Computer Age

THE ERA OF BIG SERIES
Jose Luis Ruiz Bureau

The huge amount of garbage that emits television has meant that has fallen into the simplistic view that everything that goes on the small screen is rubbish. One has always had the impression that things would get worse. Those cycles auteur films are already a paradise lost. Now if a film is broadcast quality is at times unexpectedly. The music is conspicuous by its absence on the grid of televisions, and will see if something interesting is banished to the early morning hours. It is true that before were abusing the music business (in the pejorative sense of the word), but it is also true that there were spaces for concerts and special where he gambled on styles and groups of prestige. We have been prey for a long time "Big Brother", "Pop Idol" and other telebasura.

The fact is that to paraphrase Woody Allen in Spain do not throw trash, make it on television. But there is a glimmer of hope for the maverick: the American television series. It has been said that this is the golden era for products "made in USA" and agrees that this can not agree more. But habits have changed and many people enjoy these series is not over the idiot box, but through the Internet. The reason: comfort. One does not have to wait to get their ration every week. You can do it whenever and whatever you want. Gone are the days when an irreducible became a fan of "Doctor Alaska" and the unspeakable suffering because either he changed every two hours for three or put the chapters without any order. That was insane.

There have always been series of quality, but now proliferate to the point that there is no doubt that the best audio-visual productions made in the USA are not movies but series. A simple list is sufficient reason to defend loaded with this idea: "The Sopranos," "A Six Feet Under," "Lost," "The West Wing of the White House," "Nip / Tuck," "Rome," " Deadwood, "" 24 "," Dexter "...

These are the most prominent, but there are another handful of works that also end up hooking: "Heroes" (interesting approach, resolutions and future debatable bleak), "Weeds" (fun and with the endorsement of the excellent Marie Louise Parker) "I call Earl" (corrosive, though repetitive), "House" (great character that if there indeed would be abhorrent in the extreme, a few other unique chapter ... and also repetitive), "Gray's Anatomy" (started well, but which is diluting sugar), "Californication" (David Duchovny looks to be a writer locked and promiscuous), "The Office" (more entertaining without pretensions), "Prison Break" (despite the clichés is very addictive, is losing interest progressively), "The Shield" (the excellent character of Michael Chiklis), "Damages" (interesting and unique structure Glenn Close), "Desperate Women" (he has his point, but lost with the passing of the seasons), "Carnival "(Metaphysical thoughts and a very personal vision of America, 1934) ...

The genres are playing the most varied: political, western, mafia movies, history, film noir, drama, thrillers, fantasy, comedy, and so on. So it is impossible that one can not find what you need in any of the above-mentioned series. There's something for all tastes.

Those who recommend a more passionate deserve a brief comment. So let's get to the point:

- "The Sopranos" (1999-2007) is a masterpiece you look where you look. It has nothing to envy of the artistic peaks of the "mafia movies" like "The Godfather" or "one of ours." It has a spectacular breakdown in which protrude James Gandolfini and Edie Falco as husband and wife in this particular family of New Jersey. It has an added value, maintains the level with the passage of the (six) seasons. David Chase, which incidentally also went down in calling for "Doctor In Alaska," has been able to count a heartbreaking story that serves as a reflection on power and corruption of a sick society. Has memorable dialogues, and situation brilliantly resolved, without a doubt, is a magnificent treaty on the human soul.

- "A Six Feet Under" (2001-2005) also reached sublime heights. "The Sopranos" is an analysis of the modern Mafia, while "A Six Feet Under" focuses on the vicissitudes of a family from Pasadena who runs a funeral home. The Raritan and Fisher are about dysfunctional relations. Alan Ball, who wrote the disturbing "American Beauty", dissects with a brutal honesty about the reality of characters always involved in conflicts too human. The tone of the series fluctuates. It may contain moments of macabre humor or dive into the consciousness with exquisite sensitivity. And not hiding anything. Homosexuality, sexual perversions, paternal abuse ... He talks about death with the naturalness that most avoid. It is a work deeply vitality. And when it was suggested you put a lump in the throat.

