Archivo de la etiqueta: Documental

Mr Mojo Risin The Story of L.A Woman



Primero que nada, les pido sepan disculpar la demora en volver a realizar un post, pero quiero compensarlo con algo que encontre hace unos dias. un pequeño documental (a la manera de Classic Albums) lanzado hace un par de años con el motivo del 40mo aniversario del lanzamiento de L.A. Woman de The Doors.

Realmente me parecio muy interesante porque ayuda a entender la construccion de fondo que existio en el (a mi gusto) mejor disco de la banda de Morrison, Manzarek. Krieger y Densmore. Con los testimonios de estos 3 ultimos, de Bruce Botnick (que hasta ese album fue productor de la banda), de Jac Holzman creador de Elektra Records, “Mr Mojo Risin” es una excelente ocasion para redescubrir uno de los mejores discos que se hayan hecho jamas.





Bueno, primero que nada les pido disculpas por la demora en volver a publicar, asi que les dejo un documental sobre la vida de “Rodriguez”, musico del cual ya realice una reseña:

Realmente emociona hasta las lagrimas, es lo unico que puedo adelantarles, por esa razon solamente les voy a dejar una pequeña reseña de wikipedia y luego ustedes saquen sus propias conclusiones

Searching for Sugar Man es un documental de 2012 dirigido por Malik Bendjelloul. Cuenta la historia de un misterioso cantante conocido como Rodríguez y los esfuerzos de dos sudafricanos por descubrir su paradero. En enero de 2013 fue nominado al Premio Óscar en la categoría de mejor documental largo,1 del cual, finalmente, resultó ganador. Obtuvo además los premios BAFTA y WGA.







The Band – 1983


1976 había sido el año de despedida de The Band, el documental “The Last Waltz” mostraba un concierto en el Winterland que significaba el final de una de las bandas más interesantes y geniales de los últimos años.

Los años siguientes solo traerían fracasos comerciales de la mayoría de sus miembros por separado, adicciones a las drogas y diversos tipos de problemas.

1983 señalaría el año del retorno para The Band, en donde casi todos sus miembros (Robertson decidirá no participar), se reunirían a realizar un tour que quedaría documentado por suerte.

Earl Cate, de los Cate Brothers reemplazaría a Robbie Robertson, a mi gusto de una forma correcta, sumándose otros miembros de los Cate Brothers a la banda.

Y por mas que ya les hayan aparecido algunas canas, o muchas como a Garth Hudson, The Band suena solida y tan genial como 1976.

Un documental/recital fantástico para todos los fanáticos


1 Introduction 1:05
2 Rag Mama Rag 4:15
3 Long Black Veil 5:39
4 Shape I’m In 4:27
5 It Makes No Difference 6:56
6 Milk Cow Blues 3:58
7 Mystery Train 5:53
8 King Harvest (Has Surely Come) 3:59
9 Stage Fright 4:15
10 The W.S. Walcott Medicine Show 3:56
11 You Don’t Know Me 3:10
12 Caldonia 7:37
13 Chest Fever 6:39
14 Java Blues 4:57
15 Willie And The Hand Jive 5:57


Rick Danko – bajo, guitarra acustica, voces
Levon Helm – bateria, mandolina, armonica, voces
Richard Manuel – piano, bateria, voces
Garth Hudson – organo, piano, sintetizador, acordion, saxofones
Earl Cate – guitarra electrica, coros
Ernie Cate – teclados
Ron Eoff – bateria, coros
Terry Cagle – bateria

Notas agregadas de Wolfgang Vault (en ingles)

After nearly 18 years of live performing, as both backing musicians and as headliners, the Band had reached a crossroads in 1976. The group’s seemingly effortless virtuosity and Robbie Robertson’s literary gift for conveying a deep sense of Americana (despite being Canadian) in his songwriting, resulted in a wonderfully organic sound that made the Band one of the most admired and respected musical institutions on the planet. Having created some of the most gloriously rich and influential music of the late 1960s and early 1970s, the group’s Thanksgiving 1976 performance at San Francisco’s Winterland, immortalized in the Martin Scorcese film The Last Waltz, would become both a celebration and a fond farewell from one of the most revered groups ever.

