En tus Brazos. (corto animado)

Disfruten de este hermoso corto animado “En Tus Brazos” Abunda creatividad, el sentimiento y el tango de Argentina. Pegan al bailarín más grande del tango de los años 20 en un sillón de ruedas después de un accidente trágico. Agradece a su esposa, él recupera el uso de sus piernas, la época de una danza imaginaria, “no me paran, no sostienen apretado”. Dirigido por François-Xavier Goby, Edouard Jouret y Matthieu Landour. Francia 2005. Presentado en festivales en París, Séoul y Bristol. Música: “En Tus Brazos” por Alfredo de Angelis y Oscar Larroca (vocal). Composición de Carlos Zárate. Lírica de Elizardo Martínez Vilas. Música: “EL Huracán” por Edgardo Donato. Composición de Osvaldo Donato.

Enjoy the beautiful French animation movie "En Tus Brazos" about how nothing can stop a tango dancing couple ... not even fate. It abounds with creativity, sentiment and argentine tango. The greatest tango dancer of the 20's is stuck in a wheelchair after a tragic accident. Thanks to his wife, he recovers the use of his legs, the time of one imaginary dance, ending entreating passionately "Don't stop, hold me tight". Directed by François-Xavier Goby, Edouard Jouret and Matthieu Landour. France 2005. Presented on festivals in Paris, Séoul and Bristol. Music: "En Tus Brazos" by Alfredo de Angelis and Oscar Larroca (vocal). Composition by Carlos Zárate. Lyric by Elizardo Martínez Vilas. Music: "El Huracán" by Edgardo Donato. Composition by Osvaldo Donato.

Guitar Legends, Expo'92 Sevilla

• 01 Satch Boogie (Joe Satriani)
• 02 Surfing With Alien (Joe Satriani)
• 03 Always With Me Always With You (Joe Satriani)
• 04 Big Bad Moon (Joe Satriani,Brian May)
• 05 Liberty (Steve Vai,Brian May)
• 06 Greasy Kids Stuff (Steve Vai)
• 07 For The Love Of God (Steve Vai)
• 08 More Than Words (Nuno Bettencourt,Gary Cherone)
• 09 Driven By You (Brian May,Steve Vai)
• 10 Guitar Solo (Brian May)
• 11 Tie Your Mother Down (Brian May,Steve Vai,Joe Satriani)
• 12 Funk #49 (Joe Walsh)
• 13 Rocky Mountain Way (Joe Walsh,Brian May,Steve Vai,Joe Satriani)
• 14 All Right Now (Paul Rogers,Brian May,Steve Vai,Joe Satriani)
• 15 Now I'm Here (Brian May,Gary Cherone,Steve Vai,Joe Satriani)
• 16 Hey Joe (Paul Rogers,Brian May,Steve Vai,Joe Satriani,Nuno Bettencourt,Joe Walsh)

http://rapidshare.de/files/9783043/guitar.part1.rar.html
http://rapidshare.de/files/9782925/guitar.part2.rar.html
http://rapidshare.de/files/9783135/guitar.part3.rar.html
http://rapidshare.de/files/9785578/guitar.part4.rar.html
http://rapidshare.de/files/9785692/guitar.part5.rar.html
http://rapidshare.de/files/9785611/guitar.part6.rar.html
http://rapidshare.de/files/9788282/guitar.part7.rar.html
http://rapidshare.de/files/9787602/guitar.part8.rar.html

Woodstock – The Movie

El festival de música y arte de Woodstock fue uno de los festivales de rock más famosos de la historia. Tuvo lugar en una granja de Bethel, Nueva York, los días 15, 16 y 17 de agosto de 1969. El festival tiene el nombre de Woodstock porque inicialmente estaba programado que tuviese lugar en un lugar del pueblo de Woodstock, en Ulster County; la oposición local casi cancela el evento, pero Sam Yasgur convenció a su padre Max Yasgur para acoger al concierto en los terrenos de la familia, localizados en Sullivan County. Ocurrieron tres muertes en el festival de Woodstock: una debida a una sobredosis de heroína, otra tras una ruptura de apéndice y una última por un accidente con un tractor. También ocurrieron dos nacimientos no confirmados en el festival. Woodstock es también el nombre de un famoso documental sobre el concierto dirigido por Michael Wadleigh y montado por Martin Scorsese. Fue estrenado en 1970 y ganó el premio Oscar al mejor documental. La película ha recibido el título de "culturalmente significativa" por la Biblioteca del Congreso de los Estados Unidos y seleccionada para su conservación en el National Film Registry.

