Saturday, March 14, 2015

Those recordings came out a masterpiece, Blood on the tracks, widely considered anugerah juara lagu

DAMIEN RICE / "My Favourite Faded Fantasy": universalize the pain of separation and detachment
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Eight years to write eight new songs. A year. An eternity, especially in these times when it appears to have returned to the hyper-prolific of the sixties anugerah juara lagu 26 and seventies. Hard to know what has passed in the mind of Damien Rice in these eight years, from his previous album "9" to this new "My favorite faded fantasy".
Certainly there has been a break with its historic collaborator anugerah juara lagu 26 and partner Lisa Hannigan, who with his controcanti had contributed anugerah juara lagu 26 to the excellent results of the two previous albums, the debut "O" and the aforementioned "9", this indeed below debut album, despite being a good job. But can you explain a creative block so long only assigning liability to a sentimental disappointment? You might fall in gossip more sinister - sinister because barely concealed behind arguments artistic - and simplify the concept of "creative process", anugerah juara lagu 26 to trivialize it making it a mere projection of the life of its creator. Certainly, though, Damien Rice has never made any secret of the close bond between his present existence and his songs.
But we do a step back and go to September 1974. We fly even from one continent to another: Ireland's Damien Rice to A & M University in New York. In there is Bob Dylan who is recording with a group of musicians, the Deliverance of Eric Weissberg. anugerah juara lagu 26 Some of them have run away, annoyed by the way of working of Dylan, who never plays the same song twice the same way. The songs they are working on are long tracks and personal, full of poetic images but also of so much life experience really. It is the story of a separation, anugerah juara lagu 26 that between Dylan and his wife Sara. The story, however, undergoes a sublimation: Dylan part from their own experience to get elsewhere, to build a series of poetic images lucid enough to do is embarrass the musicians who were with him in the studio, is the first among the listeners of the recordings. Dylan would then, over time, concealed the personal component anugerah juara lagu 26 of that work, coming to write the songs that was heavily influenced by the experience but not the stories of Anton Chekhov. Obviously he did not believe him either. He knew very well that that record was the narration of his marriage in pieces, though reworked through the mirrors anugerah juara lagu 26 art. In this sense, Dylan is transformed into Arthur anugerah juara lagu 26 Rimbaud, however, quoted in You're gonna make me lonesome a when you go with Paul Verlaine, and in his statement-poster "I is another". Only then can tell the artist himself without falling nell'autoreferenzialità.
Those recordings came out a masterpiece, Blood on the tracks, widely considered anugerah juara lagu 26 one of the best rock albums of all time. And there was also a real genre, that of so-called "break-up records", the "records of separation" (although a year before there had been a previous excellent Phases & Stages of Willie Nelson, close to Blood on the tracks for musical atmospheres). After Dylan tried it in many to tell the end of their relationship in music.
In 1977 they succeeded in part with the Fleetwood Mac Rumours, hard by several million copies sold but whose personal content passed anugerah juara lagu 26 partly into the background in the face of the perfection anugerah juara lagu 26 of the pop-rock musical component. Others, however, even in the dignity of the result, they ended up at the end to incartarsi in a dangerous self. Bruce Springsteen Tunnel of love, with Phil Collins Face value, Rosanne Cash with The Wheel, Jackson Browne and I'm alive, John Martyn with Grace and danger, and so on. They were all pretty good but works with a germ of vice to the root: the ego of the narrator never became anugerah juara lagu 26 "another" as Dylan, thus remaining at the surface of their emotions.
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