#Blanco y Negro Records

[odk-2]

The Jesus and Mary Chain - Heat (1992) Jim Reid / William Reid from: "Reverence" (12" 45 RPM, Single) "The Sound of Speed" (1993 Compilation)

Alternative | Noise Pop | Shoegaze

JukeHostUK (left click = play) (320kbps)

Personnel: Jim Reid: Vocals / Guitar / Instrumentation William Reid: Guitar / Instrumentation

Produced by Jim Reid / William Reid

Recorded: @ The Drugstore in the Elephant & Castle area of South London, UK 1992

12" Single Released: on February 3, 1992

Blanco y Negro Records (UK) Def American Recordings (US)

The Sound of Speed (1993 Compilation) Released: on October 25, 1992 (Japan) on July 12, 1993 (Worldwide)

Blanco y Negro Records (UK)

[kdo-three]

The Jesus and Mary Chain - Between Planets (1989) Jim Reid / William Reid from: "Automatic" (LP|CD)

Alternative Rock | Noise Pop

JukeHostUK (left click = play) (320kbps)

Personnel: Jim Reid: Vocals / Guitar / Synthesizer / Drum Programming William Reid: Guitar / Synthesizer / Drum Programming

Produced by Jim Reid / William Reid

Recorded: @ Sam Therapy West London, England UK 1989

Released: on October 9, 1989

Blanco y Negro Records

[allanodyne]

We got a thousand points of light

by AllanOdyne

[wearelatinamericanrockers]

Enanitos Verdes or Green dwarves is an Argentine Rock Band started in 1979 and still running today.

They began playing at first in clubs and bars in their city and Cuyo, later they traveled to Buenos Aires to look for greater opportunities. In 1984 they were invited to the Festival de la Falda and chosen as the revelation group at the event. Later that year they recorded their first self-titled album and achieved greater recognition with the song "I still sing." Although the following year Embrioni left the band to join Alcohol Ethilo. The group continued recording albums as a quartet such as Contrarreloj (1986), Habitaciones Extranas (1987) and Carrousel (1988), all of them produced by musician Andrés Calamaro. They are invited to the 1988 Viña del Mar Festival where they are awarded a silver torch. After Enanitos Verdes published their album "Había una vez…" they announced their separation, according to the members to have a break and carry out solo projects such as Cantero who launched as a soloist.

They returned in 1992. Their most famous songs are "Tu carcel", "Lamento Boliviano" and "Luz De Día".

Charly García is a Argentinian rock musician and got his start in his teenage ages as he started Sui Generis with his classmate Nito in the 70s.

he would go on to make another group in his adult years called PorSuiGieco and La Máquina de Hacer Pájaros, it jumpstarted rock in latin america, they didn't last long and he would have a pause to go to Brazil, come to argentina back to start Serú Girán and become one of the most successful bands from the 70s, he then went on to have a solo career after that

his most famous songs are "Tu amor" "Fanky" And "Influencia" below is fan submitted propaganda

"Es un demente, se tiró de un noveno piso, es anarquista, mostró el culo en un recital, tiene vitiligo y le hace el bigote blanco y negro, bardeaba siempre a los milicos, es un hombre trola, he has it all"

"NO PUEDE NO TENER A CHARLY GARCIA. bowie latinoamericano antes de que existiera bowie. sobrevivió un piscinazo. que sería de la música de nuestro continente sin el!!!!!"

"Ícono del rock argentino, escribió poesía incomparable + es re buena fuente de memes. Lit qué mas querés"

"Bigote multicolor, decirle a la policía “no es mi culpa que usted no haya estudiado”, tirarse de un 8vo (?) piso a una pileta en Mendoza, autointernarse, su flirteo con Susana Giménez, tantos otros momentos, ser el músico más influencias del rock and roll Latino. SE PUEDE PEDIR MÁS? SAY NO MORE."

[xjulixred45x]

Sinistier!AU! Invincible/Mark Grayson x Lectora Malvada(TRADUCCIÓN)

acabo de ver el final de temporada de Invencible y MAMITA que material de escritura! y justamente me vino este pensamiento a la mente.

¿viste al Mark/Invencible malvado con traje negro y capa? por alguna razon me dio vibras de Adan de Hazbin Hotel😅🤣 y mientras desarrolla esta idea recorde lo que dijo Armstrong de que en otras realidades la familia de Mark se le une junto a su padre. y pensé...