- "Lost" (2004 -?) Is a hard drug. If good cause addiction series, "Lost" takes the palm. Mixed rightly adventure, drama, fantasy and thriller. 48 survivors of Oceanic Flight 815 fell on a desert island in the Pacific. The idea of the stories of these characters through "flashbacks" (now have started using "Flashforward characters") and relate them to a strange and hostile environment has led an artistic success and public well-deserved. It seems written by Stephen King with a vague philosophical and is so well done that many chapters have nothing to envy to the best commercial cinema. That is, have been well spent pasta. The problem is that they are getting fat too much plot. That has caused already strained something and it goes without padding be Nostradamus to know that in the future will continue to do so if, as announced, will all six seasons. A pity. They should have tied ropes and responded to the thousand questions that have fired into the air. If they had saved from a narrative point of view they would have left a work round.

- "The West Wing of the White House" (1999-2006) deals with an issue that in the hands of another that was not a creator Aaron Sorkin could have been a brick. This series teaches the intricacies of an administration which manages the White House and is billed masterfully. His best guarantee is to have clarity stories and sharing a lot of height. Allison Janney, Bradley Whitford, Martin Sheen, Stockard Channing, John Spencer and Richard Schiff embroider their roles. The President Bartlet and his staff acted in accordance with a common sense and a philosophy that we would like to take Bush.

- "Nip / Tuck" (2003 -?) Is a disturbing development for Ryan Murphy. Sean McNamara and Christian Troy are two plastic surgeons who have a clinic in Miami. While a student may be a sad family life that is gradually collapsing, the other is a pitiless womanizer worshiper of the god dollar. In the course of the series emerges a disturbing serial rapist. "Nip / Tuck" is an acid criticism of a society whose values are corrupt. The importance given to the appearance when it is essential otherwise. We live superficial lives and all that we care about is that we allow ourselves to operate more beautiful nose.

- "Rome" (2005-2007). I have not mentioned, but anything that comes from HBO deserves our attention. "Rome" is another product of this channel and, of course, oozes quality. The plot is unbeatable. It's fascinating history. It focuses on the years of Julius Caesar and his adopted successor Octavian when Rome was the center of the world. The internecine struggles for power, wars and brutality appear more stark very well filmed. In addition, the narrative progresses through the viewpoint of two Roman soldiers (Lucius Vorenus and Titus pull). Everything is careful to detail (costumes, set design, etc.). And has such memorable characters as played by Polly Walker (Atia). The history of the Roman Empire had already been counted very well in the classic "I Claudius" (1976), but in "Rome" is emphasizing the harshness with which they recount the facts. It is, of course, a more modern.

- "Deadwood" (2004-2006) was a breath of western shakespeariano. The author of this great series is David Milch, which has much expertise avatars of a border town in the nineteenth century who does not know what is the law and order. Yes, we know what is the crime and prostitution. And the craving for enriching whatever. The head of Deadwood is the murky Al Swearengen (Ian McShane impressive), whose goings are the backbone of the plot. The cast is superb and the story is very well written. However, the start is the best in this series. The first season is over what happened next (two more seasons).

- "24" (2001 -?) Can boast of having a different format. Each chapter is one of the 24 hours that contains a day. Thus, each season takes place on a day in which there are no breaks and follow the events on a steeply. Jack Bauer works for the agency's anti-terrorist and is the absolute protagonist of a series highly addictive. Kiefer Sutherland, who embroiders her role, thwarts bomb threats and expansion of lethal viruses, prevent murders galore ... It is an unusual hero who follows his own rules. Of course it is not a good use. It is capable of any tropelía as long as it sees fit to do the (torture of suspects is a method that abuses) and sometimes insisting on acting according to their particular interests instead of thinking in general. The terrorists may be Chinese, Russians, or Balkan Muslims, but many times those who are hurting the Americans themselves. ... People from the government or the president of the USA. The best season to date are the first and fifth.

- "Dexter" (2006 -?) Part of a challenging premise and transgressive. How is it possible to understand the universe of a "serial killer" and that the public does not find it absolutely despicable? Dexter Morgan works for the Miami Police Department. It's a lab rat, whose knowledge about blood are very useful in forensic analysis. He is traumatized as a child witnessed her mother killed. His adoptive father channeled his homicidal cravings with a code. Only murderous criminals. It's a monster, but he knows to hide. It is empty, but clings to the relationship with his sister and his girlfriend, a vulnerable woman abused by her ex with two suckers. "Dexter" is cleverly constructed in his first season and everything works like a clock mechanism. The second is still good, but does not reach the level of excellence of the precedent. Two things stand out: the masterful composition of the main character of Michael C. Hall (the gay "A Six Feet Under") and the ingenuity put into the titles of the series.