Disco 1
(PART 1) – http://www.filefactory.com/file/a4c6aa/
(PART 2) – http://www.filefactory.com/file/425dfe/
(PART 3) - http://www.filefactory.com/file/074abc/

Disco 2
(PART 1) – http://www.filefactory.com/file/282c8b/
(PART 2) – http://www.filefactory.com/file/67939a/
(PART 3) – http://www.filefactory.com/file/12e064/

Password: HAVEDAT

The three-day Woodstock music festival in 1969 was the pivotal event of the 1960s peace movement, and this landmark concert film is the definitive record of that milestone of rock & roll history. It's more than a chronicle of the hippie movement, however; this is a film of genuine historical and social importance, capturing the spirit of America in transition, when the Vietnam War was at its peak and antiwar protest was fully expressed through the liberating music of the time. With a brilliant crew at his disposal (including a young editor named Martin Scorsese), director Michael Wadleigh worked with over 300 hours of footage to create his original 225-minute director's cut, which was cut by 40 minutes for the film's release in 1970. Eight previously edited segments were restored in 1994, and the original director's cut of Woodstock is now the version most commonly available on videotape and DVD. The film deservedly won the Academy Award for Best Documentary, and it's still a stunning achievement. Abundant footage taken among the massive crowd ("half a million strong") expresses the human heart of the event, from skinny-dipping hippies to accidental overdoses, to unpredictable weather, midconcert childbirth, and the thoughtful (or just plain rambling) reflections of the festive participants. Then, of course, there is the music--a nonstop parade of rock & roll from the greatest performers of the period, including Crosby, Stills, and Nash, Canned Heat, The Who, Richie Havens, Joan Baez, Ten Years After, Sly & The Family Stone, Santana, and many more. Watching this ambitious film, as the saying goes, is the next best thing to being there--it's a time-travel journey to that once-in-a-lifetime event.

Crossroads The Original Soundtrack

Ryland Peter Cooder nació en 1947, en Los Angeles de los Estados Unidos. Influenciado por las grabaciones de Josh White, comenzó a chapurrear, perdón, guitarrista autodidacta con la guitarra a los tres años. Y a los dieciséis sabía tocar la guitarra, la mandolina y el banjo. Fue pionero en el estilo llamado bottleneck blues guitar que se puede traducir como blues del embotellamiento, estilo que más tarde se haría marca registrada. Posiblemente el guitarrista de blues más fino y técnico de su generación. Su temprana andadura con grupos como ‘Taj Mahal’ y ‘Captain Beefheart’s Magic’ o sus fusiones étnicas como con el maliano Ali Farke Toure y el indio V.M. Bhatt, o con otros músicos cubanos, hawaianos o japoneses le dieron a sus instrumentacines mucha importancia, más de la que pudiese llegar a tener cualquier letra o vocalización musical. En 1964 ‘Taj Mahal’ en busca de nuevas ideas escuchó largo tiempo a Cooder, y le invitaron a grabar un disco con él, pero a mitad de la grabación ‘Taj Mahal’ se disuelve, dejando todo a medio hacer. Cuatro años más tarde entró en un estudio como músico de sesión para ‘Captain Beefheart’s Magic’, pero su profesionalidad les hizo llevarse al chico de gira por el Reino Unido. Una vez en Inglaterra, Ry escribió la banda sonora para la película ‘Candy’. Mientras trabajaba en el proyecto, los Rolling Stones se le acercaron para saber si podía trabajar con ellos en el LP ‘Let it bleed’ En 1970 tal era su reputación de músico de estudio que fichó por Warner/Reprise y grabó su primer disco: ‘Ry Cooder’. No lanzó otro disco hasta dos años después ‘Into the Purple Valley’ un gran álbum que le dió una proyección mayor. Con la guitarra española en mano, grabó ‘Boomer’s story’ en 1973, y introdujo musica gospel en ‘Paradise and lunch’ en 1974. Luego música hawaiana en el quinto ‘Chickenskin music’ en 1975. También anduvo por el camino del Jazz en 1978 grabando ‘Jazz’. ¡Que variedad! Cooder gozó de tremendo éxito en Europa, países como Alemania, Holanda y Reino Unido agotan sus discos en las estanterías. España sigue aislada en ese sentido. Con el disco ‘Bop till you drop’ en 1979, con un impresionante tema blues que te eriza los pelos “The Very Thing That Makes You Rich” y hace un bonito pleno en las listas de esos países. Continuó en 1980 con ‘Borderline –The slide area’ y en el año 1987 volvió a revisitar sonidos del Rock and Roll con su disco ‘Get rhythm’. Y a partir de su último LP redujo sus actuaciones y sus giras, siendo más discretas, pero siempre llenando los fieles circuitos de Europa y Estados Unidos. En 1997 hizo una gira mundial con músicos cubanos octogenarios: ‘Buena Vista Social Club’ dejando su arte plasmado en un disco en el año 2.000. Sin embargo, a Ry también se le conocerá como gran músico en bandas sonoras, películas como “The Long Riders”, “Candy”, “Gerónimo”, “Paris Texas”, “Crossroads”, “The end of violence”, etc.