¿que pasaria si en esa realidad su Lectora fuera una aliada?

primero que nada porque me ENCANTA el tropo de la pareja de villanos, y en cierta forma para ser mas diversos en cuanto a los Mark alternos.

me imagino que con este Mark(considerablemente mas sadico y brutal) su s/o también ES considerablemente sádica y brutal, por lo mismo es que se vuelve su aliada en la conquista de la tierra. es como su Lute.

puede que se hayan conocido antes de toda la conquista, puede que simplemente s/o haya sido uno de los humanos en aliarse a los viltrumitas mas "interesantes" por su gusto por la violencia, puede que hayan sido anteriormente heroes pero se pasaron al lado oscuro cuando ocurrio la conquista, indiferente de esto, llamaron la atención de este Invencible y realmente les gusto.

se convirtierte en algo asi como su teniente, quien se encarga de los asuntos que Invencible no, una traidora a su propia raza, un simbolo de miedo, y Mark la ADORA por eso.

le encanta! la ultraviolencia que muestra, la crueldad que llega a tener contra los civiles, lo bien que se ve con sangre, es como si ambos compartieran patio de juegos "lo tuyo es mio y lo mio es tuyo... para romper"

este Mark definitivamente alienta la personalidad violenta de su s/o y no lo para NADA ¿lenguaje excesivamente vulgar? le da risa ¿ideas extremadamente crueles de como romper el cuerpo humano? ¡el quiere probarlo! ¿s/o quiere practicar tiro al blanco con los protestantes del otro dia? se fijará si queda alguno de la sesion anterior. entiendes lo que digo.

creo que fuera de la privacidad, s/o le gustaría llamar a Mark "señor" simplemente para molestarlo un poco, aunque tambien es poe referencia a su posición de "teniente". solo s/o puede llamarlo asi, alguien mas y *boom* fuera mandibula.

algo de Angustia que se me ocurrió para estos dos, de forma similar a GuitarSpear, es el escenario de si este Mark fuera atrapado o, en el peor de los casos, asesinado.

imagínate, s/o llendo a desenterrar a Invencible de los escombros en los que cayo, horriblemente herido, con la máscara fuera, sonriendo mientras s/o le grita frenéticamente que se quede con ella, que se mantenga despierto, que NO la deje...

en el "mejor" de los casos s/o continúa con la conquista por su cuenta para "honorar" a Mark y fallece como parte del imperio viltrumita.

en el "peor" de los casos ella muere poco después de Mark al ya no tener a su super novio malvado cuidandole la espalda.

de cualquier manera, una extrañamente saludable pareja de sádicos hijos de perra.

[jazzandother-blog]

Quincy Jones: “Frank was my style. He was hip, straight up and straight ahead, and, above all a monster musician. I loved him, man, I admit it, I loved him as much as anyone else I ever worked with, because there was no gray to the man. It was either black or white: If he loved you, there was nothing he wouldn't do for you. If he didn't like you, shame on your ass. I know he loved me too. In all the years of working together, we never once had a contract - just a handshake. The Sinatras always made me feel like part of their family, children, grandchildren, and all.”

Photo: Frank Sinatra and Quincy Jones record 'It Might as Well Be Swing' with Count Basie and his band, 1964.

Listen: "It Might as Well Be Swing" here

Quincy Jones: "Frank era mi estilo. Estaba de moda, era recto y directo y, sobre todo, un músico monstruoso. Lo amaba, lo admito, lo amaba tanto como a cualquier otra persona con la que haya trabajado, porque no había grises en ese hombre. Era blanco o negro: Si te quería, no había nada que no hiciera por ti. Si no le gustabas, qué vergüenza. Yo también sé que me quería. En todos los años que trabajamos juntos, nunca tuvimos un contrato, sólo un apretón de manos. Los Sinatra siempre me hicieron sentir parte de su familia, con hijos, nietos y todo".

Foto: Frank Sinatra y Quincy Jones graban 'It Might as Well Be Swing' con Count Basie y su banda, 1964.

Escucha: It Might as Well Be Swing aquí

Source: Groovy Records

[is-she-suffering]

11/2000 Alternative Press - Crispin Gray interview

QUEEN ADREENA

WHO > Guitarist Crispin Gray and singer Katie Gartside [sic] were the braintrust behind post-punk glam-slammers Daisy Chainsaw, arguably one of Britain’s most exuberant acts. They recorded a driving album for A&M (1991’s Eleventeen) before Gartside [sic] got fed up with the constant in-fighting and quit in 1993. Gray and the remaining members hobbled around for a couple years, changing the name to Dizzy Q. Viper before imploding in 1997. In 1998, Gartside [sic] and Gray frequently ran into each other in London  and decided to make music together again.

SOUND LIKE > Gray’s Killing Joke-meets-T. Rex guitar work is still furious, but it’s not the only weapon in the Queen’s court. Gartside [sic] can still babble like a Tourette’s-stricken Yoko Ono, but prefers to deliver powerful vocal performances and hushed dynamics Liz Fraser would kill for. American drummer Billy Freedom and bassist Orson Wajih round out the quartet.

WHAT’S NEXT > The band did three showcase dates in America last year and are expected to sign a U.S. deal shortly. They are currently working on their second album.

SUGGESTED LISTENING >>> Taxidermy (BLANCO Y NEGRO UK)

CRISPIN GRAY GETS BEHIND ROCK’S NEW ROYALTY

So is the creative team of Gray and Gartside [sic] the classic co-dependent relationship? Absolutely! Both of us thought, “Well, we don’t ideally want to work with each other, but we probably should, otherwise life is just going to go by.” We both knew that by working together we were more likely to cause a stir [in the music scene]. We still fight like mad, but we’re far enough down the line that we just say, “Let’s get on with it.”