The canon of classic American rock
Jose Luis Ruiz Bureau

It is not Bob Dylan. It is not Bruce Springsteen. It is not Neil Young. Yes it is another heir to Woody Guthrie, but also has been able to maintain a consistency worthy of praise and a remarkable artistic quality along no less than 30-year career. Emerged from a small town called Gainesville (Fla.), Tom Petty, who was born on October 20, 1950, was able to realize the dream of becoming a rock star and did so with a group-The Heartbreakers, who has finished working as a Typical family. Like any kid of the 60 surrendered to the magical power of Elvis Presley and then became fascinated by the hurricane that ravaged were the Beatles. Tom Petty strong bet because his life was music and enjoyed the good fortune that his talent needed to impose an end to adversity. The case is that you can presume, as Jackson Browne, John Mellencamp and John Hiatt, having bequeathed to posterity a few blocks from the best American rock.

The embryo of Tom Petty & The Heartbreakers was Mudcrutch, which already own the Petty, the excellent guitarist Mike Campbell and keyboardist Benmont Tencha. Petty reached a contract with Shelter Records in LA and in 1976 released his first album. Previously he had recruited the bassist Ron Blai ry the battery Stan Lynch. "Tom Petty & The Heartbreakers' is brilliant, there are riffs reminiscent of the Byrds (courtesy of the blessed rickenbackers), it sounds dirty style of the Stones and contains definitive temazos as "American Girl," "fooled Again" (I Do not Like It) or "Breakdown". In the era of punk and new wave was a success in England. Why? It was simple, straightforward, pure rock confessed that his love of the British invasion bands of 60 and the American garage rock. Entered the canon of cool at a crucial time where it is passionately defended the return to the roots, the naturalization of a genre that had come into swamp (symphonic, heavy ...).

The second attempt was not as successful, but showed a group that was going in the right direction. "You're Gonna Get It" (1978) hiding in their guts two pearls as "I Need To Know" and "Listen To Her Heart "And they stepped up as a band powerful, energetic, visceral and with a great nose for aroma with a classic themes (such foolproof equation that combines great melodies with lyrics simple but significant).

The third attempt was at the center of the target. Like Bruce Springsteen with "Born To Run", Tom Petty reached maturity as a composer in "Damn The Torpedoes" (1979). At full gestation of the album Tom Petty entered into a legal battle against the record company and eventually emerging triumphant from bankruptcy. His conviction and contained anger became evident in final compositions ( "Refugee", "" Even The Losers, "" Here Comes My Girl "and the beautiful" Louisiana Rain "). The crystalline production of Jimmy Iovine contributed their bit. Suddenly, Petty was already a solid reality. Hopefully all the mainstream rock was as good as it stood proudly in the grooves of "Damn The Torpedoes". The post-Vietnam America and post Wargate rendered fell at the feet of Petty and co. It was a tremendous hit that it became a superstar.

That Tom Petty has a rebel heart was evident again with the departure of "Hard Promises" (1981). The company put a high price to pull the disc taking advantage of the successful precedent and the blond southerner he sat as a punch in the mouth of the stomach. Petty turns every time it feels like the victim of an injustice here and pushed until they dropped the price. In the realm of the strictly musical, it should be noted that "Hard Promises" was not as good as "Damn The Torpedoes", but it was consistent and treasured as a marvel is the catchy "The Waiting".

This is the era in which the mother died of Petty, something that affected much of the author of "American Girl". And also it's time for collaboration with Stevie Nicks. The blond southern wrote "Stop Draggin 'My Heart Around", included in "Bella Donna", and that issue became a big hit. At that time also appeared bassist Howie Epstein on the scene. Tom Petty is what Birla Del Shannon. He held the vacancy left by Ron Blair and connect seamlessly to the Heartbreakers.

"Long After Dark" (1982) marked a step backwards. There is no doubt that there is a downturn. Of course I hid outstanding songs ( "You Got Lucky", "Change Of Heart"), but the consistency of previous deliveries faded. In fact, the deficiency was the main feature of an album that has fallen (to justice) into oblivion.

