Sigur Rós - Takk... (2005)

Tracklist:

1. Takk...
2. Glósóli
3. Hoppípolla
4. Með blóðnasir
5. Sé lest
6. Sæglópur
7. Mílanó
8. Gong
9. Andvari
10. Svo hljótt
11. Heysátan

Just when this Icelandic crew seemed stuck in loud/soft/loud/ soft rut a la Mogwai or Godspeed You Black Emperor, they release their most beguiling, subtle and beautiful album yet. This album, allegedly the group's first sung in Icelandic rather than their own made-up "Hopelandic" (not that this listener could tell the difference) is relentlessly joyous, unaffectedly rad and inventive but never just for its own sake. Strings hold an ever more prominent place in the music, and this is a good thing. Songs unfold slowly as usual, but they take unexpected turns as often as not. The brilliant "Glósóli" burbles with as much melodic invention and anything by their fellow Icelanders Mum. Takk is a delight from start to finish, managing to be both their most accessible and experimental album yet. --Mike McGonigal

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Regina Spektor - Begin To Hope (2006)

Tracklist:

1. "Fidelity" – 3:47
2. "Better" – 3:22
3. "Samson" – 3:10
4. "On the Radio" – 3:22
5. "Field Below" – 5:18
6. "Hotel Song" – 3:29
7. "Après Moi" – 5:08
8. "20 Years of Snow" – 3:31
9. "That Time" – 2:39
10. "Edit" – 4:53
11. "Lady" – 4:45
12. "Summer in the City" – 3:50
13. "Bartender" (bside)
    

Ni tan folk como Songs, ni tan ruso como Soviet Kitsch, ni tan jazzero/blusero como 11:11, este disco parece ser una transición de la vieja Regina "indie" a un sonido más pop comercial. Pero buenos temas eh!


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Now playing: Regina Spektor - Better
via FoxyTunes

Radiohead - In Rainbows (2007)

Tracklist:

1. "15 Step" – 3:58
2. "Bodysnatchers" – 4:02
3. "Nude" – 4:15
4. "Weird Fishes/Arpeggi" – 5:18
5. "All I Need" – 3:48
6. "Faust Arp" – 2:09
7. "Reckoner" – 4:50
8. "House of Cards" – 5:28
9. "Jigsaw Falling into Place" – 4:09
10. "Videotape" – 4:42

It's a very different kind of Radiohead record. Liberated from their self-imposed pressure to innovate, they sound-- for the first time in ages-- user-friendly; the glacial distance that characterized their previous records melted away by dollops of reverb, strings, and melody. From the inclusion and faithful rendering of longtime fan favorite "Nude" to the classic pop string accents on "Faust Arp" to the uncharacteristically relaxed "House of Cards", Radiohead's sudden willingness to embrace their capacity for uncomplicated beauty might be In Rainbows' most distinguishing quality, and one of the primary reasons it's an improvement on Hail to the Thief.

Mark Pytlik

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Now playing: Radiohead - Weird Fishes / Arpeggi

Bat For Lashes - Two Suns (2009)

Tracklist:

1. Glass 4:32
2. Sleep Alone 4:02
3. Moon And Moon 3:08
4. Daniel 4:11
5. Peace Of Mind 3:28
6. Siren Song 4:58
7. Pearl's Dream 4:45
8. Good Love 4:29
9. Two Planets 4:47
10. Travelling Woman 3:46
11. The Big Sleep 2:55

Khan's real breakthrough might simply be her willingness to wear her influences more brazenly. One needn't have any more than a basic working knowledge of female innovators from the past few decades to be able to spot the ghosts lurking around this stage. The strident piano chords and lone snare of "Traveling Woman" echoes PJ Harvey's desolate roadsongs, while "Moon and Moon"'s delicate piano playing and cabinet-reverbed backing vocals evoke early Tori Amos. Elsewhere, with its pummeling rhythms, double-timed handclaps, glass harmonica trills and vocal histrionics, the moonstruck rave-up "Two Planets" owes its entire existence to Björk. But even in the moments where those influences risk running on the wrong side of overt, they never feel stolen or unearned. Just as Khan seems most comfortable when she's adorned in a patchwork of styles, eras, and ideologies, this record feels more satisfying and fully formed for its overt cutting and pasting of those different sensibilities.

