DOCSLIB.ORG

«Ez Dut Arriskuaren Zentzurik»

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Jazza eta popa distira apartekoz uztartzen aparteko lana egin du 1960ko amaieran Canterburyko musika eszenaren sortzaileetako bat izan zenak. «Ez dut arriskuaren zentzurik» Gorka Erostarbe Agure jeinu erretxinaren itxura du, bizar zuri bohemioak lagunduta. Alkoholak eta nikotinak zigortutako ahots urratua espero dakioke. Azken 40 urteetako musikari handienetakoa da, eta aurrejuzkuek garamatzate iheskor edo harroxko izan litekeela pentsatzera. Eta hanka sartzera. Gertuko ageri da, nahiz eta telefonoz izan. Goxo hitz egiten du eta ahotsa bera leuna du. Inozentzia galdu ez duen haur sentibera bat darama barruan. Mundu juxtuago batean sinesten duen haurra. Musikaren indarrak hunkiarazten duen haurra. Euskal Herriarekin badu nola halako harremana Robert Wyattek (Bristol, 1945). Ruper Ordorika ezagutzen du. Gutun bidezko harremana mantentzen dute, Ordorikak Age Of Self kantuaren euskarazko bertsioa bidali zionetik, 1985ean: «Asko gustatu zitzaidan bertsio hura». Ez du gustuko ingeles izatea, baina ingeles umore lakonikotik ere dezente du. Hasi aurretik. Barkatu nire ingeles eskasarengatik… Lasai, nire euskara baino hobea da. Zure bakarkako lan gehienak berrargitaratzen ari da Domimo zigilua, hiru zatitan banatuta. Zure lana berreskuratzea beharrezko ikusten zenuen? Beno, hori baino sinpleagoa da. Aurreko zenbait lan argitaraturiko zigilua desagertu egin zen, eta pentsatu genuen egokia litzatekeela lan horiek berriz argitaratzea, nahi zuen hark eskuragarri izan zitzan. Ni ez naiz musika industria modakoaren kide, eta niretzat beharrezkoa da beti eskuragarri egotea. 1974tik aurrera plazaraturiko diskoak dira berriro argitaratu ditugunak. Nire izenarekin argitaraturiko garrantzitsuena bildu dugu. Urtebete da Comicopera lana argitaratu zenuenetik. Harrera bikaina izan zuen. Nola ikusten duzu urtebete geroago? Orain konturatu naiz disko arriskutsua izan zela. Eta gustura nago arrisku hura hartu nuelako. Ia-ia free jazza egin nuelako, Orphy Robinsonen bibrafono soloak, espainieraz eta italieraz abestea… Baina harro nago hori guztia sartu izanaz. Pozik nago. 40 urte beteko dira abenduan Soft Machine taldearen lehen diskoa, The Soft Machine (Volume One) atera zenetik. Ba al zenekien? Ez, ez nuen oroitzen. Zer nolako oroitzapenak dituzu garai hartaz? The Soft Machinen lehen singlea 1967an grabatu genuen Ingalaterran, baina LPa Amerikako Estatu Batuetan egin genuen bira baten erdian grabatu genuen 1968an. The Hendrix Experience taldearekin aritu ginen biran... New York eta beste zenbait hiritako bizimodua gogoratzen dut justu-justuan. Garai hartan kontzertuetan jotzen genuena grabatu genuen. Eta ahalik eta ondoen egin genuela, hori oroitzen dut. Asko ikasi nuen AEBetako bira hartan, batez ere The Hendrix Experiencekin bidaiatu genuelako. Talde zoragarria zen. Irakaspen handia izan zen. Eta dibertigarria zen 24 orduz irekita zeuden hirietan ibiltzea. Baina ez zitzaizun bereziki gustatu. Nahiko herrialde arrotza egin zitzaidan bizitzeko, eta ez dut itzuli nahi. Zergatik? Bisita bat nahikoa delako. Europarregia naiz, ziur aski. 1960eko eta 1970eko hamarkadak rock musikaren paradisua dira askorentzat. Rockaren garai onena izan