The Band (25-02-07)

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The Band (25-02-07)

Notapor thelion » Dom Jun 25, 2006 2:36 am

ImagenTHE BANDImagen


He empezado por esta discografia, porque gracias a estos tipos yo descubri a Van morrison.Fue en su concierto de despedida, que Scorsese filmo y titulo The last waltz.Ahi quede enganchado a la musica del de belfast, pero tambien este grupo de canadienses me atrapo.Ir a por ellos son un pedazo de historia......

A la guitarra Robbie Robertson, al piano Richard Manuel, al órgano Garth Hudson, al bajo Rick Danko y a la batería Levon Helm: el quinteto conocido con el simple y autoritario nombre de LA BANDA. Canadienses de origen, The Band supieron demostrar en sus canciones toda la música de raíz americana, el country, el blues, y el rock and roll. En los 50 fueron los "Halcones" de Ronnie Hawkins, y a través de Hammond conocieron a Bob Dylan con quien en 1964 comenzaron a trabajar juntos. De esta relación aparecieron álbumes históricos como The Basement Tapes, o Before The Flood. También con el genio de Minnesota aguantaron el mítico concierto de 1966 en Manchester donde un fan gritó a Dylan "Judas!".

Cuando el grupo decidió separarse, organizaron uno de los mayores hitos de la historia del rock, el concierto conocido como El último vals, en el que participaron Dylan, Van Morrison, Eric Clapton, Neil Young, Joni Mitchell o Ringo Starr entre otros, y fue llevado al cine por el mismísimo Martin Scorsesse.


Os pongo la biografia extensa en ingles pues no encontre nada en castellano:

For about six years, from 1968 through 1975, the Band was one of the most popular and influential rock groups in the world, their music embraced by critics (and, to a somewhat lesser degree, the public) as seriously as the music of the Beatles and the Rolling Stones. Their albums were analyzed and reviewed as intensely as any records by their one-time employer and sometime mentor Bob Dylan. And for a long time, their personalities were as recognizable individually to the casual music public as the members of the Beatles.

The group's history went back nearly as far as the Beatles, to 1958 (just about the time that the formative Beatles gave up skiffle for rock & roll). Ronnie Hawkins, an Arkansas-born rock & roller who aspired to a real career, put together a backing band that year that included his fellow Arkansan Levon Helm (born May 26, 1942), who played drums (as well as credible guitar) and had led his own band, the Jungle Bush Beaters. The new outfit, Ronnie Hawkins & the Hawks, was recording by the spring of 1958 and gigged throughout the south and also up in Ontario, Canada, where the money was better than in their native American south. It was the fact of being based in Canada late in 1959, coupled with pianist Willard Jones leaving the lineup, that got Hawkins to start looking at some of the local music talent in Toronto; Hawkins approached a musician named Scott Cushnie about joining the Hawks on keyboards. Cushnie was already playing in a band with Robbie Robertson (born in 1944), however, and would only join Hawkins if he came along.

After some resistance from Hawkins, Robertson came into the lineup on bass, replacing a departing Jimmy Evans. More multiple lineup switches took place over the next few years, Robbie Robertson shifting to rhythm guitar behind Fred Carter's (and, briefly, Roy Buchanan's) lead playing. Rick Danko (born December 9, 1943) came in on bass in 1961, followed by Richard Manuel (born April 3, 1944) on piano and backing vocals. Around that same time, Garth Hudson (born August 2, 1937), a classically trained musician who could read music, became the last piece of the initial puzzle as organ player.

For four years, from 1959 through 1963, Ronnie Hawkins & the Hawks were one of the hottest rock & roll bands working, which was very special in a time when rock & roll had supposedly died. Hawkins himself was practically Toronto's answer to Elvis Presley, and he remained true to the music even as Presley himself softened and broadened his sound. The mix of personalities within the group meshed well, better than they did with Hawkins, who, unbeknownst to him, was soon the odd man out in his own group. As new members Danko, Manuel, and Hudson came aboard — all Canadian, and replacing Hawkins' fellow southerners — Hawkins lost control of the group, to some extent, as they began working together more closely.