What's more heartening, though, is that during Two Suns' highlights, Khan has few peers. I could probably fill this entire space just writing about "Glass", the album's aggressively propulsive opener, and about how its strange mix of elements (chamber pop, prog metal, new age-- what?) magically coalesced into some entirely new genre that I wish existed and yet still can't quite wrap my brain around. Then there's the booming "Sleep Alone", which, with its rusty guitar licks, Knife-inspired synths, buzzing basslines and floorboard percussions, feels kind of like a sea shanty circa 2074.

Mark Pytlik

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(link removido por blogger.com, busquen en taringa..)

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Now playing: Bat For Lashes - Good Love (Live)

Tori Amos - Under The Pink (1994)

Tracklist:

All songs written by Amos.

1. "Pretty Good Year" – 3:25
2. "God" – 3:58
3. "Bells For Her" – 5:20
4. "Past the Mission" (feat. Trent Reznor) – 4:05
5. "Baker Baker" – 3:20
6. "The Wrong Band" – 3:03
7. "The Waitress" – 3:09
8. "Cornflake Girl" – 5:06
9. "Icicle" – 5:47
10. "Cloud on My Tongue" – 4:44
11. "Space Dog" – 5:10
12. "Yes, Anastasia" – 9:33

Under the Pink," Tori Amos' second solo album, continues the singer/songwriter's exploration of her life's journey from the confines of a strict religious upbringing to personal and artistic freedom. She is armed with an attention-grabbing mezzo-soprano and lyrics that can kill with a turn of phrase. And Amos is still unsatisfied. God, parents, boyfriends, girlfriends, herself: No one escapes judgment.

Once again, Amos accompanies herself on piano, with drums, bass and guitar assisting; the occasional string arrangement or synth is added for not-so-subtle effect.

Her acoustic bent is well served on the album: The piano is not hidden beneath grandiose group arrangements as it was on her previous outing Little Earthquakes (1992), and her quirky hesitations and sudden shrieks are more in tune with the emotional states of her characters. Under the Pink still doesn't match Amos' riveting, piano-only live performances, but it sure comes close.

Under the Pink is Amos' honest reporting of a life fraught with turmoil and disappointment. Can it take her beyond her devoted cult to greater popularity? Possibly. The album is focused, the lyrics quirky and personable, the melodies eccentric enough to entice and simple enough to be catchy. Those qualities – and her emotional fearlessness – make Tori Amos a musical find to treasure.

Marie Elsie St. Leger

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Now playing: Tori Amos - Cloud on my Tongue
via FoxyTunes

Dave Matthews Band - Before These Crowded Streets (1998)

Tracklist:

1. Pantala Naga Pampa
2. Rapunzel
3. The Last Stop
4. Don't Drink The Water
5. Stay (Wasting Time)
6. Halloween
7. The Stone
8. Crush
9. The Dreaming Tree
10. Pig
11. Spoon

With the notable exception of its 1994 breakout single, "What Would You Say," Dave Matthews Band has always been more about sound than songs. This continues to be true on the group's propulsive new album, Before These Crowded Streets. Teaming up again with producer Steve Lillywhite, DMB is more successful on this outing than ever before in translating the roiling energy of its stage show to the studio. The band also pushes in adventurous new directions, incorporating bright new hues into its highly distinctive, instantly recognizable sonic palette.