After a hiatus of three years, left "Southern Accents" (1985). Tours, drugs and shattered a hand on the way. Yes, because Tom Petty is pulverized estrellándola a hand against a wall in an access of anger. The claim was Petty get a double album, but ultimately concluded that the thing would not work. Lacked sufficient quality of the material for such a business. Dave Stewart was the producer and his stylistic horizons broadened. There are winks country, soul and psychedelic. To the hypnotic "Do not Come Around Here No More" was removed from his sleeve a very clever clip in the wave of the universe of Lewis Carroll.

After this book, Tom Petty & The Heartbreakers were immersed in a long tour with Bob Dylan. And the next step in the study was "Let Me Up (I've Had Enough)" (1987), which saw the light after it came as a direct side: "Pack Up The Plantation: Live!" (1986). "Let Me Up (I've Had Enough)" does not stop working. Continue along the path of the irregularity. There are scores that stand out ( "Jammin 'Me, written by Petty with Campbell and Dylan, or" It's All Work Out ") within a list of songs without the inspiration of yesteryear.

After you burn the house and assumed that this divertissement The Traveling Willburys (this really is a superbanda and the rest is nonsense), which posted an interesting couple of albums, Tom Petty will set up solo with the help of Jeff Lynne. "Full Moon Fever" (1989) is a success. Here Tom Petty regained the state of grace. He left for temazos and it shows. "Free Fallin '," "I Will not Back Down," "yer So Bad" or "Runnin' Down A Dream" are incontestable. "Full Moon Fever" is the typical album that resists the most enjoyable time with the authority vested by virtue of being a classic.

Then, Petty tried to keep the spell experienced alongside Jeff Lynne adding the ingredient of the Heartbreakers. "Into The Great Wide Open" (1991) is a repetition of the formula, but without the backing of the (major) songs of the immediate precedent. However, left to the memory compositions like "Learning To Fly," "Kings Highway" or the song that gives the album title (with one video clip in which Johnny Depp holds a starring role).

Remember that there are between half for its quality of Petty's contribution to "Back From Rio" (1990) of Roger McGuinn. He wrote with former Byrds and the trenchant deliciosa "King Of The Hill."

Then spent three years to get out a new work by Petty. With the production of Rick Rubin this time, raised the southern delivered another superb work. "Wildflowers" (1994). The change is evident. Rubin works in a different way to Lynne. This album flows more naturally. "You Do not Know How It Feels," "You Wreck Me," "It's Good To Be King," "Only A Broken Heart" and the "Wildflowers" are good samples of what we can do Tom Petty when he visited the muses.

That moment was crucial in the development of the adventures of Tom Petty & The Heartbreakers. Did little to "Mary Jane's Last Dance", included in the relevant "Greatest Hits" (1993) had been a great success thanks largely to that was a great song and his fascinating video clip in which he was leaving, by the way, Kim Basinger. Precisely this was the last song in which Stan Lynch. Ferron Steve grabbed the sticks following the departure of Lynch (in the meantime Dave Grohl also played drums with Petty and the CIA).

Another reason to pay tribute to Tom Petty & The Heartbreakers is participating in the seminal sessions that bore fruit to the "American Recordings" by Johnny Cash - his presence is essential in "Unchained" (1996) -. Cash made a pair of covers of Petty: the famous "Southern Accents" and "I Will not Back Down." Almost nothing. This kind in the end it finished playing with their idols (Dylan, Cash, McGuinness, Harrison ...) and any such unions have been quite juicy.

After the appreciable soundtrack "She's The One" (1996), put into service its particular "Blood On The Tracks." "Echo" (1999) is his album of divorce. "Room At The Top," "Accused Of Love" and "This One's For Me" itself glisten with a light on a disc that followed the footsteps of "Wildflowers."

The next adventure record of Tom Petty & The Heartbreakers is "The Last DJ" (2002). A howitzer against the establishment. A dart against the music business. The disc is uneven, but it has gems like "The Last DJ" and the subtle "You And Me."

Problems with drug bill went to Howie Epstein. His tragic death in 2003 stood again in the Heartbreakers, Ron Blair (by the way in forming the Heartbreakers should be added as a permanent member to the versatile Scott Thurston).

The last episode of musical Petty so far has been a return to the past. The blond southerner he is back to ride alone with the help of Jeff Lynne. "Highway Companion" (2006) is stronger than "The Last DJ". And as with all his records there are issues that satisfy the most discriminating palate ( "Saving Grace"; "flirting With Time", "Down South", "Damaged By Love" ...).