• 01. Ry Cooder - Crossroads Soundtrack - Crossroads
• 02. Ry Cooder - Crossroads Soundtrack - Down In Mississippi
• 03. Ry Cooder - Crossroads Soundtrack - Cotton Needs Pickin'
• 04. Ry Cooder - Crossroads Soundtrack - Viola Lee Blues
• 05. Ry Cooder - Crossroads Soundtrack - See You In Hell, Blind Boy
• 06. Ry Cooder - Crossroads Soundtrack - Nitty Gritty Mississippi
• 07. Ry Cooder - Crossroads Soundtrack - He Made A Woman Out Of Me
• 08. Ry Cooder - Crossroads Soundtrack - Feelin' Bad Blues
• 09. Ry Cooder - Crossroads Soundtrack - Somebody's Callin' My Name
• 10. Ry Cooder - Crossroads Soundtrack - Willie Brown Blues
• 11. Ry Cooder - Crossroads Soundtrack - Walkin' Away Blues

Password: rokanroll

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Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere and the Raiders. During his subsequent career as a session musician, Cooder's trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe As Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance. Cooder made his debut as a solo artist in 1970 with a self-titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow-up, Into the Purple Valley, introduced longtime cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomer's Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major-label album to be recorded digitally. In the early '80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin' South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs' worth of highlights from Cooder's film work. In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatt's Bring the Family, to form Little Village, which toured and recorded one album. Cooder next turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooder's next project, a duet album with renowned African guitarist Ali Farka Toure titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording. His next world crossover would become one of the most popular musical rediscoveries of the 20th century. In 1997 Cooder traveled to Cuba to produce and play with a group of son musicians who had little exposure outside of their homeland. The resulting album, the Buena Vista Social Club, was a platinum selling international success that made stars of Compay Segundo, Ibrahim Ferrer and Rueben Gonzalez and earned Cooder another Grammy. He continued to work on projects with his Buena Vista band mates, including a collaboration with Manuel Galban in 2003 titled Mambo Sinuendo. His other work in the 2000's included sessions with James Taylor, Aaron Neville, Warren Zevon and Spanish diva Luz Casal. In 2005 Cooder released Chavez Ravine, his first solo album since 1987's Get Rhythm.

Crossroads - Duelo de guitarras.

Full Screen Player 0.6.0 Final

Full Screen Player es una aplicación totalmente gratuita que te permite reproducir una gran variedad de formatos de archivos de video como también DVD y VCD.Esta utilidad entre sus características te permite utilizar sus controles de reproducción desde la misma pantalla en la que estas viendo la película lo cual es muy cómodo. Además es fácil de usar a través de su sencilla interfaz como también te da la posibilidad de de cambiar la proporción de aspecto y zoom de los videos mientras los estas viendo.

Presiona para descargar el soft (Es Freeware)

DVD / video player for the amateurs of convenient full screen playback. Full Screen Player was developed specially for comfortable movie viewing. Playback of a video with physically damaged disks. The menu player does not close picture of film - it simply transparent. All elements of management is direct on a picture of film, occur at prompting the mouse, disappear. Fast increase of a picture and instant panning.Opens playlists standard VideoCD and most popular players. Search of a video on CD and DVD, his playback, and clever definition of the name of film. You were got by advertising on DVD! - passing of advertising and pictures. You very much would like at start DVD to look film, instead of the initial menu, where is necessary to press the "play" button! - passing of initial menus at review DVD.

Here are some key features of "Full Screen Player"

• Remembers items of review at one time of overlooked film.
• Three modes of shutdown of the computer.
• Support plugins.
• Support of two screen monitors.