While there’s energy on Taxidermy, it’s not as manic as Daisy Chainsaw. Was that a conscious decision? It was from Katie’s angle. She fought against my heavy guitar stuff, but I think that came from the two of us trying to learn how to write together. We were struggling to figure each other out in the songwriting department. It’s not quite as unhinged as Daisy Chainsaw, but I expect the next record to be more full-on than Taxidermy.

Was reuniting with Kate [sic] a reaction against the state of British music? There doesn’t seem to be a lot of great rock music from England like there was 10 years ago. We were pissed off with the mediocrity of it. Britpop wasn’t very interesting for me, either. That was England slapping itself on the back and saying how great that our new bands sound like the Beatles, the Kinks and the Who. Now that that’s not there anymore, music fans are looking at heavy rock. Melody Maker even looks like Kerrang! now. Except Kerrang!’s writers are genuine music fans.

When you play live, who are the Queen’s subjects? Most of them are young people wearing T-shirts of American rock bands. When we opened for Incubus in England, people threw things at us, but in the rest of Europe, the crowds were really responsive. I think there’s this huge divide between America and England at the moment - other than Britney Spears and the Spice Girls.

[manicato]

Daka Taíno y estoy aquí.

I was the blogger Triguenaista/Inaruri who was stalked and harrassed for 10+ years, while homeless, by Keyla Rivera and her anti-indigenous group “This-is-not-taino". Keyla Rivera, of Florida and Orocovis, PR, a white Puerto Rican, was mostly responsible for this racist behavior.

Since in the last ten years, I have CONTINUED to see my name thrown around as a "validated pretendian/fraud" because of the now-exposed Keyla's behavior- We're just going to need to address it. And since I was doxxed by them, and my full name has been shared with you all, I'm going to go ahead and show you some documents that that hate-group wasn't willing to show.

Let's start with a family tree- ya?

Avelino, was born into slavery in Puerto Rico, approximately 1865, in Arecibo Puerto Rico. To the best of my knowledge (and factoring in the DNA test), he was Afro-Taíno, with strong Nigerian/Western Bantu roots. As noted on the last published Registro Central de Esclavos of 1872 (page 3, 9th person recorded), he was a natural-born Puerto Rican (Natural de Oto Rico).

 After abolition in 1873, like many others, Avelino was forced to continue working for 3 to 5 more years. Do Barbara Balseiro (the indicated slave owner) had a working relationship with Felix Marengo y Poggi, and was known to send slaves to work at his plantations.

Through research (1910 census), I found that Maria Baerga y Rivera De Quiñones was a "Mulatto" housekeeper for the Felix Marengo y Poggi in the 1910’s. It is likely that this is where Avelino met her daughter Maria Quiñones Baerga and developed a relationship.

They had son Felix (recorded as negro on census documents, until adulthood/WW2, where he is then recorded as blanco/brown toned (on his Draft card), who married Carmen Martinez.

This is Carmen’s Acta de Nacimiento which indicates race as “Mestiza”, clearly indicating not only direct Taíno heritage/ancestry, but a connection to an existing community as that was the only circumstance in which this term was legally used in PR when they started to write Taínos out of the country. It was and is currently illegal to list someone's race/ethnicity in PR as indigenous. Mestiza and Trigeño is the ONLY exceptions for those with concrete connections.

A Close-up:

On the naciemnto form above her mother is cited as “Vincenta/Vincenda”, from/born in Jayuya. There is a note about her grandparents in part 3. “Ambos de raza mestiza”, Ajiubro Martinez and Juana Martinez from Morovis.

According to family oral history, Carmen Martinez came from a community/family that took care of the Caguana Indigenous Ceremonial site of Utuado before the Instituto de Cultura Puertorriqueña took over with formal protections in 1955.

There may be a relationship between her and one of the 60 Puerto Rican indigenous children taken to the Carlisle Indian School in 1901. Three Martinez children were enrolled there, Provindentia, Levia, and Miguel. My best-informed guess is Provindentia Martinez may be my 2nd great-grandmother as “Vincenta” could be a derivative of the name. If it was Provendentia, she would have been the right age to have a child, settling down in PR after traveling to NY for a few years after her time at the Carlisle School, as recorded in their records. Until better clarification can be obtained, this is just speculation.

Carmen would make and maintain small bohio-like structures in the backyard of the family Utuado home (many were destroyed after Hurricane George, and the rest after Hurricane Maria), to house Semisakis and Opias.

My grandfather, Luis Alfonso Quiñones Sr. was extremely proud and vocal of our rich Taíno heritage and culture. He made sure that we knew our roots and how precious our indigenous ancestry is, and taught us all he could remember.

In terms of direct lineage, my direct Taíno lineage can be traced from my 2nd great-grandfather Avelino, my great-grandmother Carmen Martinez (whom I had the honor of knowing and having a relationship with as a child living in Puerto Rico), and my own grandfather Luis Alfonso Quiñones Sr (who I grew up with).

If "cultural connection"/"growing up in a continuously connected family" was your issue with my indigenous status- clearly I did and have the documentation to show my family's continuous connection.

