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CHEYENES (1965-1967)
  • Referencia: MRSSS14
  • Autor: CHEYENES
  • Titulo: CHEYENES (1965-1967)
  • Sello: VINILISSSIMO
  • Año: 6S
  • Formato: LP
  • Pais: SP
  • Tipo: REEDICION
  • Precio: 25,00 €
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LOS CHEYENES

Los Cheyenes eran cuatro adolescentes de Poble Sec, los hermanos Roberto (cantante y guitarra solista) y Joselín Vercher (bajista, coros) mas José María Garcés (guitarra rítmica y coros) y la batería de Ramón Colom (ex-Flaming Stars, el único con experiencia previa). Imagen chulesca, desafiante. Jóvenes airados con un repertorio propio influenciado por el R&B blanco británico.
 
 Debutan en 1965 con 'Válgame la Macarena', una canción escrita por Jorge Domingo de aire racial a la estela de "Flamenco" y lo más parecido que tuvieron nunca a un hit. Es el tema estrella de su primer EP completado con una versión del 'Come On Now' de Los Kinks ('Ven ahora'), 'No me esperes' (otro tema de Jorge Domingo) y una composición propia ('Lloré por ti'). Se intuyen las costuras de algo grande, único, aunque la carencia de medios y la celeridad por ubicarlos en el negocio no les ayudan en demasía. Tampoco su carácter indómito. Intentan rentabilizar el episodio censor que les impide aparecer en TVE al negarse a cortar sus cabellos con una parodia de dicho asunto que provoca atascos en la Gran Vía madrileña ante los estudios de Radio Madrid.
 
Ese mismo año publican un segundo y fantástico EP donde ya desde la portada, con sus rostros en un primer plano en blanco y negro, semejando zombis narcotizados, se advierte que son otra cosa, en absoluto controlables. Dos temas propios ('Conoces el final' y '¿Por qué te fuiste?') junto a una revisión de los Guess Who según los Hollies ('Y olvídame') más otra composición de Jorge Domingo ('Devuélveme el corazón') conforman la perfección de la inmediatez. Energía y rabia.
 
 El año siguiente comienza con el sencillo 'He perdido este juego' / 'Tú no llegaste a mí'. La primera, punk antes del punk, es pura adrenalina adolescente: R&B de certeros riffs, metronómica base rítmica y la sorpresa de una armónica maliciosa hacia el final. La segunda, de guitarras refinadas, mezcla folk rock melancólico con el hoy llamado popsike.
 
 Un tercer EP finiquita su mágico 1966. Autores de todos sus temas, es el más honesto y fidedigno resumen de lo que son y no están dispuestos a renunciar a ser. Las últimas voluntades de un instante irrepetible que duró casi dos años. La suma de coherencia, rigor, talento y tozudez que solo se da en breves periodos de la vida.
Y tal vez ahí debieron haber echado el cierre. Deserciones, compromisos militares, desencanto. Todavía editarán un último sencillo, desganado e injusto con su leyenda. 'Borrachera' / 'Siguiendo el sol' ya sin Roberto, en la mili, suplido por un nuevo guitarra solista y un nuevo cantante. Roberto regresa en 1968 pero el otoño cheyene es implacable.
 
One of the wildest 60's groups out of Spain together with Los Salvajes and Los No. Raw 60's garage, complete recordings.

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ANTI-TODO
  • Referencia: BC195LP
  • Autor: ESKORBUTO
  • Titulo: ANTI-TODO
  • Sello: B-CORE
  • Año: 85
  • Formato: LP
  • Pais: SP
  • Tipo: REEDICION
  • Precio: 21,00 €
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Artista: Eskorbuto
Título: Anti Todo
Sello: BCore Disc
Fecha de publicación: 15 de Septiembre de 2010
Más información: www.bcoredisc.com
 
Listado de canciones:
 
Historia Triste
De Ti Depende
Es Un Crimen
Mata La Música
Anti Todo
Haciendo Bobadas
Cuidado
Tamara
Cerebros Destruidos
Ha Llegado El Momento (El Fin)
 
Ya tenemos la versión en VINILO de un clásico de ESKORBUTO como es "ANTI TODO".
Un disco editado en 1986 y que lleva descatalogado un montón de tiempo por problemas legales entre su antigua discográfica y la banda. Finalmente la balanza se decantó hacia la banda y Paco, único superviviente de la banda, está poniendo de nuevo sus discos en circulación.
 