From an artist with so few ups and downs can only be expected to continue posting good records. He may not look the freshness of his debut or the quality of "Damn The Torpedoes" and "Full Moon Fever," but it certainly keeps writing melodies that you stick to your head as if they were chewing gum stuck to a shoe. Someone who exemplifies all the thing that is very difficult before it is not easy, we may fail.

PS Just Published released documentary "Runnin 'Down A Dream" (2007). This film by Peter Bogdanovich is a story for 30 years by Tom Petty & The Heartbreakers as a band. And the truth is that it is essential for fans. The future of Petty and co are detailed with historical images. Tip came from a concert and a CD of rarities. It is undoubtedly a jewel.

In the 70s he was hailed as the future of rock in the 80s became a superstar in the 90s seemed lost for the cause and the twenty-first century has regained the ability to thrill. "Magic" is the latest evidence that Bruce Springsteen is an artist whose inspiration has not been exhausted. It is a book that refers to its glorious past. Exudes honesty and vitalism. Anything that makes the rock is redemptive.

But do a flashback to review the career of the Boss taking advantage of the situation that has published his fifteenth studio album. Bruce Springsteen (23-09-1949, Freehold, NJ) had already been trying in the 60 (Castile, Child, Steel Mill) when in early'70s Columbia Records signed him. At first he was tagged with the stereotype of small new Dylan. A cliche that it was small. Yes, waged a lyrical close to the bard of Duluth, but was able to do rock'n'roll in the line of an Elvis Presley or Jerry Lee Lewis. And it was a confessed lover of the great Wall of Sound Phil Spector.

The debut of Springsteen could not be more promising. "Greetings From Asbury Park, NJ" (1973) was a debut as big. Temazos assumption of the caliber of "Growin 'Up," "Spirit In The Night," "For You" or "It's Hard To Be A Saint In The City". I had no padding. But went unnoticed. However, "Blinded By The Light" became time later a hit for Manfred Mann's Earth Band.

The continuation suffered the same fate. "The Wild, The Innocent & The E Street Shuffle" (1973) not only maintains the creative level, but in some cases exceeds the threshold (seminal "Incident On 57th Street", "4th Of July , Asbury Park (Sandy) "and" New York City Serenade "). Springsteen begins to chisel his mythical world of cars and girls. This is also the album of jazz and glimpses of that epic teenager who is "Rosalita (Come Out Tonight)".

The third was defeated. Springsteen's rise is not exactly meteoric. Slow but sure. So when he arrived at the summit was already an artist fact and law. The Boss meets the training that has given him better results. The E Street Band formed by the Clarence Clemons sax, Steven Van Zandt to the second guitar, Danny Federici organ, Roy Bitten on piano, Garry Tallent on bass and Max Weinberg on drums. "Born To Run" (1975) is, choosing a shortcut, the best album of Springsteen. Moreover, it is one of the greatest albums in the history of popular music. The insurmountable "Thunder Road", the brutal "Backstreets", that anthem is "Born To Run" or the monumental "Jungleland" scores are immortal. Especially recommended is the 30th anniversary edition. Either way, this is the record that catapulted to the status of crack Boss media.

After this romantic masterpiece of rock reaching the urban problems. Springsteen gets into a legal battle against his representative to discover that the rights of their songs do not belong to him. So I spend three long years until it sees the light of a new disc. Was in full punk sale "Darkness On The Edge Of Town" (1978), which suppurated bitterness in large quantities. Now the cartoons reflect the concerns of unsung heroes working class. The American dream becomes a nightmare. "Badlands" (with the classic film by Terrence Malick in mind), "The Promised Land" or "Candy's Room" are gems that show that anger and anxiety can serve as a vehicle for writing great themes.

After publication of "The River" (1980). This is a double album in which he reveals the great versatility of an author able to blow up stadium anthems ( "Hungry Heart," "Sherry Darling," "Out In The Street") or on the other side is capable of breaking hearts with sinuous ballads ( "Point Blank," "Drive All Night," the same "The River").

And then came the surprise. Springsteen is what he alone mounted well before it was fashionable to put the "Unplugged". "Nebraska" (1982) is a large collection of items that sound back to Bob Dylan, Johnny Cash or Woody Guthrie. The America of Reagan is portrayed in black and white with stories of losers and marginal beings. Recorded in a four-track "Nebraska" is an album from a maximum nudity. There are no happy endings. After the molten black burst into tears ...