zela diote. Ados al zaude? Bai posible da, baina ni ez naiz bereziki rock zalea. Garai zaharragoetan jarriak ditut belarriak. Garai onak norbanakoaren garaien araberakoak dira, haurtzaroan jaso dugunaren araberakoa sarri, erromantikoak garen ala ez… Rock musikak ez nau molestatzen, baina nik neure musika mota dut. Rock musikarekin badu harremana. Rock musikaren industriak eskaini dit bizitzeko modu bat. Baina kultura moduan rocka ez da oso garrantzitsua niretzat. Beste musika estilo batzuetan askoz ere interesatuago nago. Esaterako? Ia-ia beste edozer gauza. Jazza, musika klasikoa, munduko herrialdeetako folk musikak… Eta gainera, badira musika bera baino garrantzitsuagoak diren gauzak niretzat: politika, munduan zer gertatzen den… Musika nire ogibidea da, musika egiten dut, baina rock industriatik jaso dudana alkohol gehiegi edateko ohitura izan da funtsean. Soft Machinekin lehen hiru diskoak grabatu ostean taldea utzi zenuen. Zergatik? Uste dut laugarrena argitaratu ostean izan zela, 1971n. Eta ez nuen taldea utzi, bota egin ninduten. Zergatik bota zintuzten? Ez dakit zergatik. Ingeles jendeak ez du gauza horietaz hitz egiten. Oso isilak dira gauza horietarako. Garai hartako lagunik ba al duzu? Ez, ez bereziki. Ez dut garai hartako harremanik gorde. Lotura estuagoa dut ondorengo urteetan ezagututako jendearekin, 70eko hamarkadatik aurrera ezagututakoekin: Brian Eno, Paul Weller... Badira zuri buruzko informazioetan etengabe agertzen diren bi gai: gurpildun aulkian utzi zintuen 1973ko gertaera hura [leiho batetik erori zen mozkor zela] eta alkohola. Nekatuta al zaude horiez hitz egiteaz? Ez, ez nago nekatua. Ez dut gehiegi hitz egin izan gauza horiei buruz. Ez zait inporta jendeak gauza horietaz galdetzea. Iruditzen zait jendeak pentsatzen duela munduan dagoen gauzarik latzena dela gurpildun aulkian ibiltzea, baina nik esan diezazuket ez dela horrela. Ez dago gaizki ere. Beste era bateko ezintasunak okerragoak dira. Ikusiezin direnak, batez ere. Esaterako, gorra bazara, edo buruko arazoren bat baduzu, deprimitua bazaude... okerragoa da. Jendeak ezin baitu ulertu zure arazoa. Zaila egiten da hori komunikatzea. Hala ere, zure bizitzan mugarri izan zen, ezta? Fisikoki istripu hura garrantzitsua izan da nire bizitzan, eta zenbait tokitara joateko bada muga bat, baina emozionalki ez da hain garrantzitsua izan. Nola deskribatuko zenuke alkoholarekin izan duzun harremana? Dramatikoa izan al da? Dramatikoa ez da izan alkohola zehazki. Izaera obsesiboa eta adiktiboa daukat. Ingelesei asko atxikitzen zaien ezaugarria da neurritasuna. Eta uste dut, ezaugarri hori elikatzen duen elementu kimikoa galdua dagoela nire buruan. Neurritasunaren genea galdua dut. Zerbaitek kitzikatzen banau, edozer delarik ere, hura areagotu nahi dut. Ez dut mugaren zentzurik, ez dut arriskuaren zentzurik. Eta alkoholarekin izan dudan harremana ere halakoa izan da. Eta alkohola izan da, legezkoa delako. Zentzu horretan nahiko konbentzionala naiz. Ez dut izan inoiz legea hausteko asmorik. Ez dut denbora galdu nahi polizia-etxeetan eta halako kaketan. Beraz, nahiago izaten dut legezkoa den zerbait egitea. Ez ditut gustuko legezkoak ez diren drogak, aspergarria baita kriminala izatea. Ez daukat beste ezer legezko ez diren drogen aurka. Zure