Para nosotros es un placer poder reeditar este disco al que consideramos un clásico del punk hecho aquí. Los vascos siempre fueron inclasificables e incómodos, pero nos dejaron un montón de himnos que con la prematura muerte de Jualma y Iosu les han convertido en una leyenda.
 
Un disco que vale la pena redescubrir y que hemos intentado mimar al máximo con una nueva remasterización y una adaptación ampliada de su diseño original. Para eso hemos contado con el testimonio de Pablo Cabeza, periodista y amigo personal de la banda. Artífice del diseño y fotos originales del disco y privilegiado espectador de la carrera de la banda.
 
Anti Todo es el título del segundo disco de Eskorbuto que fue grabado en 1985 en los estudios Tsunami (San Sebastián), con la totalidad de sus temas grabados en 26 horas. Se editó en febrero de 1986 por la discográfica Discos Suicidas.
 
El disco es considerado como una obra maestra,[1] no sólo en la carrera de Eskorbuto, sino como un hito en la historia del punk español.[2] Además es considerado por muchos seguidores del grupo como uno de sus mejores trabajos, las letras, como declaró el propio Iosu, expresan decadencia, nihilismo y pesimismo en la sociedad:
 
En «Anti Todo« demostramos que no tenemos ningún bando, sólo el nuestro. Creemos que las ideas están caducas y no sirven para nada [...] En «Anti Todo» nos hemos alejado de la política.[3]

Después de la edición del disco, Iosu declaró que ese año, Eskorbuto tenían planeado editar dos discos más, lo que les valió la incredulidad de los medios de comunicación.[4] Pero ellos terminaron saliéndose con la suya. Además de Anti Todo, editaron Ya no quedan más cojones, Eskorbuto a las elecciones en casete y un disco en directo: Impuesto Revolucionario.

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- 13/4/2012 2:13:47 PM -
LOS MEJOREEEEEEEEEEEEEEEEEES

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THE MAN FROM UTOPIA
  • Referencia: CBS25251
  • Autor: FRANK ZAPPA
  • Titulo: THE MAN FROM UTOPIA
  • Sello: CBS
  • Año: 83
  • Formato: LP
  • Pais: HO
  • Tipo: ORIGINAL
  • Precio: 25,00 €
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The Man from Utopia is a 1983 album by Frank Zappa. It is a more song-driven, and less conceptual work than many others in Zappa's oeuvre. The album is named after a 1950s song, written by Donald and Doris Woods, which Zappa covers as part of "The Man from Utopia Meets Mary Lou".[1]
 
The sleeve art features the work of RanXerox artist Tanino Liberatore. It portrays Zappa on stage trying to kill mosquitos. The back cover shows the audience as seen from the stage. Chaos prevails, and the cover is meant to show the events at a disastrous concert in Milan, Italy, July 7, 1982. At that concert, fans kept trying to rush the stage, and the local security force began firing tear-gas canisters into the crowd. Zappa and his band continued to perform, but were forced to flee when the gas became unbearable, and live ammunition (presumably from the audience) was fired. Backstage footage can be found on The Dub Room Special. The album was the second of two to credit Steve Vai with "impossible guitar parts" (the first being Ship Arriving Too Late To Save A Drowning Witch).
 
The album's opening track "Cocaine Decisions", with its groove redolent of skiffle washboards, is an angry, disgusted attack on drug-influenced businessmen and features an ironically cheerful harmonica. "The Dangerous Kitchen" satirizes dirty, unkempt kitchens, specifically the one in the Zappa household at the time. "Stick Together" is a deeply passionate attack on all unions in general, especially those controlled by organized crime. "The Radio Is Broken" satirizes 1950's sci-fi B-movies. "Sex" is a blunt, crude song which unabashedly celebrates the title topic; lyrics include "Maybe you could use a protein surprise" and "The bigger the cushion, the better the pushin'". The "Mary Lou/Man From Utopia" medley finds Zappa returning to his beloved doo-wop roots in a completely sincere style; no satire included.
 
