#Rikky Disco | Explore Tumblr Posts and Blogs

speedydestinynacho · 26 days

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Name:

Vikki

Alias:

Vikki - the name they got when they joined the vees a few years ago

Rikki - the name they got stuck with the moment they ended up in Hell

Richard Axel Newson (or just Richard) - Their real name/ their name when they were alive

Vik - Nickname given by Vox and Velvette

Age:

24 yrs old

Sexuality:

Omnisexual and Aroace

Gender:

Nonbinary (was closeted when they were alive)

Pronouns:

They/Them/Their/They're

Demon Class:

Overlord

Demon species:

Axolotl Demon

Demon species meaning:

° When they were a live their middle name was Axel

° Axolotl, a lot of x's (a play on words) ,when a demon is in it's demon form or just has an x on their body in general

,it explains which part of their body was hit when they died or which body part was removed. Like for example when Alastor is in his demon form he has an x on his forehead because he died from a headshot or Vaggie has an x over one of her eyes sense Lute removed it

So whenever Vikki goes into their demon form they have x's all over their body sense they died getting shot multiple times.

Birth town:

Las Vegas ,Fremont

Birthday & Death day:

December 21st, 1480s - Birth

January 16th ,2480s - Death <----(Shot and burned alive)

Zodiac :

Sagittarius ♐

Voice claims:

Talking - Lucio from Overwatch (but their voice kinda fried / scratchy because of how they died)

Singing - Titus Bergus (for now, I haven't decided on what their singing voice claim is yet)

Super Abilities:

☆Music Bending - can control and bend music to their will ,can control the volume, and sound waves of it

☆ Chains - they can summon dark turquoise chains to their will, said chains are usually connected to the demons whose souls that they, Vikki owns

☆Underwater breathing - Vikki can breathe underwater without a struggle

☆Transformation- Can shape shift and change into their demonic form

☆ Brim hat - Vikki's brim hat floats over their head and not only acts like a disco ball and as a speaker, but it also amps up their powers similar to how Alastor's microphone cane amps up his

☆Talking Cane-

They have a purple disco ball cane that has a mind of it's own. The cane's name is Ritz , goes by He/Him pronouns, has a mind and personality of his own, he tends to be annoying petty sarcastic and blunt ,and Ritz tends to always either try to embarrass insult or tease Vikki (also my voice claim for him is Yago from Aladdin)

Mental Disabilities that Vikki has:

ADHD

Neutral form/Demon form(how they usually look):

Vikki is an Axolotl Demon with hazel skin (w/ half their body chard thanks to how they died), the background of their eyes is a dark purple with them having light purple pupils that's shaped like music notes (specifically this 🎶), they have ocean blue hair that's in a pompidour hairstyle, they have sharp dark purple teeth , they're around 6’1 ft tall and is very chubby, they wear a black brim hat, they wear hot pink shutter sunglasses, they wear a black long sleeve 80s themed button up shirt w/ a blazer over it, one side of said blazer is dark purple w/ a long dark red sleeve and the other side is a dark turquoise w/ a long hot pink sleeve, they wear dress pants with one side being hot pink and the other violet purple ,and they wear white dress shoes

Scary demonic form:

They basically look the same but the inside of their tail starts look like a music note (specifically this 🎼) , their pupils look like this 🎵, they become a little bit taller , their teeth becomes ten times sharper, and they start drooling this dark purple substance uncontrollably

Height :

5'11

Hobbies :

•Dj-ing

• Listening to electric music, pop music, house music, trap music, and Mashup and remix music (their favorite music genres)

• Playing music on their turn tables

• Attending and Dj-ing for parties

•Partying

•Drinking (may be an alcoholic)

• Making music Cds and cds of their djing playlists

• Drawing sketching and doodling all on paper

• Stamp collecting

• Music production

Occupation/s:

•One of the vees (apart of the VVV entertainment district along with Valentino, Vox, and Velvet)

