps my favorites by Keith, and I was glad he played “Happy” instead of “Before They Make Me Run” from the first concert. Richards enjoyed the song, strolled around the stage, smiled, blew kisses to his wife of four years, and showed off his rhythm, although she was admittedly a bit off-key. “Thank you so much!” The stage was once again bathed in shades of blue. Mick emerged, clad in a silver jacket, and began playing the harmonica, close to Ronnie, engaging in a dialogue with the gleaming Gibson Les Paul he was carrying. Keith appeared from the other side with his favorite Telecaster and launched into the driving riff of “Midnight Rambler,” instantly raising the intensity. An epic song, it provided the perfect opportunity for improvisation, jumping around, and alternating solos, some bluesy, others rock and roll. Mick removed his jacket again and danced all over the stage as if he were 20, generating thunderous applause. How is it possible that he's 72 and still moves like that? The song faded almost completely, and then Mick revived it with “Ohhh Yeah?” which we all mirrored en masse while Keith, now wearing a white jacket with black polka dots, playfully twirled with little spiders. The crowd was completely captivated as Watts reignited the engine with a relentless beat. Silence fell again. Jagger knelt down and made us scream like monkeys as he interacted, first with Charlie and then with Wood. The instruments kept the song from burning out, creating constant tension. They reignited with the section of stops and starts, slowly but surely finding their rhythm, like a locomotive struggling to get going, but once it gains power, nothing can stop it. The ending was apocalyptic, creating a tremendous sonic explosion and eliciting one of the longest ovations of the night. Not because "Rambler" is a fan favorite, but because of the incredible display of energy and the interaction with the audience they showed on stage for almost 15 minutes. These guys are the freaking gods of the stage! “Are you doing goooooood? Sing with me!” A few chords from an electric piano rang out. Mick picked up a black Stratocaster, started a disco riff, and immediately the harmonica and the powerful bass line of “I Miss You” kicked in. Did you realize that Darryl has been an unofficial Stone for over 22 years? This is perhaps my favorite Wyman bass line, a pretty complicated one that took me years to figure out, which is why it's another very significant song for me. Possibly the second-best disco song by a non-disco band. Mick took off his guitar halfway through the song, right before “I've been walking Central Park, Singing after dark, People think I'm craaazy…” to stroll provocatively across the bridge through the crowd. The song slowed down, and Mr. Darry Jones took the opportunity to play his slap guitar solo, accompanied only by Charlie's cymbals. Mick was dancing (what energy, what a beast!) and Keith and Ron were clowning around, now wearing light-colored jackets. “Sing with me, Mexico!” and we all chanted “Uhhh UUUh Uhh UhUU uhuhhh,” accompanied by a sea of cell phones. “You got it!” The song extended with a sax solo before an intense finale. “COME ON, COME ON!” roared. We continued chanting “Uhhh UUUh Uhh” en masse for a few more moments, until Mick said, “You sing beautifully, Mexico,” before launching into the next song. The first few notes almost made me faint. Sasha Allen and another backing vocalist kicked things off with that devastating, chilling, incredibly powerful whisper, “Uhhh Uhhh UUUh,” while Keith unleashed those blazing notes of one of my all-time favorite riffs. Charlie drummed in, and “Gimme Shelter” took on the crushing force of a river tearing everything apart in its path. Mick came out in a blue silk shirt: “Oh, a storm is threatening, my very life today, if I don’t get some shelter, oh yeah, I’m gonna fade away.” Wood jammed guitar riffs like thunder. Sasha gradually became more prominent. The guitars merged in the middle, and Keith played his first solo, which touched my soul, bringing a lump to my throat. Sasha stepped forward, leg showing, and let out that heart-wrenching cry, “Waaaaaaaaaar, children, it's just a shot away, it's just a shot away,” which disarmed me and loosened my throat. For the second time that night, I was overcome with emotion at being in the presence of this piece of history. Jagger and Allen launched into a formidable duet, sometimes alternating. The song stretched on with Keith improvising and giving a masterclass on guitar. The