So far, Springsteen's work is immaculate. From "Born In The USA" (1984) start in case, the buts, the defects. This is the turning point. Springsteen was already installed on the star-system, but from now on becomes a megaestrella. "Born In The USA" is a good record, but at times guilty of superficial (falls prey to populism). Yes, "Bobby Jean," "Downbound Train" or "No Surrender" worth a Potosi. Indeed, the issue that gives its name to the disk was labeled by conservative anthem, when it is the opposite. The fact is that Springsteen did not sell well digestion million records.

"Tunnel of Love" (1987) is irregular. In this romance lacks the substance of old. Luce a production which is irritating at times. Some consider him a disc of worship. They are wrong. Lack passion, there should be anger and frustration behind a Springsteen toward higher goals. Hide good themes, of course. For example, "Brilliant Disguise" or "One Step Up." This presaged LP divorce from Springsteen, who end up marrying later with the singer Patti Scialfa (later a member of the E Street Band).

Opens a time of silence. Five years later returns with two disks. "Human Touch" (1992) is weak. The production remains a liability and the worst thing is that the songs give the impression of being routine. One misses at least the E Street Band. "Lucky Town" (1992) is another thing. Is a step above. Nor is it to shoot rockets, but argues for a higher inspiration. What is obvious is that Springsteen lacks the feeling of times past.

Before recording "The Ghost Of Tom Joad" (1995) won the Oscar for "Streets Of Philadelphia." It has become the King Midas. If the omens are worse, Springsteen proves that you can still defend their cause. "The Ghost Of Tom Joad" retrieves the authenticity of "Nebraska". Based on "The Grapes of Wrath" by John Steinbeck and John Ford's film either stored in the heart, Springsteen offers a new lesson in how to endure the sort with means austere. As anecdotal point worth noting that the song that serves as title for the album had a cover of Rage Against The Machine.

"The Rising" (2002) serves to continue recovering credit. He returned to recording with The E Street Band (from "Born In The USA did not do such a thing). With the tragedy of Sept. 11 as a backdrop, "The Rising" is raised with the weightless weight of 15 songs where the hope just winning the game to the pain and sadness.

As confirmation of that is in good run publishes "Devils & Dust" (2005). Return to the side and the exploration of acoustic aspect of counter stories. "Devils & Dust" is a chilling portrait of a soldier in the Iraq war, "Long Time Comin '" for their encouragement freshens life. "Maria's Bed" and "All I'm Thinkin 'Bout" also stand out in a remarkable album.

The next step is unexpected. "We Shall Overcome: The Seeger Sessions" (2006) is the first disc versions of Springsteen's long career. Se trata de un excelente tributo a la figura de Pete Seeger y por extensión de los cantautores folk cuyo compromiso con la realidad circundante es total.

Por último, saca “Magic” (2007). Otra vez cuenta con sus mejores compañeros de viaje: la seminal The E Street Band. En el álbum hay constantes guiños a su propia obra (sirva de ejemplo la cita obvia a “Tenth Avenue Freeze Out” que se observa en “Livin’ In The Future”). Pero también es fácil discernir referencias a clásicos de la Biblia del Rock (brilla con intensidad la spectoriana “Girls In Their Summer Clothes”).

Bruce Springsteen no gozará del prestigio intelectual de otros artistas, pero la calidad de su trabajo resiste la comparación con cualquiera de ellos. Resulta lamentable comprobar cómo muchos le desdeñan desde el desconocimiento o porque no entra en el canon de lo ‘cool’ proclamar que te gusta Springsteen. No obstante, parece que su figura cada vez es más reconocida por grupos ‘indies’. Llegará el momento de su exaltación. No cabe la menor duda de que será reivindicado como una figura esencial. En contraposición, también es irritante comprobar como para muchos el rock se reduce a Springsteen. Ni una cosa, ni la otra.

El genio de Freehold se merece un puesto de honor en el Olimpo. Sólo hay que asistir (uno siempre acaba estupefacto) a alguno de sus incontestables directos para saber que es muy grande. Y si no, basta con un somero repaso a su primera etapa antes del estrellato universal. O, qué demonios, tengamos en cuenta que fue capaz de descartar los temas incluidos en la magnífica caja “Tracks” (1998). Este tipo ha hecho historia.

Por Jose Luis Ruiz