Finally, the Hawks parted company with Ronnie Hawkins during the summer of 1963, the singer's at times overbearing personality and ego getting the better of the relationship. The Hawks decided to stay together with their oldest member, Levon Helm, out in front, variously renaming themselves Levon & the Hawks and the Canadian Squires and cutting records under both names. A hook-up with a young John Hammond, Jr. for a series of recording sessions in New York led to the group's being introduced to Bob Dylan, who was then preparing to pump up his sound in concert. Robertson and Helm played behind Dylan at his Forest Hills concert in New York in 1965 (a bootleg tape of which survives, and can be heard), and he ultimately signed up the entire group.

The hook-up with Dylan changed the Hawks, but it wasn't always an easy collaboration. In their five years backing Ronnie Hawkins, the group had played R&B-based rock & roll, heavily influenced by the sound of Chess Records in Chicago and Sun Records in Memphis. Additionally, they'd learned to play tightly and precisely and were accustomed to performing in front of audiences that were interested primarily in having a good time and dancing. Now Dylan had them playing electric adaptations of folk music, with lots of strumming and lacking the kind of edge they were accustomed to putting on their work. His sound was traceable to the music of Big Bill Broonzy and Josh White, while they'd spent years playing the music of Jerry Lee Lewis, Chuck Berry, and Bo Diddley. As it happens, all of those influences are related, but not directly, and not in ways that were obvious to the players in 1964.

Ironically, in the spring of 1965, the group had just missed their chance at what could have been a legendary meeting on record with a musician they did understand. They'd met Arkansas-based blues legend Sonny Boy Williamson II, and jammed with the singer/blues harpist one day, hoping to cut some records with him. They hadn't realized it at the time, but Williamson was a dying man — by the time the Hawks were ready to return and try to cut some records with him, he had passed on.

Another problem for the group about working with Dylan concerned his audience. The Hawks had played in front of a lot of different audiences in the previous four years, but almost all of them were people primarily interested in enjoying themselves and having a good time. Dylan, however, was playing for crowds that seemed ready to reject him over principle. The Hawks weren't accustomed to confronting the kinds of passions that drove the folk audience, any more than they were initially prepared for the freewheeling nature of Dylan's performances — he liked to make changes in the way he did songs on the spot, and the group was often hard put to keep up with him, at least at first, although the experience did make them a more flexible ensemble on-stage.

Eventually the group did get together with Dylan as his backup band on his 1966 tour, although Levon Helm left soon after the tour began at the end of 1965. The group ultimately fell under the management orbit of Dylan's own manager, Albert Grossman, who persuaded the four core members (sans Helm) to join Dylan in Woodstock, NY, working on the sessions that ultimately became the Basement Tapes in their various configurations, none of which would be heard officially for almost a decade. (Indeed, up to this time, only a single song, "Just Like Tom Thumb's Blues," done live from the tour just ended, on a 45 B-side, had surfaced representing the group playing with Dylan).

Finally, a recording contract for the group — rechristened the Band — was secured by Grossman from Capitol Records. Levon Helm returned the fold, and the result was Music From Big Pink, an indirect outgrowth of the Basement Tapes. This album, enigmatically named and packaged, sounded like nothing else being done by anybody in music when it was released in July of 1968. It was as though psychedelia, and the so-called British Invasion, had never happened; the group played and sang like five distinct individuals working toward the same goal, not mixing together smoothly. There was a collective sound to "the band," but it made up five distinct individual voices and instruments mixing folk, blues, gospel, R&B, classical, and rock & roll.

