All posts by Diego Agulló

The Beach Boys 50th Anniversary reunion, new album & Tour


Hollywood, California – December 16, 2011 – The founding members of The Beach Boys, one of the world’s most legendary bands in popular music history, will reunite for a global 50th Anniversary CELEBRATION in 2012. Beach Boys Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks will come together for a new studio album and commemorative catalog releases with Capitol/EMI and a 50-date international tour to begin in April with a headlining performance at the New Orleans Jazz & Heritage Festival (“Jazz Fest”) as well as other exciting events to be announced.

Brian Wilson says, “This anniversary is special to me because I miss the boys and it will be a thrill for me to make a new record and be on stage with them again.”

Mike Love says, “We got together at Capitol Records and re-recorded ‘Do It Again.’ Brian and I wrote that song which went to number 1 in Great Britain, Australia and elsewhere some 44 years ago. Brian paid me a compliment saying, ‘How can a guy sound that great so many years later?’ Later on, while working out some harmonies on a new song Brian had written, I got a chance to return the compliment. It was a thrill to be around a piano again with Brian, Alan and Bruce and experience firsthand the brilliance of Cousin Brian’s gift for vocal arrangements. I am very much looking forward to David Marks joining us and thrilling with his surf guitar licks. Music has been the unifying and harmonizing fact of life in our family since childhood. It has been a huge blessing that we have been able to share with the world. Wouldn’t It Be Nice to Do It Again? Absolutely!”

Al Jardine says, “The Beach Boys were recently inducted into the California Hall of Fame. From our humble beginnings as brothers, cousins and friends, we have been honored to sing the praises of California, and I’m really excited for our fans to be able to see us again in concert on the world stage, and to celebrate our 50th anniversary together with a new studio album.”

Bruce Johnston says, “I will be looking forward to singing Brian Wilson’s melodies and Mike Love’s lyrics once again in concert with many of the original band members, but imagine what we all could come up with vocally in a recording studio atmosphere under Brian’s musical direction.”

David Marks says, “I’m really looking forward to celebrating this important milestone in The Beach Boys’ history with the other guys, and with Capitol Records – where it all began 50 years ago. It means a lot to me that we can all reunite and pay tribute to the fans who have kept the music alive.”

The Beach Boys have already recorded several songs for their new album, to be released in 2012 by Capitol/EMI, with more tracks to be recorded before its completion. The as-yet-untitled album, the first to feature all of the band’s surviving original members in decades, is being produced by Brian Wilson and executive produced by Mike Love.

The Beach Boys and Capitol/EMI have also teamed up for a 50th Anniversary campaign spotlighting the band’s entire catalog, with several new commemorative releases planned for 2012, including a new hits collection and a career-spanning box set.

Roger Faxon, CEO of EMI Group commented: “It’s no exaggeration to say that The Beach Boys are one of the greatest and most loved bands that the world has ever produced, and true American icons. We are incredibly proud to take this next step with them as our partnership enters its fiftieth year, and I can’t wait to see the band back together doing what they do better than anyone else.”

Colin Finkelstein, COO of EMI Music North America said: “We’re honored to continue Capitol/EMI’s historic partnership with The Beach Boys as they celebrate their fiftieth anniversary. The Beach Boys bring the best of California’s sun and surf culture to people all over the world with their music, and we’re really looking forward to working with the band on the new album and commemorative catalog releases – a real CELEBRATION of fifty years!”

Quint Davis, producer/director, New Orleans Jazz & Heritage Festival says, “It’s an honor to present the original Beach Boys reunion at Jazz Fest 2012. Hosting the greatest artists of our era has always been the primary mission of Jazz Fest, and certainly The Beach Boys are unsurpassed as an iconic American musical and cultural institution. Every spring Jazz Fest is the number-one destination for good vibrations and fun, fun, fun; on April 27th, when The Beach Boys reunite on our biggest stage, it’s going to feel like a thrilling homecoming for everyone lucky enough to be there. We’re all looking forward to experiencing the magic and the joy.”

Founded in Hawthorne, California in 1961, The Beach Boys were originally comprised of the three teenaged Wilson brothers: Brian, Carl and Dennis, their cousin Mike Love, and school friend Al Jardine. In 1962, neighbor David Marks joined the group for their first wave of hits on Capitol Records, leaving in late 1963, and in 1965, Bruce Johnston joined the band when Brian Wilson retired from touring to focus on writing and producing records for the group. For five decades, America’s first pop band to reach the 50 year milestone has recorded and performed the music that has become the world’s favorite soundtrack to summer.