DMB's lethal secret weapon has always been its extraordinary – and criminally underpraised – rhythm section. If you want to organize a band with a front line of violin, saxophone, and acoustic and electric guitars, and your music relies on tricky time signatures, complex arrangements and fevered ensemble playing that bolts into reckless improvisational flights, your drummer and bass player better swing like Joe DiMaggio. Stefan Lessard and Carter Beauford more than fill the bill – they anchor this unwieldy outfit without ever weighing it down. And when it's time to fly, they give the band wings.

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Now playing: Dave Matthews Band - The Dreaming Tree
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Peter Gabriel - III (Melt) (1980)

Tracklist:

1. "Intruder" – 4:54
2. "No Self Control" – 3:55
3. "Start" – 1:21
4. "I Don't Remember" – 4:41
5. "Family Snapshot" – 4:28
6. "And Through the Wire" – 5:00
7. "Games Without Frontiers" – 4:06
8. "Not One of Us" – 5:22
9. "Lead a Normal Life" – 4:14
10. "Biko" – 7:32

Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him coming into his own, crafting an album that's artier, stronger, more song-oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark — even radio favorites like "I Don't Remember" and "Games Without Frontiers" are hardly cheerful, spiked with paranoia and suspicion, insulated in introspection. For the first time, Gabriel has found the sound to match his themes, plus the songs to articulate his themes. Each aspect of the album works, feeding off each other, creating a romantically gloomy, appealingly arty masterpiece. It's the kind of record where you remember the details in the production as much as the hooks or the songs, which isn't to say that it's all surface — it's just that the surface means as much as the songs, since it articulates the emotions as well as Gabriel's cubist lyrics and impassioned voice. He wound up having albums that sold more, or generated bigger hits, but this third Peter Gabriel album remains his masterpiece.

by Stephen Thomas Erlewine

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Now playing: Peter Gabriel - Family Snapshot

David Bowie - Low (1977)

Tracklist:

Side A

1. "Speed of Life" – 2:46
2. "Breaking Glass" (Bowie, Dennis Davis, George Murray) – 1:52
3. "What in the World" – 2:23
4. "Sound and Vision" – 3:05
5. "Always Crashing in the Same Car" – 3:33
6. "Be My Wife" – 2:58
7. "A New Career in a New Town" – 2:53

Side B

1. "Warszawa" (Bowie, Brian Eno) – 6:23
2. "Art Decade" – 3:46
3. "Weeping Wall" – 3:28
4. "Subterraneans" – 5:39

"I blew my nose one day and half my brains came out." With these gentle words, David Bowie said farewell to L.A., where he'd spent much of the mid-Seventies buried up to his clavicle in white powder, and fled back to Europe for some personal detox - not to mention some of the most amazing music of his amazing career. Low, released in January 1977, was a new beginning for Bowie, kicking off what is forever revered as his "Berlin trilogy," despite the fact that Low was mostly recorded just outside Paris. Side One consists of seven fragments, some of them manic synth-pop songs, some just chilly atmospherics. Side Two consists of four brooding electronic instrumentals. Both sides glisten with ideas: Listening to Low, you hear Kraftwerk and Neu!, maybe some Ramones, loads of Abba and disco. But Low flows together into a lyrical, hallucinatory, miraculously beautiful whole, the music of an overstimulated mind in an exhausted body, as rock's prettiest sex vampire sashays through some serious emotional wreckage.

Brian Eno gets much of the credit for Low - not only did he play keyboards on six of the eleven tracks and co-write "Warszawa," but you can hear the heavy influence of his own solo records, especially Another Green World. Still, Eno only dreamed about making noise like this, mainly because he never assembled a band anywhere near this great: A big hand, please, for the fuzzed-out guitars of Ricky Gardiner and Carlos Alomar, and the fantastic production of Tony Visconti, who distorted Dennis Davis' snare to create one of rock's all-time most imitated drum sounds. Bowie sings haikulike lyrics about emotional death and rebirth, sometimes hilarious ("Breaking Glass"), sometimes brutally honest, as in the electric-blue loneliness of "Sound and Vision" and "Be My Wife" or the doomed erotic obsession of "Always Crashing in the Same Car."

