#Manu Katché

[nervoussystemmusicreverence]

Peter Gabriel - No Self Control (Live in Athens 1987)

Music

Music Video

Artist

Peter Gabriel

Composer

Peter Gabriel

Lyricist

Peter Gabriel

Credit

Peter Gabriel - Lead vocals David Sancious - Keyboards Tony Levin - Bass guitar, backing vocals David Rhodes - Guitar, backing vocals Manu Katché - Drums

Released

October 16 2020

[ponderingrandomthings]

https://en.wikipedia.org/wiki/All_This_Time_(Sting_song)

God! I didn't ever think the theme for this song was so dark.

I always enjoyed the fast tempo and the overall feel of the chorus…

Now, as I research to make this post, I see:

"The lyrics provide a reference to the death of Sting's father, symbolized by the image of a young boy, Billy, who, at the death of his father, wishes to bury him at sea instead of going through the Catholic rites:"

Song #2 from Sting's (real name Gordon Sumner) 1991 album The Soul Cages (a concept album focused on the death of Sting's father).

Didn't expect this song to get this intense. (Almost like some ABBA songs - they are upbeat songs but if you pay attention to the lyrics, you realize that are about heartbreak - like The King Has Lost His Crown).

[mitjalovse]

Some veteran musicians' 90's were so successful we forgot about their sadness. For instance, Sting worked through his issues on The Soul Cages, but the record still felt shinily 90's. Then again, Sting seemed to be one of the musicians best poised for the 90's. He and Peter Gabriel basically made the 90's in the 80's. Think about that – most of their work from the latter would've fit the former with some adjustments. Thus, the 90's caught up with what they were doing. Of course, a question remains how Sting felt about that. He continued to be his prickly self and The Soul Cages did nothing to alter that perception, yet would he be willing to entertain a major change of his persona even under his own rules? Who can tell?

[0rph3u5]

Manu Katché: "Number One" from the album "Neighbourhood" | ECM Records

[projazznet]

Manu Katché – Neighbourhood

Neighbourhood is the second solo album by session drummer Manu Katché, recorded in March and November 2004 and released on ECM September the following year.

Manu Katché – percussion, drums Sławomir Kurkiewicz – double bass Marcin Wasilewski – piano Jan Garbarek – saxophones Tomasz Stańko – trumpet

[yoyoyoseph]

Wer hätte das gedacht

Münster im Januar 2025

[x-heesy]

Makes me happy happy 😃

Motherfucker-fucker-fucker

Hard-

Hard-hardcore, yeah

The CROU has never crashed

Don't worry, Manu Katché, it's not fake like wrestling, never kitsch and always stuck

You shit yourself, this style kills, it's as old as Chantal Ladesou

The CROU hardcore takes your breath away, you wonder what's underneath

It's over the top, it's amazing, it rocks, you have to listen to it

You like it, you don't like it, I don't care about the steaks, I don't care about that

You're crazy about that, you polish yourself, the CROU eats you, chews you

There's no flop, it's non-stop, I'm opening your papers at Destop, Bunny

What can you do against Stupeflip CROU

(Hardcore)

We have the method and the sound that drives you crazy

The CROU hardcore takes your breath away, you wonder what's underneath

We have the method and the sound that drives you crazy

(This thing tears his mother apart)

What can you do against Stupeflip CROU

The CROU hardcore takes your breath away, you wonder what's underneath

The zig ouch, I zig them, I fuck them, I make bonsai of them

And the scoundrels cut themselves when the CROU poses with its entrails

The sixties were crap, I prefer Ilie Năstase

The phases of Frukwan, Geto Boys or Gravediggaz

I'm comfortable in Cortez, kills like in 93

I'm king'ju the fossil, the one who raps with his prostheses

I'm the mortician, too scary, the undead scarecrow

The egocentric freak who fucks up your clique walks away laughing

The CROU Stupeflip is terrifying

That's all about rage, straight motherfucker

I'm Sandrine Cacheton

The Crou's spoke woman, if I kick the shit, rule like ODB and Method Man

What can you do against Stupeflip CROU

(Hardcore)