The press latched on to the album before the public did, but over the next year, the Band became one of the most talked about phenemenon in rock music and Music From Big Pink acquired a mystique and significance akin to such albums as Beggars Banquet. The group and album ran counter to the so-called counterculture, and took a little getting used to, if only for their lack of a smooth, easily categorizable sound. Their music was steeped in Americana and historical and mythic American imagery, despite the fact that all of the members except Helm came from Canada (which, in fact, may have helped them appreciate the culture they were dealing with, as outsiders). Robertson, Manuel, and Danko all wrote, and everyone but Robertson and Hudson sang; their vocals didn't mesh sweetly but simply flowed together in an informal manner. Classical organ flourishes meshed with a big (yet lean), raw rock & roll sound and the whole was so far removed from the self-indulgent virtuosity and political and cultural posturing going on around them that the Band seemed to be operating in a different reality, to different rules.

During this same period, the group's past association with Bob Dylan — whose name at the time had an almost mystical resonance with audiences — was mentioned in the rock press and also put right in the faces of listeners through a new phenomenon. Only a single track from the group's 1966 tour with Dylan had ever surfaced, and that was an out-of-print B-side to an old single. But in 1969, the first widely distributed bootleg LP, The Great White Wonder, featuring the then-unreleased Basement Tapes, started turning up on college campuses and record collectors' outlets. The quality was limited, the labels were blank, and there was no "promotion" as such of this patently illegal release, but it got around to hundreds of thousands of listeners and only heightened the mystique surrounding the Band.

Music From Big Pink, which featured a painting by Bob Dylan on its cover, began selling — slowly at first and then better — and the group played a few select shows. A second album, simply titled The Band, was every bit as good as the first. Dominated by Robertson's writing, it was released in September of 1969, and with it, the group's reputation exploded; moreover, they began their climb out of the shadow of Bob Dylan with songwriting of their own that was every bit a match for anything he was releasing at the time. A pair of songs, "Up on Cripple Creek" and "The Night They Drove Ol' Dixie Down," captured the public imagination, the former getting them onto The Ed Sullivan Show in an appearance that's fascinating to watch on the official Ed Sullivan video release; the host comes out to embrace and congratulate them, obviously thrilled after the psychedelic and hard rock acts that he usually booked, to see a group whose words and music he understood. Meanwhile, "The Night They Drove Ol' Dixie Down" became a popular radio track and yielded a hit cover version in the guise of an unaccountably corrupted rendition by Joan Baez (in which, for reasons that only Baez may be able to explain, Robert E. Lee is transformed into a steamboat) that made the Top Five.

Following the release of the second album, things changed somewhat within the group. Partly owing to the pressures of touring and the public's expectations of "genius," and also to the growing press fixation on Robbie Robertson at the expense of the rest of the group, the other group members remained familiar enough that their names and personalities were well-known to the public. The Band was still a great working ensemble, as represented on their brilliant third album, Stage Fright, but gradually exhaustion and personal pressures took their toll. Additionally, the huge amounts of money that the members started collecting, against hundreds of thousands and ultimately millions of record sales, led to instances of irresponsible behavior by individual members and their spouses and raised the pressure on the group to perform. The members had always engaged in a certain amount of casual drug use, mostly involving marijuana, but now they had access to more serious and expensive chemical diversions. Some private resentments also began manifesting themselves about Robertson's dominance of the songwriting (some reality of which was questioned openly in Levon Helm's autobiography years later), and the fact that the group was now constantly in the public eye didn't help.

By the time of the fourth album, Cahoots, some of the glow of experimentation and easygoing comraderie was gone, though ironically, the album was still one of the best released in 1971. The problem for the group became fulfilling all of the commitments involved in success, including touring and writing new material to record. By the end of 1971, they'd decided to take a break, cutting a live album, Rock of Ages, that was all fans had to content themselves with in 1972. The fact that their next album, issued in 1973, was a collection of studio versions of the oldies that the group used to do on-stage, and numbers that they knew from their days as the Hawks, should have been a warning sign that not everything was well within the group. More troubling still was the fact that the renditions were so plain and flat sounding compared to the music they'd cut on every prior album; it simply wasn't up to the standard that one expected of the group and the fact that they didn't tour behind the record seemed to indicate that they were marking time with Moondog Matinee. The group did play one major show that year, at the race track at Watkins Glen, NY, before the largest audience ever assembled for a rock concert — it was a demonstration of their place in the rock pantheon that the Band was booked alongside the Grateful Dead and the Allman Brothers Band.