The record company begged Bowie not to release Low, but it became a surprise hit and holds up today as one of his most intense and influential albums, inspiring two excellent Berlin trilogy sequels, Heroes (1977) and the insanely underrated Lodger (1979). It makes sense that Bowie released Low the week after he turned thirty, for the same reasons it sounds so timely today: Low is the sound of the slinky vagabond falling to earth, trying to catch up with the speed of life - and maybe even find some kind of home there.

by Rob Sheffield

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Now playing: David Bowie - Always Crashing In The Same Car

Bat For Lashes - Fur And Gold (2006)

Tracklist:

1. Horse And I
2. Trophy
3. Tahiti
4. What's a Girl To Do?
5. Sad Eyes
6. The Wizard
7. Prescilla
8. Bat's Mouth
9. Seal Jubilee
10. Sarah
11. I Saw A Light

With Fur & Gold, Bat for Lashes -- aka Natasha Khan -- brings a fairytale quality and air of mystery to her music, performing a delicate balancing act between everyday emotions and the power of fantasy. As the title suggests, there's something gorgeous but raw about her songs, which fly from spare British chamber folk to shades of lavish rock, pop, and dance as she throws herself into stories that update the traditions of other iconic female artists. She's a warrior princess of the moors with only her steed to keep her company on "Horse and I," a song whose dramatic sweep would do Kate Bush proud; on the fable-like sensual duet "Trophy," Khan sings "creatures of mercy/shoot them down and set me free" with Björk-like urgency. Despite Fur & Gold's unabashedly mystical vibe, Khan emphasizes the reality in her magical reality, whether she makes it sound like it's perfectly natural to sing "drink his blood and he's our leader" on "The Wizard," or crafts strong heroines on songs such as "Prescilla"'s urban folk or "Sarah"'s surprising rock. The most remarkable thing -- out of a lot of remarkable things -- about Fur & Gold is the emotional power of Khan's songs. "What's a Girl to Do?" might be decorated with beautifully ghostly girl group beats and harmonies, but the pain of falling out of love is palpable. Best of all is "Sad Eyes," a love song so warm and fragile that the way it cuts to the quick when Khan sings "trying to keep it together/keep my love as light as a feather" is breathtaking. As far flung as these songs can be, they never sound scattered, and only rarely overdone: the thunderstorm-laden ballad "I Saw a Light" is the only moment that feels close to over the top. This is a vivid, accomplished, transporting debut.

by Heather Phares

Una cruza entre PJ Harvey y Björk. Excelente disco.


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Now playing: Bat For Lashes - The Wizard

David Bowie - Hunky Dory (1971)

Track listing

All songs written by David Bowie, except where noted.

1. "Changes" – 3:37
2. "Oh! You Pretty Things" – 3:12
3. "Eight Line Poem" – 2:55
4. "Life on Mars?" – 3:53
5. "Kooks" – 2:53
6. "Quicksand" – 5:08
7. "Fill Your Heart" (Biff Rose, Paul Williams) – 3:07
8. "Andy Warhol" – 3:56
9. "Song for Bob Dylan" – 4:12
10. "Queen Bitch" – 3:18
11. "The Bewlay Brothers" – 5:22
12. "Bombers" - 2:41

Justo antes de la creación del disco y alter-ego Ziggy Stardust (que lo convertiría en un hito del rock), Bowie saca este ecléctico disco plagado de increíbles canciones en distintos estilos pero casi siempre manteniendo un espíritu pop. Con sólo escuchar Life on Mars? ya deberían estar convencidos de bajar el disco.


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Now playing: David Bowie - Life On Mars?