The Fugees - Killing Me Softly

Trío de hip hop formado por Lauryn Hill, Pras Michael y Wyclef Jean. Los primeros que tuvieron la oportunidad de escuchar la voz de Lauryn en Blunted on Reality, el debut de los Fugees allá por el 93, ya quedaron impresionados. Después llegaría su obra maestra The Score> (1996). El disco consiguió ventas de más de 17 millones de copias y convirtió a los Fugees en el grupo de rap más vendedor de todos los tiempos. Se hicieron con dos premios Grammy, mejor álbum de rap por The Score y mejor interpretación de R&B por la versión del clásico de Roberta Flack Killing Me Softly, un single que se convirtió en el himno hip hop del 96 y que asentó firmemente el éxito de los Fugees en los más alto. Los componentes tomaron su camino en solitario. En 2003 se publicó Greatest hits, aunque la vuelta parece que puede ser una realidad.

Password: rokanroll

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Killing Me Softly

The Fugees translated an intriguing blend of jazz-rap, R&B, and reggae into huge success during the mid-'90s, when the trio's sophomore album The Score hit number one on the pop charts and sold over five million copies. The trio formed in the late '80s in the New Jersey area, where Lauryn Hill and Prakazrel Michel ("Pras") attended a local high school and began working together. Michel's cousin Wyclef Jean ("Clef") joined the group (then called the Tranzlator Crew), and the trio signed to Ruffhouse/Columbia in 1993. After renaming themselves the Fugees (a term of derision, short for refugees, which was usually used to describe Haitian immigrants). Though the group's debut album, Blunted on Reality, was quite solid, it reflected a prevailing gangsta stance that may have been forced by the record label. No matter how pigeonholed the Fugees may have sounded on their debut, the group had obviously asserted their control by the time of their second album, The Score. With just as much intelligence as their jazz-rap forebears, the trio also worked with surprisingly straight-ahead R&B on the soulful "Killing Me Softly With His Song," sung by Lauryn Hill. Elsewhere, Clef and Pras sampled doo wop and covered Bob Marley's "No Woman No Cry," giving the record familiarity for the commercial mainstream, but keeping it real with insightful commentary on their urban surroundings. The Score became one of the surprise hits of 1996, reaching number one on the pop charts and making the Fugees one of the most visible rap groups around the world. During 1997, the crew played on the Smokin' Grooves tour, and took time out while Hill gave birth to a child and Clef issued a solo album, The Carnival Featuring the Refugee Allstars. In 1998 Hill released her smash record The Miseducation of Lauryn Hill and in 2000 Clef released his second solo disc, The Ecleftic: 2 Sides II a Book. In turn, their solo success cast further doubt on another Fugees release.

David Gilmour - Live at Robert Wyatt's Meltdown 2002

Exclusivo ..::RokanRoll::..

Después de entrar a Pink Floyd al ingrato trabajo de reemplazo de Syd Barrett, David Gilmour demostró a lo largo de tres décadas que él no era, ni de lejos, ningún segundón. Y ha sabido, a lo largo de sucesivas rupturas, ser el timón de una banda emocionalmente inestable. Este DVD incluye lo mejor de una de sus más recientes presentaciones en el Royal Festival Hall, en la que revive con simpleza apabullante grandes momentos de Pink Floyd, suyos y de Syd Barrett. Además tiene de invitados a Richard Wright, Robert Wyatt , Bob Geldof, el 'Pink' de la película. El space rock de Pink Floyd en los años 70 parece no necesitar de los sintetizadores y efectos que creíamos imprescindibles. O por lo menos así lo demuestra David Gilmour en este concierto del año 2002. Tan sólo le basta su guitarra acústica y su voz para interpretar Shine On You Crazy Diamond, parte 1-5. Y es que son los arreglos los que hacen de este DVD (de sonido impecable y espectacular) algo imperdible para los seguidores de la banda. El espectáculo avanza gradualmente hacia una orquestación cada vez más rica y compleja, totalmente acústica, con excepción de los solos en guitarra eléctrica de Gilmour. Solos que demuestran por qué, a diferencia de Roger Waters, gran parte de la identidad instrumental de Pink Floyd la posee su guitarrista. Pero este concierto es mucho más que música de Pink Floyd y algunos covers interpretados por un miembro de la banda. Es una demostración de la calidad y el gusto musical de un músico con décadas de experiencia en el cuerpo, que lo diferencia de gran parte sus dinosáuricos coetáneos que ya hace tiempo perdieron el rumbo y la elegancia. Mención aparte merece la aparición del mítico Robert Wyatt en Confortably Numb.

