Computer Age

Friday 5

This article is not intended to be a chronic festivalera use, because several issues (the main age) can attend only a few concerts scheduled in total this year's Azkena Rock Festival.
Reach the venue on Friday at around 19:30 in time to see the last issues of the concert of The Sonics, and what I saw I liked a lot, and that is that classics like "The Witch," "Strychnine" and " Psycho "have not become obsolete over the years. Thank check as Gerry Roslie is able to deliver even these so characteristic screams. This is typical of the concerts offered by the ARF, group meetings extinct long ago, even with nothing new to offer, they can be interesting as appropriate and that it was.
The heavyweight from Friday but was Ray Davies, and is to return to enjoy the leader of the Kinks than one scenario was a time when more than expected. Surprising naturalness and humility with which this legend unfolds, the public arengando constantly, jumping, dancing continuously, as if being the leader of the best rock band in history were the most natural thing in the world, presenting, as if it was mere entertainment, themes of the size of "You Really Got Me," "I'm Not Like Everybody Else," "Where Have All The Good Times Gone" or "All Day And All The Night." Intercropped between Davies of the Kinks classic themes of his recent solo albums that show that the British genius compositional talent has not waned. Faced with such recitals obeisances to do is just to break the backbone.
Davies, very communicative, he added constant feedback from its many references to his brother Dave, who apparently has some health problems, and everyone went back to dream that this reunion is always rumored but not confirmed recently.

After the display of the ex-Kink turn of another revival, this time a little more frivolous and unnecessary, and it is to see the Sex Pistols in 2008 I do not think that drawing attention as anyone. However, Johnny Rotten were beneficiaries of a good sound, and themes that resultones "Never Mind The Bollocks" (1978) and "Holidays In The Sun" or "No Feelings" sounded convincing. Little more to say.

Saturday 6

On Saturday a poster showed a priori more balanced and more broadly interesting. For reasons of time I could not attend the concert by John Cale (played at 17:30) but if I had time to see the final concert of Duff McKagan's Loaded quite erratic and mediocre but recovered to end nearly a solvency "It's So Easy" from that first album of Guns N Roses which made me remember that Guns were great in their day.

I wanted a good place to see Jayhwaks, so inevitably I had to do without the set of The Gutter Twins, but I could see through the screens was certainly hypnotic. I have followed closely this collaboration between Mark Lanegan and Greg Dully but I promise to do the duties and provide a chronic condition for the next.
This concert by The Jayhawks certainly was the highlight of the festival, which is that Mark Olson returned to the same band that I believe to give a single concert. On stage that the training delivered legendary "Tomorrow The Green Grass" (1995), that is, Mark Olson, Gary Louris, Mark Pearlman, Karen Grotberg and Tim O'Reagan and the role to review a concert of classical the band.
The set began with "Wichita", one of those items on the "Hollywood Town Hall" (1992) who showed us the potential of this reunion. The voices of Louris and Olson were compenetraban to perfection and a tremendous complicity is evident among all members of the band. The concert went as planned, the band shines high incommensurable with issues such as "Blue," "I'd Run Away," "Two Hearts," "Real Light" or "Nothing Left To Borrow". A memorable concert.

Had not seen live Dinosaur Jr. Lou Barlow since he returned to training, so the band concert in Azkena other time was also highly anticipated, and it appears that this reunion work, because with Barlow on bass and Murph on drums compositions J Mascis recover the overwhelming essence of their noise-rock beginnings. Topics such as "The Wagon," "Freak Scene" or who "Beyond" (2007), the latest work of training, certainly sounded thundering.

And that was it for us after this concert went to the hotel with the feeling that the Azkena Rock Festival has established itself as one of the most important festivals in the country.

Videos:
Ray Davies, playing David Watts:

Dinosaur Jr.-through giant screens:

The truth is that the phrase "perfect songs" seems set up to define the music of the Kinks, no other group in the world with such a density "temazos" per square meter, and challenge you to desmintáis this.
And that "Music Jukebox" and not another song? Well, here is the thing most neighborhoods. While in the sixties Ray Davies and Co. achieved in its own right was the category of myths in the seventies, for my taste, where the wheels of the machine operating at full capacity, to the extent that any of the songs included in one of the "Preservation Acts", "Sleepwalker," "Misfits" and "Schoolboys In Disgrace" simply frightening.

