There's only one king in the #US, and it is the King of New York...

#LouReed #NewYork

https://youtu.be/yOoXjYppyMM

…just a perfect day
problems all left alone
Weekenders on our own, it's such fun
just a perfect day
you make me forget myself
I thought I was someone else
someone good

Oh, it's such a perfect day
I'm glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on

You're going to reap just what you sow You're going to reap just what you sow You're going to reap just what you sow You're going to reap just what you sow

#LouReed #DogsOfMastodon #PerfectDay

Música: Playlist – Vivo, en el corazón de la ciudad

Por Gabriel Reymann

Como los álbumes conceptuales -carajo, como los álbumes mismos-, la idea de disco en vivo es muy siglo XX. También son muy del siglo XX los géneros musicales que más propiciaron la aparición de registros fonográficos de conciertos: el jazz y el rock, y de ahí pueden abrirse dos puntas para entender funcionalidades y propósitos del disco en vivo. Por el lado del jazz viene la apertura de improvisación que puede favorecer el marco del show, y pegada, cierta espontaneidad -e intensidad, soltura- también favorecidas por el marco del vivo. Por el lado del rock, su conjunto hace intersección con esta idea de espontaneidad (aun más enfatizada que en el mundo del jazz, dado que en el rock n roll no se suele exigir un standard interpretativo de excelencia y se perdonan con más indulgencia los posibles yerros), la actitud (“salir a matar”) y otro motivo ya del lado de la industria: su posible presentación y uso como “grandes éxitos” o puerta de entrada al catálogo del artista en cuestión. Y no, perdón, no está Peter Frampton en esta lista.

Fabrizio de André y Franz Di Cioccio, baterista de Premiata Forneria Marconi

Tan siglo XX, que en esta lista de 38 tracks, ¡hay uno solo del siglo XXI! El honor le pertenece a Sunn O))), que le ha otorgado especial atención a la puesta en escena de su vivo, y el disco del cual proviene el track en cuestión (Domkirke), es per se una curiosidad dentro del catálogo de la banda: fue registrado en la catedral de Bergen, Noruega, y utiliza el órgano de dicha iglesia. Luego de eso, el criterio de selección es variopinto: por supuesto el gusto personal prima, pero puede alternar entre importancia histórica y representatividad (Nirvana, Kiss Alive I, retocado en estudio), performances de rock directamente incuestionables (Queen, UFO, Grateful Dead, Fields of the Nephilim, ¡Riff!), registros logrados, pero también cargados de peso político (Johnny Cash en la prisión de Folsom, el regreso, aun con amenazas, de Mercedes Sosa a la Argentina tras años de exilio), emblemas del jazz (Keith Jarrett, Bill Evans, uno de los mejores discos en toda su discografía del recientemente fallecido Sonny Rollins), circunstancias especiales y específicas (Ekome, con su participación en el primer festival WOMAD organizado por Peter Gabriel, que hundió financieramente al inglés, Fabrizio de André y su gran encuentro con Premiata Forneria Marconi, Steve Hunter y Dick Wagner dándole un giro al sonido habitual de Lou Reed).
Y para el final, lo mejor, claro: si el disco en vivo de rock por antonomasia debía prometer intensidad inmanejable, es menester cerrar la playlist con los diecinueve minutos de “Space Truckin’”, a cargo de, por supuesto, Deep Purple.

David Byrne de Talking Heads en el film y disco Stop Making Sense

Quizá por algo de eso haya cedido espacio el disco en vivo en estos últimos 26 años: ¿alguien se imagina a una banda indie, cualquiera, y con el debido respeto, saliendo a «matar» en escena? -no en términos de decibeles y/o virtuosismo, sino de intensidad de performance- ¿Quién quiere un disco en vivo de Kendrick Lamar? Probablemente para esperar registros de shows memorables, haya que aprovechar el corrimiento del reflector sobre el rock, para buscar en otros lugares: Mdou Moctar, por mencionar el primer ejemplo que me viene a la mente tecleando, está en condiciones de ofrecer un gran show en vivo junto a su grupo que tenga un posterior registro discográfico.

Hawkwind en vivo. Sí, Lemmy Kilmister al bajo.

Sin más, la playlist de 38: en Spotify y también en YouTube, para quien quiera escucharlo en una calidad un poquito mejor (y, en algunos casos, con filmaciones de esos tracks distintas a las del disco en vivo; era difícil no poner “Susy Cadillac” en la versión con JAF).

https://open.spotify.com/playlist/3oabMlV5pVFwo4LogZauNK

https://www.youtube.com/playlist?list=PLQU8dgECfRPk

🇺🇦 #NowPlaying on #BBC6Music's #6MusicArtistInResidence

Lou Reed:
🎵 Walk On The Wild Side

#LouReed

https://calypse.bandcamp.com/track/lou-reed-walk-on-the-wild-side-calypse-rework

https://open.spotify.com/track/5p3JunprHCxClJjOmcLV8G

Now—as summer blasts the Earth into a fly-ridden heath—is when I long most for fall. So I get why Patrik Andersson Winberg’s (Dun Ringill, Doomdogs) new solo project Mirror of My Soul would debut this June with October Is Rising.1 A folk project empowered with hard rock muscle and gothic gravitas, Mirror of My Soul aims for atmospheric storytelling and organic song structuring. Joined by drummers Pete Campbell (Axe Dragger, ex-Pentagram) and Tobbe Strandvik, keyboardist Per Wiberg (Tiamat, ex-Opeth), guitarist Patric Grammann (Dun Ringill) and a whole host of vocalists,2 October Is Rising is poised to be an introspective, moody, and engrossing trek through rustic moods and colder temps. But is this album autumn’s light at the end of the tunnel, or is there no relief from summer to be found here?