•Local Dj for big fancy parties the higher ups go to (such as the Morningstars like Lucifer Lilith and/or Charlie, the ars goetia, overlords, and the vees)

•The music overlord/ 80s overlord

Job/s:

They work at the VVV entertainment district along with Valentino, Vox, and Velvet . While Valentino is in charge of all porn throughout Hell, Vox in charge of all electronics and media throughout Hell, and Velvet is in charge of all clothes and fashion throughout Hell; Vikki is in charge of all music throughout Hell

Though he mostly prefers electric music, pop music, house music, trap music, and Mashup

Interest/s:

•Dj-ing

• Listening to electric music, pop music, house music, trap music, and Mashup and remix music (their favorite music genres)

• Playing music on their turn tables

• Attending and Dj-ing for parties

•Partying

•Drinking (may be an alcoholic)

• Making music Cds and cds of their djing playlists

• Drawing sketching and doodling all on paper

• Stamp collecting

• Music production

Favorite food/s and/or drink/s:

•Corndogs

•Chili

•Meat lovers pizza

• Pineapple pizza

• Chocolate chip cookie dough ice cream

• Energy drinks (orange and/or mango flavor)

• Orange and mango flavored slushies

• Slushies

• Pina Coladas

Loves:

•Dj-ing

• Listening to electric music, pop music, house music, trap music, and Mashup and remix music (their favorite music genres)

• Playing music on their turn tables

• Attending and Dj-ing for parties

•Partying

•Drinking (may be an alcoholic)

• Making music Cds and cds of their djing playlists

• Drawing sketching and doodling all on paper

• Stamp collecting

• Music production

•Corndogs

•Chili

•Meat lovers pizza

• Pineapple pizza

• Chocolate chip cookie dough ice cream

• Energy drinks (orange and/or mango flavor)

• Orange and mango flavored slushies

• Slushies

• Pina Coladas

•Fast food and/or junk food

•Listening to music through their headphones

•Their turn tables (they have turn tables in which they named Bolt Retro Newson, Bolt for short)

•Air horns (owns a shit load of air horns)

•Making sound effects with either their turn tables or keyboard (they own a keyboard)

•Their keyboard

Hates:

•Slow Walkers

• Hangovers

• Feeling trapped ,helpless ,or vulnerable (because they feel as if it'll put them at risk at getting hurt ,manipulated, ridiculed, or killed)

• Asking for help (too prideful, their head is stuck up their ass)

• Owing favors (too prideful, their head is stuck up their ass)

• Being judged

• Valentino (loves Vox and Velvette more)

• Loud chewing

• Silent rooms and atmospheres (silence leads to them over thinking = thinking back on childhood trauma /past trauma and inner turmoil )

• Both their mom and dad (has mommy and daddy issues)

• Crying

• Stupid people

• Getting sick

•When people take advantage of their kindness (those who does winds up either dead injured or traumatized)

Long language:

•Physical touch (and vise versa)

• Gifting (and vise versa)

•Words of affirmation (and vise versa)

•Validation (and vise versa)

But only from people they trust the most

Personality:

Vikki is a laid back and east going energetic overlord with a “cool dude” and “Go with the flow” demeanor and is known for being the fourth member of the vees /entertainment district and instead of being in charge of fashion like Velvet, the porn like Valentino, or the tech like Vox ,Vikki Is instead in charge of the music that goes around Hell.

Vikki's demeanor is normally easygoing, calm, and carefree, no matter the crisis. However, they are generally impatient as they hate boredom,cannot hold still,and can be impulsive and short-tempered. Because of this, Vikki can be reckless and quick to act before thinking, throwing themselves into trouble without a second thought and regards for others' warnings, to the point that they acknowledged that their speed has gotten them in all kinds of conflicts.

Their carefree nature could often lead to them being terrible at controlling the volume of their voice , humming and or singing to themselves a lot, carrying air horns wherever they go and blowing them as either a stim ,excited, or just because .

Vikki is a loose-canon that's known for being extremely energetic, enthusiastic, easily distracted, fun loving, mischievous, cool (with a hint of insanity underneath) and ,creative .

