lunes, 19 de diciembre de 2016

Erck Clapton ""paying the price""


Eric Clapton's recent health issues
courtesy of: rollingstone

Eric Clapton’s Recent Health Issues Could Cause Layla to Lay Low


Following decades of hard living and legendary rock and rolling, Clapton may finally be paying the price. As the result of his recent health issues, he may have to put his career on a permanent pause. While it is not something the legendary guitarist wants, it may be something he needs. Although he got clean decades ago, his body has sustained massive damage over the years from being a hard core drug addict. Playing all-night, while doing lines of blow off a young groupie’s ass can have lasting damages. Eric Clapton’s recent health issues are a testament to the fact that hard living and father time do not mix.
The guitarist has a pedigree that seems as though it is has been made up for a movie star.  Beginning with The YardbirdsCreamDerek and the DominosBlind Faith Delaney and Bonnie and Briends, and the Bluesbreakers. In the midst of that success being labeled as ‘Clapton is God’ for a period of time. All the while he was also battling a serious substance abuse problem while eventually going onto a tremendously successful solo career. During which he had to deal with the tragic loss of his four-year-old son Coner, who fell from a 53rd floor window. Finally, as a result of this whirlwind of a career, he got clean and he got old. This would cause health problems in a superhero.

Eric Clapton’s Recent Health Issues Catch His Attention


Source: billboard.com (Photo by Kevin Mazur/WireImage)
Source: billboard.com (Photo by Kevin Mazur/WireImage)

A lifetime of being a rockstar is the dream of nearly every kid growing up. But, what nobody talks about is the end result of that lifestyle. In an article with Team Rock, Clapton discusses the changes in his health. “I’ve had quite a lot of pain over the last year. It started with lower back pain, and turned into what they call peripheral neuropathy – which is where you feel like you have electric shocks going down your leg. “[It’s] hard work to play the guitar and I’ve had to come to terms with the fact that it will not improve.”
Although, like B.B. King, Clapton began to sit for many of his shows when the pain grew to levels he simply could not tolerate. He realized then that he was paying the piper for all the years of hard core living. Clapton told Daily Recovery he had a “$16,000 per week heroin habit” that he did kick, but he “but quickly replaced it with alcohol and cocaine.” As a result he spent decades going hard all day everyday until he finally got clean in the 1987.

Gaining Perspective and The Future For a Legend


Source: dailymail.co.uk
Source: dailymail.co.uk

While he suffering severe pain now, there is a chance Eric Clapton’s recent health issues will not cripple his career. He goes on to say in the Team Rock interview that he has dealt with more pain than this before. “There was one point there where they were flying me to hospital in St Paul [Minnesota] and I was dying, apparently,” he continued. “I had three ulcers and one of them was bleeding. I was drinking three bottles of brandy and taking handfuls of codeine, and I was close to checking out.”
Furthermore, he knows that he is on borrowed time by surviving his addict rockstar lifestyle. As he describes in the Team Rock interview, “because I’m in recovery from alcoholism and addiction to substances, I consider it a great thing to be alive at all. By rights, I should have kicked the bucket a long time ago. For some reason I was plucked from the jaws of hell and given another chance.”
Perhaps, Eric Clapton’s recent health issues do not mean the end of his career, but he has had a scare. Although his contributions to music could warrant some vacation time if he chooses to use it.

domingo, 18 de diciembre de 2016

The Darck Side of the Moon-documentary (traduccion)

Pink Floyd - el lado oscuro de la luna [Documental 2003]
[http://www.bbc.co.uk/]: la revisión de Chris Jones.
Liberado: 1 de marzo de 1973
Grabado: Junio de 1972 a enero de 1973
Pink Floyd:
David gilmour - vocales; guitarras; vcs 3
Nick Mason - percusión; efectos de la cinta
Richard Wright - teclados, vocales; vcs 3
Roger Waters - guitarra de bajo, voz; vcs 3; efectos de la cinta
Otros músicos:
Dick parry - saxofón en " nosotros y ellos " y " dinero "
Clare torry - la voz en "el gran concierto en el cielo"
Doris Troy - coros
Lesley Duncan - coros
Liza strike - coros
Barry st. John - coros
El sitio oficial para la enésima re de esta vieja castaño te presenta una gran cantidad de estadísticas que, si tienes menos de 30 años, probablemente parecerá que los desvaríos de (suficientemente adecuadamente) un lunático. Para si, por alguna circunstancia fenómeno (lost en la selva del Pacífico durante treinta años / coma / simplemente no le gustan las bandas de guitarra pésimo, etc. ), usted mantiene este cd en sus manos por primera vez, escucha: el lado oscuro de la luna pasó un increíble once años consecutivos en el top 100 y ha de un total de catorce años de presentarse en el mismo lugar. Es un montón de aviones lear y equipos de fútbol. Pero qué nuevo se puede decir?
Bueno, ahora viene con una capa extra de nuevo aumento de 5.1 surroundsound fulano con (naturalmente) incorpora [sic]. y tiene un hermoso efecto de vidrio manchado de la cortesía de la tormenta thorgerson y sus graciosamente llamado. Y la música?
Contextualmente hablando era la gracia de la gracia de floyd. En 1972, se alegó firmemente la vanguardia (leer: musicalmente arriesgada, pero propenso a golpear grandes gongs y poner fuego a las cosas en el escenario) el arte de rock se incorporar como su propio parque de juegos. Sin embargo, estos chicos de clase media todavía ansiaba, como, PAN, hombre. Después de un período prolongado de bandas sonoras para las películas europeas de artistica, finalmente surgido de bajo la sombra del fundador / visionario / icono de mármol perdido, syd barrett con un álbum de coherente, entrometerse. Roger Waters tuvo grandes ideas sobre la locura, la vida, la muerte y todas esas cosas profundas. Emi tenía un estudio bastante espléndido con unos ingenieros de alto nivel. Seis meses después... Voila!
Lo que hizo esta mezcla tan popular en el momento fue una serie de coincidencias. El mundo occidental fue ahora completamente stereoed; la banda se enganchó con un ingeniero inmaculada por el nombre de Alan Parsons (sí, ese con el proyecto) y por último, pero no menos, la banda se molestó en escribir algunas canciones muy bien. Esto fue un largo camino desde las tonterías mitad que habían asolado a ummagumma o a la madre del átomo. La guitarra de gilmour fue ahora gusto de buen gusto (el corazón aún rompe con esa pequeña frase alrededor de 36 segundos en ' Respirar ' ') Y Zen-Like en lo que podría dejar fuera (comprobar la pista más subestimado ' ' cualquier color que te guste ' ') los efectos del sonido son tan trillada como un disco de demostración estéreo de 70 (que este álbum fue reemplazado con eficacia en la mayoría de las tiendas de hi-fi en el momento), sin embargo, el flujo general del álbum todavía satisface a medida que se funde baladas existencial (' ' time ' ', ' ' nosotros y ellos ') Con rockers cínico ("el dinero") y el fenómeno de la arena (' ' el gran concierto en el cielo ').
Demasiado escrutinio revela una sección de ritmo que es ridículamente plomo, estructuras de canciones que emplean la misma línea descendente que aparece en cada álbum de floyd desde que se entrometerse (CF: "ecos") y las letras que avergonzar con su sexto sexto. Sin embargo, cuántos escritores van a decir lo mismo de los acogedor ataques de radiohead sobre la globalización y el aburrimiento del siglo XXI en el ordenador (que le debe una cantidad tan enorme a este álbum) en treinta años? En última instancia importa poco. Dsotm sigue siendo un disco muy bonito que se hace frágil por el uso excesivo. Uno casi desea que en lugar de algo una vez más, Emi lo había borrado por un tiempo para darnos toda la habitación para respirar de nuevo...
T










