1977
Max
Television - Marquee Moon
Sex Pistols - Never Mind the Bollocks
Jackson Browne - Running On Empty
Lynyrd Skynyrd - Street Survivor
Ry Cooder - Show Time
Tom Waits - Foreign Affairs
Brian Eno - Before And After the Science
Steve Miller - Boof Of Dreams
Townes Van Zandt - Live Old Quarter
Joan Armatrading - Show Some Emotions
Enrico
> Television - Marquee Moon
> Sex Pistols - Never Mind the Bollocks
> Jackson Browne - Running On Empty
> Lynyrd Skynyrd - Street Survivor
> Ry Cooder - Show Time
> Tom Waits - Foreign Affairs
> Brian Eno - Before And After the Science
> Steve Miller - Boof Of Dreams
> Townes Van Zandt - Live Old Quarter
> Joan Armatrading - Show Some Emotions
Hai dimenticato i più belli:
Steely Dan - Aja
Talking Heads - 77
Iggy Pop - Lust For Life
David Bowie - Heroes
Rino Gaetano - Aida
--
Enrico 'magic' - mma...@tiscalinet.it -
"Between thought and expression
lies a lifetime"
Stefano Andreozzi
Max ha scritto:
> 10 dischi del 1977 che vi consiglio....
> Sex Pistols - Never Mind the Bollocks
suonato male e cantato ancor peggio...wow! masochistico!
fu...@caen.it
Sperando di non essere bersagliato per i miei gusti & idee (come mi pare
sia la norma qui dentro) aggiungo
Judas Priest - Sin After Sin
Motorhead - Motorhead
Rush - A Farewell To Kings
Niccolo'.
Sent via Deja.com http://www.deja.com/
Before you buy.
GhouL
"Stefano Andreozzi" <stef...@tiscalinet.it> ha scritto nel messaggio
> suonato male e cantato ancor peggio...wow! masochistico!
Hey hey...piano!!
Ma quello e' punk, ricordi????
Il punk e' suonato male e cantato peggio...senno' non si chiamerebbe
punk.....
G h o u L
Butthole Surfer (AKA Turnpike)
news:90mmi4$nde$1...@news6.svr.pol.co.uk...
IMHO Mancano:
Clash "S/T"
Ramones "Rocket to Russia"
Throbbling Gristle "Second annual report"
Wire "Pink flag"
Jam "In the city"
Suicide "S/T"
Brian Eno "Before and after science"
Ciaocciao
BS
Gianluca
<3A2F4A9B...@tiscalinet.it>...
> Max ha scritto:
> > 10 dischi del 1977 che vi consiglio....
> suonato male e cantato ancor peggio...wow! masochistico!
...eppure uno dei migliori dischi di sempre (per intenderci, uno di quelli
che non può mancare)...ma guarda un po' quanto è strana la vita...cmq mi
sembra strano consigliare questo senza l'omonimo dei Clash (che forse è
pure meglio...)...G....
Gianluca
nell'articolo <rnNX5.52586$hk4.1...@news.infostrada.it>...
> "Max" <lar...@btinternet.com> ha scritto nel messaggio
> news:90mmi4$nde$1...@news6.svr.pol.co.uk...
> Clash "S/T"
> Ramones "Rocket to Russia"
La prima mancanza è quantomeno strana come già accennavo in altro post, ma
adesso che ci ripenso anche la seconda...
> Jam "In the city"
D'accordissimo
> Brian Eno "Before and after science"
Hey, questa c'è...lo so lo so, è davvero facile distrarsi...ciao...G....
Lenny
> > Brian Eno "Before and after science"
>
un altro paio di imperdibili (anche piů di molti che ho visto):
STEELY DAN aja
ELVIS COSTELLO my aim is true
--
Fabio Lenny
_______________________________________________
"...and i was out on the road
late at night
seen my pretty Alice in every headlight...
Alice... Dallas Alice.."
Davide Ripamonti
> Sperando di non essere bersagliato per i miei gusti & idee (come mi pare
> sia la norma qui dentro) aggiungo
>
> Judas Priest - Sin After Sin
> Motorhead - Motorhead
> Rush - A Farewell To Kings
Metallaro... grande. Cmq dove lo metti l'Alive II dei Kiss?