We have the method and the sound that drives you crazy

The CROU hardcore takes your breath away, you wonder what's underneath

We have the method and the sound that drives you crazy

(This thing tears his mother apart)

What can you do against Stupeflip CROU

(Hardcore)

Mologé, pologué, exikitapélogué belmaksakt

Tepac elimatol sepascseploqué

Drag' bonjé pelicalé, drag block selémokéfloqué

Tré pa bit drugged, beletek sambel, catapesta-blogged

Felenastoî, capitan doî, esteros quiban fallaban’ doî

Qué pastor cabo mystery at the shock' pisskelélémanloî (alytoî, alytoî)

Stup Krou drine golaille, etoparafin' etoparabaill' guélébaille draille tit' goulaille

Stupid Crou dude

What can you do against Stupeflip CROU

(Hardcore)

We have the method and the sound that drives you crazy

The CROU hardcore takes your breath away, you wonder what's underneath

We have the method and the sound that drives you crazy

(This thing tears his mother apart)

What can you do against Stupeflip CROU

The CROU hardcore takes your breath away, you wonder what's underneath

Hard-

hardcore

Crou Anthem by Stupeflip

@luna---zylum @frenchpsychiatrymuderedmycnut @freecandyballoon 🇫🇷 @invincible-selfxmade-punk @wayward-cat @bigbonzo @boanerges20 @west150 @inbetweenneeds @seanisnothing ......

[burlveneer-music]

Tony Levin - Bringing It Down to the Bass - Single Edit - a sample of his forthcoming solo album, sounding like a jazzier King Crimson (imagine!) (video reeks of AI though)

The first single and title track "Bringing It Down to the Bass" features Manu Katché (drums), Dominic Miller (guitar), Pete Levin (keyboards), and Alex Foster (sax). Tony Levin's new solo album Bringing It Down to the Bass will be available September 13th from Flatiron Recordings. Special guest on the album include Robert Fripp, Mike Portnoy, David Torn, Jerry Marotta, Larry Fast, Steve Gadd, Steve Hunter, Pat Mastelotto, L. Shankar, Gary Husband, Jeremy Stacey, Colin Gatwood, Markus Reuter and Vinnie Colaiuta.

[bushdog]

Bringing It Down to the Bass · Tony Levin · Dominic Miller · Manu Katché · Alex Foster

(via Bringing It Down to the Bass - YouTube)

[espadamiura]

Risottiamo ascoltando buona musica

[melodiousmonk]

Peter Gabriel announces his first album of new material in over 20 years

i/o releases on 1 December, 2023

i/o is 12 tracks of grace, gravity and great beauty that provide welcome confirmation of not only Peter’s ongoing ability to write stop-you-in-your-tracks songs but also of that thrilling voice, still perfectly, delightfully intact. Throughout the album the intelligent and thoughtful – often thought-provoking – songs tackle life and the universe. Our connection to the world around us – ‘I’m just a part of everything’ Peter sings on title track i/o – is a recurring motif, but so too the passing of time, mortality and grief, alongside such themes as injustice, surveillance and the roots of terrorism. But this is not a solemn record. While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, Live and Let Live.  

Recorded mostly at Real World Studios and Peter’s home studio, the lengthy gestation of i/o means it has a sizeable cast list. Peter has kept his trusty inner circle of musicians close to hand, which means guitarist David Rhodes, bassist Tony Levin and drummer Manu Katché are sterling presences throughout. Several songs bear the fingerprints of long-time associate Brian Eno, whilst there are notable contributions from Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu, cellist Linnea Olsson and keyboard player Don E. Peter’s daughter Melanie contributes warm backing vocals, as does Ríoghnach Connolly of The Breath, while Real World regulars Richard Chappell, Oli Jacobs, Katie May and Richard Evans collectively provide programming and play various instruments. Soweto Gospel Choir and Swedish all-male choir Oprhei Drängar lend their magnificent harmonies to a selection of tracks, and the mass strings of the New Blood Orchestra, led by John Metcalfe, both soothe and soar.