Vikki puts up a laid-back, fun-loving and musically adept public persona. However, beneath this collected, suave exterior is Vikki's true nature: a self-absorbed, superficial con man. Rarely thinking ahead, Viks largely coasts by on luck and social media buzz, and it's rare they put actual effort or thought into doing anything- they'll disregard or simply not listen to others' instructions, and they tend to put more work into flimflamming people.

Vikki is fond of gloating when they think they have the edge over their adversaries. Vikki also displays neurotic, perfectionistic personality traits, and they rapidly come unglued when things don't go exactly the way they want them to.

While they are typically open-minded, it won’t seem as if they are when they’re being self-righteous about their views. Vikki can become reckless. They are impulsive and immature at times.

While they do have a kind and soft side, they rarely show it thanks to pride and the fear of being vulnerable, infact similar to the other vees and/or other demons in general they can be just as evil, deranged, malicious, and cynical!!

Also Vikki's vocabulary and/or what they usually say is things like ; bro, bruh, broski , rad, radical , eat my shorts, let's roll ,and ect. (Other 80s slang) in their speech and/or sentences!!

Backstory/Background:

Childhood upbringing -

Grew up in Las Vegas in the 80s with their mom and dad and their older brother and sister (the two were twins) and their parents made the three child celebrities that has ended up acting and/or staring in a lot of commercials, PSAs, ads, shows, movies, and games and none of the ever liked it other than their parents

Growing up -

As Richard Axel Newson got older they left their TV fame behind to become a Dj and start dj-ing at parties ,those not being the only things he started doing but he became extremely impulsive and self destructive to the point it'll always leave them into trouble

Adulthood -

Their self destructive and impulsive behavior soon started to lead Richard to no only insanity but their relationships with people to start gradually but slowly fall a part ,even later on causing them to end up getting into an argument with their sister about their own health and safety

Death -

Months prior from that argument , no one has heard from Richard because they were in their bedroom all day with the door locked, only to one day for their siblings to come in check on them, only to find their door kicked in (hinting at a murder) and Richard on the floor with 15 bullet wounds in their body and their house on fire (the murderer must or been trying to burn the evidence)

because turns out,he owned somebody money

Richard was soon pronounced dead in the hospital

Trivia(headcanons/ fun facts about them):

Tw: May include dark themes like eating disorders , alcohol abuse,and childhood abuse (read cautiously)

•They work at the VVV entertainment district along with Valentino, Vox, and Velvet . While Valentino is in charge of all porn throughout Hell, Vox in charge of all electronics and media throughout Hell, and Velvet is in charge of all clothes and fashion throughout Hell; Vikki is in charge of all music throughout Hell

•Vikki's favorite kind of music genre is electric music, pop music, house music, trap music, and Mashup and remix music

•Vikki's brim hat floats over their head and not only acts like a disco ball and as a speaker, but it also amps up their powers similar to Alastor's microphone cane

•Vikki has a pet bull frog they named Phrappachino or Phrappi for short (with an PH instead of F ) and Vikki spoils the shit out of her and really really loves and adores her,Phrappi is a female

•Vikki's favorite foods is corndogs, chili ,meat lovers pizza ,pineapple pizza ,mint chocolate chip ice cream,and chocolate chip cookie dough ice cream

• Vikki's favorite drinks is energy drinks (orange and/or mango flavor), Orange and mango flavored slushies , Slushies in general, and anything alcoholic but mostly cans of beer

•Vikki is a perfectionist and it's most likely because they're traumatized on how their parents used to helicopter parent them

•Vikki is black coded, they were a black guy when they were a live

•Vikki uses the 80s slang words Bro, Bruh, Home skillet, Whatever, Crunk, Sick, Eat my shorts, let's bounce, and ect In their vocabulary very often

• Vikki isn't one to usually use their power and Status to intimidate others unless they're being provoked or actively being disrespected

•Most people actually really really love Vikki and loves how chill and charming they are and while that's true they're also scared of them sense they're an overlord and stays on their good side because of it