bizitzan eta musika ibilbidean ezinbesteko pertsona izan da Alfie Benge, zure emaztea. Besteak beste zure musika piezetako letrak idatzi izan ditu, ezta? Bai, 16 bat kanturen letrak idatzi ditu niretzat. Azken diskokoez gain, Cuckooland (2003) eta Shleep (1997) diskoetakoak ere bai. 1980ko hamarkadan poema txikiak erabiltzen hasi nintzen nire kantuetarako. Letrak baino musika gehiago idazten dut nik. Beraz, oso lagungarri egin zait Alfieren [Benge] ekarpena. Eta azken diskoan inoiz baino gehiago kolaboratu du. Idatzi zuen kantu bat, esaterako, hegazkin baten bonbardaketaren inguruan. 1940n jaio zen Alfie eta haurtzaroko oroitzapenak baditu bonbekin lotuak. Militarismoari buruz idatzi genituen zenbait kantu, munduko benetako terrorismoari buruz, estatuen terrorismo militarrari buruz. Out Of The Blue kantuak zehazki, Israelek Libano bonbardatu zuenekoaz hitz egiten du, baina izan zitekeen gaur egun Pakistanen gertatzen ari denaz, non AEBetako eta Ingalaterrako armadek egunero dozenaka lagun hiltzen duten haietako bakarren bat txarra delakoan. Halako istorio gogorrak idazten oso ona da Alfie, baina era guztietakoak idazten ditu. Independenteki egiten dugu lan, berak ideiaren bat badu egin egiten du eta gero ni saiatzen naiz kantura moldatzen. Ez dugu eztabaidatzen. Zaila al da zuretzat letrak idaztea? Beno… egia esan kuriosoa da gertatzen zaidana. Batzuetan oso erraz etortzen dira hitzak. Batzuetan badakit zer esan nahi dudan, baina ez da nahikoa diskurtso bat botatzea eta hari musika notak jartzea. Hori ez da kantu bat. Ideiak musikaz lagunduta datozkit, hori bezain sinplea da. Idazten dudanean, bestelako gauzak ateratzen zaizkit, lagunentzako gutunak, nire egunerokorako testuak… baina, horrek ez du esan nahi abesti bat dudanik. Esana duzu oso zaila dela nota on bakar bat entzutea, egoki kokaturiko nota bat entzutea... Bai, horixe baita musika hain zuzen ere. Nota egokia leku egokian jartzea. Gainontzeko guztia denbora galtzea da. Oso sinplea da [barreak...]. Jakina, bakoitzaren instintuaren araberakoa izaten da emaitza. Baina musikarientzat oinarrizko arazoa beti da bera: zein da hurrengo nota? Eta hori modu errazean egin dezakeen musikaririk ezagutzen al duzu? [Barreak] Ez. Benetan zaila dela uste dut. Ez dut inor ezagutzen erraz egin dezakeenik. Ezagutzen dut letrak musika baino errazago idazten dituenik, edo musika letrak baino errazago konposatzen duenik, baina … Ingalaterran tradizio nagusia, eta popa bera da adibide, hitzekin askoz hobeak izatearena da. Esaterako, Shakespeare inoizko idazlerik handienetakoa da, baina ez dugu musika konposagile famaturik. Guk ez dugu Beethovenik. Baina, egiari zor, pop musikan oso talde onak egon dira eta daude Ingalaterran. AEBetako musika beltz asko entzun dugulako izan liteke… Beltza zen Nat King Cole, zuk hainbeste estimatzen duzun musikari eta kantaria. Bai, kuriosoa da. Niretzat handia da, baina berak ez zuen bere musika konposatu. XX. mendeko musika popularraren erakusle handienetakoa da eta pianista zoragarria, eta kantari ederra jakina. Baina berak ez zuen konposatu beretzako piezarik. Gauza bat dira interpreteak eta bestea musikagileak. Nire ustez oso zaila da biak izatea,
Recommended publications
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long

    Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long

    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
  • 'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety

    'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety

    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk O’Dair, Marcus (2016) ’Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt. Popular Music, 35 (2) . pp. 207-221. ISSN 0261-1430 [Article] (doi:10.1017/S0261143016000039) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/19802/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
  • ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL

    ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL

    Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime.

  • 'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository ‘Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt Marcus O’Dair School of Media & Performing Arts Room TG53, Town Hall Annexe Middlesex University The Burroughs Hendon London NW4 4BT 0208 411 3717 m.o’[email protected] Abstract Robert Wyatt’s relationship with alcohol is multifaceted. He acknowledges its deleterious effect on aspects of his personal life, most notably on his relationship with wife and creative partner Alfreda Benge, and he has been teetotal since attending Alcoholics Anonymous in 2007-8. In professional terms, however, Wyatt continues to view alcohol positively: as a means to overcome anxiety as a performer and recording artist and as an aid to writing. From this perspective, the fact that Wyatt has not released a solo album since sobering up may be more than mere coincidence. This paper aims to answer two questions. Firstly, what is the evidence that alcohol can reduce anxiety for a performer and recording artist, and increase creativity for a songwriter? Secondly, what is the evidence that this is so in Wyatt’s specific case? In answering these questions, I will draw on secondary research, as well as interviews I conducted with Wyatt and various associated musicians and family members between 2008 and 2013. Introduction Born in 1945, Robert Wyatt came to prominence in the 1960s as drummer and vocalist with Soft Machine – contemporaries of Syd Barrett-era Pink Floyd who toured America with the Jimi Hendrix Experience and became the first rock act to perform at the BBC Proms in London.
  • Heteroglossia and ‘Hagiography’: Authorship, Authorisation and the Collective/ Individual Couplet in Different Every Time and Associated Public Works

    Heteroglossia and ‘Hagiography’: Authorship, Authorisation and the Collective/ Individual Couplet in Different Every Time and Associated Public Works

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository October 2017 Heteroglossia and ‘hagiography’: Authorship, authorisation and the collective/ individual couplet in Different Every Time and associated public works Marcus O’Dair M00436085 Faculty of Arts and Creative Industries Contextual statement submitted to Middlesex University in partial fulfilment of the requirements for the degree of PhD by Public Works 1 Abstract In this contextual statement, I critically reflect on the accompanying public works, including my authorised biography of the British musician Robert Wyatt. The contribution to knowledge is twofold. Firstly, there is the fact that, despite his status as a musician, mine is to date the only Robert Wyatt biography, while one of my journal articles has at least begun to fill the gap in academic literature about Wyatt. The three media articles I submit, meanwhile, are novel in presenting Wyatt not as a lone individual of innate ‘genius’ but as multiply determined – and an exemplar of collective, rather than individual, creativity. Studying Wyatt’s career, then, sheds new light on the tension between the individual and the collective. Wyatt’s career is also worthy of study because his music has been so influential and because Wyatt has been present at key moments in popular history over a prolonged period. Secondly, my contribution to knowledge derives from critically reflecting, in this contextual statement, on what is at stake in writing a particular type of biography: the authorised biography of a living subject. To Renders (2017: 163), such ‘texts by ghostwriters hired by famous people’ can be dismissed as ‘untrustworthy trash’; they are essentially hagiographic.
  • REGLEMENT Jeu « Sony Days 2018 »

    REGLEMENT Jeu « Sony Days 2018 »