The Beach Boys signed with Capitol Records in July 1962 and released their first album, Surfin’ Safari, that same year. The album spent 37 weeks on the Billboard chart, launching the young group known for its shimmering vocal harmonies and relaxed California style into international stardom. The Wilson/Love collaboration resulted in many huge international chart hits, and under Brian Wilson’s musical leadership, the band’s initial surf-rock focus was soon broadened to include other themes, making The Beach Boys America’s preeminent band of the 1960s.

In 1966, The Beach Boys were one of the first bands to found its own record label with the launch of Brother Records, Inc. (BRI), with the band’s members as its shareholders and Capitol Records as its distribution partner. BRI continues to manage The Beach Boys’ intellectual property, including the band’s catalog with Capitol/EMI and other label partners, as well as its name, logos, image and likeness.

The Beach Boys continue to hold Billboard / Nielsen SoundScan’s record as the top-selling American band for albums and singles, and they are also the American group with the most Billboard Top 40 chart hits (36). ‘Sounds Of Summer: The Very Best Of The Beach Boys’ is fast approaching triple-Platinum sales status, and ‘The SMiLE Sessions,’ released to worldwide critical acclaim in November, has been heralded as 2011’s #1 Reissue of the Year by Rolling Stone magazine.

Inducted into the Rock and Roll Hall of Fame in 1988 and recipients of The Recording Academy’s Lifetime Achievement GRAMMY Award, The Beach Boys are an American institution that is iconic around the world.

DJ Jesús Rodríguez

Hola amigos soy Jesús Rodríguez Jr me siento como si fuese a escribir mis memorias, pero de alguna manera lo son o más bien mis vivencias como DJ desde 1.976. Una época donde poner la música en una discoteca era complicado, sobre todo porque no había muchas y las manejaban, como dueños, gente que por lo general no eran profesionales de la noche más bien constructores que tenían algún local libre y les habían dicho que era lo más rentable y si además gozaban de las simpatías del alcalde (todavía no estábamos democracia) pues mejor que mejor.

Mis inicios fueron en guateques que montábamos amigos y amigas y ahí le cogí el gusanillo, eran como las raves de ahora pero con menos alcohol y menos watios.

Musicalmente era un año de transición como ya veremos, de echo hablamos del año anterior a Fiebre del Sábado Noche… En las discos escuchabas todo tipo de música y el lento era casi la estrella (no era fácil ligar y bailar agarrado te ayudaba) y tampoco era extraño que el DJ se implicara con el sentir de una nación donde acababa de morir Franco y pinchase a Jarcha “Libertad sin Ira” daba casi miedo ver como se ponía la peña, era como un himno no oficial. Se podía escuchar lo mas in que era The Filadelfia Sound, arrasaba Abba, los ultimos coletazos del Glam Rock, el mencionado lento con los italianos cantando en español, en definitiva lento con medios tiempos pasado por la dance hasta ritmos frenéticos en una sóla noche terminando con algo español.

Tecnicamente las cabinas de DJ eran limitadas dos platos giradiscos muchas veces sin pinch, mesa de mezclas nada profesionales, algunas con el famoso Revox que a la vez se utilizaba de descanso del DJ también de echo y aisladas en muchas ocasiones del publico.

Como sonido un chillido infernal seguido de unos subgraves generosos que tapaban algo ese “ruido” los discos tampoco eran una maravilla de grabación, los importados siempre sonaban mejor, las luces, normalmente programador con órgano, flash y por supuesto las famosas bolas de discoteca, en algunas ni eso.

Se pinchaba al corte porque no había manera humana de coincidir los beats ya no solo por la tecnologia que empleabamos, si no porque los temas eran grabados con bateria y muy pocos con caja de ritmos. El corte tenia que ser muy preciso, todos los temas eran versión single y acababan cantando y algunos comenzaban igual… el maxi-single llegó a España en el 78, precisamente con un tema de 1.976 Al Stewart “Year of the Cat”

Los jóvenes teníamos pocas opciones de ocio cine, recreativos y discotecas. La tv con un canal y medio y dedicado a programas mas bien adultos.

Espero que algunos recordasen viejos tiempos y otros conozcan los inicios de una bonita profesión que no siempre fué bien vista.