song gradually faded away, leaving those menacing “Uhhh Uhhh UUUh” in a slow fade-out. The entire Forum erupted in applause. It took me a while to recover. They continued with “Start Me Up,” which was the song they'd opened the previous concert with. Perhaps it was because I'd been completely shocked by the performance of “Shelter,” or maybe “Start Me Up” isn't particularly one of my favorites, but it left me somewhat indifferent. Ronnie did the solo, the crowd went wild and sang along. By that point, I barely had a voice left. Mick was still dancing as if it were the first song. “You, you, you make a grown man cry…” The lights went out. A samba rhythm began with maracas and congas, and the three screens were painted with devilish reds, pentagrams, and hallucinatory effects. Skulls, demons, crosses, mystical symbols, goats, rivers of fire amidst a red fog. The entire Forum joined in with the “Uhh-Uhhh” of “Sympathy for the Devil.” Mick came out in a red feathered coat-cape. “Please allow me to introduce myself, I'm a man of wealth and taste…” Charlie kept the rhythm in the background, while the piano sprinkled notes. “Pleased to meet you, HOPE you guess my NAAAAME!” The guitars hadn't yet entered, but the tension was enormous; practically no one in the audience made a sound. For the second chorus, Keith came into action with power chords, followed by a solo. “Uhh-Uhhh…” By the time of “Just as every cop is a criminal, And Aaaaaaall the sinners saints,” Jagger was practically convulsing. Richards kept launching into solos. The rhythm section never really kicked in. I mean, not like the original; they stripped away the rock to make it a massive samba from beginning to end, though Keith certainly shone, and Mick didn't stop dancing during the extended coda. “Uhh-Uhhh,” the Forum was a single voice even after the song faded away. Their Satanic Majesties formed a caravan after the audience's enthusiastic performance. “One last one and we’re off!” announced the tireless Mick. Keith crouched almost to the ground to launch into the legendary riff of “Brown Sugar,” which kept the energy high. A rush of adrenaline fueled by the guitar. “Brown sugar, how come to taste so good, now?” we shouted in unison, jumping and creating the effect of a living tide. Ronnie did Taylor’s job without being asked. Keith kept laying down licks. A long sax solo followed. Jagger ran down the catwalk and for a moment it looked like he was going to dive into the crowd, but he stopped just before. “I said yeah, yeah, yeah Whoooo.” The coda stretched out with the horns dominating, and this was a huge party. Keith stole the show with his '53 Telecaster, which he hadn’t put down in ages. In front of me, some kids around 12 or 13 years old were dancing and singing. I tell Rojo, “At this rate, in 10 years we’ll be like this with our guys.” The band’s energy is incredible, and it makes me think they really have a huge respect for their audience if they do this at every show, or maybe they really know they’re saying goodbye and that’s why they’re giving it their all, every last drop of sweat, every last bit of energy. Richards ended up on his knees on the floor. “Mexico is the best,” Mick said, before the lights went down and they came back out for the short encore break. The moment was ripe for the obligatory "Olé olé olé olé"s from the crowd, applause demanding an encore, the "One more, one more!" Meanwhile, the Elementuum choir took their place on a platform to the left of the stage. I thought it was a great touch that the band chose a local choir for each of their stops during "You Can't Always Get What You Want." The screens lit up, the stage was bathed in blue light, and the members of Elementuum launched into that heavenly intro, which unleashed a sea of applause. Then came the strumming of the riff, courtesy of Mick, who was wielding a Spanish guitar and wearing a black beret. The short French horn solo followed, and then Mick entered with the beautiful lyrics, "I saw her today at the reception, a glass of wine in her hand." After the first verse, he handed the guitar to an assistant. Ronnie played the licks on a Gibson Les Paul, and Mick, now with more freedom, strolled around the stage again, interacting with the choir whenever they responded to a phrase. Leavell's piano played its melancholic notes. In the audience, we tried to be louder than the choir on the chorus, "You can't always get what you wa-aaaaant." The guitars joined in the middle for a double solo, while the choir launched