If it's blood quantum/documented indigenous status- I'm between 3/8th and 7/16th according to my DNA. With the documents I have here, if Tainos were a federally recognized tribe in the US, by the BIA standards, I'd be eligible for enrollment.

And this is all without discussing how history and the laws affect lineage recording or the "Whitening of PR". My family's oral history should have been believed to start with, but now the documentation can be found online. You have your "proof" on the two points yall bring up the most.

So you see why the younger me couldn't figure out why everyone just believed the lies being told? How even now that this hate group was exposed, I don't get why I am the scapegoat for people trying to make a point. Like, I wasn't and am not an educator, nor was I trying to make money in any way (and I was homeless- I needed money and yet DID NOT ASK). I was literally just existing on this hell site and became a target. But yall handed over your cash really quick to this hate group, validated them, and were so shocked when they ended up being frauds and provided yall with NOTHING.

You all believed a white puertorrican that BIPOC's could not be trusted to be indigenous (look at the list, it is EXCLUSIVELY Black and Brown peoples and anyone who stood up for them. It wasn't a "frauds list" until after we all left the platform. That was added AFTERWARDS. And yes, some of us are STILL friends because we were here for the community, not cash or fame). You continue to keep that belief every time you defend it. In the end, ya'll are just being racist and need to stop hurting an already small af community.

Taínos exists. We are here. We are NOT recognized by the US gov't yet. To imply our self-determination takes away from indigenous people is to fundamentally not understand what it is to be indigenous. And, it implies you see the indigenous status as money and not actually living people with complex needs and issues.

I'm glad the rest of the internet has unlearned what this group put into the world about Taínos, but now I'mma need yall on here to minimally stop throwing my name around. Stop it. I am exactly who I have been telling you all I am, whether you accept that or not is NOT my problem. I have the documentation, which is more than can be said about anyone yall have believed in the past.

At least I know who my people are, grew up knowing, and can live happily knowing there are people who disagree in our community because we aren't a monolithic group. Yall just need to treat us as humans.

For those reading for the history of it all- I'm glad to help. If you're trying to figure out your family's documentation- I got great info on how to find the information and who to contact. If you're looking for cultural resources- tainolibrary is LITERALLY the best source and it's free (Note: I have no affiliation with them. I genuinely believe they are a healthy and safe resource for those seeking reconnection/validation).

For those realizing they fucked up in believing my stalker- I accept my apologies in cash.

[profesor-javaloyes]

En mi “molesta” opinión

Abbey Road, mitos y (cruda) realidad.-

"Más vale honra sin barcos, que barcos sin honra" (Casto Méndez Núñez, almirante español en la guerra Hispa-Americana)

“Mejor es conservar honra y barcos” (viejo Profesor Javaloyes, contra almirante y siempre contra todo y todos)

Comencemos, queridos niños, con el mito. Abbey Road es el undécimo álbum de estudio publicado por la banda británica de rock The Beatles, y lanzado al mercado el 26 de septiembre de 1969 en Reino Unido por Apple Records. Se trata del último álbum grabado por la banda, ya que Let It Be, lanzado en 1970, había sido grabado con anterioridad.

Eso es lo que cuenta la versión oficial. Pero antes de pasar a la verdad prosigamos brevemente con el mito. Esta portada hizo creer a mucha gente que Paul está muerto: John Lennon iba de blanco, como un sacerdote dijeron. Imagino que se refieren a un santero cubano. Ringo Starr va vestido de negro, como si fuera de luto (o quizá porque se había convertido en gótico o emo). Paul McCartney iba descalzo y descoordinado del grupo, como si estuviera muerto (estaba borracho, obviamente). George Harrison iba vestido de sepulturero (no tenía ropa que ponerse). Como verán, eso no es más que un mito.

La verdad. En 1969 The Beatles se pusieron en contacto con el viejo Profesor Javaloyes solicitando consejo y apoyo. El grupo estaba ya disuelto pero querían crear un último álbum que sonara diferente a lo anterior, nada de Phil Spector y su “muro de sonido”, lo que querían era un final coronado con un sonido ponderado. Y yo, con múltiples ocupaciones perentorias pero que en el fondo soy un cínico (filosófico) sentimental, dije que sí. Pero con la condición de que se grabara en mi antiguo estudio de grabación situado en lo que es hoy la Casa Consistorial de Santa Cruz de Tenerife, en la calle Méndez Núñez.

El tiempo apremiaba y en cuanto llegaron nos pusimos en ello dedicando todo el tiempo a grabar y la producción musical para lo que conté con mi – hasta entonces – ingeniero de sonido Jorge Martín, un chicharrero, un tipo del barrio del Toscal de toda la vida y que al no superar los exámenes para ingeniero de canales y puertos - y ante la exigencia de sus padres que lo querían con un título – se metió con lo de ingeniero de sonido y coló - vieron el título de ingeniero, no leyeron más y se dieron por satisfechos.

El último punto a resolver fue la portada. ¿Qué hacemos Profesor?, no hay tiempo y tenemos que volver a Londres ya. Entonces les dije, “salgamos a la calle Méndez Núñez y tiremos unas cuántas fotos, tengo la intuición que será algo sencillo pero que pasará a la historia de generación en generación”. Y así lo hicimos.

