Neil Young & The Chrome Hearts - live at Farm Aid 2025 - forte e chiaro

No more great again
No more great again

There's big crime in DC 
At the White House.

Don't need no fascist rules
Don't want no fascist schools
Don't want no soldiers walking our streets

Got big crime in DC
At the White House

Got to get the fascists out
Got to clean the White House out
Don't want no soldiers on our streets

Got big crime in DC
At the White House

No more money to the fascists
A billionaire fascist
Time to black out the system

SRV

Madison Square Garden, New York, November 11, 1989. 

(Photo by Gary Gershoff)

Changin' a string.. 1988 by J. Miles.

Metallica's Nothing Else Matters on nylon strings

Nick Cave & The Bad Seeds - No More Shall We Part (full album)

And No More Shall We Part

Brano di una bellezza struggente, quando entra il violino di Warren Ellis si tocca il cielo con un dito...

Buon ascolto...

ASCOLTALA LIVE

Mad Season - I Don't Wanna Be a Soldier (Live at the Moore, Seattle, 1995)

Jethro Tull – Sad City Sisters (Official Video)

Mrs Tibbets

Peter Gabriel - Digging In The Dirt - Down To Earth

Måneskin LIve al SLN - 22.01.2022

John Mayall "Can't Take No More" (Feat. Marcus King) {Official Audio}

Isolated Drum...

 

Intanto Dave Grohl si diverte a suonare a distanza con Ferry Baltazar che slappa su un basso acustico...

O è una chitarra?

FERRY BALATAZAR su FB

sul WEB

Fairytale Of New York

Fairytale of New York (feat. Kirsty MacColl)

It was Christmas Eve, babe

In the drunk tank

An old man said to me

"Won't see another one"

And then he sang a song

'The Rare Old Mountain Dew'

I turned my face away

And dreamed about you

Got on a lucky one

Came in eighteen-to-one

I've got a feeling

This year's for me and you

So, Happy Christmas

I love you, baby

I can see a better time

When all our dreams come true

"They've got cars big as bars

They've got rivers of gold

But the wind goes right through you;

It's no place for the old

When you first took my hand

On a cold Christmas Eve

You promised me Broadway

Was waiting for me

"You were handsome!" "You were pretty

Queen of New York City"

When the band finished playing

They howled out for more

Sinatra was swinging

All the drunks, they were singing

We kissed on a corner

Then danced through the night

The boys of the NYPD choir

Were singing 'Galway Bay'

And the bells were ringing out

For Christmas day

"You're a bum, you're a punk"

"You're an old slut on junk

Lying there almost dead

On a drip in that bed"

"You scumbag, you maggot

You cheap lousy faggot

Happy Christmas, your arse

I pray God it's our last"

The boys of the NYPD choir

Still singing "Galway Bay"

And the bells are ringing out

For Christmas day

"I could have been someone"

"Well, so could anyone

You took my dreams from me

When I first found you"

"I kept them with me, babe

I put them with my own

Can't make it all alone

I've built my dreams around you"

The boys of the NYPD choir

Still singing "Galway Bay"

And the bells are ringing out

For Christmas day 

#ThePogues #FairytaleOfNewYork

leggi su ROCKOL

Deborah Harry & Nick Cave - Free To Walk

Nick:
Have I been in your memory where it's better to love than ever can be?

Debbie & Nick:
Your door is always open and your path is free to walk
Your door is always open and your path is free to walk
Will I be able to dream easily than try to watch us in the shade?
Your door is always open and your path is free to walk
Your door is always open and your path is free to walk
I got somebody who makes me free

Nick:
Who wears their whole heart

Debbie & Nick:
Back then that was easy
Coz your door is always open and your path is free to walk
Your door is always open and your path is free to walk

Nick:
I heard that train comin' around the curve

Debbie & Nick:
Whistlin' and churnin' and changin' my nerve
That train is always comin' and your path is free to walk
Your train is always comin' and your path is free to walk
That train is always comin' in

di Jeffrey Lee Pierce 

Brano inciso nel 2009 da Debbie Harry e Nick Cave... incluso in questa raccolta...
ed io lo scopro solo ora. Una vera perla nascosta.

Nick Cave & The Bad Seeds - Vortex

When my love comes down
Down to see you
When my love comes down
Down to see you
I just want to be with you
When my love comes down
Down to see you

Come on, come in
Step into the vortex
Where you belong
Come on, come in
Step into the vortex
Where you belong
Yeah

I just want to hold your hand
I just want to hold your hand
I got, I got no other plans
I just want to hold your hand

And come on, come in
Step into the vortex where you belong
Come on and come in
Step into the vortex where you belong
Come on
Come on

Come on, come in
Step into the vortex
Where you belong
Come on and come in
Step into the vortex
Where you belong

Come on, come in
Step into the vortex
Where you belong

B-Sides & Rarities Part II - 2021

Nick Cave & The Bad Seeds - Vortex - earone

Nick Cave & The Bad Seeds annunciano B-Sides & Rarities Part II, il tanto atteso seguito di B-Sides & Rarities del 2005, in uscita il 22 ottobre in doppio vinile, doppio CD, doppio CD deluxe e su tutte le piattaforme digitali.