Password: rokanroll

Videotrack:

• 01. Shine on You Crazy Diamond Parts 1-5
• 02. Terrapin
• 03. Fat Old Sun
• 04. Coming Back To Life
• 05. High Hopes
• 06. Je Crois Entendre Encore
• 07. Smile
• 08. Wish You Were Here
• 09. Comfortably Numb
• 10. Dimming of the Day
• 11. Shine On You Crazy Diamond Parts 6-8
• 12. A Great Day for Freedom
• 13. Hushabye Mountain
• 14. Dominoes
• 15. Breakthrough
• 16. Comfortably Numb

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DVDrip/rmvb 296MB Calidad Exelente, total 01:31:07/Incluye Tapas.

Freed from the shackles of what Pink Floyd has become, David Gilmour sounds positively liberated on his new live DVD, David Gilmour in Concert. The years have snuck up on him, as it inevitably does to all of our heroes, but his voice is even more expressive now than it has ever been. He's actually becoming more like his long-estranged counterpart Roger Waters, and that's a good thing, a great thing in fact. They are both world-weary veterans having finally arrived at similar crossroads in their lives after drifting apart in their not-so-distant youth. Both men's voices are thinning, sometimes straining to reach notes. While Waters is still the bleeding-heart poet, and Gilmour still the guitar virtuoso, both seem tired of the bloated excesses of the rock n' roll machine that had welcomed them with open arms all those years ago, instead opting to embrace a more deconstructed approach to performing. Even moreso than Waters' latest hits tour, Gilmour has unearthed rarely performed gems and obscure covers, and has re-invented overplayed classics. The result is breathtaking. His take on Syd Barrett's seminal Terrapin is pure magic, and Dick Parry's sax solo on Shine On is a freeform revelation. It's this sense of experimentation that has been missing from Gilmour's repetoire since he and the Floyd recorded Dark Side. He's even managed to take his latter-day Floyd tunes into exciting new directions. Take High Hopes for example, what once sounded somewhat inflated and bombastic confined to its awkward Floyd-by-numbers construct, has now taken on a more stripped and organic flavor. Even his lyrics play better without the baggage of the brand name. It's also wonderful to see Richard Wright, playing Breakthrough from his own Broken China album, sounding relaxed and beautiful. Much of the beauty of the performances is in the rawness of the sound; often times you can hear each finger slide down the fret, each bend of the string. It's a clear and pristine recording to be sure, but it's not sterile and perfect, it's live, alive. Listening to the 5.1 surround, you could swear Gilmour is just feet away, acoustic guitar slung over his shoulder, entertaining guests at an intimate gathering. The bonus features are equally rewarding. Gilmour's cover of "Don't", the Leiber and Stoller song made classic by Elvis Presley, is heart-wrenchingly beautiful, and his rendering of Shakespeare's Sonnet 18, with Michael Kamen, is sublime. I was quite frankly shocked at how much I enjoyed this DVD. I've already played it more times than I've played Waters' excellent In The Flesh Live. I'd nearly forgotten how definitive Gilmour's guitar sound is, and how much I missed his voice. It's truly the sound of a wisened man with nothing to prove, a man no longer haunted by the ghost of Roger Waters. If this release is any indication of things to come, I will be waiting with just as much anticipation for Gilmour's next solo album as I am for Roger's, and praying for old friends to make amends.

Sublime - Sublime [10th Anniversary Deluxe Edition]

Disco 1

• 01. Trenchtown Rock
• 02. Doin' Time (Original Mix)
• 03. Wrong Way
• 04. Paddle Out
• 05. What I Got
• 06. Pawn Shop
• 07. April 29th, 1992 (Miami)
• 08. Santeria
• 09. Seed
• 10. Jailhouse
• 11. Caress Me Down
• 12. The Ballad Of Johnny Butt
• 13. Under My Voodoo
• 14. Burritos
• 15. same in the end
• 16. Get ready
• 17. what i got (reprise)
• 18. garden grove

Disco 2

• 01. I Love My Dog
• 02. Superstar Punani
• 03. April 29th, 1992 (Miami) (Alternate Version)
• 04. Saw Red (Acoustic)
• 05. Little District (Acoustic)
• 06. Zimbabwe (Acoustic)
• 07. What I Got (Alternate Version)
• 08. Doin' Time (Uptown Dub)
• 09. Doin' Time (Eerie Splendor Remix)
• 10. Doin' Time (Wyclef Jean Remix)
• 11. Doin' Time (Marshall Arts Remix Feat. The Pharcyde)
• 12. Doin' Time (Marshall Arts Instrumental Version)
• 13. April 12th, 1992 (Instrumental Version)
• 14. Caress Me Down (Instrumental Version)
• 15. What I Got (Instrumental Version)

Password: rokanroll

What I Got (Alternate Version)