Davide
Manuela
....
>
> Television - Marquee Moon
Ottimo
> Sex Pistols - Never Mind the Bollocks
4 per il disco 8 per l'importanza storica
> Jackson Browne - Running On Empty
noioso
> Lynyrd Skynyrd - Street Survivor
brutto
> Ry Cooder - Show Time
noioso
> Tom Waits - Foreign Affairs
geniale.
> Brian Eno - Before And After the Science
Otto
> Steve Miller - Boof Of Dreams
quattro
> Townes Van Zandt - Live Old Quarter
Non conosco
> Joan Armatrading - Show Some Emotions
quattro
>
>
Talula
Enrico <mma...@tiscalinet.it> wrote in message
3A2F4403...@tiscalinet.it...
> Max wrote:
>
> Hai dimenticato i più belli:
>
> David Bowie - Heroes
ma come!!! hai rotto le scatole un mese con Bowie e ora te lo dimentichi??
:DD
T.
Francesco Giannici
> > Sex Pistols - Never Mind the Bollocks
> 4 per il disco 8 per l'importanza storica
Uh? E' perche'?
Perche' i Clash facevano bei dischi ed i Sex Pistols, ahinoi, ce li
dobbiamo portare dietro "per l'importanza storica", tipo nonnetti
rincoglioniti? Dopo tutto, in quel disco ci sono sempre "Anarchy in the
UK", "God save the queen", "Pretty vacant", "Submission"... non e' un
brutto disco!!
Comitato per la rivalutazione di "Never mind the bollocks".
--
Francesco Giannici
gian...@mbox.infcom.it
www.musicboom.net
wag
> Dopo tutto, in quel disco ci sono sempre "Anarchy in the
> UK", "God save the queen", "Pretty vacant", "Submission"... non e' un
> brutto disco!!
> Comitato per la rivalutazione di "Never mind the bollocks".
a me piace !!!
concordo con il buon Francesco e mi iscrivo al comitato...
I don't wanna holiday in the sun....
La Rana
>
> > David Bowie - Heroes
>
>
> ma come!!! hai rotto le scatole un mese con Bowie e ora te lo dimentichi??
> :DD
>
ehehehhe..
comuqnue e' vero.... ho sbagliato.... ero convinto che fosse del 1978....
inizio ad invecchiare e la cosa era fatta con la memoria...
(che figura di merda...) sigh....
Original Release Date: 1977
Original Label: Rykodisc USA
Number of Discs: 1
Mono/Stereo: Stereo
Musicians: Brian Eno; Robert Fripp; Carlos Alomar
Producer: David Bowie; Tony Visconti
Engineer: Tony Visconti; Colin Thurston
Studio/Live: Studio
Release Date on CD: 31-08-1998
Catalogue Number: CDP7977202
David Robert Jones, 8 January 1947, Brixton, London, England. One of the
great enigmas of popular music and certainly the most mercurial, Bowie
underwent a veritable odyssey of career moves and minor crises before
establishing himself as a major performer. He began playing saxophone during
his teens, initially with various school groups. School also contributed to
his future pop star career in a more bizarre way as a result of a playground
fight, which left the singer with a paralyzed pupil (being stabbed in the
eye with a school compass). Consequently, he had eyes of a different colour,
an accident that later enhanced his otherworldly image. In the early 60s,
however, his style was decidedly orthodox, all mod clothes and R&B riffs.
Over the next few years, he went through a succession of backing groups
including the King Bees, the Manish Boys, the Lower Third and the Buzz. In
late 1966, he changed his surname owing to the imminent emergence of Davy
Jones of the Monkees. During that same period,he came under the wing of
manager Kenneth Pitt, who nurtured his career for the remainder of the
decade. A contract with the fashionable Decca subsidiary Deram saw Bowie
achieve some high-profile publicity, but subsequent singles and a
well-promoted debut album failed to sell. Bowie even attempted a cash-in
novelty number, 'The Laughing Gnome', but the charts remained resilient to
his every move. Bowie persisted with mime classes while Pitt financed a
television film, Love You Till Tuesday, but it was never shown on a major
network. For a time, the star-elect performed in cabaret and retained vocal
inflexions that betrayed a strong debt to his idol Anthony Newley.