• Vikki owns a shit ton of souls but barely remembers and/or keeps count with any of them unless one of those demons that's soul is in Vikki's hands are described

•Vikki has insomnia and barely gets some sleep ,but when they do get some sleep they're a heavy sleeper that snores really loud and drools in their sleep

• Vikki used to have a problem with eating disorders, bulimia nervosa when they were a teenager because back than (when they were alive and/or when they were a teenager) they were bullied relentlessly for their weight and their parents used to fat shame them and put them on strict diets

•Vikki owns a pair of 80s themed headphones and turn tables they named ,Bolt and Deziray

•I inspired Vikki off a mixture of Sonic the hedgehog, Swag Sans from the Sans au, Mark Beaks from 2017 Ducktales, and Sardonix from Steven Universe

•DeerSwag- Lafayette × Vikki , the two have like a slow burn queerplatonic enemies with benefits type of relationship (this is the relationship, Lafayette kept the longest with alternate motivations and he's keeping it that way)

•Ritz (Vikki's cane) is supposed to be the embodiment of Vikki's inner turmoil, negative thoughts,and suppressed anger

•Sense it's Hell, Ritz (Vikki's cane) is supposed to be Vikki's punishment (which is unfortunate for both of them) but they slowly buy gradually start becoming closer and closer

•Vikki sees the vees as a found family, but isn't as close to Valentino as they are to Vox and Velvette

•Vikki can glow in the dark just like an actual Axolotl, they usually use it for show in parties they dj in too

•The parties Vikki usually djs at is those really rich parties and/or parties overlords and other higher ups go to

•Calls people “friend” when they're pissed at them

#hazbin hotel oc #hazbin hotel #hazbin hotel original character #original charater art #original character fanart #original character stuff #original character #oc shit #my oc stuff #oc sketch

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diceriadelluntore · 9 months

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Storia Di Musica #290 - Steely Dan, Gaucho, 1980

Devo ammettere che la fine di questo percorso sulle storie musicali alla ricerca del suono perfetto non poteva che fermarsi a questi due. Che in un decennio dove nella musica sono successe infinite cose, gli anni ’70, sono passati tranquilli e inscalfibili a diffondere qualcosa di completamente diverso. E per molti versi inclassificabile. Walter Becker e Donald Fagen sono probabilmente i musicisti più maniacali, quasi in senso patologico, che io conosca nella storia della musica pop occidentale. Siamo davvero ad una sorta di mania di perfezionismo che nasce in un momento preciso. Infatti i loro Steely Dan (dal nome di un dildo meccanico a vapore citato da William Burroughs ne Il Pasto Nudo) all’inizio erano un gruppo, formato dal duo (che sanno fare tutto, ma si dividono tra voci e chitarra) con Denny Dias insieme a Jim Holder alla batteria, Jeff Baxter alla seconda chitarra, e David Palmer. Il loro esordio è già fenomenale: Can’t Buy A Thrill (1972) vola subito nella Top 20 e frutta due canzone mito degli anni ’70 come Do It Again e Reeling The Wheel. Già è presente il mix, a tratti soprannaturale, di stili, un pop venato di jazz, rock, soul, fatto di sovrapposizioni di strumenti, intrecci vocali, perfezione esecutiva a cui sia accompagna una ironia sfacciata nei testi. Con Pretzel Logic, del 1974, un capolavoro, hanno addirittura una hit single, nella perfetta Rikki Don’t Lose That Number (omaggio a Horace Silver, grande jazzista), ma durante il tour che segue Fagen ha un attacco di panico sul palco e decide di non esibirsi più. La decisione successiva è di sciogliere il gruppo, di diventare un duo e per compensare il mancato contatto con il pubblico, quello di scrivere canzoni perfette. Una perfezione esecutiva, compositiva e di registrazione, diventando in questi tre rispettivi campi dei punti di riferimento assoluti. Decidono quindi di chiedere servizi ai più bravi e famosi sessionisti in tutto il mondo, di usare il meglio della tecnologia e di cercare la perfezione sonora. Già con Aja, del 1977, toccano vette assolute, ma i due attraversano un periodaccio. Quando iniziano a pensare al nuovo disco Becker viene investito sotto casa, nell’Upper East Side, e si frattura diverse ossa e passa settimane in ospedale, ma ha voglia di non perdere tempo, tanto che sviluppano le idee del disco e della sua evoluzione via telefono con Fagen (tuttavia non suona in molti brani dell'album). Tra l’altro, la sua fidanzata, Karen Roberta Stanley morirà per complicazioni dell’abuso di stupefacenti, appena finite le registrazioni del nuovo disco. La famiglia della ragazza, accusando Becker di esserne stato l’iniziatore, chiese un risarcimento da milioni di dollari, ma una sentenza di qualche anno più tardi scagionò il musicista. Tutto questo non impedì che per Gaucho, che esce nei negozi di dischi il 21 Novembre del 1980, abbiano fatto ruotare nei soli 7 brani 62 musicisti, tra i più famosi del mondo, tra batteristi, chitarristi, percussionisti, sassofonisti, coristi e ben 11 ingegneri del suono.