"Music Jukebox" is the fifth cut of "Angel" (1977), an album that was special for many reasons. It was the first album for Arista The Kinks and the first recorded in their own studies, the legendary Konk studios. With this record, Ray Davies seemed to leave behind the concept album (for relief of his brother Dave) and the entire album breathes a refreshing scent of Rock smoothly. But the Kinks nothing is as simple as it seems because the texts of this album contains a good dose of irony and bad milk served by the unique talent of Mr. Davies and compositional background is still a conceptual thread between songs difficult to guess sight: somnambulism and thus the nightlife.
And focus on "Music Jukebox", the theme speaks of the effect of music on people, particularly the effect on a girl who sits night after night in a dark bar listening to sad songs on the machine and create music in everything we heard, that lets the music guide your feelings and prefers to be alone with their songs to relate to anyone. Ray Davies returns between lines (I did in "A Rock and Roll Fantasy") to the theme of the big lie of the Rock, the big lie that supposed to believe that some songs can save your life, the big lie in his final own life.
The song starts with a few simple bongos, who joins a battery reece quickly and accurately. Enter a guitar riff, comes another sound below, other than electric guitar, bass, voice. Every millimeter measured with a precision overwhelming. In the part of stanzas is only the voice and a new chorus to Rhodes in which re-enters his memorable riffs with Dave and the rest of the band, ending a memorable one with another wild Jam Dave.

It is often underestimated the ability of interpretative Ray Davies, and maybe is not the time to come here in sterile polemics, the truth is that he sings this song so sublime, always controlling the tempo of a song that has now truly frenzied, a real tour de force "to the limit for a band that does not touch a single note out of tune. Dave Davies here again in your sauce, a rock song that comes as the ring finger and delivers a collection of riffs alone and completely devastating. The youngest of the brothers Davies was a guitarist who was less than, but at this time reached a considerable level of excellence.
It may sound like a cliché, but no longer do so songs.

The Kinks
Celluloid Heroes

I talk to many people in music, and removing a small group of friends Rock fans like me, nobody seems to know the Kinks, occasionally leaves the issue of the music of 60 and 70, and everyone is talking about The Beatles, the Rolling Stones, The Who, Led Zeppelin, etc. .. but nobody seems to consider that from many points of view is the best rock band in history, the great and inimitable Kinks.

This story begins in a humble and populous district of London, Mushwell Hill, Raymond and Dave Davies is the only male offspring in a large family full of women, the two brothers are also small family with only three years apart between them but with a huge age difference with respect to their sisters. The children of the brothers Davies runs in a house full of people, with their parents, their brothers and sisters, all living in the same house, divided between all the attention to small.
In the lounge of the old house had a piano, and the two brothers enjoyed frequent family gatherings around the are playing songs and stories were fun, we can say that, apart following setbacks, the children of Ray and Dave was quite pleasant.
Although the two brothers had almost the same age, did not develop such a friendly relationship, each spent time with different people in the family (had to choose from) and rarely matched in their play, in these years forged the legendary love-hate relationship of the brothers Davies, a relationship based on mutual admiration between them but also the envy and rivalry.
Although they did not share too many things, the two brothers soon developed a great love for music, started playing both instruments while discovering the blues songs that came slowly across the Atlantic, soon began to work together with family and The next step was to form his own band to perform at local garitos.
The initial formation of the band, with Dave, Ray and a friend of both Peter Quayfe was taking various names before adoption of The Kinks and gradually gained notoriety in the local club circuit, but often acted as simple band to accompany other local musicians.