As the 60s wound to a close Bowie seemed one of the least likely pop idols
of the new decade. He was known only because of numerous advertisements in
the British music press, and was regarded as an artist who had released many
records for many labels without success. The possibility of reinventing
himself asa 70s pop star seemed remote at best, but in the autumn of 1969 he
finally broke through with 'Space Oddity', released to coincide with the
American moon launch. The novel tale of Major Tom, whose sojourn in space
disorientates him to such a degree that he chooses to remain adrift rather
than return to Earth, was a worthy UK Top 10 hit. Unfortunately, Bowie
seemed unable to follow up the single with anything similarly clever and
when 'The Prettiest Star' flopped, most critics understandably dismissed him
asa one-hit-wonder. Only weeks earlier, the American duo Zager And Evans had
enjoyed a far bigger hit with the transatlantic chart-topper 'In The Year
2525', the theme of which bore superficial similarities to Bowie's tale,
each dealing with possible future events and containing a pat moral. The
fate of Zager And Evans (instant obscurity) weighed heavily over Bowie's
fragile pop career, while an interesting yet patchy album named after his
hit provided few clues to his future.
A remarkable series of changes in Bowie's life, both personal and
professional, occurred in 1970. His brother Terry was committed to a mental
institution; his father died and, soon afterwards, David married art student
Angela Barnett; finally he dispensed with the services of his loyal manager
Kenneth Pitt, who was replaced by the more strident Tony De Fries. Amid this
period of flux, Bowie completed his first major work, an extraordinary album
entitled The Man Who Sold The World. With musical assistance from guitarist
Mick Ronson, drummer Mick Woodmansey and producer Tony Visconti on bass,
Bowie employed an arrestingly heavy sound, aided by the eerie synthesizer
work of Ralph Mace to embellish his chillingly dramatic vocals. Lyrically,
the album brilliantly complemented the instrumentation and Bowie worked
through a variety of themes including sexual perversion ('The Width Of A
Circle'), mental illness ('All The Madmen'), dystopianism ('Saviour
Machine') and Nietzschean nihilism ('The Supermen'). All these leitmotifs
were reiterated on later albums. The package was completed with a striking
cover revealing Bowie lounging seductively in a flowing dress. The
transvestism again provided a clue to the later years when Bowie habitually
disguised his gender and even publicized his bisexuality. With the
svengali-like De Fries aggressively promoting his career, Bowie was signed
to RCA Records for a reportedly large advance and completed Hunky Dory in
1971. The album was lighter in tone than itspredecessor, with Bowie
reverting to acoustic guitar on some tracks and exploring a more commercial,
yet still intriguing, direction. There was the catchy 'Changes', the
futuristic 'Life On Mars', tributes to Bob Dylan and the Velvet Underground,
and the contrastingly celebratory 'Kooks' and sombre 'The Bewlay Brothers'.
Hunky Dory was an excellent album, yet a modest seller. Bowie took full
advantage of his increasingly hip media profile by embarking on a UK tour in
which his outrageous costume, striking vocals and treasure trove of new
material revealed the artist in full flow. Up to this point, Bowie had
experimented with diverse ideas, themes and images that coalesced
effectively, though not necessarily coherently. The complete fusion was
revealed in June 1972 on the album The Rise And Fall Of Ziggy Stardust And
The Spiders From Mars. Here, Bowie embraced the persona of an apocalyptic
rock star whose rise and fall coincides with the end of the world. In
addition to thedoom-laden breeziness of 'Five Years', there were the now
familiar space-age themes ('Starman', 'Lady Stardust', 'Moonage Daydream')
and the instant encore ('Rock 'N' Roll Suicide'). By this point, Bowie was
deemed to have the Midas touch and his production talents brought rewards
for his old hero Lou Reed ( Transformer and the single 'Walk On The Wild
Side') and a resurrected Mott The Hoople, who had their first hit with 'All
The Young Dudes'. The track 'Oh You Pretty Things' (from Hunky Dory ) had
already provided a hit for Peter Noone and an equally unlikely artist, Lulu,
enjoyed a Top 10 smash courtesy of 'The Man Who Sold The World'. Meanwhile,
Bowie had undertaken a world tour and achieved a UK number 1 album with
Aladdin Sane, another concept work, which centred on global destruction as
its main plot. While still at his peak, Bowie shocked the rock world on 4
July 1974 by announcing his retirement from the stage of London's
Hammersmith Odeon. It later transpired that it was not Bowie who was
retiring, but his now overused persona, Ziggy Stardust. Taking stock, Bowie
took an unlikely detour by recording an album of his favourite mid-60s
songs. Pin Ups proved a patchy collection, although there were some
memorable moments including a hit reworking of the Merseys' 'Sorrow', a
frantic reading of the Rolling Stones' 'Let's Spend The Night Together' and
an interesting cover version of the Kinks' neglected song 'Where Have All
The Good Times Gone'.
