I like many groups, but never a group I think I like totally. Which, apart from avoiding becoming a geek and / or pajero, used to fuck myself looking for or highlighting what I think are "bugs" or "defects." I guess this is something typical of a flipao (something that definitely I could not help becoming), which, after all each group does its history and the choice of songs with lyrics, sounds and arrangements certain: you can like it or not but need not be considered a failure. I suppose, I say, but often that impression and I keep songs in my opinion there should have been included, perhaps expendable private jokes, arrangements that do not share, etecé. Then, when you talk with colleagues who also tend to freak you see that do not match, that failure blunders for them are obvious successes for you and think what a comfort it is fucking great music for the disabled to at least talk about music.
However, almost always agree on one thing: production.
can not say no, this is another example of my foolishness Music: same as attending a concert high average first-level groups for granted, is known, understood and taken for obviously not has nothing to do with the sound of a live with a disc. But, really, from the garrulous illustrated surprising change. And is not that they sound different is that almost all discs seem to waste the skills of a group.
The problem of production, from my point of view is particular overall. Affect pop, rumba and new sounds. I think Loquillo, Los Delinqüentes and M-Clan, for example, lose much in the disks, and the same goes for Carlos Chaouen, Ariel Rot, Bombo Infierno Muchachito Swing Murderer. It can be a mania, paranoia or simple bullshit but I think particularly with regard to urban rock produces a rather objective and no less strange: first the strangeness and the breakdown of people's conception of the production of pop and now in recent years, a clear innovation by a renewal from the inside out. Surely this supposed
expresses curiosity can be applied to more styles. Innovation is needed in every musical genre and I defend the English urban rock as a new genre that while part of some Anglo-Saxon references (Black Sabbath, Led Zeppelin ...) soon, for better or for worse, make your own patterns and constructs its own limits and limitations. I also suppose that Latin rock was necessary to start for Los Coyotes and Al Green to reach Los Rodríguez and frankly these are still best (and that someone should get down to work.) But the way the city is more styled rock, say as a starting point Leno's first album -1978 - while the former Los Coyotes is 85 and consider Extreme as a clear confirmation, more apparent and more definitive, I think, Los Rodriguez, on the other scale, without comparing them as groups but as the culmination of a genre.
Let us not forget also that in terms of disc production, which is what we are talking about Latin rock has not been such a Uoho Iñaki Antón. Or anything similar.
At the time the problem could be in the dislodging of conventional producers with a style (rock dweller or kalimotxero, beyond each one) may not cutting edge but not conventional. Arrangements should be reminded of Teddy Bautista (yes, the musician of the Canaries on 60 and now El-eye-to-all-you-go and the "pocket-it-all-you-down on the SGAE) in the log that records are a mess rather than awe on many issues. Urban rock would change things in hand. There was a new attitude that required a new approach and a light wrapper, minimum. But often looking for someone with experience rather than a degree, assumed a burden, a clash that is determined in an irregular sound as if George Martin the Beatles would have occurred to the Pistols, so to speak.
The best definition of this comes from, how could it be otherwise, an anti-theoretical, Roberto Iniesta Deltoya disk writes about the production: "among all the killed and she died alone. " For its part, Los Rodriguez, in his first record referring to the producer called him "the aprietabotones" ie, a roll tipejo clerk who does nothing more than technical: the production in Spain has never been musical or artistic. It was a matter of pushing buttons and certify the death of the discs. Once Upon
Iñaqui Uoho Anton and proved that you can make the sound of fucking discs, which can be original, artistic and also take advantage of once the potential of live bands. Are anthologies his work in "Agila" and "innate law" Far or "Kisses dog "Tidal. It has also shown that a producer is not worth fucking to save a disk when there are no songs. Could be specified but not a matter of touching the ball for nothing. Maybe another day. The English urban rock has long had found their language, style and even its sound.
a shame it has disappeared entirely now that he had begun to learn form it into disks.
However, almost always agree on one thing: production.
can not say no, this is another example of my foolishness Music: same as attending a concert high average first-level groups for granted, is known, understood and taken for obviously not has nothing to do with the sound of a live with a disc. But, really, from the garrulous illustrated surprising change. And is not that they sound different is that almost all discs seem to waste the skills of a group.
The problem of production, from my point of view is particular overall. Affect pop, rumba and new sounds. I think Loquillo, Los Delinqüentes and M-Clan, for example, lose much in the disks, and the same goes for Carlos Chaouen, Ariel Rot, Bombo Infierno Muchachito Swing Murderer. It can be a mania, paranoia or simple bullshit but I think particularly with regard to urban rock produces a rather objective and no less strange: first the strangeness and the breakdown of people's conception of the production of pop and now in recent years, a clear innovation by a renewal from the inside out. Surely this supposed
expresses curiosity can be applied to more styles. Innovation is needed in every musical genre and I defend the English urban rock as a new genre that while part of some Anglo-Saxon references (Black Sabbath, Led Zeppelin ...) soon, for better or for worse, make your own patterns and constructs its own limits and limitations. I also suppose that Latin rock was necessary to start for Los Coyotes and Al Green to reach Los Rodríguez and frankly these are still best (and that someone should get down to work.) But the way the city is more styled rock, say as a starting point Leno's first album -1978 - while the former Los Coyotes is 85 and consider Extreme as a clear confirmation, more apparent and more definitive, I think, Los Rodriguez, on the other scale, without comparing them as groups but as the culmination of a genre.
Let us not forget also that in terms of disc production, which is what we are talking about Latin rock has not been such a Uoho Iñaki Antón. Or anything similar.
At the time the problem could be in the dislodging of conventional producers with a style (rock dweller or kalimotxero, beyond each one) may not cutting edge but not conventional. Arrangements should be reminded of Teddy Bautista (yes, the musician of the Canaries on 60 and now El-eye-to-all-you-go and the "pocket-it-all-you-down on the SGAE) in the log that records are a mess rather than awe on many issues. Urban rock would change things in hand. There was a new attitude that required a new approach and a light wrapper, minimum. But often looking for someone with experience rather than a degree, assumed a burden, a clash that is determined in an irregular sound as if George Martin the Beatles would have occurred to the Pistols, so to speak.
The best definition of this comes from, how could it be otherwise, an anti-theoretical, Roberto Iniesta Deltoya disk writes about the production: "among all the killed and she died alone. " For its part, Los Rodriguez, in his first record referring to the producer called him "the aprietabotones" ie, a roll tipejo clerk who does nothing more than technical: the production in Spain has never been musical or artistic. It was a matter of pushing buttons and certify the death of the discs. Once Upon
Iñaqui Uoho Anton and proved that you can make the sound of fucking discs, which can be original, artistic and also take advantage of once the potential of live bands. Are anthologies his work in "Agila" and "innate law" Far or "Kisses dog "Tidal. It has also shown that a producer is not worth fucking to save a disk when there are no songs. Could be specified but not a matter of touching the ball for nothing. Maybe another day. The English urban rock has long had found their language, style and even its sound.
a shame it has disappeared entirely now that he had begun to learn form it into disks.
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