October Is Rising is a clinic on complementary musicianship. Working within gothic country, folk, and blues rock, October Is Rising lives in slow, sparse compositions that won’t wow listeners with panache. Songs like “A Good Day to Die” and “The Owl” use simple guitar and banjo parts, respectively, to set the stage for spirited vocal performances, while “October Is Rising” and “Grandpa” utilize particularly minimal instrumentation to highlight their singers’ stories. Mirror of My Soul can rip it when necessary, as heard on the Jethro Tullesque flute riffing on “Mina Fotavtryck” and the slick hi-hat work on “Dancing Slowly on the Porch,” but October Is Rising’s musical prowess lies less in individual performance and more in band dynamics. “Lost in the Red Wine” and “The One Who Sings the Songs” pulse in ways that sneakily build and bounce off their individual parts to sound a lot bigger than their thin instrumentation would imply. Mirror of My Soul is composed of industry veterans, and it sounds like it; these guys bring out the best in each other.

Setting rich moods and storytelling are Mirror of My Soul’s game. They’re pros at it. October Is Rising is a pensive autumnal stroll through gloom with the sort of eerie coziness that at varying times reminded me of Fields of the Nephilim, Current 93, and the Over the Garden Wall soundtrack.3 Soundscapes of pale light and fresh darkness bestow tracks like “The Painter,” “Grandpa,” and “Tree on that Hill” a deeply affecting and melancholic quality, shaped by the aforementioned stark instrumentation and poignant vocals. October Is Rising is littered with pathos-imbued bars delivered with conviction, where phrases as obtuse as “The bad news was a feather from a dead bird” (“The Letter”) hit with the sensitivity of straightforward heart-wrenchers like “The trees showed me how to make it all last. There is no future without a vivid past” (“Tree on that Hill”). Mirror of My Soul bring everything you’d want from a singer-songwriter project musically: bittersweet strolls down memory lane, deep into introspection.

October Is Rising listens like a work of singular vision, but not of one voice. There are no bad singers on October Is Rising, mind you, and the diverse cast can be a boon. There aren’t many records out there that can, in one moment, recall Alice in Chains (“Coyote”) and Peter Gabriel the next (“Tree on that Hill”),4 Lou Reed one minute (“Carry Your Soul”) and Johnny Cash another (“A Good Day to Die”). But this committee approach also deprives October Is Rising of singer-songwriter music’s strongest aspect: the intimate conversation between artist and audience. It’s hard to think of Mirror of My Soul as Winberg’s personal exploration of a gloaming Earth when you have to adjust to a new singer every song. October Is Rising still feels cohesive thanks to Winberg’s consistent and compelling songwriting, but I believe one or two good singers would’ve made the record connect that much better.

Mirror of My Soul bring the wistfulness of autumn on October Is Rising. Tight musicianship and smart songwriting carry the listener through Winberg’s stories, sometimes outlandish and always engaging. Though I think one singer would’ve made Mirror of My Soul a more focused entity—or perhaps one singer across every song à la Tobias Sammet of Avantastia—October Is Rising is nevertheless a greatly enjoyable work that I could confidently recommend to anyone interested in gothic rock/country/folk. At the very least, when the upcoming months get hot as balls, it’ll be a good reminder that, in the near future, October Is Rising indeed.

Rating: Very Good
DR: 8 | Format Reviewed: WAV
Label: Majestic Mountain Records
Websites: mirrorofmysoul.bandcamp.com | facebook.com/mirrorofmysoul
Releases Worldwide: June 12, 2026

#HappySunday ☀️☕️🌹

Sunday morning brings the dawn in …

#NonSoloDeGregori 😀 #LouReed

Sunday Morning - The Velvet Underground, Nico

https://www.youtube.com/watch?v=Xhbyj8pqUao

#DreamTime I was in a recording session with Frankie Goes To Hollywood for something on their Liverpool album. There was a sample of someone saying "Lou, Lou, Lou" and I explained that this was from the live version of Lou Reed's Beginning of a Great Adventure. (Listening to the studio version - it's there too.) However, Liverpool was released in '87 and New York in '89.

#LouReed #FGTH #NewYork #Liverpool

Todd in the Shadows ist ein Urgestein der intelligenten YT-Essays. Der neuste Eintrag seiner Reihe Trainwreckords zu »Lulu« (2011) von #LouReed und #Metallica hat mich überhaupt erst auf dieses Album aufmerksam gemacht.
I am the table!
Bin echt baff, dass die Platte an mir komplett vorbeiging. Was ich aus Todds Beitrag so mitbekomme, klingt gar nicht übel. Aber hey, »St. Anger« ist ja auch mein Lieblings-Album von Metallica.

https://youtu.be/vp5PrifWUnU