Pero al su regreso a Inglaterra recibí una llamada de los chicos pidiéndome disculpas y solicitando mi bendición para hacer unos cambios. Y es que los ingleses son ante todo ingleses y todo lo tienen que hacer a su estilo - es decir al revés - y que su marca se imponga. “Es que ha intervenido no sólo la casa de discos sino el parlamento y la Casa Real y la portada no la admiten de ninguna manera” me dijeron entre inconsolables lágrimas. “Naaaaahhhhhhh, no preocuparse les dije, renuncio a ser nominado como autor de todo el trabajo, la producción, la música, los arreglos y también la portada. Pero con la condición de me reservarme el derecho de publicar la verdad pasados cincuenta años”.

“¡Hecho!” dijeron a cuatro veces muy armonizadas. “¿Quién se acordará de nosotros cuando hayamos muerto?” debieron pensar. Y así fue como se desnaturalizó toda la grabación ponderada. Proclamaron que se había realizado en los estudios de Abbey Road, retocaron la foto para que pareciera hecha en la misma calle y aquí terminó la historia de The Beatles como grupo.

El problema más difícil de sortear fue el de Jorge Martín que se negó a ceder los derechos de su trabajo en la grabación. Después de tiras y aflojas y mucha presión – y tras requerimiento personal de la reina al viejo Profesor Javaloyes como Lord Protector de la Casa de Windsor de Inglaterra – me reuní con Jorge y le dije; “mirá pibe, te contratan en los estudios Abbey Road, te incluyen en los créditos de casi todos los álbumes anteriores y la reina te concede el título de Sir (se pronuncia ser)”. Jorge se quedó pensando durante un instante soñando con libras esterlinas y dijo “Ser o no Ser, y si no estar entonces no Ser… ¡trato hecho!.

Y de ese modo Jorge Martín, canario, tinerfeño y del Toscal de toda la vida se convirtió en Sir George Martin, inglés de rancio abolengo con toda la historia que se inventó después acerca de su figura.

“Yo te amo más que a mi vida, mi vida eres tú”. Pero si mi vida eres tú y yo te quiero más que a mi vida, quiere decir... ¡que te quiero más que a ti misma!.” (Profesor Javaloyes en discusión ponderada – inútilmente – con Rubén Darío sobre uno de sus más famosos poemas)

[sidrial]

Pick 1 album and discuss.

If you don’t recognize any of these, listen to at least 2 first. I will add music 🎶 links in the comments.

#Alsmusiccafe

Episode 238

10 15 23

#X #Placebo #Everythingbutthegirl #blacksabbath #heavenandhell #ronniejamesdio #rjd

[scotianostra]

Happy Birthday Alan McGee born 29 September 1960 in East Kilbride.

  Alan grew up in Glasgow and attended King's Park Secondary School, where he met future Primal Scream founder Bobby Gillespie. McGee left school at 16 with one O grade McGee and Gillespie were heavily into punk rock, and they joined a local punk band, The Drains, in 1978.

McGee went on from there to found a successful club, The Living Room, in London, then buoyed by the success of their club, McGee funded the record label Creation, with two friends. Named after the ‘60s mod rock outfit, Creation Records’ first release was by the Legend! It was a 7" so bad that McGee reportedly hid most of the records underneath his bed, eventually melting them down after a dispute with the band.

He then signed up The Jesus & Mary Chain to his fledgling label. Due to their quite timely sound and some major championing from the star-making NME, the Mary Chain’s “Upside Down” was Creation’s first outright hit single, spending seven weeks atop the U.K. indie charts. Although the band eventually signed to the major subsidiary Blanco y Negro, McGee was able to reinvest the profits which provided them with enough to sign a string of artists who enjoyed success in the Indie charts. Primal Scream’s Screamadelica was a major breakthrough for McGee and the label.

Not the most financially astute man McGee was still losing money, even after he sold 49% of Creation to Sony the signing of bands like Sugar, the Boo Radleys, Teenage Fanclub should have helped but didn’t.

Things only changed when a band from Manchester fronted by a pair of brothers forced their way on-stage at a gig in Glasgow attended by McGee. Impressed by their attitude, he signed Oasis on the spot, resulting in a partnership that would launch both the band and the label into previously unimaginable success. Thanks to the deal in place with Sony, which quickly moved to shape up the anything-goes business style of the Creation offices, Oasis released a series of singles and a debut album that were met with pandemonium across the globe.

McGee a brick wall however when the hectic life of running a successful label and the years of high stress and out-of-control drug use saw him suffering a complete nervous breakdown. He spent the next two years in recovery. He gradually became less and less involved in Creation as Sony executives took over the label.