B-Sides & Rarities Part I and Part II verranno anche pubblicati insieme in un Box Set in Edizione Limitata di 7 Vinili che include 83 brani e un libretto di materiale esclusivo.

B-Sides & Rarities Part II è stato compilato da Nick Cave e Warren Ellis, e contiene 27 brani rari e inediti usciti tra il 2006 e il 2020, incluse le prime registrazioni di ‘Skeleton Tree’, ‘Girl In Amber’ e ‘Bright Horses’.

La canzone in precedenza mai pubblicata, ‘Vortex’, è ora disponibile in streaming. Tratta da B-Sides & Rarities Part II, è stata scritta e registrata nel 2006 da Nick Cave, Warren Ellis, Martyn Casey e Jim Sclavunos e poiché la band non è mai stata in grado di definirla come Grinderman o Bad Seeds, rimase inedita.

L’originale B-Sides & Rarities Part I è uscito nel 2005 - compilato da Mick Harvey e comprende 56 tracce tra cui rarità, outtakes, cover e B-sides uscite tra il 1988 e il 2005. Questa è la prima volta che l’album viene reso disponibile in vinile.

“Mi è sempre piaciuto l’originale B-Sides & Rarities più di ogni altro nostro album. È l’unico album che ascolterei volentieri. Sembra più rilassato, anche un po’ insensato in alcuni punti, ma con belle canzoni ovunque. C’è anche qualcosa, nella piccolezza di certe canzoni che è più vicino al loro spirito originale.

B-Sides & Rarities Part II continua questa strana e bellissima raccolta di canzoni perdute dei The Bad Seeds. Amo il lato finale dell’ultimo disco perché rivela i piccoli e fragili inizi di alcune delle mie canzoni preferite dei Bad Seeds. 'Waiting For You' completa di una particolare traccia ritmica, una splendida 'Life Per Se' ritenuta troppo triste per Skeleton Tree, e ‘Earthlings’ che alcuni considerano la traccia più bella delle sessioni di Ghosteen.” - Nick Cave

Nick Cave & The Bad Seeds suoneranno nei festival europei nell’estate 2022

Nick Cave & Warren Ellis saranno in tour in UK questo autunno.

Caught in the Act

Cinque vecchiacci colti in fragrante!

Charlie Watts - il tributo degli Stones...

 

Visualizza questo post su Instagram

Un post condiviso da The Rolling Stones (@therollingstones)

Ciao Charlie

“Ma che ore sono? Le cinque del mattino? Ma chi cazzo è che telefona a quest’ora della notte?”

Ottobre del 1984, siamo ad Amsterdam.

Charlie Watts, il batterista dei Rolling Stones è nella sua stanza d’albergo quando riceve una telefonata. Accende la luce, guarda l’ora e si stupisce. Lui non è come gli altri Stones. Sempre fedele alla moglie Shirley, è l’unico a rifiutare le groupies, anche se Mick Jagger e Keith Richards continuano a ripetergli che è pazzo, che la vita è una sola e quella degli Stones è la migliore delle vite possibili. Persino quando sono stati invitati nella villa di Hugh Hefner, il boss di Playboy, durante il tour americano del 1972, Watts è stato l’unico a trascorrere tutto il tempo nella sala giochi invece che con le conigliette. Insomma, non è normale che qualcuno lo chiami alle cinque del mattino, a meno che sia successo qualcosa di grave. Così va a rispondere.

È Mick Jagger. Lui e Keith Richards, ma questo Charlie Watts lo saprà soltanto in seguito, sono appena tornati da una notte di alcol ed eccessi vari ed eventuali. “Perché non chiamiamo Charlie?”, dice a Keith. “Beh, lo conosci. A quest’ora dorme”. “Chiamiamolo lo stesso”, dice Mick. Jagger fa il numero della stanza di Watts.

“Ehi, dov’è il mio batterista?”, chiede. “Perché non trascini il tuo culo fino a qui?”

Charlie Watts non dice una parola, appende la cornetta, va in bagno, si fa la barba, si mette lo smoking, lucida le scarpe, le indossa. Esce dalla stanza, raggiunge Jagger nella camera di Keith, si avvicina e gli sferra un sensazionale pugno in faccia. Jagger finisce sopra un piatto di salmone affumicato, Keith Richards lo afferra per una gamba impedendogli così di precipitare dalla finestra aperta al ventesimo piano. Jagger non accenna a rialzarsi, guarda Charlie Watts con aria interrogativa.

E Charlie Watts gli dice: “Non mi chiamare mai più il mio batterista. Sei tu il mio fottuto cantante del cazzo!”.