Porcupine Tree - In Absentia (2002)

Tracklist:

1. "Blackest Eyes" – 4:23
2. "Trains" – 5:56
3. "Lips of Ashes" – 4:39
4. "The Sound of Muzak" – 4:59
5. "Gravity Eyelids" – 7:56
6. "Wedding Nails" - 6:33
7. "Prodigal" – 5:35
8. ".3" – 5:25
9. "The Creator Has a Mastertape" – 5:21
10. "Heartattack in a Layby" – 4:15
11. "Strip the Soul" – 7:21
12. "Collapse the Light into Earth" – 5:54

by Bradley Torreano

Continuing in the growing commercial vein of their previous releases, Porcupine Tree's In Absentia may be the most accessible release to ever spew forth from the group. Rolling electronic percussion blends with simple and solid live drumming to provide an understated backbeat as perennial Tree leader Steven Wilson pastes his complicated pop over the proceedings. Wilson's ability to bury his layered vocals in mountains of spacy electric guitar without drowning out his fragile lyrics is still a valued feature of the music, and the rare moments of clarity that his vocals display are breathtaking in their power. A reliance on a somewhat gothic heavy metal sound makes for some bizarre moments, especially when held up against his gentler material. The best example of this is the chugging "Wedding Nails," which recalls Dream Theater in its grandiose scope without utilizing the same sort of technical wizardry. But Wilson manages to bridge the gap between the various genres he utilizes, creating an environment where his haunting melodies could take a drastic turn at any minute. Porcupine Tree also continue their Radiohead fascination, although the influence is much less direct than on their last few efforts. Instead, it comes through at odd intervals, like the moments of sparse instrumentation on the otherwise lush "Heartattack in a Lay By." Sonically gorgeous and deceivingly complex, In Absentia has the most immediate appeal of anything Wilson has released under this moniker up to this point. By keeping the songs at manageable lengths and avoiding the avant-garde electronica flourishes of the band's early days, Porcupine Tree has grown into a fully realized pop group without cutting any of the elements that also make them an important force in the neo-prog movement.

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Now playing: Porcupine Tree - .3

Joni Mitchell - Don Juan's Reckless Daughter (1977)

Track listing

1. "Overture/Cotton Avenue" – 6:41
2. "Talk to Me" – 3:45
3. "Jericho" – 3:22
4. "Paprika Plains" – 16:21
5. "Otis and Marlena" – 4:09
6. "The Tenth World" – 6:45
7. "Dreamland" – 4:38
8. "Don Juan's Reckless Daughter" – 6:36
9. "Off Night Backstreet" – 3:20
10. "The Silky Veils of Ardor" – 4:01

Un disco extraño para Joni Mitchell; ya un poco alejada del folk/pop de sus principios y más cercano al jazz vanguardista (Paprika Plains) y a la música étnica de distintos lugares (The Thenth World es un samba brasilero y Dreamland suena como un ritual de indios norteamericanos).

Como siempre, Joni está acompañada por grandes músicos, entre otros, Jaco Pastorius, Wayne Shorter, Larry Carlton, etc.

Tiene 2 o 3 temas medio de relleno, pero aunque fueran todos temas de relleno aún así lo seguiría subiendo por una de las piezas de músicas más hermosas que escuché: Paprika Plains.



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Now playing: Joni Mitchell - Paprika Plains

Frank Zappa - Apostrophe/Overnite Sensation (1973-1974)

En conmemoración del cumpleaños de Zappa (21/12/1940) subo estos dos discos que no tienen desperdicio; rock, jazz, funk, soul, blues, pop y demás con su famoso toque bizarro.

Amazon.com
History will show that Frank Zappa (1940-1993) was one of the greatest American composers of the 20th century in any musical form, and this superb episode of the Classic Albums series offers ample proof of Zappa's genius. As Zappa's reverent son and musical heir Dweezil Zappa rightly points out, Over-Nite Sensation (1973) and Apostrophe (') (1974) are the albums that epitomize Zappa's masterful jazz/rock fusion, virtually defining a unique musical genre that can only be called "Zappa." The recording of both albums is chronicled here not simply because they best represent the dazzling complexity of Zappa's music, but also because they were recorded simultaneously in a burst of creativity, proving beyond any doubt that Zappa was more than simply a mischievous provocateur. While the world may know Zappa from his mainstream novelty hit "Valley Girl" (with daughter Moon on vocals), any devoted Zappaphile will tell you that this is the real Zappa, in full musical bloom, working miracles in the studio with The Mothers of Invention and a stellar variety of topnotch musicians who cite their time with Zappa as the most rewarding period of their careers.