Suddenly the roles of all the musicians were defining and Ray started singing and composing songs, while Dave was developing a powerful and dynamic style with his guitar, the two came together at the family house to write, and one of these meetings was a song that would change forever the fate of the band and leaving a deep imprint on popular music of the twentieth century. Legend has it that Dave was going at that time experimenting with his amplifiers to get more volume, more connecting with each other. One afternoon Ray came with the chords of "You Really Got Me" began playing the piano, Dave came up with his guitar and amplified rasgeó the same line, days later, Ray already had prepared the letter. Both quickly realized that they had created something great, is not wrong because from that moment began to rain and offers record promoters who wanted to have the Kinks in their actions.
The rise in the lists of "You Really Got Me" was simply unstoppable, and the band for the first time with the resources to continue creating songs, do not arrive soon, between 1964 and 1965, the Kinks recorded two albums ( "The Kinks "and" Kinda Kinks ") and countless singles, while frantically began to turn around Europe.
At this early stage the Kinks were a really wild, and root from the frenetic pace of concerts beginning to emerge as the first friction between the group members, especially between the two brothers who staged sometimes tricky fights on stage.
In 1965 the group first visited the United States by offering a series of concerts, concerts that ended on a few occasions in real battles, in addition, acitud of group members at that time was, so to speak, little sociable especially the one that Dave Davies was involved systematically destroying the hotels where they spent training and fights at the slightest opportunity.
As a result, although it was never clear exactly why the Kinks were banned in the U.S. to act for a period of four years. This prohbición marked the evolution of the band, as they were automatically out of the U.S. market and outside the musical currents that would emerge in that country during the last years of the 60s. This ended almost definitely trade with the aspirations of the band, which he saw as his records were becoming less popular, although this did not influence the quality of their new songs, but rather the contrary, in the period 1965 to 1969 the Kinks gave their best work.

It was published in 1966 "Face to Face", one of the key albums of its time, a record that broke with the usual simplistic pop theme of the times by adding a series of detailed portraits of the British society, all this reflected in a few songs from a typical structure, addressing new and sound, adding unusual instruments like the harpsichord on issues such as "Rosey Will not You Please Come Home" or "There's Too Much On My Mind"
"Face to Face" was a discrete business reception and was criticized for his record company thought that these songs are far away from the pattern of "You Really Got Me" and their rebel image and profitable contentious.
Despite these setbacks, the Kinks felt good evolutionary his line and the following year delivered a record even less assimilated by the company: "Something Else," an album that left even more varied and clear that Ray Davies was not a typical composer, songs on this album are all sorts of unusual issues addressed in the great "Two Sisters" more than an obvious metaphor of envy between Ray and Dave, or sarcastic "David Watts", where Ray was arrested with his unique and sharp against ironia London's a dandy time.
In this record, Dave Davies, always overshadowed by the irrepressible talent of his brother, delivered one of his first compositions, the great "Death Of A Clown".

The next album of Kinks, released a year later, is considered by much of the criticism as the best work of the band, and one of the key pieces of pop of 60 is "The Kinks Are The Village Green Preservation Society ", a monumental double disc where all the virtues mentioned above operate in all its explendor. A disc absolutely round without a single issue of filling that shows even more nuances in the literature of Ray and sharpened in the records of the band. All topics are impeccable, but we will cite some of the beautiful "Days" and "Monica" and the sensational "Picture Book", "Big Sky" and "Sitting On The Riverside."
After Village Green, the Kinks released yet another album for his company always Pye, another superb album called "Arthur Or The Decline And Fall Of The British Empire" despite continuing the line of his previous works sublime not worked too well level of sales. Songs on this album are incredible as savage "Brainwashed" strange "Australia" or the delicious "Shangri-La." The Kinks had already reached a level of excellence absolutely overwhelming.

In 1970 he spent several things return to change the course of training, the first is the end of the veto in the United States, which allowed them to return to action in that country to offer almost a half later, on arrival they found the Kinks enjoyed a position of considerable prestige in that country, with legions of fans who came almost to fanaticism.
That same year, the Kinks released "Lola", a strong theme on a transvestite who was an immediate success and overwhelming. the resulting album, "Lola vs. the Powerman and Moneygoround, Part One" finally allowed to return to the charts with a curiously much lower than the record previously commented, despite having the luxury items such as "APEM" "Top Of The Pops" or that "Lola."

Throughout the years, Ray Davies was interested in the world of television and theater, working in several areas of the BBC, one of those projects was the idea of the film "Percy", an absurd story about an eschatological man lost his penis, the film went without penalty or glory for the lockers and deserves lost in oblivion were it not for the Kinks recorded throughout the soundtrack, making some items as "God's Children," "The Way Love Used To Be "or" Moments "which are among the best of their repertoire.
This soundtrack, released in 1971 was the group's last recording for Pye, started 70 years and the Kinks, selflessness and tired of the idleness of the executives decided to change of scenery and profiling by RCA, a company offering commercial support and more promotional.
The formation of the Kinks had remained practically unchanged over the years, the two brothers Davies as leader and Peter Quayfe and Mick Avory in their roles as bassist and drums respectively, Quayfe left the band in 1969, and was replaced by John Dalton, and early'70s the band began to add vocals and wind sections of their direct and their recordings.
Published in 1971 came "Mushwell Hillbillies," his first work for RCA was a significant step forward in the sound of the band, adding elements of country music and even touches of music hall in a disc rather than symbolically significant that was presented as a return to the roots, a return to origins. In this record we find another handful of classics such as "20th Century Man," "Holiday" or "Alcohol."