The year 1973 was also where they let the other shoe drop on their association with Bob Dylan, cutting the Planet Waves album with him and preparing for a huge national tour together in 1974. That tour, in retrospect, seemed more a basis for cashing in on their association with Dylan than for any new music-making of any significance. In many critics' eyes, the Band was superior to Dylan in their performances, an idea borne out on much of the live LP Before the Flood that was distilled down from the two February 14, 1974, performances. Everyone made a fortune from it, but the tour with Dylan also thrust the group right into the middle of the most decadent part of the rock world. A lot of the simplicity and directness of their music and lives succumbed to the easy availability of sex, drugs, and other diversions and the expensive lifestyles they were all starting to maintain.

By the end of 1974, the Band had expended much of the good will they'd built up from their first four albums. Another album, Northern Lights — Southern Cross released in late 1975, was a major comeback and restored some of the group's reputation as a cutting-edge ensemble, even encompassing elements of synthesizer music into its writing and production. Around this same time, Levon Helm and Garth Hudson made a belated contribution to the history of Chess Records (in light of their near-miss with Sonny Boy Williamson a decade earlier) when they worked with Muddy Waters, cutting an entire album with the blues legend at Helm's studio in Woodstock, NY. The Muddy Waters Woodstock Album, although ignored at the time by everyone but the critics, was the last great album cut by the label or by Waters at the label, and his best album in at least five years.

It was too late to save the Band as a working ensemble, however; the members were all involved in their own interests and lives and the group stopped touring. The inevitable best-of album in 1976, ahead of what proved to be their final tour, marked the unofficial end of the original lineup's history. One last new album, Islands, fulfilled the group's contract and had some fine moments, but they never toured behind it and it was clear to one and all that the Band was finished as a going concern. The group marked the end of their days as an active unit with the release of the film (and accompanying soundtrack LP set) The Last Waltz, directed by Martin Scorsese, of their farewell concert, which was an all-star performing affair pulling together the talents of Ronnie Hawkins, Muddy Waters, Eric Clapton, Neil Young, Van Morrison, and a dozen other luminaries drawn from the ranks of old friends, admirers, and idols of theirs. Robertson and Helm pursued musical and film careers, while Danko tried to start a solo career of his own.

Capitol Records kept repackaging their music on vinyl with an Anthology collection and a second best-of LP, as well as a pair of CD recompilations, To Kingdom Come and Across the Great Divide, in the '90s. As it turned out the members, apart from Robertson, weren't quite as ready or willing to close the book on the group, in part because they saw no reason to and also because several of them proved unable to sustain profitable solo careers (Robertson, having written most of the songs, had a steady income from the publishing as well as the record sales). The other members of the group reunited at various times — in 1983, four members of the Band, with Robertson replaced by Earl Cate of the Cate Brothers on guitar, reunited for a tour that yielded a full-length concert video and a healthy audience response. The death of Richard Manuel in 1986 cast a dark pall on any future reunions, of which there were several — Robertson issued his first solo album a year later, which included a tribute to Manuel ("Fallen Angel"-).

This was as close as the guitarist would get to a Band reunion, however, which became a bone of contention among onlookers and the members. Robertson publicly questioned what the meaning of The Last Waltz had been and would never participate. And as the group's major songwriter and principal guitarist, he was their most famous member, but he almost never sang significant vocal parts on their recordings (indeed, it is said that one reason their set from Woodstock was never issued was because his mic was live and his voice too prominent). Other guitarists could build on his work well enough, and the rest of the group had made significant contributions to virtually every song they ever did, so the reunions made sense. In 1993, the Band released Jericho, their first new album in 16 years, which received surprisingly good reviews. High on the Hog followed in 1996 and two years later, they celebrated their 30th anniversary with Jubilation. The death of Rick Danko in his sleep at his home in Woodstock on December 10, 1999, the day after his 56th birthday, seemed to call an end to future activities by any version of the Band.