"Kitchen", "Radio", and "The Jazz Discharge Party Hats" all feature Zappa's "meltdown" style of generally pre-written but sometimes improvised singing/speaking. For "Jazz" and "Kitchen", Zappa had guitarist Steve Vai overdub complex guitar parts for the entire length of the songs, which perfectly copied Frank's every word and syllable. Vai considers it to be one of his most difficult assignments as a musician; it required him to detune his guitar at times to match Frank's varying pitches. This unique type of overdub was a one-time experiment that Zappa never repeated. Peter Eötvös composer said in an interview:[1]
 
"Dangerous Kitchen", off the album "The Man From Utopia", grew to become a basic piece for me, especially in later years, after I began working on operas. The technique that he uses in this particular song is very interesting: it's this half-sung, half-spoken performing method that's not quite like Sprechgesang, but what makes it so interesting is that he accompanies it with an instrumental solo. I was very surprised to find out that the guitar part was recorded separately. As it seemed so synchronous, I was convinced that Zappa had sung and played at the same time. Nevertheless the technique itself, the idea of "the singing instrument" comes from "Dangerous Kitchen".
 
"Jazz" became semi-infamous in Zappa circles for its extremely scatological subject matter: certain substances found in a woman's discarded underwear, and what certain band members did with those substances while at a hotel pool late one night in Albuquerque, NM. The song was written to humorously explain to audiences the origin of why certain band members occasionally wore underwear on their heads onstage.
 
The original album had instrumentals ending each side: the complex yet catchy "Moggio", and the mellifluous "We Are Not Alone," featuring Marty Krystall on overdubbed baritone saxophones. A third instrumental, "Tink Walks Amok", gets its clever name from bass player Arthur Barrow's nickname (Tink), and a term (walking amok) for what 'out of control robots' do in old sci-fi films, hence its thematic sequencing next to "Radio". 'Walk' in the title has additional significance because it musically refers to a style of bass playing, and since Barrow plays multiple and highly unusual bass parts on the song, he is indeed "walking amok" at times.

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CHUNGA''S REVENGE
  • Referencia: MS2030
  • Autor: FRANK ZAPPA
  • Titulo: CHUNGA''S REVENGE
  • Sello: REPRISE
  • Año: 70
  • Formato: LP
  • Pais: FR
  • Tipo: ORIGINAL
  • Precio: 30,00 €
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frank zappa [chungas revenge]
 
Chunga's Revenge es un álbum del músico y compositor Frank Zappa lanzado al mercado el 23 de octubre de 1970. El primer álbum de los años 70 de Zappa, incluye a los antiguos miembros de The Turtles, Flo & Eddie, que aparecerían en más álbumes del artista. Chunga's Revenge es un cambio respecto a los álbumes de corte político de los años 60 con The Mothers of Invention, y el jazz rock de Hot Rats.
 
El contenido del álbum es ecléctico; hay dos improvisaciones de guitarra ("Transylvania Boogie" y "Chunga's Revenge), un blues ("Road Ladies"), un interludio de jazz ("Twenty Small Cigars"), y varias pistas de corte pop ("Tell Me You Love Me", "Would You Go All the Way?", "Rudy Wants to Buy Yez a Drink", "Sharleena"). Las pistas cantadas tratan todos sobre el sexo y encuentros con groupies, y, como Zappa menciona en las anotaciones del álbum, son un adelanto de la película y su banda sonora 200 Motels.
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CONTACT
  • Referencia: RRRLP001
  • Autor: SILVER APPLES
  • Titulo: CONTACT
  • Sello: RADIOACTIVE
  • Año: 6S
  • Formato: LP
  • Pais: US
  • Tipo: LIMITADO
  • Precio: 23,00 €
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Silver Apples are a psychedelic electronic music duo from New York City composed of Simeon Coxe III, who performs as Simeon, on a primitive synthesizer of his own devising (also named The Simeon), and until his death in 2005, drummer Danny Taylor. The group was active between 1967 and 1969, before reforming in the mid 1990s. They were one of the first groups to employ electronic music techniques extensively within a rock idiom, and their minimalistic style, with its pulsing, driving beat and frequently discordant modality, anticipated not only the experimental electronic music and krautrock of the 1970s, but also underground dance music and indie rock of the 1990s.[1]
 