Following The Last Waltz, the various band members would pursue separate career paths, never failing to create intriguing music, but never experiencing the commercial success of their work together. Although members would contribute their talents to each other’s album projects and even turn up as guests at various live performances, the Band as a performing entity would cease to exist for nearly seven years. In 1983 that finally changed when all but songwriter/lead guitarist Robbie Robertson reunited and began touring again as the Band. Robertson’s shoes were big ones to fill and in the process of recruiting a new lead guitarist, they ended up bringing an entire other group into the fold. That group, the Cate Brothers, was an ideal choice, with the talented guitarist Earl Cate having the most daunting job of replacing Robertson’s distinctively clean biting leads. Cate turned out to fit the bill perfectly, adding his own flair to the proceedings while displaying a healthy reverence for Robertson’s style. His brother Ernie supplemented the group on additional keyboards and the rhythm section of Ron Eoff and Terry Cagle provided multi-instrumentalists Rick Danko and Levon Helm the ability to play additional instruments onstage without diluting the core sound of the group. This new expanded lineup toured the globe over the course of 1983 to overwhelmingly positive response and proved that despite Robertson being the primary songwriter, it was Levon Helm, Rick Danko, Richard Manuel, and to a large extent, Garth Hudson who were the chief architects of the group’s distinctively organic sound.

One of the most anticipated gigs of 1983 came at the very end of the year, when the Band returned to the city of The Last Waltz when invited to open for the Grateful Dead at their annual New Year’s Eve extravaganza. Before a sold-out crowd at San Francisco’s Civic Auditorium, the Band proved they were still one of the best sounding groups on the planet, delivering a performance that not only delighted the San Francisco audience, but the Band members themselves. Performing classic original material as well as a smattering of choice covers, this performance was captured by the Bill Graham Presents crew and is presented here in its entirety.

Following Graham’s introduction and a minute or so of tuning up, the Band kicks off their set with the rollicking “Rag Mama Rag.” Right off the bat, this performance is cooking, with Helm fronting the group on lead vocals and mandolin. Meanwhile, pianist Richard Manuel takes Helm’s seat at the drums; bassist Rick Danko keeps rhythm on a telecaster, and Garth Hudson contributes wonderfully frantic piano work. This switch on some the band members’ traditional instrumentation works exceedingly well, with the Cate Brothers providing a solid groove throughout. The performance of “Long Black Veil,” featuring Danko and Helm sharing vocals and Hudson’s mournful accordion work, is equally compelling. However, it is on the next song, “The Shape I’m In,” when the original sound of the Band becomes more realized. Assuming their traditional roles, with Danko pumping out propelling bass lines and Manuel pounding the piano and taking lead vocal, this is an enticing performance that rivals the group’s glory days.

A remarkable version of “It Makes No Difference” follows. Always a showcase for Danko’s impassioned vocal, here it is quite extraordinary, with Hudson switching over to sax and guitarist Earl Cate providing tight vocal harmony and penetrating lead guitar work. Perhaps because Ron Eoff is providing the superb bass lines, it frees Danko up to really concentrate on his vocal delivery, which is quite engaging on this standout performance.

With Manuel again taking over Helm’s drum seat, Helm again fronts the group on lead vocals and harmonica for a great percolating version of Kokomo Arnold’s “Milk Cow Blues.” Following this, the same instrumentation, with the exception of Danko switching from acoustic guitar to a telecaster, fuels a sizzling performance of “Mystery Train.” This features strong solo spots from Cate on lead guitar, followed by Helm on harmonica, and finally Hudson on his arsenal of keyboards.

Then it’s a return to familiar instrument roles as they explore several vintage Band numbers, with Manuel leading the way through “King Harvest,” Danko steering the group through “Stage Fright (featuring double bass players) and finally “W.S. Walcott Medicine Show, which serves as a showcase for Hudson’s outstanding keyboard and sax work.

An extraordinary performance by Richard Manuel occurs next in the form of “You Don’t Know Me,” a country classic written by Cindy Walker and Eddy Arnold, but best remembered for Ray Charles interpretation. Everyone in the group seems to sense how special this is, and they display tasteful restraint, allowing Richard’s voice to totally carry the performance. On this anthem of unrequited love, his emotional vocal, despite showing the ravages of time, is utterly compelling.