Renowned for being a boundary-pushing artist, i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark ‘Spike’ Stent, and the Dark-Side Mix, as reshaped by Tchad Blake. “We have two of the greatest mixers in the world in Tchad and Spike and they definitely bring different characters to the songs. Tchad is very much a sculptor building a journey with sound and drama, Spike loves sound and assembling these pictures, so he’s more of a painter.” Both versions are included on the double-CD package, and are also available separately as double vinyl albums. And that’s not all. A third version – the In-Side Mix, in Dolby Atmos, comes courtesy of Hans-Martin Buff “doing a wonderful job generating these much more three-dimensional mixes” and is included in three-disc set, including Blu-ray.

Continuing the idea developed for Peter’s US and UP albums, he has again invited a range of visual artists to contribute a piece of art to accompany the music and each of i/o’s 12 songs were handed to a world-renowned artist to create an accompanying work, whether paint, photography, sculpture or even Plasticine. The dozen artists make an exceedingly impressive team of collaborators: Ai Weiwei, Nick Cave, Olafur Eliasson, Henry Hudson, Annette Messager, Antony Micallef, David Moreno, Cornelia Parker, Megan Rooney, Tim Shaw, David Spriggs and Barthélémy Toguo. 

Another visual link with Peter’s past work is the cover shot. Taken by photographer Nadav Kander, it echoes with the covers of his earlier albums, always present but, with the exception of So, intriguingly obscured or manipulated. 

These echoes of the past might resonate, but i/o is fundamentally an album of – and for – the here and now. Many of its themes may be timeless, but they’re also warnings that we’re living on borrowed time, both as a planet and as individuals. 

(Source: Peter Gabriel's mailing list)

[nervoussystemmusicreverence]

Julia Fordham - Porcelain

Artist

Julia Fordham

Composer

Julia Fordham

Lyricist

Julia Fordham

Produced

Julia Fordham Kevin Maloney Grant Mitchell Hugh Padgham

Credit

Miles Bould – Percussion Julia Fordham – Arranger, guitar, primary artist, producer, vocal arrangement, background vocals Manu Katché – Drums Dominic Miller – Bass, drum programming, engineer, guitar, keyboards, programming Grant Mitchell – Arranger, guitar, keyboards, piano, string arrangements Pino Palladino – Bass Kate St. John – oboe

Released

October 9 1989

Streaming

[essential-music]

Peter Gabriel’s 1992 single "Steam" stands as a testament to the power of innovative songcraft.

From its infectious groove to its clever lyrical depth, the song exemplifies Gabriel’s ability to blend artistry with accessibility, creating a work that remains as vibrant today as it was over three decades ago. "Steam" is not just a song—it’s a masterclass in musical storytelling, rhythmic precision, and emotional resonance that deserves renewed appreciation for its timeless quality.

At its core, "Steam" is a triumph of musical composition. The track opens with a pulsating bass line, courtesy of the legendary Tony Levin, that immediately hooks the listener. This rhythmic foundation, paired with Manu Katché’s crisp drumming, creates a funky, propulsive energy that feels both primal and sophisticated. Gabriel’s vocals soar atop this groove, delivering a performance that is equal parts commanding and playful. His ability to shift from soulful crooning to urgent exclamations—like the iconic “Stand back!”—infuses the song with a dynamic intensity that keeps listeners engaged from start to finish. The production, polished yet organic, showcases Gabriel’s knack for balancing raw emotion with meticulous craftsmanship.