After recording a US broadcast television special at London's Marquee club
titled 'The 1980 Floor Show', Bowie produced his next work, Diamond Dogs.
Having failed to receive permission to use the title 1984, he nevertheless
adapted George Orwell's famous novel as the basis for his favourite forays
into dystopianism, sexuality and doomed love. There were even some
delightful flashes from the novel neatly translated into rock by Bowie.
Julia, described as 'a rebel from the waist downwards' by the book's
anti-hero Winston Smith, becomes the hot tramp of 'Rebel Rebel' (itself a
hit single). What the album lacked was the familiar sound of the Spiders
From Mars and, especially, the cutting guitarwork of Mick Ronson. A massive
tour of the USA and Canada saw the 'Diamond Dogs' spectacle at its most
excessive and expansive, but the whole project was hampered by the
production budget. Beneath the spectacle, the music tended to be somewhat
forgotten, a view reinforced by the release of the critically panned David
Live in 1974. Bowie's popularity was as great as ever in the mid-70s when he
effectively righted the wrongs of history by taking 'Space Oddity' to number
1, six years after its initial UK chart entry. That same year, he also
enjoyed his first US number 1, 'Fame', which featured the voice and
co-composing skills of John Lennon. The song appeared on his next album,
Young Americans, which saw the emergence of a new Bowie, successfully
tackling Philadelphia soul. Meanwhile, there were significant changes in his
business life, with Tony De Fries finally falling from favour amid an
acrimonious lawsuit. During the same period, Bowie's often stormy marriage
to Angie was dissolved. As ever in Bowie's life, personal upheavals
coincided with creative endeavour and he was busy working on Nicholas Roeg's
film The Man Who Fell To Earth, in which he was given the leading role of
the displaced alien marooned on Earth. The movie received mixedreviews.
Returning to London, Bowie was reprimanded in the liberal music press for
allegedly doing a Nazi salute and suggesting that his home country needed a
'new Hitler'. His fascist flirtation was partly provocative and perhaps
related to the self-grandeur stemming from his heavy use of cocaine during
the period. The image was crystallized in the persona of the Thin White
Duke, the icy character who came to life on his next album, Station To
Station. An austere yet opaque production, the album anticipated the next
phase of his career when he worked with Brian Eno. The duo relocated to
Berlin for a cycle of albums that displayed Bowie at his least commercial
and most ambitious. Low and Heroes, both released in 1977, were
predominantly instrumental works whose mood was strongly influenced by Eno's
minimalist electronics. Surprisingly, segments from each album found their
way onto a live album, Stage, a considerable improvement upon its
predecessor, David Live. Following a best-forgotten appearance in the movie
Just A Gigolo, Bowie concluded his collaborative work with Eno on 1979's
Lodger. Generally regarded as the least impressive of the Eno trilogy, it
nevertheless contained some strong songs, including 'Boys Keep Swinging' and
'Repetition'. Bowie's thespian pursuits continued with a critically
acclaimed starring role in the Broadway production of The Elephant Man.
During the show's run in Chicago, Bowie released an album ofnew material
which leaned closer to the rock mainstream. Scary Monsters (And Super
Creeps) was adventurous, with its modern electro-pop and distorted electric
guitar, provided by former King Crimson helmsman Robert Fripp. The album
contained the reflective 'Ashes To Ashes', a fascinating track that included
references to one of Bowie's earlier creations, Major Tom.