Alan McGee’s role in shaping British musical culture over the past thirty years is hard to overstate. As the founder of Creation Records he brought us the bands that defined an era. A charismatic Glaswegian who partied just as hard as any of the acts on his notoriously hedonistic label, he became an infamous character in the world of music.McGee continues to have an impact on independent music like perhaps no other, he has been managing bands in recent years including The Jesus and Mary Chain and The Happy Mondays, in 2018 he launched a new record label, Creation23 saying “I want to put records out again…I’ve missed it, 23 is my lucky number”

Bobby Gillespie sums Alan McGee up nicely “McGee was our Malcolm McLaren and Tony Wilson. An instigator and motivator, a born up setter. I’ve never met anyone like him and neither have you.”

Alan admits that during those years ‘We all took too many drugs, my behaviour was quite mad’  In a recent interview he says  I'm glad I'm sober and not an absolute nut job

McGee’s autobiography, Creation Stories, was optioned by Burning Wheel Productions and was adapted into a film screenplay by Monday’s birthday boy  Irvine Welsh and Dean Cavanagh. Ewen Bremner, best known as Spud in Trainspotting, takes the central role, Danny Boyle is executive producer.

It’s an “okay” film, definitely not of the standard of Trainspotting, but as you would expect with Bremner in the lead role, it raises a few laughs.  Richard Jobson plays Alan’s father, Welsh, as usual makes a cameo appearance.

[odk-2]

The Jesus and Mary Chain - Sidewalking (Extended Version) (1988) Jim Reid / William Reid from: "Sidewalking" (12"Maxi-Single) "The Sound of Speed" (1993 Singles Compilation)

Alternative | Noise Rock | Post-Punk

JukeHostUK (left click = play) (320kbps)

Personnel: Jim Reid: Vocals / Guitar / Production William Reid: Guitar / Production

Produced by John Loder / The Jesus and Mary Chain

Recorded: @ Southern Studios in the Wood Green area of London, England UK 1988

Released: March, 1988

Blanco y Negro Records (UK) Warner Bros Records (US)

Jim Reid | William Reid | John Loder

[sonyclasica]

COLIN STETSON

BANDA SONORA ORIGINAL DE LA SERIE DE TV ANIME UZUMAKI

Milan Records anuncia el lanzamiento de UZUMAKI (ANIME SERIES ORIGINAL BANDA SONORA) con música del saxofonista, multiinstrumentista, cantautor y compositor ganador del premio GRAMMY® COLIN STETSON.

Ya disponible en formato digital, el álbum cuenta con una banda sonora original escrita por Stetson para Adult Swim y la serie de televisión animada de IG USA basada en el icónico manga de terror de Junji Ito. Además del lanzamiento digital del álbum, la banda sonora se prensará en vinilo de vinilo en espiral en blanco y negro de 180 gramos y se alojará en una chaqueta de un solo bolsillo con ilustraciones personalizadas ilustradas por el propio Junji Ito específicamente para el lanzamiento. Colaborador muy codiciado de artistas como Lou Reed, LCD Soundsystem, The National, Bon Iver y muchos otros, así como un aclamado compositor con una diversa lista de bandas sonoras que incluye Hereditary, The Menu, Red Dead Redemption 2 y más, Stetson ahora hace su primera incursión en el mundo del anime japonés con Uzumaki.

Una cautivadora clase magistral de horror psicológico y obsesión, Uzumaki se centra en los residentes de una ciudad japonesa a medida que se ven cada vez más consumidos por una extraña maldición que involucra espirales. A medida que avanza la historia, las espirales continúan causando estragos en la ciudad tanto física como mentalmente, culminando en una exploración llena de terror de lo desconocido and the power of obsession. Al igual que la historia en sí, la espiral fue el punto de partida para el compositor Colin Stetson cuando se acercó a la partitura, observando las diversas formas en que una espiral podría traducirse a través de una lente musical.

De naturaleza casi kismet, un paralelismo inicial obvio para Colin fue su propio estilo de actuación, es decir, la técnica de respiración circular con la que se ha convertido en sinónimo desde el comienzo de su carrera. A lo largo de las 13 pistas de la partitura, su singular técnica se manifiesta en melodías de saxofón serpenteantes, sus notas sostenidas se repiten y se repiten para crear un fondo de sonido hipnótico que atrae a los espectadores aún más a la historia en pantalla. Entrelaza con maestría capas distorsionadas de vientos de madera y cuerdas (con cuerdas interpretadas por el colaborador frecuente Matt Combs), la naturaleza cíclica de la partitura se vuelve sobre sí misma y subvierte las pistas pasadas a medida que avanza para reflejar el descenso de la ciudad a la locura y el caos. El resultado es una fascinante banda sonora original que se asemeja profundamente a la temática de la serie, desde su técnica hasta la instrumentación y la progresión sonora, la música proporciona un compañero constante a los horrores que se desarrollan en la pantalla.

Sobre la banda sonora, el compositor Colin Stetson añade: "Me encantó el tiempo que pasé haciendo esta música y habitando el extraño, hermoso, horrible y espectacular mundo en espiral que creó Ito-Sensei". 

Coproducido por Adult Swim y Production IG USA, Uzumaki se estrena en Adult Swim el sábado 28 de septiembre a las 12:30 AM durante el bloque Toonami, con nuevos episodios disponibles para transmitir en Max al día siguiente. Los nuevos episodios se emitirán semanalmente los sábados en japonés con subtítulos en inglés, con bises doblados en inglés los jueves a las 12:30 a.m. a partir del 3 de octubre.