(tratto da Rock Bazar, di Massimo Cotto)

Gli Uccelli

Cambiano le prospettive al mondo

Voli imprevedibili ed ascese velocissime

Traiettorie impercettibili

Codici di geometria esistenziale

Volano gli uccelli volano
Nello spazio tra le nuvole
Con le regole assegnate
A questa parte di universo
Al nostro sistema solare

Aprono le ali
Scendono in picchiata, atterrano
Meglio di aeroplani
Cambiano le prospettive al mondo

Voli imprevedibili ed ascese velocissime
Traiettorie impercettibili
Codici di geometria esistenziale

Migrano gli uccelli emigrano
Con il cambio di stagione
Giochi di aperture alari
Che nascondono segreti
Di questo sistema solare

Aprono le ali
Scendono in picchiata, atterrano
Meglio di aeroplani
Cambiano le prospettive al mondo

Voli imprevedibili ed ascese velocissime
Traiettorie impercettibili
Codici di geometrie esistenziali

Volano gli uccelli volano
Nello spazio tra le nuvole
Con le regole assegnate
A questa parte di universo
Al nostro sistema solare

Genesis Live Bataclan France 16mm January 10, 1973 (4K)

 E' stato pubblicato su YouTube il filmato restaurato del concerto dei Genesis del 10 gennaio 1973 al Bataclan di Parigi. Il filmato, per gentile concessione del sito web The Genesis Museum, è stato restaurato in 4k.

Il live è girato su un film in 16mm, la band si esibiva in supporto del quarto album della band britannica, "Foxtrot", il video ha una durata di circa 38 minuti. Vi sono delle interviste aggiuntive oltre alle canzoni "The Musical Box", "Supper's Ready", "The Return Of The Giant Hogweed" e "The Knife".

Da Rokol.it

00:00​ The Musical Box 10:03​ Supper's Ready 21:22​ Return Of The Giant Hogweed 26:48​ The Knife 33:21​ Interviews NOTE: 4K Version still being processed by YouTube Technical Details: This was a really big project. Not that the source was bad, the source was actually very nice. However, the source had many anomalies, but enough "clay" was there to mold this into something even better. The entire process was helped immensely by Ikhnaton, who provided material as well as suggestions and many many previews. The first step was to work on the sound, as the sound was missing for the first part of The Musical Box. The sound still exists but, well...this is another even longer story. Unfortunately, there were not many great recordings that were close enough in time to match the video performance. The best match turned out to be from the official Live LP, although I had to jump through many hoops to not only match the video from a month earlier, but also to match the rest of the audio in "tone". I then inserted a "patch" of audio to erase the overdub from the narrator. This also had to be EQed to match as reasonably close as possible. In the end I used more than one source as the camera is behind the keyboards during this portion, and they needed to be higher in the mix than found in most soundboard Musical Box recordings. I then remastered the rest of the audio to give it a bit more life, some compression and reverb and stereo effects, though not too much as this is a small club and would be strange if it sounded like Giants Stadium. There were also some odds and ends like the sound reel being flat as it spun up to speed, some ambient audience needed between songs, etc. Most of the audio quality was nice however so it didn't need too much surgery. The video was much more of a process. AI tools are becoming very useful and fairly fast, but often make things worse when used improperly. There are also about 25 different AI models that I use, each with several different settings. I try many different models in order to get the result I am looking for on the source I am working on, without creating unwanted artifacts. I also normally have to do more than 1 AI pass. These video tools basically do 3 things well. Noise reduction, up-sampling (increasing size), and enhancement (adding detail) and there is rarely 1 perfect model or setting to get all three, without some very strange things happening. For example, one of the models I tested did a great job on the foreground, but determined that the curtains were hair and they started flowing:) For this film I did 2 passes with 2 totally different models, one of which was still in beta release. I also upscaled higher than desired and then Lanczos reduced back down to get even more detail without adding size. I also used AviSynth for spot/dirt removal and cleanup, scratch removal on one of the camera reels (mostly during Hogweed), and additional sharpness. I used Neat Video for some additional NR/blending in the lights, which are brighter than normally seen on concert films of the time, and it was very difficult to train a tool to recognize the difference between foreground and background in this case. Then I used FFMPEG for frame interpolation to get smooth motion. Finally of course some color grading in TMPGEnc, to give it more realism, despite some color and lighting inconsistencies between the camera angles. For the production we decided to move the interviews to the end, as they are mostly annoying during the performance. There was also only a lower quality source for the final reel of The Knife, so the brightness and detail is greatly reduced during the final minute or so. I won't say that all of these processes were without penalty. But as always, the benefits of each process have to be weighed against the penalties. For the processes we used, we felt there was enough added benefit. Is it definitive? No. Not only do we know there was more of this show filmed, if all the reels could get a higher resolution direct transfer without compression, the results could be better still. But in my opinion, the results we were able to obtain rank this film up there with the best of the Gabriel-era Genesis films. As always, we hope the fans enjoy this. But we ask that our work on this film not be used without permission or credit to those who put all of the time, effort, and money in to making this happen. Otherwise, those involved will not share their work in the future. Ikhnaton & http://GenesisMuseum.com