After this, Manuel again takes over Helm’s drum seat, while Helm sings lead and blows harp on an excellent cover of Louis Jordan’s “Caldonia.” During this extended workout, Helm engages the San Francisco audience to get involved in a call and response, and Hudson delivers a deliciously gritty R&B style solo on sax. Although considerably shorter than his extended workouts in the ’70s, Hudson next delivers a barrage of sound from his keyboard arsenal. Known as “The Genetic Method,” this segues directly into a wild ride through “Chest Fever,” featuring great piano work from Manuel and another standout solo from Hudson. Here, with all three front men sharing vocals and Earl Cate duplicating Robertson’s guitar work to a tee, one could easily mistake this for a performance from 10 years prior, as it contains all the exuberance of the Band in their prime.

They head toward the finish line by dipping into Danko’s solo catalogue. This performance of “Java Blues” is quite interesting, with Helm, Manuel, and Hudson all strongly contributing and Earl Cate again adding a Robertsonesque sensibility to his solos. In the hands of these musicians, especially Hudson who is particularly inspired here, this also takes on that classic organic sound that defined the Band’s style. To wrap things up, Helm thanks Bill Graham and the San Francisco audience. Taking his drum seat again, he and Danko launch the ensemble into Johnny Otis’ “Willie And The Hand Jive,” which becomes the Band’s final workout of the evening and gets much of the San Francisco audience up on its feet and dancing to its infectious Bo Diddley beat.

The Band always had the innate ability to seem loose and relaxed, while playing in an incredibly tight manner. That cohesiveness is still very much intact here, with each member contributing to the collective whole with little grandstanding or superfluous soloing. All in all, this is an impressive performance that remains one of the most satisfying Grateful Dead openers ever.

La batalla del blues


Corria el año 1966, y en el festival de Newport, Alan Lomax organizó una “batalla del blues” colocando en una tarima a Skip James, Son House y Bukka White.

Quizas Skip haya sido el único “sano”, Son House estaba ebrio y Bukka White tambien, sumado a que estaba furioso.

Mucho se dice lo que fue esa batalla, pero pude encontrar esta grabacion de Skip James interpretando Cherry Ball Blues

Que la disfruten!


Wilko Johnson en vivo


Nada mejor que para este homenaje en vida, traer un video que encontre, parte de un recital que dió en su “tour de despedida” (lúgubre, pero es así) que dió el 13 de julio de este año, es decir un par de días atrás. Van a poder escuchar a un Wilko Johnson disfrutando de la música, de su guitarra y del público. EMOCIONA REALMENTE VER EL VIDEO.

Buenas noches a todos

Let the good times roll (1973) [10 mil visitas]



Entre a mi Mente (Enciclopedia Musical) LLEGO A LAS 10 MIL VISITAS.

Y como regalo quiero dejarles un documental/recital que me marcó mucho en mi adolescencia, que fue la patada inicial para que me introdujera de lleno en el mundo de la musica, el documental: “Let the good times roll” lanzado en 1973 y dirigido por Robert Abel y Sidney Levin.

Es de un concierto en Nueva York de ese año con diversas glorias de la década de 1950, haciendo muchas divisiones de pantalla (no se como se llamará ese método fílmico) en donde se muestran diversas peliculas de la época, estas viejas glorias en su momento de apogeo y diversos sucesos de aquellos tiempos.

Van a poder escuchar a Chuck Berry, Little Richard (en su época de excéntrico), Fats Domino, Bo Diddley, The Five Satins, The Coasters, Chubby Checker, entre otro.

Para mi, un documental fantastico

Esta en inglés, bastante entendible

¿Cual es su opinión?



Classic albums: The Band – Brown Album



Hoy quiero compartir con ustedes el maravilloso documental realizado para “Classic albums” de “The Brown album” de The Band.

Realmente es una maravilla, porque a partir de distintos testimonios permite reconstruir todo lo que fue el proceso de grabacion del disco, los pareceres de los protagonistas e incluso inmiscuirse en la sensibilidad latente en muchisimas de las letras que hacen al disco.