In the Sixties
The group grew out of a traditional rock band called The Overland Stage Electric Band, working regularly in the East Village. Simeon was the singer, but began to incorporate a 1940s vintage audio oscillator into the show, which alienated the other band members to the extent that the group was eventually reduced to the duo of Simeon and Taylor, at which point they renamed themselves The Silver Apples, after the William Butler Yeats poem The Song of the Wandering Aengus. The arsenal of oscillators eventually grew (according to their first LP liner notes) to include "nine audio oscillators piled on top of each other and eighty-six manual controls to control lead, rhythm and bass pulses with hands, feet and elbows". Simeon devised a system of telegraph keys and pedals to control tonality and chord changes, and reportedly never learned to play traditional piano-styled keyboards or synthesizers.
 
They were signed to Kapp Records and released their first record, Silver Apples, in 1968, and from that released a single, "Oscillations," a song that Simeon has cited as the first song he'd ever written. On the debut album, seven of the nine songs had lyrics by Stanley Warren (not Warren Stanley as incorrectly credited on the re-release of the 1997 MCA CD), including the group's signature song, "Oscillations." Warren, who subsequently became a published poet, met Simeon and Taylor at the Third Annual Avant Garde Arts Festival in 1968 in New York City, organized by Charlotte Moorman, who was famous as the "topless cellist". Soon after, Simeon became acquainted with Warren's early work, and set a poem, "MJ", to music as "Seagreen Serenades." Inspired by Simeon's interest, in the next few months Warren wrote the remaining six songs used on the "Silver Apples" album. Another song, "Gypsy Love," was used in the second album, "Contact." In recent performances, Simeon still plays some of his and Warren's works from the early days of Silver Apples.[1]
 
The following year, they released their second LP, Contact and toured the United States. A third album was recorded in 1970, but Kapp was folded into MCA Records, leaving the album unreleased, and the group defunct.[1]
 
Nineties revival
In 1994, the German label TRC released a bootleg CD of both records, and the intense interest provoked by this release prompted Simeon to reform the Silver Apples in 1996. Very quickly, the first two records were re-released as official records from the master tapes, and Simeon began a tour of the United States with a new Silver Apples band, featuring multi-instrumentalist Xian Hawkins. Eventually, "after much searching" [1], Danny Taylor was located, and a handful of reunion shows of the original lineup were performed. Taylor also had the tape of the unreleased third record, The Garden, in a box in his attic, and the record was finally released in 1998. In the ensuing years the Silver Apples released several albums of new material featuring the touring line-up of Simeon, Taylor and Hawkins: 'Decatur', 'Beacon', and 'A Lake of Teardrops'.[1]
 
In 1999, their tour van was forced off the road by an unknown driver, breaking Simeon's neck. As of 2004, Simeon was much recovered, but he was unable to play his instrument in the way he used to. He never fully recovered his hand movements, so his keyboard work is much more simple and direct now.[1]
 
Since the accident, Silver Apples' activity has diminished. Simeon spends his time making new music, recuperating, and boating on the Gulf of Mexico. Xian Hawkins has released three albums of solo material under the name Sybarite. Danny Taylor died on March 10, 2005 in Kingston, New York.
 
Recent Concerts and Festivals
In September 2007 Simeon went on tour for the first time in years, performing as a solo version of the Silver Apples to much acclaim. Silver Apples / Simeon performed at, among others, All Tomorrow's Parties (Minehead, UK, December 2007); Electric Picnic, Stradbally, Ireland (September 2008); All Tomorrow's Parties, Australia (January 2009), The Unit, Tokyo, (July 2009); Oscillations Music + Arts Festival, Belfast, Northern Ireland (September 2009); Albuquerque Experimental, Albuquerque, NM (October 2010).

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