darck Side
Pink Floyd — The Dark Side Of The Moon [Documentary 2003]
[http://www.bbc.co.uk/]: REVIEW BY Chris Jones.
Released: 1 March 1973
Recorded : June 1972 – January 1973
Pink Floyd:
David Gilmour – Vocals; Guitars; VCS 3
Nick Mason – Percussion; Tape Effects
Richard Wright – Keyboards; Vocals; VCS 3
Roger Waters – Bass Guitar; Vocals; VCS 3; Tape Effects
Additional musicians:
Dick Parry – Saxophone On "Us And Them" And "Money"
Clare Torry – Vocals On "The Great Gig In The Sky"
Doris Troy – Backing Vocals
Lesley Duncan – Backing Vocals
Liza Strike – Backing Vocals
Barry St. John – Backing Vocals
The official site for the umpteenth re-release of this old chestnut presents you with a daunting array of statistics that, if you're under the age of 30, will probably seem like the ravings of (appropriately enough) a lunatic. For if, by some freak circumstance (lost in Pacific jungle for thirty years/coma/just plain don't like lousy guitar bands etc.), you hold this CD in your hands for the first time, listen up: Dark Side Of The Moon spent an incredible ELEVEN CONSECUTIVE YEARS in the top 100 and has notched up a total of FOURTEEN YEARS lodged in the same place. That's a lot of Lear jets and football teams. But what new can be said?
Well, it now comes with an extra layer of new enhanced 5.1 surroundsound thingummy with (naturally) Dobly [sic]. And it's got a lovely new stained glass effect cover courtesy of Storm Thorgerson and his hilariously named Hipgnosis cohorts. And the music?
Contextually speaking this was the Floyd's saving grace. By 1972 they'd firmly claimed the avant garde (read: musically unadventurous but prone to hitting large gongs and setting fire to stuff onstage) art rock mainstream as their own playground. Yet these middle-class boys still craved, like, bread, man. After a prolonged period of fumbling soundtracks for European arthouse movies they'd finally emerged from under the shadow of founder/visionary/lost-marble icon, Syd Barrett with a coherently beautiful album, Meddle. Roger Waters had some big ideas about madness, life, death and all that deep stuff. EMI had a rather splendid studio with some top-notch engineers. Six months later...voila!
What made this concoction so popular at the time was a series of coincidences. The western world was now fully stereoed-up; the band hooked up with an immaculate engineer by the name of Alan Parsons (yes, that one with the project) and last, but not least, the band bothered to write some really fine songs. This was a long way from the half-baked nonsense that had plagued Ummagumma or Atom Heart Mother. Gilmour's guitar was now exquisitely tasteful (the heart still breaks over that little phrase about 36 seconds into ''Breathe'') and zen-like in what he could leave out (check the most underrated track ''Any Colour You Like''). The sound effects are as hackneyed as a 70s stereo demonstration record (that this album effectively replaced in most hi-fi stores at the time), yet the overall flow of the album still satisfies as it merges existential ballads (''Time'', ''Us And Them'') with cynical rockers (''Money'') and arena-impressing freak outs (''The Great Gig In The Sky'').
Too much scrutiny reveals a rhythm section that's laughably leaden, song structures that employ the same descending runs that appear on every Floyd album since Meddle (cf: ''Echoes'') and lyrics that embarrass with their sixth-form triteness. Yet how many writers will be saying the same of Radiohead's cosy attacks on globalisation and 21st century ennui on OK Computer (which owes such a huge amount to this album) in thirty years time? Ultimately it matters little. DSOTM is still a lovely record made brittle by overuse. One almost wishes that instead of spicing it up one more time, EMI had deleted it for a while to give us all room to breathe again...