The early 80s saw Bowie taking on a series of diverse projects, including an
appearance in Bertolt Brecht's Baal, surprise chart collaborations with
Queen ('Under Pressure') and Bing Crosby ('Peace On Earth/Little Drummer
Boy') and two more starring roles in the films The Hunger and the critically
acclaimed Merry Christmas Mr Lawrence. A switch of record label from RCA to
EMI saw Bowie release his most commercial work since the early 70s with
Let's Dance, produced by Nile Rodgers of Chic. In striking contrast to his
recent excursions with Eno and previous doom-laden imagery, the work showed
Bowie embracing a new positivism with upbeat, uplifting songs that were both
slick and exciting. Even his interviews revealed a more open, contented
figure, intent upon stressing the positive aspects of life, seemingly
without ambiguity. The title track of the album gave Bowie his third solo UK
number 1 and effectively revitalized his recording career in the process.
The 'Serious Moonlight' tour that accompanied the album played to over two
million people and garnered excellent reviews. That same year (1983) he had
two further hits, both narrowly missing the top spot in the UK charts with
'China Girl' and 'Modern Love'. In the meantime, Bowie's influence could be
detected in the work of a number of younger artists who had fallen under the
spell of his various aliases. Gary Numan, the Human League, Japan and
Bauhaus each displayed aspects of his music and imagery with varying
results. Similarly, the New Romantics, from Visage, Ultravoxand Spandau
Ballet to the New Pop of Culture Club, were all descendants of the one-time
glam rocker and Thin White Duke. Bowie quickly followed up Let's Dance with
the anticlimactic Tonight, which attracted universally bad reviews but
managed to spawn a hit single with 'Blue Jean'. During 1985, Bowie was
chiefly in demand as a collaborator, first with the Pat Metheny Group on
'This Is Not America' (from the film The Falcon And The Snowman ) and next
with Mick Jagger on a reworking of Martha And The Vandellas' 'Dancing In The
Street' for Live Aid. The following year was dominated by Bowie's various
acting pursuits. The much-publicized movie Absolute Beginners divided the
critics, but the strong title track provided Bowie with a major hit. He also
starred in the fantasy film Labyrinth and sang the theme of the anti-nuclear
war cartoon film When The Wind Blows. In 1987 Bowie returned to his roots by
teaming up with formerclassmate Peter Frampton for the 'Glass Spider' tour.
The attendant album, Never Let Me Down, was again poorly received, as
speculation increased that Bowie was at last running dry of musical ideas
and convincing new personae. Never predictable, Bowie decided to put a group
together in 1989 and called upon the services of Reeves Gabrels (guitar),
Tony Sales (bass) and Hunt Sales (drums) - the two brothers having
previously worked with Iggy Pop and Todd Rundgren. The unit took their name
from the title song of their new album, Tin Machine, a set that displayed
some good, old-fashioned guitarwork, occasionally bordering on heavy metal.
Bowie also took his band on the road with a tour of deliberately 'low-key'
venues, Bowie expressing a desire to play in 'sweaty' clubs and return to
his roots. It was an interesting experiment but neither the album nor the
tour did much to increase Bowie's critical standing in the late 80s.
Ironically, it was the re-release of his back catalogueon CD that brought a
more positive response from his followers, and in order to promote the
campaign Bowie set out on an acoustic 'greatest hits' tour. Black Tie White
Noise was his strongest album in years and entered the UK album charts at
number 1. Enlisting Nile Rodgers again as producer, the crisp production
worked on stand-out tracks such as the romantic 'Don't Let Me Down And
Down', Cream 's 'I Feel Free' and Morrissey 's 'I Know It's Going To Happen
Someday'. In May 1995 Bowiesigned a major recording contract with Virgin
Records. His first release was Outside, a collaboration with Brian Eno that
received mixed reviews and disappointing sales. On the dance music -inspired
Earthling, the cracks were beginning to show - with this record, Bowie
ceased to be an innovator; instead he merely became an imitator. If the
dance beats were stripped away to reveal the real Bowie, it would have been
a more satisfying album. In 1998, Bowie, ever looking towards thefuture,
launched the first artist-created Internet service provider, Bowienet. In
1999 he worked and recorded with glam UK popsters Placebo.