Apostrophe:

1. Don´t Eat the Yellow Snow
2. Nanook Rubs It
3. St. Alfonzo´s Pancake Breakfast
4. Father O´Blivion
5. Cosmic Debris
6. Excentrifugal Forz
7. Apostrophe´
8. Uncle Remus
9. Stink-Foot

Overnite Sensation:

1. Camarillo Brillo– 3:59
2. I'm The Slime– 3:34
3. Dirty Love– 2:58
4. Fifty-Fifty – 6:09
5. Zomby Woof– 5:10
6. Dinah-Moe Humm– 6:01
7. Montana– 6:35

St. Alphonzo's Pancake Breakfast/Father O'Blivion (minuto 2 en adelante)
Uncle Remus
Montana
Camarillo Brillo


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Now playing: Pat Metheny - When We Were Free-

Genesis - Selling England By The Pound (1973)

Track Listings

1. Dancing With The Moonlit Knight (8:01)
2. I Know What I Like (In Your Wardrobe) (4:06)
3. Firth Of Fifth (9:34)
4. More Fool Me (3:09)
5. The Battle Of Epping Forest(11:43)
6. After The Ordeal (4:12)
7. The Cinema Show (11:06)
8. Aisle Of Plenty (1:31)

Total Time: 53:22
Line-up/Musicians

- Tony Banks / keyboards, 12 String guitar
- Phil Collins / drums, percussion, backing vocals, lead vocals (4)
- Peter Gabriel / lead vocals, percussion, flute, oboe
- Steve Hackett / electric guitar, nylon guitar
- Mike Rutherford / bass guitar, 12 string guitar, electric Sitar


Ya que estamos con Peter Gabriel, el mejor disco de Genesis en mi opinión, obviamente con Peter Gabriel, y a la vez lo mejor del rock sinfónico/progresivo. Una banda que supo ser vanguardista y artística, pero a la vez, increíblemente melódica y accesible para cualquiera que tenga la paciencia de escucharlos. No tiene desperdicio, 53 minutos y 22 segundos de pura magia sónica.


Firth of Fifth
Cinema Show 1 2


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Now playing: Joni Mitchell - Otis and Marlena

Peter Gabriel - Secret World Live (1994)

Track listing

All songs written by Peter Gabriel except as noted.

Disc one

1. "Come Talk to Me" – 6:13
2. "Steam" – 7:45
3. "Across the River" (Stewart Copeland, Gabriel, David Rhodes, L. Shankar) – 6:00
4. "Slow Marimbas" – 1:41
5. "Shaking the Tree" (Gabriel, Youssou N'Dour) – 9:18
6. "Red Rain" – 6:15
7. "Blood of Eden" – 6:58
8. "Kiss That Frog" – 5:58
9. "Washing of the Water" – 4:07
10. "Solsbury Hill" – 4:42

Disc two

1. "Digging in the Dirt" – 7:36
2. "Sledgehammer" – 4:58
3. "Secret World" – 9:10
4. "Don't Give Up" – 7:35
5. "In Your Eyes" – 11:32

Personnel

• Peter Gabriel – vocals, harmonica, keyboards
• Tony Levin – bass, vocals
• Manu Katché – drums
• David Rhodes – guitar, vocals
• Jean-Claude Naimro – keyboards, vocals
• Levon Minassian – doudouk
• Shankar – violins, vocals
• Paula Cole – vocals

Pop de calidad. Recomiendo muchísimo conseguir el dvd en vivo de este mismo disco.