What elevates "Steam" beyond a mere pop hit is its lyrical ingenuity. Gabriel weaves a tapestry of rhetorical questions—“You know your culture from your trash / You know your plastic from your cash”—that challenge the listener to reflect on their own discernment and identity. These lines, delivered with a sly wit, are both universal and personal, inviting introspection while maintaining an accessible, almost conversational tone. The refrain, “Give me steam / And how you feel can make it real,” captures the song’s central theme: the transformative power of passion and imagination. It’s a call to embrace the visceral, to make the intangible tangible, and it resonates as much in 2025 as it did in 1992.

The song’s structure further underscores its brilliance. "Steam" deftly balances repetition and variation, with each verse building on the last to create a sense of escalating urgency. The bridge—“Everybody nosedive / Hold your breath, count to five”—introduces a chaotic, almost cinematic energy, evoking the sensation of a pressure cooker about to burst. This moment of controlled chaos, followed by the return of the infectious chorus, demonstrates Gabriel’s mastery of pacing and tension. It’s a song that feels alive, constantly evolving yet anchored by its irresistible groove.

Gabriel’s influences—drawing from soul legends like Otis Redding and Nina Simone—add another layer of depth to "Steam." The track’s funk-infused energy pays homage to these roots while pushing boundaries with its modern sensibilities. This fusion of classic and contemporary is part of what makes the song so enduring; it feels both nostalgic and forward-thinking, a bridge between eras that refuses to be confined to one.

Critics of the era occasionally accused Gabriel of leaning too heavily on familiar formulas, pointing to similarities with earlier hits like "Sledgehammer." Yet "Steam" transcends such critiques by embracing its lineage while carving out its own identity. If anything, the song feels like a bold rejoinder to those who demanded reinvention at the expense of authenticity. Gabriel didn’t need to abandon his signature sound to prove his genius—he refined it, delivering a track that is unmistakably his own yet fresh and exhilarating.

In today’s musical landscape, where algorithms often dictate creativity and fleeting viral moments overshadow substance, "Steam" serves as a reminder of what great music can achieve. It’s a song that demands active engagement, rewarding listeners with its layered instrumentation, thought-provoking lyrics, and sheer infectiousness. Its quality lies not in chasing trends but in crafting something universal, a piece of art that speaks to the human experience with humor, heart, and heat.

As we navigate an increasingly homogenized pop culture, "Steam" stands as a beacon of originality and excellence. Peter Gabriel’s ability to fuse funk, soul, and introspection into a single, electrifying track is a rare feat—one that continues to inspire and uplift. In a world that often feels like it’s cooling down, "Steam" still burns bright, urging us to turn up the heat and make it real.

Year: 1992

Composition/Lyrics: Peter Gabriel

Producer: Peter Gabriel, Daniel Lanois

[mitjalovse]

What should session musicians' solo albums be like then? Manu Katché, for instance, looks like someone who would have done either more progressive rock shenanigans on his own or some jazz fusion. He chose the latter, though his pieces do remind me of what his major employer, Mr. Peter Gabriel, might have done, had he decided to go all jazz. True, we can go too much in this – session musicians on their own are not the mirrors to the biggest names they work with, they're their own players with their own quirks and characteristics. Still, one can notice a slight tinge of his other collaborations. I mean, the tune on the link could be rewritten into something for Sting and, you are correct, Manu Katché also drummed for him.

[dandanjean]

Impassibilité parfaite

L’immobilité est la racine du voyage. Tout passant porte une semence, qu’il a su extirper du vide, dans son silence germe et se propage l’Esprit. Une chanson de Manu Katché interprété avec Sting et Peter Gabriel – Silence Les paroles sur https://www.songlyrics.com/manu-katch/silence-lyrics/ COPYRIGHT – DROIT D’AUTEUR – Daniel Jean – Toute reproduction du présent document (pour des objectifs…

[juliopison]

CONCIERTOS (World) Sting Panthéon-CMN 50 ans de FIP Paris, France 2021

Atención: Solo para ver en PC o Notebook Para ver el Concierto pulsa o copia y pega el Link: https://memoriasdelcafe.blogspot.com/2025/03/sting_22.html

RESEÑA EN EL CAFÉ

El icónico cantante y compositor británico Sting regresó a los escenarios en una noche inolvidable en el majestuoso Panthéon de París, como parte de las celebraciones por el 50 aniversario de la emisora francesa FIP (France Inter Paris). Este recital íntimo y especial tuvo lugar en octubre de 2021, marcando un momento histórico tanto para la música como para la cultura parisina.