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In celebration of the 10th anniversary of the self-titled Sublime album and to pay tribute to Bradley Nowell’s original vision, the long-awaited, two disc Sublime Deluxe Edition is released. Anyone familiar with the explosion of alternative rock in the 1990s knows one of the greatest injustices of the period was that Sublime singersongwriter-guitarist Bradley Nowell did not live to see the release and massive success of Sublime. Before the final album was originally released, it was re-sequenced and the lyrics to the song Doin’ Time were edited due to sampling clearance restrictions. The 10th Anniversary Deluxe Edition features Bradley’s original vision & sequence on disc one, featuring Trenchtown Rock, the song that Bradley originally wanted to start the album with but was taken off entirely instead, and Bradley’s original vocals for the song Doin’ Time. Disc Two contains 15 bonus tracks with 8 unreleased tracks including instrumental versions.

Motörhead – Hammered

Hay bandas mediocres, malas, buenas, sublimes... y grupos que simplemente son básicos en la historia de esta música. Y para muchos seguidores del rock, entre los que sin dudarlo me incluyo, Motörhead pertenece al último grupo. Tras más de 25 años sin tregua azotando los escenarios de medio mundo y una veintena de discos a sus espaldas la banda del inimitable Lemmy Kilmister ha grabado a fuego el sello personal del grupo en miles de seguidores.

urgidos a mediados de los años 70, Motörhead, liderados por su frontman y bajita Lemmy Kilmister, fan de los Beatles, roadie de Jimi Hendrix y miembro de Hawkwind, fue uno de los nombres claves en el hard rock acelerado, iterativo y potente, una banda británica significativa dentro del heavy metal de los 80, que retomaba con amplificación sonora y sudoración escénica las constantes más básicas del rock’n’roll, ejecutadas con rapidez, redundancia abrasiva, destreza e indocilidad sónica. Lemmy, de nombre real Ian Fraiser Kilmister, nació el 24 de diciembre de 1945 en Stoke-On-Trent, Staffordshire (Inglaterra), hijo de un sacerdote que abandonó a su madre cuando el pequeño Ian solamente contaba con unos pocos meses de edad. Desde su adolescencia se sintió inclinado a la formación de un grupo de rock. El primer disco que compró en su vida fue el “Knee deep in blues” de Tommy Steele.En su juventud Lemmy admiraba a gente como Chuck Berry, Little Richard, Elvis Presley, The Who o The Beatles, banda a la que contempló con asiduidad en The Cavern. Paradójicamente, Lemmy siempre afirma que los Beatles son una de las grandes bandas de la historia por su diversidad, característica poco ajada en Motörhead, recayendo sus sonidos en la potencia de su instrumentación y en la agresividad de su característica vocalidad, vinculada a su pronunciada personalidad, una de las más carismáticas en el mundo del rock. A mediados de los años 60 comenzó a sentirse protagonista de la explosión musical del momento, formando parte de un buen número de conjuntos, como The Rockin’ Vicars, Sam Gopal u Opal Butterfly, grupos con los que llegó a publicar singles, entre ellos y con los Rockin’ Vicars, una versión de “Zing! Went the strings of my heart”, tema de Judy Garland que había versionado los Move.En la segunda mitad de la década, y por un período de ocho meses, también trabajó como roadie de Jimi Hendrix, mientras ensanchaba influencias con los procederes de otra de sus bandas favoritas, MC5.A comienzos de los años 70 Lemmy se integró en Hawkwind, ocupando el bajo en 1971 tras la marcha de Dave Anderson de la banda psico-progresiva de Dave Brock. Con Hawkwind, importante banda de space rock, Lemmy grabó, tocando bajo y guitarra, los LPs “Doremi Fasol Latido” (1972), “Space Ritual” (1973), “Hall of the mountain grill” (1973) y “Warrior of the edge of time” (1975). También fue vocalista de uno de los temas más exitosos del grupo, “Silver Machine” (número 3 en el Reino Unido). En 1974 también colaboró en el disco de Roger Calvert “Captain Lockheed and The Starfighters”.En 1991 aparece “1916” (1991), disco publicado en WTG/Sony que contiene un homenaje a los Ramones en “R.A.M.O.N.E.S.”, con un sonido cercano a la banda de Queens, y consigue una nominación a los premios Grammy. El mismo año giran con Judas Priest y Alice Cooper y al siguiente publican “March or Die” (1992), primer trabajo en el cual aparece en la batería Mikkey Dee. Tras este álbum y de manera sorprendente tras la buena acogida comercial y crítica de los LPs, el grupo es expulsado de WTG. Ellos responden con “Bastards” (1993), disco aparecido en su propio sello Motörhead. A mediados de la década Lemmy toca con las japonesas Shonen Knife y graba con Motörhead en el sello CMC buenos discos como “Sacrifice” (1995) u “Overnight Sensation” (1996). El disco en vivo “King Biscuit Flower Hour” (1997), que recupera un directo con Robertson a la guitarra, “Snake bite love” (1998), otro disco en vivo, “Everything louder than everyone else” (1999), y la compilación “Jailbait” (1999), cierran su discografía en los años 90. Posteriormente y siempre con sus conocidas e invariables pautas, Motorhëad publicaría discos potentes para el seguro disfrute en vivo pero formulistas a nivel compositivo dentro de los cánones de alborotador y vital rock’n’roll (como un Chuck Berry hipervitaminado y de voz exacerbada), del estilo de “We are Motörhead” (2000), con una estupenda versión de Sex Pistols, “God save the queen”, “Hammered” (2002) o “Inferno” (2004), álbum que incluye la colaboración de Steve Vai.