Realmente es imperdible

Esta en ingles, pero se puede entender bastante bien

Que lo disfruten!

¿La melodia mas antigua?


Una pieza única descubierta en Ugarit, preservada por 3400 años, y reinterpretada aquí por un músico particular

En ingles:

This unique video, features my first of 2 arrangements for solo lyre, of the 3400 year old “Hurrian Hymn no.6”, which was discovered in Ugarit in Syria in the early 1950s, and was preserved for 3400 years on a clay tablet, written in the Cuniform text of the ancient Hurrian language – The Hurrian Hymn (catalogued as Text H6) was discovered in Ugarit, Syria, in the early 1950s, and was preserved for 3400 years on a clay tablet, written in the Cuniform text of the ancient Hurrian language – except from a few earlier Sumarian fragmentary instructional musical texts from c.1950 BCE (Musical Instructions for Lipit-Ishtar, King of Justice) the Hurrian Hymn it is the oldest written song yet known, in History!

Although about 29 musical texts were discovered at Ugarit, only this text, (text H6), was in a sufficient state of preservation to allow for modern academic musical reconstruction.

In short, the Cuneiform text clearly indicated specific names for lyre strings, and their respective musical intervals — a sort of “Guitar tablature”, for lyre!

Although discovered in modern day Syria, the Hurrians were not Syrian — they came from modern day Anatolia. The Hurrian Hymn actually dates to the very end of the Hurrian civilisation (c.1400BCE) . The Hurrian civilization dates back to at least 3000 BCE. It is an incredible thought, that just maybe, the musical texts found at Ugarit, preserved precious sacred Hurrian music which may have already been thousands of years old, prior to their inscription for posterity, on the clay tablets found at Ugarit!

My arrangement here, is based on the that the original transcription of the melody, as interpreted by Prof. Richard Dumbrill. Here is a link to his book, “The Archeomusicology of the Near East”:

It is played here, on a replica of the ancient Kinnor Lyre from neighbouring Israel; an instrument almost tonally identical to the wooden asymmetric-shaped lyres played throughout the Middle East at this amazingly distant time…when the Pharaoh’s still ruled ancient Egypt.

A photograph of the actual clay tablet on which the Hurrian Hymn was inscribed, can be seen here:

The melody is one of several academic interpretations, derived from the ambiguous Cuneiform text of the Hurrian language in which it was written. Although many of the meanings of the Hurrian language are now lost in the mists of time, it can be established that the fragmentary Hurrian Hymn which has been found on these precious clay tablets are dedicated to Nikkal; the wife of the moon god.

There are several such interpretations of this melody, but to me, the fabulous interpretation just somehow sounds the most “authentic”. Below is a link to the sheet music, as arranged by Clint Goss:…

In my arrangement of the Hurrian Hymn, I have attempted to illustrate an interesting diversity of ancient lyre playing techniques, ranging from the use of “block and strum” improvisation at the end, glissando’s, trills & tremolos, and alternating between harp-like tones in the left hand produced by finger-plucked strings, and guitar-like tones in the right hand, produced by use of the plectrum.

I have arranged the melody in the style of a “Theme and Variations” – I first quote the unadorned melody in the first section, followed by the different lyre techniques described above in the repeat, & also featuring improvisatory passages at the end of the performance. My arrangement of the melody is much slower than this actual specific academic interpretation of the melody- I wanted the improvisations in the variations on the theme to stand out, and to better illustrate the use of lyre techniques by a more rubato approach to the melody.

For full details about my albums of lyre music, and the fascinating ancient historical background, please visit my official website:

Buenas noches de documental


El Show de Johnny Cash fue un programa televisivo cuyo presentador era ni mas ni menos que el legendario musico de country Johnny Cash. El show salio al aire desde 1969 hasta 1971

Para estas “buenas noches” desde dejarles el primer programa en donde participaron musicos de la talla de Joni Mitchell, Doug Kershaw y Bob Dylan quien por ese entonces estaba por lanzar Nashville Skyline.