ACERCA DE UZUMAKI

Kirie intenta escapar de su ciudad Kurouzu-cho, donde los residentes se obsesionan con las espirales debido a una maldición inexplicable.

CONÉCTATE CON UZUMAKI

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#uzumaki

TRACKLISTING –

1. Uzumaki

2. Join me in the spiral

3. The eye follows the pattern

4. Obsession

5. For a split second, the drifting smoke

6. Kirie and Shuichi

7. Ruins Alive

8. The Labyrinth

9. Eerily in the dark

10. Hey! Are you trying to escape?!

11. The Eternal Spiral

12. Twisted souls

13. Medusa

ACERCA DE COLIN STETSON

La producción discográfica de Colin Stetson, por no hablar de las colaboraciones en estudio y en directo -con, entre otros, Laurie Anderson, LCD Soundsystem, The National, Chemical Brothers, Bon Iver y Bill Laswell- ha demostrado ser tan prolífica como digna de elogio. Desde los primeros años del siglo XXI, se ha ganado una merecida reputación como un músico excepcional, su devoción por la artesanía consumada, su compromiso con la innovación indiscutible. Conocido por sus interpretaciones asertivas y poderosas con el saxofón, principalmente bajo y alto, pero también soprano, tenor y barítono, durante muchos años fue luchador, un deporte a cuyos "extremos físicos locos" atribuye su estilo, junto con, entre otras cosas, el amor por actos como Pixies y Fugazi. Sin embargo, se siente igualmente cómodo, sea cual sea el contexto musical, con el clarinete, la flauta, el corno francés y la corneta. Incluso se podría decir que opera en un campo propio.

Fue en la universidad donde Stetson comenzó a tocar regularmente, "buscando, alcanzando y explorando el instrumento" con Transmission (más tarde Transmission Trio), antes de dirigirse a San Francisco después de graduarse y, seis años más tarde, a Brooklyn. Se hicieron contribuciones a las grabaciones de otros artistas, sobre todo a Tom Waits, y también hizo sus propios discos discretos. Sin embargo, no fue hasta 2007 que  se lanzó su primer álbum, New History Warfare Vol. 1, y esto coincidió con su reclutamiento por Arcade Fire, con quienes tocaría hasta 2010. Ese año se mudó a Montreal para unirse a su futura (pero ahora ex) esposa, Sarah Neufeld de la banda, con quien grabó Never Were The Way She Was de 2015, y al año siguiente lanzó Sorrow, una extraordinaria reinvención de la legendaria Symphony of Sorrow de Gorecki. En el medio, completó la  trilogía New History Warfare, una ilustración virtuosa de la "construcción del mundo", como él la llama, que es fundamental para gran parte de su trabajo en solitario, mientras que All This I Do for Glory de 2017  consolidó su reputación, ganando múltiples nominaciones a las listas de Álbum del Año de los críticos.

La naturaleza de Stetson es desafiantemente decidida, y su enfoque obstinado siempre es evidente, sus motivos en picado, dando vueltas y volando muestran tanta sensibilidad como fuerza. Esto es algo de lo que también dan fe de sus sorprendentes -y diversas- contribuciones a las bandas sonoras de películas, televisión y juegos, incluyendo, más recientemente, Hereditary y Red Dead Redemption 2 de 2018, Among The Stars de 2021  y  Texas Chainsaw Massacre y The Menu de 2022. Como observó una vez la distinguida locutora Mary Anne Hobbs, Colin Stetson es "un artista que puede cambiar la forma en que realmente piensas sobre la música".

[wearelatinamericanrockers]

Legião Urbana was a Brazilian rock band that was active between 1982 and 1996.

Formed in the early 1980s, after the disintegration of Aborto Elétrico, a seminal band of the Brasilia punk scene (and which also gave rise to the group (Capital Inicial). Legião Urbana released a total of sixteen albums, including studio, compilation and live albums, with a total of more than 20 million records sold, making this the third best-selling band of the EMI record company in the world, with an average 250,000 records sold per year

Their most famous songs are "Tempos Perdidos", "Pais E Filhos" and "Faroeste Caboclo".

Charly García is a Argentinian rock musician and got his start in his teenage ages as he started Sui Generis with his classmate Nito in the 70s.

he would go on to make another group in his adult years called PorSuiGieco and La Máquina de Hacer Pájaros, it jumpstarted rock in latin america, they didn't last long and he would have a pause to go to Brazil, come to argentina back to start Serú Girán and become one of the most successful bands from the 70s, he then went on to have a solo career after that

his most famous songs are "Tu amor" "Fanky" And "Influencia" below is fan submitted propaganda

"Es un demente, se tiró de un noveno piso, es anarquista, mostró el culo en un recital, tiene vitiligo y le hace el bigote blanco y negro, bardeaba siempre a los milicos, es un hombre trola, he has it all" "NO PUEDE NO TENER A CHARLY GARCIA. bowie latinoamericano antes de que existiera bowie. sobrevivió un piscinazo. que sería de la música de nuestro continente sin el!!!!!" "Ícono del rock argentino, escribió poesía incomparable + es re buena fuente de memes. Lit qué mas querés" "Bigote multicolor, decirle a la policía “no es mi culpa que usted no haya estudiado”, tirarse de un 8vo (?) piso a una pileta en Mendoza, autointernarse, su flirteo con Susana Giménez, tantos otros momentos, ser el músico más influencias del rock and roll Latino. SE PUEDE PEDIR MÁS? SAY NO MORE."