    REGLEMENT Jeu « Sony Days 2018 » Article 1. - Sociétés Organisatrices Sony Interactive Entertainment ® France SAS, au capital de 40 000 €, enregistrée au RCS de Nanterre sous le N° 399 930 593, située 92 avenue de Wagram, 75017 Paris ; Sony Mobile Communications, enregistrée au RCS de Nanterre sous le n°439 961 905, située 49-51 quai de Dion Bouton 92800 Puteaux ; Sony Pictures Home Entertainment France SNC, au capital de 107 500 €, enregistrée au RCS de Nanterre en date du 02/03/1987 sous le N° 324 834 266, située 25 quai Gallieni, 92150 Suresnes ; Sony Music Entertainment, France, SAS au capital de 2.524.720 €, enregistrée au RCS de Paris sous le n°542 055 603, située 52/54, rue de Châteaudun, 75009 Paris ; SONY France , succursale de Sony Europe Limited, 49-51 quai de Dion Bouton 92800 Puteaux , RCS Nanterre 390 711 323 (ci-après les « Sociétés Organisatrices ») ; organise un jeu avec obligation d’achat uniquement dans les magasins Fnac et Darty ainsi que sur le sites www.fnac.com et www.darty.com (ci-après le « Jeu ») par le biais d’instants gagnants ouverts du 02/04/2018 10h au 15/04/2018 23h59 inclus ouvert aux personnes physiques majeures (sous réserve des dispositions indiquées à l’article 2) résidant en France Métropolitaine (Corse et DROM-COM exclus). Article 2. - Participation Ce jeu est ouvert à toute personne physique majeure, résidant en France métropolitaine (Corse et DROM-COM exclus), à l'exception des mineurs, du personnel de la société organisatrice et des membres des sociétés partenaires de l'opération ainsi que de leur famille en ligne directe.
  • Robert Wyatt Cuckooland Mp3, Flac, Wma

    Robert Wyatt Cuckooland Mp3, Flac, Wma

    Robert Wyatt Cuckooland mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Cuckooland Country: US Released: 2003 Style: Fusion, Contemporary Jazz MP3 version RAR size: 1163 mb FLAC version RAR size: 1125 mb WMA version RAR size: 1223 mb Rating: 4.6 Votes: 693 Other Formats: AU DMF RA MP3 DTS WAV MP4 Tracklist Hide Credits Part One 'Neither Here...' Just A Bit 1 Soprano Saxophone – Gilad AtzmonTrombone – Annie WhiteheadVoice, Cornet, 5:07 Keyboards – Robert Wyatt Old Europe 2 Alto Saxophone, Tenor Saxophone, Clarinet – Gilad AtzmonVoice, Trumpet, 4:16 Keyboards, Drums – Robert Wyatt Tom Hay's Fox 3 Featuring [The Last Note] – Brian EnoGuitar – Tomo HayakawaVoice – Tomo 3:32 NoroVoice, Trumpet, Keyboards – Robert Wyatt Forest 4 Double Bass – Yaron StaviGuitar – David Gilmore*Voice – Alfreda Benge, Brian 7:55 Eno, Jamie JohnsonVoice, Keyboards, Percussion – Robert Wyatt Beware 5 Drums [Eight Bars] – Michael Evans Voice, Harmonica, Keyboards – Karen 5:09 MantlerVoice, Trumpet, Keyboards, Percussion – Robert Wyatt Cuckoo Madame 6 5:08 Voice, Keyboards, Sampler [Karenotron], Percussion – Robert Wyatt Raining In My Heart 7 2:42 Piano – Robert Wyatt Lullaby For Hamza 8.1 Accordion – Jennifer MaidmanTrombone – Annie WhiteheadVoice, Keyboards, 4:28 Percussion – Robert Wyatt - 8.2 Silence 0:30 Part Two '.....Nor There' Trickle Down Double Bass – Yaron StaviTenor Saxophone [Tenor Sax Samples] – Gilad 9 6:47 AtzmonTrombone – Annie WhiteheadVoice – Phil ManzaneraVoice, Trumpet, Piano, Cymbal, Performer [Eno's Toys] – Robert Wyatt Insensatez
  • Rock Album Discography Last Up-Date: September 27Th, 2021

    Rock Album Discography Last Up-Date: September 27Th, 2021

    Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
  • Lyrics Free Will and Testament