Butthole Surfer (AKA Turnpike)
news:0C6Y5.59597$hk4.2...@news.infostrada.it...
> "Francesco Giannici"
> > Dopo tutto, in quel disco ci sono sempre "Anarchy in the
> > UK", "God save the queen", "Pretty vacant", "Submission"... non e' un
> > brutto disco!!
> > Comitato per la rivalutazione di "Never mind the bollocks".
>
> a me piace !!!
> concordo con il buon Francesco e mi iscrivo al comitato...
Ci sono anch'io... ;-)
Ciaocciao
BS
Gianluca
<20001208154438168317@[194.243.81.251]>...
> Manuela <manu...@hotmail.com> wrote:
>
> > > Sex Pistols - Never Mind the Bollocks
> > 4 per il disco 8 per l'importanza storica
> Comitato per la rivalutazione di "Never mind the bollocks".
Io mi iscrivo subito...se poi ce n'č bisogno di questo comitato...questo č
uno dei migliori dischi di sempre...G....
Diego Cuoghi
> Perche' i Clash facevano bei dischi ed i Sex Pistols, ahinoi, ce li
> dobbiamo portare dietro "per l'importanza storica", tipo nonnetti
> rincoglioniti?
Se un disco è "importante" a volte diventa "bello" anche se è "brutto"
:-)
"Never mind the bollocks" è brutto e bellissimo assieme.
Ma all'epoca è stato soprattutto divertente, dirompente e ballatissimo
in tutti i locali (pochi) che facevano rock (quelli circonvicini:
Punkreas a Bologna, Small a Pieve di Cento, Punto a Vignola...)
Le disquisizioni tecniche sul fatto che i Sex Pistols sapessero suonare
o cantare non hanno molto senso perchè non è mai stato quello il
problema (come non lo era per i primi CCCP)
Se anche Sex Pistols è stata la più grande truffa del rock'n'roll è
stata una truffa benedetta, che se non ha inventato (erano altri gli
inventori) ha comunque fatto esplodere uno dei periodi più vitali per il
rock; e se poi anche il punk è diventata presto una moda e oggi un
vestito da carnevale (come ti vesti? da Zorro? da Fatina? da Punk?)
questo non sminuisce l'importanza, la bellezza e la bruttezza di quel
disco.
(che, tra parentesi, contiene proprio delle "belle canzoni" ormai
diventate dei classici)
--
D I E G O C U O G H I
---------------------------------
www.diegocuoghi.com
stanz
> Se un disco è "importante" a volte diventa "bello" anche se è "brutto"
> :-)
Bentornato Diego!
E a proposito...quali nuove dai mondi frantumati CSI ?
ciao stanz
--
"cerco le qualità che non rendono
in questa razza umana
che adora gli orologi
e non conosce il tempo"
Giolindo Ferretti
Diego Cuoghi
> Bentornato Diego!
> E a proposito...quali nuove dai mondi frantumati CSI ?
Ciao Stanz :-)
Ogni tando "slumo", ma non riesco più ad essere assiduo con i newsgroups
(molto da lavorare).
Proprio in questo momento sto preparando la copertina di un singolo dei
CSI che uscirà in gennaio: "Noi non ci saremo" rimasterizzata + 3 live
Poi sarà la volta di una raccolta live + inediti che uscirà in due
volumi separati.
Già da questo ti puoi immaginare che, per dirla alla
"settantasettina"... no future :-(
Yacky
Diego Cuoghi <di...@nospam.com> wrote in message
1eli39n.y6nsco1azd338N%di...@nospam.com...
( Sex Pistols)
> questo non sminuisce l'importanza, la bellezza e la bruttezza di quel
> disco.
>
> (che, tra parentesi, contiene proprio delle "belle canzoni" ormai
> diventate dei classici)
Holidays in the sun
Bodies
No feelings
God save the queen
Anarchy in the uk
Submission
Pretty vacant
Ma quanto sono brutte...
Quasi quasi lo rimetto sul giradischi per riassaggiarne la bruttezza ;-)
Ciao, Stefano