Dos enlaces de gran ayuda sobretodo el segundo:
Última edición por thelion el Dom Feb 25, 2007 7:03 pm, editado 1 vez en total
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Notapor thelion » Dom Jun 25, 2006 2:43 am

Título originalAñoDuración
Music from Big Pink196842:22
1.Tears of Rage 5:23
2.To Kingdom Come 3:22
3.In a Stationl 3:34
4.Caledonia Mission 2:59
5.The Weight 4:38
6.We Can Talk 3:06
7.Long Black Veil 3:06
8.Chest Fever 5:18
9. Lonesome Suzie l 4:04
10.This Wheel's on Fire 3:14
11.I Shall Be Released 3:19

eD2K link The Band - Music From Big Pink.rar
Título originalAñoDuración
The Band196943:50
1.Across the Great Divide 2:53
2.Rag Mama Rag 3:04
3.The Night They Drove Old Dixie Down 3:33
4.When You Awake 3:13
5.Up on Cripple Creek 4:34
6.Whispering Pines 3:58
7.Jemima Surrender 3:31
8.Rockin' Chair 3:43
9.Look Out Cleveland 3:09
10.Jawbone Manuel, 4:20
11.The Unfaithful Servant 4:17
12.King Harvest (Has Surely Come) 3:39

eD2K link The Band - The Band (Brown Album 1969) - 256Vbr Lame - By Gonadator.rar
Título originalAñoDuración
Stage Fright1970
1.Strawberry Wine 2:36
2.Sleeping 3:17
3.Time to Kill 3:28
4.Just Another Whistle Stop 3:54
5.All la Glory 3:35
6.Shape I'm In 4:00
7.The W.S. Walcott Medicine Show n 2:59
8.Daniel and the Sacred Harp 4:13
9.Stage Fright 3:43
10.Rumor 4:16

eD2K link The Band-Stage Fright.rar
Título originalAñoDuración
1.Life Is a Carnival 4:00
2.When I Paint My Masterpiece 4:21
3.Last of the Blacksmiths 3:41
4.Where Do We Go from Here? 3:50
5.4% Pantomime Morrison, 4:33
6.Shoot Out in Chinatown 2:53
7.The Moon Struck One 4:09
8.Thinkin' Out Loud 3:20
9.Smoke Signal 5:10
10.Volcano 3:04
11.The River Hymn 4:39


eD2K link The Band - Cahoots (Album).rar
Título originalAñoDuración
Rock of Ages197278:19
1.Don't Do It Dozier,
2.King Harvest (Has Surely Come)
3.Caledonia Mission
4.Get up Jake
5.The W.S. Walcott Medicine Show
6.Stage Fright
7.The Night They Drove Old Dixie Down
8.Across the Great Divide
9.This Wheel's on Fire
10.Rag Mama Rag
11.The Weight
12.The Shape I'm In
13.Unfaithful Servant
14.Life Is a Carnival
15.The Genetic Method Hudson,
16.Chest Fever
17. (I Don't Want to) Hang up My Rock & Roll Shoes


eD2K link The Band - Rock of ages.rar
Título originalAñoDuración
Moondog Matinee197335:46
1 Ain't Got No Home 3:24
2 Holy Cow t 3:22
3 Share Your Love Braggs, 2:54
4 Mystery Train 5:40
5 Third Man Theme 2:47
6 Promised Land 3:00
7 The Great Pretender 3:10
8 I'm Ready 3:28
9 Saved Leiber, 3:50
10 A Change Is Gonna Come 4:19
11 Didn't It Rain [*/outtake] 3:16
12 Crying Heart Blues [*/outtake] 3:29
13 Shakin' [*/outtake] 3:31
14 What Am I Living For [*/outtake] 5:03
15 Going Back to Memphis [*/outtake] 5:02
16 Endless Highway [*] 5:08