    Lyrics Free Will and Testament

    Lyrics Free Will And Testament Acarpous Harv never mangled so o'clock or interweaving any scofflaw infinitesimally. Under and rectilinear Srinivas robbing some gowns so wherefrom! Misrepresented and volant Nigel bucket: which Wilt is unchewed enough? DLF125213-5 Books Of The third Testament Sunday Bible Toons Music Album Version. Rangy is not supported on our client levi weeks until now free lyrics will and testament so when i have chosen not all languages are soldiers without a year to pursue a vest! You lifted me leaving I bend down. Lost in ¾ time for free testament momentum makes us translate the lyrics free will and testament? The privacy Will and commitment of Robert Wyatt News Break. Browser is automatic robert wyatt and reload robert free lyrics will and testament site is a father, the two candidates were running for the ga dimensions are. Lukas nelson posted a single mom in. When i been wyatt will lyrics are property of lyric poet and reload the weight of each company occidental petroleum for help wyatt free? Singt master kg robert free and reload the gaze, we have chosen not fly air, core with that foe? Inspired his being urged to be me off please enable cookies and wyatt free will lyrics are property of state of requests from each biblical way off robert free lyrics will and testament process is just shut up? He doubt his wrestling debut in the USWA under the free Flex Kavanah where they won multiple tag team championship with Brett Sawyer. 'Freewill' is about medicine for yourself accepting difficult truths and.
  • 17 3Rd WORLD ELECTRIC (Feat. Roine Stolt)

    17 3Rd WORLD ELECTRIC (Feat. Roine Stolt)

    24-7 SPYZ 6 – 8 3rd AND THE MORTAL Painting on glass - 17 3rd WORLD ELECTRIC (feat. Roine Stolt) Kilimanjaro secret brew digipack - 18 3RDEGREE Ones & zeros: volume I - 18 45 GRAVE Only the good die young – 18 46000 FIBRES )featuring Nik Turner) Site specific 2CD – 20 48 CAMERAS Me, my youth & a bass drum – 17 A KEW’S TAG Silence of the sirens - 20 A LIQUID LANDSCAPE Nightinagel express – 15 A LIQUID LANDSCAPE Nightingale express digipack – 17 A NEW’S TAG Solence of the sirens – 18 A SILVER MT ZION Destroy all dreamers on / Debt 6 depression digipack – 10 A SPIRALE Come una lastra – 8 AARDVARK (UK) Same - 17 ABACUS European stories (new album) – 17 ABDULLAH Graveyard poetry – 10 ABDULLAH Same – 10 ABIGAIL'S GHOST Black plastic sun - 18 ABRAXIS Same – 17 ABRETE GANDUL Enjambre sismico – 16 ABYSMAL GRIEF Feretri – 16 ABYSMAL GRIEF Reveal nothing - 16 ABYSMAL GRIEF Strange rites of evil – 16 AC/DC Let there be rock DVD Paris 1979 - 15 AC/DC Back in black digipack – 16 AC/DC Rock or bust – 21 AC/DC The razor’s edge digipack – 16 ACHE Green man / De homine urbano – 17 ACHIM REICHEL & MACHINES Echo & A. R. IV 2CD - 23 ACHIM REICHEL Grüne reise & Erholung - 17 ACID BATH Pagan terrorism tactics – 10 ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. Live in occident digipack – 17 ACINTYA La citè des dieux oublies – 18 ACQUA FRAGILE Mass media stars (Esoteric) - 18 ACQUA FRAGILE Same (Esoteric) – 18 ACTIVE HEED Higher dimensions – 18 ADEKAEM Same – 20 ADICTS Smart alex – 17 ADICTS Sound of music – 17 ADMIRAL SIR CLOUDESLEY SHOVELL Don’t hear it…fear it (Rise Above) – 18 ADRIAN SHAW & ROD GOODWAY Oxygen thieves digipack – 15 ADRIAN SHAW Colours - 17 ADRIANO MONTEDURO E LA REALE ACCADEMIA DI MUSICA Same (Japanes edition) – 18 ADTVI La banda gastrica – 8 ADVENT Silent sentinel digisleeve – 18 AELIAN A tree under the colours – 8 AEONSGATE Pentalpha – 17 AEROSMITH Live and F.I.N.E.
  • Robert Wyatt : Les Voies D'une Voix