Come Talk To Me
Digging In The Dirt
Solsbury Hill



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Now playing: Badi Assad - Asa Branca

Goldfrapp - Felt Mountain (2000)

Tracklist:

1. "Lovely Head" – 3:49
2. "Paper Bag" – 4:07
3. "Human" (Goldfrapp, Gregory, Locke, Norfolk) – 4:34
4. "Pilots" – 4:27
5. "Deer Stop" – 4:04
6. "Felt Mountain" – 4:15
7. "Oompa Radar" – 4:44
8. "Utopia" – 4:16
9. "Horse Tears" – 5:10

Cita:

Difícilmente los primeros seguidores de Alison Goldfrapp (los que conocían sus colaboraciones con Tricky, en Maxinquaye, Orbital, en Snivilisation y Add N to X, en Avant hard) podían esperar un debut como Felt mountain. En lugar de una nueva muestra de exuberancia vocal, lo que escuchamos es un trabajo de electrónica ambiental, con una contenida Goldfrapp en una faceta desconocida hasta entonces, etérea, como surgida del cosmos, incluso tratada en ciertos temas para abundar en ese mismo efecto de voz no terrenal. Es una electrónica que jamás soñó con sonar tan orgánica y cálida, que no desprecia la escritura tradicional y conoce la hondura sentimental que confiere una sección de cuerdas de sabor cinematográfico. Desde el sugerente silbido inicial de Lovely head hasta los tensos acordes con los que finaliza Horse tears, el álbum debut del dúo Goldfrapp (formado por la vocalista y Will Gregory) es tan emotivo y penetrante como el desesperado gripo que se escucha Deer stop y que nos pone la sensibilidad a flor de piel. Aunque tras una primera escucha Felt mountain puede dar la sensación de ser en exceso monotono, algo que se debe a su brillante homogeneidad y coherencia, sucesivas aproximaciones a esta maravilla desvelan sus múltiples influencias y la enorme variedad de los nueve temas. Desde las bandas sonoras de films de espías a la música de cabaret (Oompa radar), pasando por los ritmos latinos (Human), el ocasional empleo de instrumentación jazzística, sabor folk, atmósferas de ciencia ficción y hasta pop sesentero. Un álbum, en su conjunto, intimista y melancólico, de carácter invernal, ideal para que vuele la mente y afloren los sentimientos más profundos. Deja para la posteridad, además, piezas como Pilots o Utopia, posiblemente la cumbre Felt mountain.

Yo no escribí eso, pero es bastante acertado.

Links a youtube de algunos temas en vivo:

Lovely Head
Utopia
Felt Mountain



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Now playing: Goldfrapp - Pilots

Frank Zappa - One Size Fits All (1975)

Tracklist:

1. "Inca Roads" – 8:45
2. "Can't Afford No Shoes" – 2:38
3. "Sofa No. 1" – 2:39
4. "Po-Jama People" – 7:39
5. "Florentine Pogen" – 5:27
6. "Evelyn, a Modified Dog" – 1:04
7. "San Ber'dino" – 5:57
8. "Andy" – 6:04
9. "Sofa No. 2" – 2:42


Line Up:

* Frank Zappa – vocals, guitar
* George Duke – keyboards, vocals, backing vocals, synthesizer
* Ruth Underwood – marimba, vibraphone, percussion
* Johnny "Guitar" Watson – vocals
* James "Bird Legs" Youman – bass guitar
* Chester Thompson – drums, sound effects, voices
* Tom Fowler – bass guitar
* Captain Beefheart (credited as 'Bloodshot Rollin' Red') – harmonica
* Napoleon Murphy Brock – tenor saxophone, vocals, backing vocals, flute


Uno de los discos más "normales" y rockeros de Zappa. Perfecto para iniciarse en su enorme discografía. Con uno de los mejores lineups que tuvo la banda, y muchos temas que terminaron en clásicos de él.

Samples:
Inca Roads
San Berdino
Florentine Pogen


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Now playing: Frank Zappa - Andy