Generalmente los musicos tocaban un tema o mas y luego eran acompañados por Cash en otro tema, espero disfruten de este documento

Menu de jueves: Eat at Home on Tour


Amigos, lo que les dejo en video es realmente un documento, son los inicios del grupo de Paul y Linda McCartney mas conocido como Wings, en su primer tour en Europa, el tour se llamo “Eat at home on tour” (coma en casa de viaje)

Con material filmico de epoca, me parece que es algo agradable de apreciar

¿Que opinan?


DOCUMENTAL: Rock hasta que se ponga el sol (1973)


Para este domingo, que mejor que rastrear los inicios del rock nacional argentino con este documental de Anibal Uset sobre el Buenos Aires Rock III, que se llamo “Rock hasta que se ponga el sol”, a continuacion cito:

La película “ROCK HASTA QUE SE PONGA EL SOL”, del director Anibal Uset, fue filmada en la tercera edición del Festival B.A:ROCK, en 1972. Es el único testimonio documental del final de la época pionera del “MRA” (Movimiento de Rock Argentino). Además de actuaciones en vivo, contiene secuencias realizadas en estudio y también escenas argumentales protagonizadas por artistas que participaron en el festival (Sui Generis, León Gieco, Claudio Gabis, Billy Bond y La Pesada, Arco Iris, Color Humano, Pescado Rabioso, etc). Videoclip Oficial Gabispace vog.074.

Ficha Técnica:

Hasta que se ponga el sol – 1973

Dirección: Aníbal E. Uset
Guión: Aníbal E. Uset y Jorge Alvarez
Fecha de Estreno: 8 de febrero de 1973

01.Larga Vida al Sol (Color Humano)
02.Cosas Rusticas (Color Humano)
03. Hombres de Hierro (Leon Grieco)
04. Presente (Vox Dei)
05. Guerras (Vox Dei)
06. Jeremias pies de plomo (Vox Dei)
07. Campesina (Gabriela)
08. Tontos (Billy Bond y la Pesada)
09. Raga (Claudio Gabis)
10. Nirmanakaya (Orion´s Beethoven)
11. Cancion para mi muerte (Sui Generis)
12. Si no son mas de las tres (Litto Nebbia y Domingo Cura)
13. Fuerza negro (Litto Nebbia y Domingo Cura)
14. Enrtrevistas (Litto Nebbia y Domingo Cura)
15. El tren de las 16 (Pappo´s Blues)
16. Despierta Nena (Pescado Rabioso)
17. Corto (Pescado Rabioso)
18. Post Crucifixion (Pescado Rabioso)
19. Hombre (Arco Iris)

Billy Bond, Claudio Gabis, Gabriela, León Gieco, Litto Nebbia, Pappo, Los Gatos, Jorge Pinchevsky, Alfredo Suárez,
Ara Tokatlián – Arco Iris
Guillermo Bordarampé – Arco Iris
Gustavo Santaolalla – Arco Iris
Horacio Gianello – Arco Iris
Oscar Moro – Color Humano
Edelmiro Molinari – Color Humano/ Almendra
Rinaldo Raffanelli – Color Humano
Adrián Bar – Orion’s Beethoven
José Luis González – Grupo “Orion’s Beethoven
Román Bar – Orion’s Beethoven
Luis Alberto Spinetta – Pescado Rabioso/ Grupo Almendra
Black Amaya – Pescado Rabioso
Carlos Cutaia – Pescado Rabioso
David Lebón – Pescado Rabioso
Charly García – Sui Generis
Nito Mestre – Sui Generis
Ricardo Soulé – Vox Dei
Rubén Basoalto – Grupo “Vox Dei
Willie Quiroga – Vox Dei
Alejandro Medina – Manal
Javier Martínez – Manal
Emilio Del Guercio – Almendra
Rodolfo García – Almendra

Producción:Héctor Olivera y Fernando Ayala
Fotografía: Víctor Hugo Caula
Montaje: Oscar Montauti
Sonido: Norberto Castronuovo y Domingo Cura
Fotógrafo de filmación: Alfredo Suárez

Duración: 80 minutos
Título alternativo: Rock hasta que se ponga el sol

DOCUMENTAL: A Skin Too Few: The Days of Nick Drake (nuevo video)


Un excelente, que digo excelente, excelentísimo documental dedicado a la figura, al genio de Nick Drake, su vida, sus emociones, sus problemas, sus inconvenientes, la música, las sensaciones.