Os dejo una lista de mis 12 canciones de 1.976 por lo menos las que más a gusto pinché

Andrea True Connection – More More More (lo que me costo conseguirla)
The Ritchie Family – The best disco in town (de las primeras autenticamente disco)
Tavares – Heaven must be an angel (imprescindible)
Silver Convention – Get up and boogie (los primeros bailecitos)
K C and The Sunshine Band – Shake your body (fueron mis favoritos mucho tiempo)
Hot Chocolate – You sexy thing (aún hoy se puede pinchar el original)
Thelma Houston – Don´t leave this way (en España pegó realmente más tarde)
Peter Frampton – Show me the way (por supuesto versión en vivo del album doble)
Boston – More than feeling (temazo muy utilizado para cambiar de lento a rápido que se decía entonces junto con otros como Hotel California de Eagles o el impresionante I´m heartache de Bonnie Tyler que las guiris inglesas nos enseñaron a bailar)
Donna Summer – Love to love you baby (la gran diva de Giorgio Moroder)
Chicago – If you leave me now (un clásico precioso)
Manhattan – Kiss and say goodbye (el lento por exelencia… si con esto no… a dormir)

Swedish House Mafia split with Pacha Ibiza

Despite what Mondays mean for the rest of the world, in Ibiza the kick-off to the ‘working week’ is big business. One of the most lucrative Monday parties for the past three seasons has been the Swedish House Mafia’s Pacha takeover for Masquerade Motel.

In 2012, though, the trio is taking its star power elsewhere, as they announced on Facebook yesterday. “After three years of hosting Mondays at Pacha Ibiza we feel it’s time to move on and explore more of what the beautiful isle has to offer,” the guys wrote. “It’s been an incredible time and we have had some amazing memories, thanks for making Pacha history with us. We’ll be seeing you next summer on a new and even more incredible adventure!”

What Inspired Taio Cruz’s New Single ‘Hangover’?

In Cruz’s playful new single, “Hangover,” he croons lines like, “I got a hangover/ I got an empty cup/ Pour me some more.” The accompanying music video is a rambunctious spin on the 2009 hit movie of the same name: Taio wakes up with a foggy memory, only to slowly recall the zany alcohol-fueled antics of his entourage the night before.

But the multitalented electro-pop star insists he imbibes the sauce very rarely. “I have to be honest: I really don’t drink that much. I really don’t. Seriously, I don’t,” he told MTV News.

” ‘Hangover’ was inspired by me being in Ibiza this year,” he continued. “We had a whole week of going out and it being crazy, even though I didn’t actually get drunk myself, but everyone around me was getting completely smashed. I felt like, ‘We need to create an anthem for them. That would be fun.’ ”

Thus, the immortal lyric “I can drink until I throw up” was born.

Despite a drier-than-expected lifestyle, Cruz admitted he enjoys unleashing his inner Snooki every now and then.

“I have had the odd occasion where it’s gotten a bit crazy, and it’s always in Ibiza, [Spain]. For me, I think my craziest moment was in Ibiza at a bar with a couple girls on me, piggybacked whilst behind the bar making drinks. I remember that was a bit of a crazy evening,” he reminisced.

Noel Gallagher: “Any fucker” can make dance music

The perpetually pissed-off Noel Gallagher has posted a video online in which he trashes the state of modern dance music, claiming that “any fucker” can make it.

The former Oasis guitarist stated that advances in technology have meant that making dance music “sounds like a walk the park now”. Gallagher said “I had a house in Ibiza for 12 years, and you could just feel the change one year. From nobody knowing what they were doing with these machines, to somebody mastering it and the machine makers making it easier for people to use. Dance music sounds like a walk in the park now. Any fucker can do it – and quite frankly, every fucker is doing it.”

He states that while he used to be a fan of “primitive” dance music, there is “too much shit now”.

This isn’t the first time Gallagher has placed his foot squarely in his mouth. In 1995, he famously expressed a desire for Alex James and Damon Albarn of Blur to “catch AIDS and die”. Throughout his career, Gallagher has also wittily changed the lyrics of Blur’s hit song Parklife to “Shite-life” during a 1996 performance at the BRIT Awards, questioned the legitimacy of brother Liam’s daughter and described Margaret Thatcher as “a dick”.