Un marco monumental

El Panthéon, templo neoclásico dedicado a los grandes hombres y mujeres de Francia, sirvió como telón de fondo perfecto para este evento único. La acústica natural del edificio, famosa por su capacidad para amplificar incluso los sonidos más sutiles, se convirtió en un instrumento adicional que elevó cada nota interpretada por Sting. El ambiente era solemne pero cálido; una mezcla de reverencia hacia el espacio sagrado y la emoción por estar presenciando algo excepcional.

Setlist y atmósfera

Acompañado únicamente por su guitarra y un pequeño grupo de músicos, incluyendo al talentoso Dominic Miller en la guitarra y al percusionista Manu Katché, Sting ofreció un setlist que viajaba a través de su extensa carrera, desde sus días con The Police hasta su prolífica trayectoria en solitario. Canciones como "Message in a Bottle", "Every Breath You Take", y "Fields of Gold" resonaron profundamente bajo la cúpula del Panthéon, mientras que temas más introspectivos como "Fragile" y "If I Ever Lose My Faith in You" ganaron una nueva dimensión en este contexto tan único.

La elección del repertorio reflejaba no solo la versatilidad musical de Sting, sino también su habilidad para conectar emocionalmente con el público. Las letras cargadas de poesía y reflexión encontraron un eco especial en un lugar donde descansan figuras históricas como Voltaire, Rousseau y Marie Curie.

Momentos destacados

Uno de los momentos más emotivos de la noche fue cuando Sting interpretó "Russians", una canción compuesta originalmente durante la Guerra Fría. En un mundo todavía afectado por la pandemia de COVID-19, esta balada sobre esperanza y humanidad compartida cobró un significado renovado. Los asistentes, muchos de ellos con lágrimas en los ojos, aplaudieron de pie tras la interpretación.

Otro instante memorable ocurrió durante "Shape of My Heart", donde la voz de Sting, aún potente y llena de matices, flotó por el espacio como si fuera parte de la propia arquitectura del Panthéon. La conexión entre artista y audiencia fue palpable, casi tangible, creando una experiencia que trascendió lo meramente musical.

Un homenaje a FIP

Como parte de las celebraciones por los 50 años de FIP, una de las radios más queridas de Francia, Sting dedicó varias palabras a la importancia de la música como puente cultural y universal. FIP, conocida por su eclecticismo y apoyo a artistas de todos los géneros, encontró en Sting un embajador perfecto para esta ocasión. El concierto fue transmitido en directo por la emisora, permitiendo que millones de oyentes en todo el mundo disfrutaran de esta velada única.

Conclusión

El concierto de Sting en el Panthéon fue mucho más que un simple espectáculo musical. Fue una celebración de la vida, la cultura y la resistencia humana frente a los desafíos. Con su voz envolvente y su presencia magnética, Sting logró transformar un monumento histórico en un santuario viviente de la música.

Este evento quedará grabado en la memoria colectiva como un ejemplo de cómo el arte puede elevarse por encima de las circunstancias y recordarnos nuestra capacidad para encontrar belleza incluso en los momentos más difíciles. Para quienes tuvieron la suerte de estar presentes, ya sea físicamente o a través de las ondas de radio, fue una noche que jamás olvidarán.

Calificación: ★★★★★ (5/5)

Una actuación impecable en un marco incomparable. Un verdadero tributo a la música y a la humanidad.

Café Mientras Tanto jcp