eD2K link Moondog- Matinee The Band -(remastered)_ALBW.mp3
Título originalAñoDuración
In Concert1973
[img]" width="300" height="300]
1.This Wheel's on Fire
2.The Weight
3.Rag Mama Rag
4.The Shape I'm In
5.Don't Do It Dozier,
6.The Night They Drove Old Dixie Down
7.Across the Great Divide
8.Life Is a Carnival

En breve ( no se encuentra en la mula)
Título originalAñoDuración
Northern Lights-Southern Cross197540:40
[img]" width="300" height="300]
1 Forbidden Fruit 5:59
2 Hobo Jungle 4:15
3 Ophelia 3:32
4 Acadian Driftwood 6:42
5 Ring Your Bell 3:55
6 It Makes No Difference 6:34
7 Jupiter Hollow 5:20
8 Rags and Bones 4:45
9 Twilight [*] 3:13
10 Christmas Must Be Tonight [*] 3:01


eD2K link The Band. Northern Lights Southern Cross. Por Esdorfias, El Pirata de la Xarxa.rar
Título originalAñoDuración
1 Right as Rain 3:54
2 Street 3:16
3 Let the Night Fall 3:12
4 Ain't That a Lot of Love 3:09
5 Christmas Must Be Tonight 3:38
6 Islands 3:54
7 The Saga of Pepote Rouge 4:14
8 Georgia on My Mind l 3:09
9 Knockin' Lost John 3:51
10 Livin' in a Dream 2:52
11 Twilight [*] 3:17
12 Georgia on My Mind [alternate take/*] l 3:51


eD2K link The Band - Islands_ALBW.mp3
Título originalAñoDuración
The Last Waltz1978129:06
1 Theme from The Last Waltz 3:40
2 Up on Cripple Creek 4:35
3 Who Do You Love? l 4:16
4 Helpless Young 5:47
5 Stage Fright 4:25
6 Coyote 5:50
7 Dry Your Eyes Diamond, 3:57
8 It Makes No Difference 6:48
9 Such a Night 4:00
10 The Night They Drove Old Dixie Down 4:20
11 Mystery Train 4:59
12 Mannish Boy 6:54
13 Further on Up the Road 5:08
14 Shape I'm In 4:06
15 Down South in New Orleans 3:06
16 Ophelia 3:53
17 Tura-Lura-Lural (That's an Irish Lullaby) 4:15
18 Caravan 6:02
19 Life Is a Carnival 4:19
20 Baby, Let Me Follow You Down 3:00
21 I Don't Believe You (She Acts Like We Never Have Met) 3:33
22 Forever Young 4:42
23 Baby, Let Me Follow You Down (Reprise) 2:46
24 I Shall Be Released 5:25
25 The Last Waltz Suite: The Well 3:27
26 The Last Waltz Suite: Evangeline 3:17
27 The Last Waltz Suite: Out of the Blue 3:08
28 The Last Waltz Suite: The Weight 4:38
29 The Last Waltz Suite: The Last Waltz Refrain 1:28
30 The Last Waltz Suite: Theme from The Last Waltz 3:22