Metallica y Lou Reed muestran en ‘streaming’ el curioso resultado de su alianza musical

El disco se llama ‘Lulu’ y está inspirado en la obra del escritor expresionista alemán Frank Wedeking, para la cual Reed compuso en una ocasión la música.
Kirk Hammett, de Metallica, ha asegurado que ‘Lulu’ es una de las “mejores cosas” que la banda ha hecho y donde ha recobrado su espontaneidad.
Poco más de una semana antes de que salga al mercado, Metallica y Lou Reed han decidido permitir a sus seguidores escuchar el resultado de la alianza entre el grupo de metal y el mítico autor y guitarrista. El guitarrista Kirk Hammett define como “una de las mejores cosas” que la banda de metal ha hecho.
Lulu -así es como se titula el nuevo trabajo- tiene prevista su publicación el próximo 31 de octubre, salvo en Norte América, donde verá la luz al día siguiente. Para los que no puedan esperar, se permite su escucha en streaming en Loureedmetallica.com, la página de este proyecto.

No habíamos sido tan espontáneos desde los 80 En una entrevista con la revista Revolver, Hammett expresaba su entusiasmo ante esta colaboración. “Esta iniciativa me demostró que todavía podíamos ser verdaderamente espontáneos”.

“No habíamos sido tan espontáneos de esa manera durante años y años, probablemente desde los 80”, explicó el guitarrista, que añadía: “Estábamos todos fuera de nuestra zona cómoda y, por eso, fuimos todos con material que normalmente no habríamos llevado”.

“Esto es algo que la mayoría de la gente no estará esperando de nosotros. Todo lo que tengo que decir es que no lo juzgueis bajo los estándares del heavy-metal y probablemente lo entendereis mejor”, concluía.

El fruto de esta alianza es una interesante colección de diez temas en los que, a ratos, parece triunfar el espíritu de Metallica, aunque calmado por la serenidad de Reed. En otros, es este quien impone las directrices, pero mareadas por riffs.

‘Lulu’, basado en el expresionismo alemán. Lulu es un disco inspirado por el escritor expresionista Frank Wedekind, un dramaturgo alemán, y, particularmente en sus obras Erdgeist (El espíritu de la tierra; 1895) y Die Büchse der Pandora (La caja de Pandora; 1904).

En ellas se narra la historia de una joven bailarina que ha sufrido abusos sexuales, sus relaciones sentimentales y los avatares de una vida en la que conoce el éxito y la riqueza y la pobreza más absoluta.

La obra inspiró una película muda con el mismo título y estrenada en 1929, la ópera de Alban Berg Lulu, de 1937, y, ahora, este trabajo conjunto del neoyorquino ex líder de Velvet Underground y los reyes del thrash metal.

Lou Reed había compuesto la música y las letras para una producción teatral en Berlín, pero “después de coincidir con los chicos de Metallica para los conciertos del Rock and Roll Hall of Fame de Nueva York en 2009, todas las partes implicadas supieron que querían hacer música juntos”.

El guitarrista Vargas inicia su gira mundial en Ibiza

El guitarrista Javier Vargas iniciará este viernes 21 de octubre en Can Ventosa la gira mundial de presentación de su nuevo album ‘VBA’ (Warner Music/RoadRunner 2011), un nombre que responde a las iniciales de los tres genios que se han juntado para grabarlo: el propio Vargas, Tim Bogert y Carmine Appice. Para la gira cuentan con Paul Shortino ya que no ha podido viajar Bogert, quien tiene un problema de salud que le obliga a alejarse momentáneamente de los escenarios.
El álbum recoge las versiones que estos cuatro talentos han hecho de temas clásicos del rock de bandas y solistas como AC/DC, Deep Purple, Rod Steward, Cheap Trick, Gary Moore, Paul Rogers o Mike & The Mechanics, entre otros.
La discográfica recuerda que Vargas ha estado implicado en infinidad de proyectos a lo largo de su trayectoria como guitarrista. En los 20 años con su banda (Vargas Blues Band) ha grabado 16 discos y ha colaborado con artistas y grupos como Carlos Santana, Miguel Ríos, Canned Heat, Glenn Hughes, Raimundo Amador, Prince, Devon Allman, Jack Bruce y Elliot Murphy, entre otros.
Carmine Appice es un virtuoso batería que se dio a conocer con los psicodélicos sesenteros Vanilla Fudge y, junto a su compañero Tim Bogert, triunfó con Cactus, justo antes de entrar a formar trío junto a Jeff Beck y posteriormente colaborar en diferentes proyectos junto a grandes como Rod Steward, Ozzy Osbourne o Pink Floyd.
Paul Shortino trabajó con Quiet Riot o Rough Cut, mientras que Bogert ha colaborado con Bob Weir o Rick Derringer, además de sus memorables etapas en Vanilla Fudge y Cactus.