[priokskfm]

MIX OF The DAY! Listen UP! - House Heroes | Todd Terry by House Salad Music House Heroes Todd Terry New York, USA | Inhouse Records Grammy Award nominated DJ/Producer Todd Terry has been engulfed in dance music since he first started listening to European dance music records while growing up in Brooklyn. Already devoted to turntables, he heard something different in those tracks, and he “went for the difference. I never got a break in New York, but England happened right away, so I catered to them.” In any event, the Todd Terry sound was born. By 1988, Todd Terry hit big in England and Europe, and his notoriety was making its way back to the U.S. In addition to DJ appearances, Todd was cutting his classic underground tracks A Day In The Life, Weekend, and Can You Party, released under monikers such as the Todd Terry Project, House Of Gypsies, and Royal House, all considered essential and ground breaking. In the mid 90’s, the Ministry of Sound’s eponymous UK label released A Day In The Life, a collection of Todd Terry tracks that had been causing dance floor panic. That then led the way to a deal with Mercury Records allowing him to set up a context in which to work with his favourite singers and performers. The first release, Keep On Jumpin’ on featured a vocal workout from super-divas Martha Wash and Jocelyn Brown, together for the first time ever. The song became a top 10 UK crossover pop hit and worldwide smash. Todd followed with the anthem ‘Somethin Going On’, a top 5 UK crossover pop hit. All the while, Todd continued to break new ground as a Producer/Remixer. From SNAP to Annie Lennox to George Michael to Bjork, Todd’s mixes bridge the ground between club cool and commercial accessibility. In 1995, his remix for Everything But The Girl’s Missing became a worldwide smash, giving the British duo their first ever hit. He then rode the charts with mixes for Garbage (Stupid Girl), The Cardigans (Love Fool), Everything But The Girl (Wrong), 10,000 Maniacs (More Than This), Jamiroquai (Alright), The Cardigans (Been It), and The Lightning Seeds (You Showed Me),.among others. He also produced a Robin S track (Givin’ You All That I’ve Got) for the multi-platinum Space Jam soundtrack. INK/Distinctive Records 2005 release The Todd Terry Trilogy: Past, Present & Future on 3 x CD & 10 x 12” vinyl has inspired Todd fans both old and new with over 30 Todd classics and 10 new Todd songs. Todd is also releasing a barrage of new singles on Blanco y Negro, Elementary Group, and Manifesto/Mercury (who are also re-releasing the ‘Keep On Jumpin’ and ‘Somethin Going On’ in 2006). Ministry of Sound has licensed Philippe B Vs. Todd Terry ‘Can You Feel It (Can You Party)’ for a major 2006 release, a new version of the Todd classic Royal House ‘Can You Party’. Todd Terry All Stars feat. Kenny Dope, DJ Sneak, Terry Hunter, & Tara McDonald’s ‘Get Down’ will be released in 2007 on Strictly Rhythm. This red hot single is the first proper original release on the re-launched legendary label. ‘Strictly Todd Terry’ compilation mixed by Todd Terry will be released in 2007 on Strictly Rhythm. Todd’s mix follows installments by Masters at Work and Tiefschwarz in this newly launched series. Todd is one of the world’s most celebrated figures in dance music. With almost two decades of dance floor domination under Todd’s belt the quality of his productions goes from strength to strength. Welcome to the church of house music presided over by Todd the God. Are you a believer? Tribute selected and mixed by Gabotron @https://ift.tt/QCHR5ST Listen here: https://ift.tt/ewQDj7l | www.priokskfm.online | https://ift.tt/yRvki4H

[onenakedfarmer]

ANDRÉS ELOY BLANCO "Angelitos negros"

Pintor nacido en mi tierra Con el pincel extranjero Pintor que sigues el rumbo De tantos pintores viejos Aunque la virgen sea blanca Pintale angelitos negros Que tambien se van al cielo Todos los negritos buenos

Pintor si pintas con amor Porque desprecias su color Si sabes que en el cielo Tambien ay tambien los quiere dios

Pintor si pintas con amor Porque desprecias su color Si sabes que en el cielo Tambien ay tambien los quiere dios

Pintor de santos y alcobas Si tienes alma en el cuerpo Porque al pintar en tus cuadros Te olvidastes de los negros

Siempre que pintas iglesias Pintas angelitos bellos Pero nunca te acordste De pintar un angel negro Un angel negro Un angel negro un angel negro

- First release by Toña la Negra in 1942

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First release by Toña la Negra in 1942

First Eartha Kitt recording in 1953