A partir de distintas entrevistas, a su madre, a compañeros de trabajo, de estudio se deconstruye la figura de Nick Drake, de ese genio incomprendido en su momento y que décadas luego de su muerte fuera redescubierto y puesto en su lugar, el lugar que culto que hoy tiene y que siempre lo tuvo que tener.

Un documental fantastico en cada segundo que pasa, muy atrapante.


Que lo disfruten y espero sus opiniones

DOCUMENTAL: Hawkwind – Do not panic


Lo que les dejo a continuación es un documental acerca de la banda de space rock y prog rock “Hawkwind”, lanzado por la BBC y como todos los documentales musicales que hace, es de una gran calidad.

Repasa la historia del conjunto, su estética, su música, a partir de videos de época, testigos y ex-integrantes de la banda…

Como dice Lemmy (Motorhead) en el documental, ellos no eran Pink Floyd, eran mas bien una pesadilla negra…





Un excelente documental/recital de folk en Big Sur, California que contó con la presencia de Crosby, Stills, Nash and Young, Joni Mitchell y Joan Baez entre otros, un festival de folk rock para todos los gustos que en su momento no recibió la misma crítica que Woodstock.

Un lindo documental para ver esta noche o mañana domingo

    “I Shall Be Released” – Baez
“Mobile Line” – Sebastian with Stills
“Song for David” – Baez
shown rehearsing offstage, with stage performance of same song cut in
“All of God’s Children Got Soul” – Morrison and the Combs Sisters
“Sea of Madness” – CSNY
“4 + 20” – Stills solo performance
Stills introduces this number discussing his interaction with a heckler in the previous scene
“Get Together” – Mitchell with Crosby, Stills & Nash and Sebastian
“Put a Little Love in Your Heart” – Morrison and the Combs Sisters
non-musical footage of nude sauna, audience happenings
“Swing Down Sweet Chariot” – various
offstage, incomplete
“Rainbows All Over Yours Blues” – Sebastian
“Woodstock” – Mitchell
non-musical footage of self-identified “freak” with Woodstock-themed bus
“Red-Eye Express” – Sebastian with Stills
“Changes” – Fariña and Payne with Stills
“Malagueña Salerosa” – Cisneros
“Rise, Shine, and Give God the Glory” – The Struggle Mountain Resistance Band
“Down By the River” – CSNY
incomplete, over 7 minutes
folk musician improvising outside the festival
“Sweet Sir Galahad” – Baez
“Oh Happy Day” – Morrison and the Combs Sisters with Baez
opens with Baez rehearsing same number with Morrison


CLASSIC ALBUMS: John Lennon/Plastic Ono Band


Fantastico documental de la serie de CLASSIC ALBUMS, que toma los momentos previos a la disolucion de los Beatles, las cada vez mayores ganas de Lennon de empezar a trabajar como solista y finalmente la concreción de su primer disco solista con sus implicancias.

Van a escuchar a John en grabaciones, el testigo de Ringo, Klaus Vormaan, Yoko Ono.

Un documental muy recomendable que sirve bastante verlo y comprender mejor el disco una vez que se lo escucha


En ingles con subtitulos en español


DOCUMENTAL: Ronnie Lane The Passing Show (2006)


Pete Towshend y Ronnie Lane

Fantástico documental lanzado en el año 2006 acerca de la vida de este músico que participó en The Small Faces en The Faces, y tuvo una carrera solista bastante interesante aunque no apreciada correctamente en su momento.

El documental repasa su infancia, sus inicios en la música, los conflictos, las drogas, la carrera solista, los problemas de salud y su consiguiente lucha contra la esclerosis múltiple (enfermedad que su madre tuvo tambien).

Todo esto con el testimonio de amigos, una grabación de Ronnie, y videos de época.

Una experiencia única para conocer en profundida el hombre detrás de Ronnie Lane, realmente es muy emocionante

Esta en inglés pero se entiende con facilidad

Frontal del DVD