Track listing:

• 01. Walk A Crooked Mile
• 02. Down The Line
• 03. Brave New World
• 04. Voices From the War
• 05. Mine All Mine
• 06. Shut Your Mouth
• 07. Kill The World
• 08. Dr. Love
• 09. No Remorse
• 10. Red Raw
• 11. Serial Killer (Kilmister)

Limited Edition Bonus Tracks:

• 12. Shoot You In The Back (Recorded Live at Wacken Open Air 2001)
• 13. R.A.M.O.N.E.S. (Recorded Live at Wacken Open Air 2001)
• 14. The Game (Jim Johnston)

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MP#3@320Kbps 44Khz 2(stereo) 106.85MB

Motörhead's overwhelmingly loud and fast style of heavy metal was one of the most groundbreaking styles the genre had to offer in the late '70s. Though the group's leader, Lemmy Kilminster, had his roots in the hard-rocking space rock band Hawkwind, Motörhead didn't bother with his old group's progressive tendencies, choosing to amplify the heavy biker rock elements of Hawkwind with the speed of punk rock. Motörhead wasn't punk rock -- they formed before the Sex Pistols and they loved the hell-for-leather imagery of bikers too much to conform with the safety-pinned, ripped T-shirts of punk -- but they were the first metal band to harness that energy and, in the process, they created speed metal and thrash metal. Unlike many of their contemporaries, Motörhead continued performing into the next century.

Motörhead - Serial Killer

Neil Young & Crazy Horse Live - Rust Never Sleeps

Uno de los músicos más importantes, prolíficos e imprevisibles de la música de las últimas cuatro décadas, extraordinario tanto en su faceta más sensible y acústica como en su ferocidad eléctrica ilustrada por su hiriente y distorsionada sonoridad guitarrera; practicante ecléctico, por sus notas han transitado aspectos rock, pop, folk, country, soul, blues e incluso electrónicos. Su musicalidad junto a una lastimera y nasal factura vocal ha influenciado a nombres tan dispares como Pearl Jam, Teenage Fanclub, R.E.M., Jayhawks o Dinosaur Jr. Neil Young nació el 12 de noviembre de 1945 en Toronto (Canadá), hijo de dos periodistas (su padre era un popular cronista deportivo y amante de la música) el joven Neil creció bajo el influjo melómano familiar y aprendió a tocar la guitarra desde su temprana adolescencia. La armonía de su hogar se rompería cuando sus padres se divorciaron. Neil Young tenía 14 años al tiempo que se trasladaba con su madre a la población de Winnipeg. En el instituto de Winnipeg Neil iba siempre cargando con su guitarra; los estudios no le atraían lo más mínimo y en vez de concentrarse en los libros escolares tocaba en combos instrumentales como los Jades. Poco después formó un grupo propio; el conjunto se llamaba Neil Young & The Squires e interpretaban temas de los Beatles, los Shadows y de Elvis en las fiestas estudiantiles. Su fama, ayudados por el apoyo de su influyente madre, los condujo a firmar varios contratos que les permitieron actuar en varios locales de la zona. A mediados de década, Neil Young retornó a su ciudad natal, Toronto, para actuar en solitario como artista folk. Una noche conoció a Rick James y se unió a su banda de pop denominada The Mynah Birds, entre cuyos miembros estaba el bajista Bruce Palmer. Con los Mynah Birds, Neil se hizo muy popular en el circuito de la población canadiense, coincidiendo y conociendo a otros jóvenes músicos que se intentaban abrir camino en el mundo de la música como Joni Mitchell, Stephen Stills y Richie Furay. Problemas legales condujeron a la ruptura de los Mynah Birds y a la marcha de Neil y Bruce a la soleada costa californiana. En Los Angeles se encontraron en 1966 con sus amigos Furay y Stills y se embarcaron en un nuevo proyecto al que llamaron Buffalo Springfield. A las guitarras líder de Neil y Stills, la rítmica de Furay y el bajo de Palmer se les unió un cuarto componente, el batería Dewey Martin. En los sensacionales tres discos de Buffalo Springfield dejaron buena constancia de su influyente eclecticismo: pop, folk, country, rock, convirtiéndose en uno de los primeros grupos en practicar el folk-rock y el country-rock. Las composiciones se repartían primordialmente entre Neil y Stills, componiendo Young verdaderas joyas como "Burned", "Expecting to fly", "Flying on the ground is wrong", "Out of my mid" o "Broken Arrow". Los conflictos internos y las ansias de aventura en solitario provocaron la defunción de este gran grupo en 1968. Poco después, Neil debutó en Reprise con su primer trabajo en solitario, "Neil Young" (1969), una verdadera maravilla de predominio pop denostada por ciega necedad. Temas repletos de belleza como "The Loner", "I've been waiting for you", "Here we are in the years", "The old laughing lady" o "What did you do to my life?" no pueden ser menospreciados, sino todo lo contrario.