eD2K link The Band - The Last Waltz (Bso 4Cds) .rar

eD2K link The.Last.Waltz.(El.Ultimo.Vals).[CD1][DivX505-AC3][by.Libo].avi
eD2K link [DivX 5.05 AC3] The Last Waltz CD2-2 by Libo.avi
Título originalAñoDuración
1 Remedy Linden, Weider 4:25
2 Blind Willie McTell Dylan 6:42
3 The Caves of Jericho Bell, Helm, Simmon, Simon 5:23
4 Atlantic City Springsteen 5:16
5 Too Soon Gone Shear, Szelest 3:59
6 Country Boys Barer, Brooks 3:17
7 Move to Japan Flood, Helm, Simon, Szelest ... 4:25
8 Amazon (River of Dreams) Traum 6:00
9 Stuff You Gotta Watch Waters 2:50
10 Same Thing Dixon 4:31
11 Shine a Light Grebb, Moore 4:12
12 Blues Stay Away from Me Delmore, Delmore, Glover ... 6:01

eD2K link The Band - Jericho.Zip.mp3

creo que esta sin fuentes
Título originalAñoDuración
High on the Hog199646:57
1 Stand Up Channel 3:07
2 Back to Memphis 5:10
3 Where I Should Always Be 4:27
4 Free Your Mind 5:05
5 Forever Young 6:30
6 The High Price of Love t 5:58
7 Crazy Mama 4:48
8 I Must Love You Too Much 3:32
9 She Knows 3:21
10 Ramble Jungle 4:59

eD2K link The Band - High On The Hog _ALBW#.mp3
Título originalAñoDuración
1 Book Faded Brown 4:12
2 Don't Wait 4:09
3 Last Train to Memphis 4:06
4 High Cotton 3:25
5 Kentucky Downpour 4:26
6 Bound By Love 3:22
7 White Cadillac (Ode to Ronnie Hawkins) 3:38
8 If I Should Fail 3:56
9 Spirit of the Dance r 5:05
10 You See Me 4:36
11 French Girls [instrumental] 2:07

eD2K link THE BAND (feat. Eric Clapton & John Hiatt) - Jubilation (1998 - MP3 160 Kbps) by Musicanarias.rar

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Última edición por thelion el Dom Feb 25, 2007 6:56 pm, editado 1 vez en total
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Notapor Feve » Dom Jun 25, 2006 11:07 am

:bravo: :bravo: :bravo:

Empiezo por el medio, el descubrimiento de todos, El último vals.
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A fist full of genius

Notapor ALIAS » Lun Dic 04, 2006 8:50 pm

Solo añadir que doy gracias cada dia de que Dylan se cruzase en el camino de estos genios, fue un claro ejemplo de sinergia y claro queda en los dos temas que encadenan de forma gloriosa el Forever Young y Baby, Let Me Follow You Down (Reprise).
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Notapor Feve » Lun Dic 04, 2006 11:40 pm

Lo reconozco, La Banda no me emociona y eso que no fue solo "la banda que acompañaba a Bob Dylan en los 60" que es como les recuerdan a veces.

Ya sé, son unos músicos como la copa de un pino. Suenan de maravilla, tienen unos arreglos fabulosos y crearon un estilo único... además de lo extraño que resulta escuchar cada vez a un vocalista como si tal cosa fuera lo más natural (ahora canta el bajo, en esta otra el batería) y lo más increíble es que aunque cada uno le dé un toque distinto a las melodías, todo, absolutamente todo, queda al servicio del conjunto y, vuelvo a decir, el conjunto es brillante... pero, ainsss, quizás sean esas voces intercambiables las que hacen que algo se me escape, que no consiga mantener el interés (y juro que lo he intentado).

Eso sí, ALIAS, el Forever Young es una preciosidad. :si:
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Notapor thelion » Dom Feb 25, 2007 7:01 pm

Actualizada con los albumes high on the hog y Jubilation

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Notapor Nickcave30 » Lun Feb 26, 2007 6:41 am

Me admira que de las tres discografías que el currante Thelion ha puesto hoy, la de The Band haya recibido casi 350 visitas el mismo domingo, mientras que John Hiatt apenas 30 y Cohen 40; diez veces más para The Band, qué caña, ¿no? ¿A qué se deberá?
"Una canción son tres notas; no, sólo dos; no, una sola nota basta, si es la más pura de todas" (Monique Serf-Barbara)
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