into that orgasmic, slow crescendo, like a thousand angels singing. Before it exploded, Mick abruptly stopped everything and had us sing the chorus, one time him, one time us. Now the coda came in full force, accelerating even more than in the studio, with the piano leading the way with a boogie rhythm. We all clapped along to the beat, until that final, frantic "But if you try sometimes, you might find… You get what you need." The audience went wild. Mick shouts, “Are you ready?” and Keith doesn't wait for a response before launching into the legendary circular riff of “Satisfaction.” Keith put a hard rock overdrive effect on his Gibson, instead of the charming, sixties-style fuzzbox of the studio version. That didn't stop him from belting out the lyrics, “I can't get no!!! I can't get no!!!” Mick kept dancing. “Hey hey hey hey, That's What I said!!” By the time they finished what should have been the normal length of the song, Keith launched into a long solo, venturing onto the catwalk and running through the crowd. Then Mick took over and once again had us repeating every verse he sang, turning the whole place into a carnival. Even Charlie was smiling this time. “Thank you very much everybody, Muchas gracias Méxicoooo!” The Foro Sol erupted, hands in the air, keeping time with the rhythm. The horns joined in, mirroring the riff. Jagger sprinted from one end of the stage to the other, and after more than two hours of nonstop energy, he still looked as fresh as a daisy. “I can’t get no!!!” Richards continued tirelessly, running over and over the most famous riff in rock history, until they delivered a final flourish and the band finally decided to set off some pyrotechnics to close the show. “Thank you so much.” The band moved to the front of the stage as the chant of “Olé olé olé, Stones, Stones” echoed once more. They formed a procession and left, beaming. The hope of one more song faded as the venue lights slowly came back on and the music from the sound system signaled that the magic had ended. An epic night, one to remember for a lifetime. It's hard to say, "This is the best concert I've ever been to." Many factors come into play: whether it was the concert with the best vibe (Paul's), the most powerful (Metallica's), the most technically impressive or with the most impressive effects (Waters' with DSOTM)... But I think it was a great combination of everything that makes me think that maybe it is, the best concert I've ever been to, with all due respect to Macca. With him, I saw a quarter of the Beatles; here, I saw two-thirds of the original Stones. The vibe was incredible, and I probably couldn't have chosen a better setlist, although they left out a few songs (with a catalog like theirs, we could have stayed up all night, so it's not a complaint). I have to admit a few things. The Rolling Stones are far from being a washed-up band. At seventy-something years old, with 54 years on the road, they exude more energy than twenty-something bands who just give their all and play hour-long concerts. The Stones have great respect for their audience. Although they're far from putting on perfect shows (you might notice mistakes, an extra chord, or a string out of tune), those details add to the experience and show that it's not playback. On the contrary, the band radiates energy and good vibes; they don't play carbon copies of the albums, but they respect the essence of the songs. I also think I should take this opportunity to clarify that the Rolling Stones are giants, not despite, but because of, their legacy throughout the '80s, '90s, and 2000s. That is to say, in these decades, so criticized by me in the introduction, they've still managed to produce a good number of high-quality songs, something some bands would envy. And finally, I apologize for what I said in the intro about Ronnie Woods. This concert proved me wrong. He showed me that he can handle the guitar solos with mastery, that he has talent, energy, and that he has earned his place as a Rolling Stone through sheer hard work. I take my hat off to Ronnie. Anyway. We left hoarse. Without knowing if they'll announce their retirement in the coming weeks, or if they'll announce a new album (a blues album, as rumored), and whether I'll see them again in 4 or 10 years, with my children. What is certain is that I saw them and I won't forget this night. Someday I'll tell my grandchildren, "I was one of the last generations to see the Rolling Stones live, the Greatest Band in the World." By Corvan Apr/8/2016