• 01 Introduction: Star Spangled Banner/A Day in the Life
• 02 Sugar Mountain
• 03 I Am a Child
• 04 Comes a Time
• 05 After the Gold Rush
• 06 Thrasher
• 07 My M, Hey Hey (Out of the Blue)
• 08 Stage Announcements
• 09 When You Dance I Can Really Love
• 10 The Loner
• 11 Welfare Mothers
• 12 The Needle and the Damage Done
• 13 Lotta Love
• 14 Sedan Delivery
• 15 Powderfinger
• 16 Cortez the Killer
• 17 Cinnamon Girl
• 18 Like a Hurricane
• 19 Hey Hey, My My (Into the Black)
• 20 End Credits
• 21 Tonight’s the Night

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After Neil Young left the Californian folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s until the late '90s, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults. Just as importantly, Young continually explored new musical territory, from rockabilly and the blues to electronic music. But these stylistic exercises only gained depth when compared to his two primary styles: gentle folk and country-rock, and crushingly loud electric guitar rock, which he frequently recorded with the Californian garage band Crazy Horse. Throughout his career, Young alternated between these two extremes, and both proved equally influential; there were just as many singer/songwriters as there were grunge and country-rock bands claiming to be influenced by Neil Young. Despite his enormous catalog and influence, Young continued to move forward, writing new songs and exploring new music. That restless spirit ensured that he was one of the few rock veterans as vital in his old age as he was in his youth. Born in Toronto, Canada, Neil Young moved to Winnipeg with his mother following her divorce from his sports-journalist father. Young began playing music in high school. Not only did he play in garage rock outfits like the Esquires, but he also played in local folk clubs and coffeehouses, where he eventually met Joni Mitchell and Stephen Stills. During the mid-'60s, he returned to Toronto, where he played as a solo folk act. By 1966, he joined the Mynah Birds, which also featured bassist Bruce Palmer and Rick James. The group recorded a couple of singles for Motown that were ignored. Frustrated by his lack of success, Young moved to Los Angeles in his Pontiac hearse, taking Palmer along as support. Shortly after they arrived in L.A., they happened to meet Stills, and they formed Buffalo Springfield, who quickly became one of the leaders of the Californian folk-rock scene. Despite the success of Buffalo Springfield, the group was plagued with tension, and Young quit the band several times before finally leaving to become a solo artist in May of 1968. Hiring Elliot Roberts as his manager, Young signed with Reprise Records and released his eponymous debut album in early 1969. By the time the album was released, he had begun playing with a local band called the Rockets, which featured guitarist Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina. Young renamed the group Crazy Horse and had them support him on his second album, Everybody Knows This Is Nowhere, which was recorded in just two weeks. Featuring such Young staples as "Cinnamon Girl" and "Down by the River," the album went gold. Following the completion of the record, he began jamming with Crosby, Stills & Nash, eventually joining the group for their spring 1970 album, Déjà Vu. Although he was now part of Crosby, Stills & Nash, Young continued to record as a solo artist, releasing After the Gold Rush at the end of the year. After the Gold Rush, with its accompanying single "Only Love Can Break Your Heart," established Young as a solo star, and fame only increased through his association with CSNY.

Neil Young & Crazy Horse - Hey Hey, My My (Into The Black)