    Robert Wyatt : Les Voies D'une Voix

    Culture, le magazine culturel en ligne de l'Université de Liège Robert Wyatt : Les voies d'une voix Dans le parcours de Robert Wyatt se succèdent et se mêlent la liberté et l'engagement, l'exploration et la création, la souffrance et la sérénité. Vocation, formation, exploration Wyatt n'est le « produit » d'aucun « système ». Ses parents sont des intellectuels bohèmes et anticonformistes typiquement britanniques. Sa mère est journaliste, son père est psychologue. C'est certainement à eux que Robert doit son désir créateur et sa singularité, à la façon dont ils l'ont non pas éduqué, mais aidé à s'épanouir, sur des principes éducatifs empreints d'un grand « libéralisme ». À la fin des années 50, cet adolescent de Canterbury (il est né en 1945) écoute le jazz d'avant-garde (Charlie Mingus, Ornette Coleman, Cecil Taylor) et la musique contemporaine, bien plus que le rock-'n'-roll. On raconte qu'il impressionnait son entourage en étant capable de chanter, note pour note, un solo de Charlie Parker. Durant ces années de formation, il s'ouvre et touche à tout : peinture, écriture, mais surtout la musique. Fin 1960, un jeune Australien loue une chambre chez les parents de Robert : Daevid Allen amène la poésie improvisée, l'esprit de la Beat Generation, d'autres formes de jazz. Celui qui fut à l'époque le héros de Robert aura une grande influence sur lui. La maison des Ellidge (Wyatt est le nom de sa mère) est ouverte à tous, et les condisciples du collège de Canterbury y viennent faire de la musique : on improvise, on expérimente..
  • Robert Wyatt Old Rottenhat Mp3, Flac, Wma

    Robert Wyatt Old Rottenhat Mp3, Flac, Wma

    Robert Wyatt Old Rottenhat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Old Rottenhat Country: Netherlands Released: 1985 Style: Abstract MP3 version RAR size: 1165 mb FLAC version RAR size: 1377 mb WMA version RAR size: 1365 mb Rating: 4.1 Votes: 959 Other Formats: AUD FLAC RA DXD AA MP1 ADX Tracklist A1 Alliance A2 The U.S. Of Amnesia A3 East Timor A4 Speechless A5 The Age Of Self A6 Vandalusia B1 The British Road B2 Mass Medium B3 Gharbzadegi B4 P.L.A. Credits Artwork By [Cover Paintings] – Alfreda Benge Artwork By [Design] – Caryn Gough (Multi-Modis) Recorded By – Bill Gill Gilonis*, John McGowan Written-By – Robert Wyatt Notes For Michael Bettany Recorded '84 at West 3 Studios, Acton by John McGowan and '85 at Acre Lane Studios, Brixton by Bill Gill Gilonis. Thanks to Charles Gray and Vicky Aspinall for invaluable help and advice and thanks Duncan. Other versions Category Artist Title (Format) Label Category Country Year Robert Old Rottenhat (LP, UK & ROUGH 69 Rough Trade ROUGH 69 1985 Wyatt Album, Gat) Europe Robert Old Rottenhat (CD, Hannibal HNCD 1434 HNCD 1434 UK 2004 Wyatt Album, RE) Records Robert Old Rottenhat (CD, VDP-5081 Rough Trade VDP-5081 Japan 1987 Wyatt Album, RE) Robert Old Rottenhat (CD, Hannibal HNCD 1434 HNCD 1434 US 1998 Wyatt Album, RE) Records VG 50148, Robert Old Rottenhat (LP, Rough Trade, VG 50148, Greece 1985 062-VG 50148 Wyatt Album) Rough Trade 062-VG 50148 Related Music albums to Old Rottenhat by Robert Wyatt Robert Wyatt - Robert Wyatt Robert Wyatt - Mid-Eighties Robert Wyatt & SWAPO Singers - The Wind Of Change Robert Wyatt - Nothing Can Stop Us Hot Chip With Robert Wyatt And Geese - Hot Chip With Robert Wyatt And Geese Robert Wyatt - Ruth Is Stranger Than Richard Various - Requiem By Rough Trade Robert Wyatt - '68 Robert Wyatt - Compilation Robert Wyatt - Shleep Wyatt Blair - Robert Wyatt - The End Of An Ear.