He already indicated interest in Ray Davies in the world of television, serials, drama and entertainment in successive years would result in a series of conceptual albums that were not cut properly understood by either the public or by critics but now containing more than outstanding. In "Everybody Is In Showbiz", published in 1972 and introduced some elements of this trend to later be developed further, this is an unusual album, with popular themes of the band live and unreleased tracks enough quality, emphasize the majesty and beauty of "Celluloid Heroes" and "Sitting In My Hotel", two issues with the unmistakable melancholy tone of Ray Davies.

The series of conceptual albums starting with "Preservations," "Preservation Act 1" published in 1973 and "Preservation Act 2" published in 1974, these albums Ray Davies has a history of delirious chapters on Flash, a landowner who wants capitalist take power, and Mr. Black, a leading socialist which aim to prevent and oppose it. "Preservation" is a seemingly simple story of class struggle that is very much complicated by the fervent imagination of Davies, in any case, although the concept of the work was not treated very well, these discs contain two other impeccable selection of songs, pop-oriented, but without entering complex in other areas less traveled. They are definitely little business, and perhaps the newcomers to the work of the Kinks should start by other details in your catalog.

In 1975 he published "Soap Opera", another concept album that was originally devised for a series on BBC that was never carried out, the idea here revolves around a rock star of the media (perhaps a self portrait of the Ray Davies) believes that can make people in poor stars, which changes his life with a simple worker in order to demonstrate how easy it is to succeed ... that is the face of harsh reality and routine. The usual brilliance of Davies lirica add here that there are a number of issues and unpayable really cool, like the original "Everybody Is A Star (Starmaker)", "When Work Is Over" or the fantastic "Holiday Romance."
It goes without saying that the album was not well received by critics and even today is one of his worst considered. At the level of sales does not work too well and his company began to show signs of impatience. Relations between the group members, especially between the two brothers, not just going for her best time since Dave felt this whole line of mistaken conceptual albums and wanted a return to the beginning of primitive rock.

The next step seemed to give the reason for Dave, because "Schoolboys In Disgrace" (1975) is an album-oriented rock much despite being a new concept album (a disc on the education theme, no less).
This time the songs are much more direct than in previous work, much more aggressive and dynamic, almost like a return to its early days. Memorable songs that are converted from here in classical concerts as "The Hard Way," "I'm In Disgrace" and the monumental "Headmaster."
For this concert tour, the Kinks returned to their basic guitar, bass and drums and went on stage dressed as schoolboys, offering the most powerful of its repertoire.
This line back to its origins and wild rockers remain in their next jobs, and for his new company, Arista.

The next two albums "Angel" (1977) and "Misfits" (1978) are considered the best by the Kinks recorded throughout the 70s, a new full time composer Ray Davies in a state of grace and a band that sounds like a real steamroller here. Both discs are absolutely impeccable and round, but worth highlighting its perfection by such topics as "Life On The Road" or "Angel" and the first "Rock and Roll Fantasy" or "Hey Fever" in the second, which are among the songs Best of all its catalog.
The Kinks ended 70 delivering a new album ( "Low Budget") and forces to spare even after twenty years of career, to continue on the road. In 1980 it was published "One For The Road", a revealing document that shows the tremendous strength of the band live.

Although 80 years have been productive for the band, delivering a total of seven new studio album to "Phobia", his last album, we do not have space here to detail each of these works, although it must be said that the level of these recordings, but not sublime, but it remained significant.
Highlight the strength of the themes contained in "Give the People What They Want" or the particular irony that flooding cuts "Word Of Mouth", disks that Ray Davies continued to show their unique talent in a few letters and a long vibrant compositions and intelligent.

Those few who have managed to sum up in this special are broadly the powers of a band in its own right has always included among the best in history. Ray Davies has written one of the most glorious pages of the rock, portraying, with his unique sense of humor, with his keen intelligence, the lives of ordinary people like us, becoming humble and stories gray glorious songs immortal. because as he said himself Ray "There are stars in every city, and in every house on every street, and if you walk down Hollywood Boulevard, their names are written in concrete."