Basta dire che fecero provare per ore Bernard Purdie, leggenda vivente del jazz e inventore del Purdie Shuffle (terzine nel tempo tagliato) le sue parti nei brani. Tutti i batteristi, tra i più grandi di sempre (ricordo Steve Gadd, Jeff Porcaro dei Toto, Rick Marotta e altri ancora) passarono ore a provare il tocco che volevano quei due, che non contenti chiesero a Roger Nichols, uno dei più grandi ingegneri del suono americani, di creare una drum machine particolare che li aiutasse: con un investimento di 150 mila dollari (una follia per l’epoca) Nichols portò loro Wendel, che per quanto fosse il massimo di sofisticatezza del tempo, per difficoltà nella programmazione fu usata pochissimo. Ma c’è un particolare simpatico: quando l’album divenne disco di platino, un disco celebrativo fu regalato persino a Wendel in quanto “artefice” del successo. Chi altro poteva chiedere a Mark Knofler, in quei mesi il chitarrista più famoso del mondo per quel pezzo leggendario che fu Sultans Of Swing, di provare ore intere un assolo da 40 secondi per Time Out Of MInd? O chi poteva pensare di passare per 55 tentativi prima di centrare la voluta dissolvenza finale di Babylon Sisters?

Tutte le canzoni sono dei gioielli in un disco che racconta di hipster un po’ in là con gli anni in cerca di divertimento: Babylon Sisters ne è l’essenza, quasi a disegnare un sogno californiano che finisce a bere un kirschwasser from a shell; oppure la famosissima Hey Nineteen (che si dice fosse piaciuta tantissimo a John Belushi che ne voleva fare un soggetto per un film) dove un attempato conquistatore rimane basito che la sua nuova conquista diciannovenne non conosca Aretha Frankiln (Hey Nineteen/ That’s ‘Retha Franklin/ She don’t remember the Queen of Soul/ It’s hard times befallen/ The sole survivors/ She thinks I’m crazy/ But I’m just growing old), in una sorta di incomunicabilità generazionale (No, we got nothin’ common/ No, we can’t dance together/ No, we can’t talk at all) e che finisce in una probabile ritiro tra Cuervo Gold (una famosa marca di tequila), Fine Colombian (che non è cioccolato bianco) e Make tonight a wonderful thing tra il sibillino e una solitaria sconfitta sentimentale. Glamour Profession racconta la vita scintillante di uno spacciatore, raccontata con dovizia di particolari; Gaucho, altro classico, una storia d’amore gay mandata in frantumi da un gigolò che veste i panni bizzarri di un gaucho, un uomo in spangled leather poncho che riesce a distruggere la quiete domestica della coppia entrando dentro la loro preziosa dimora, la leggendaria custerdome (uno dei luoghi steelydaniani per eccellenza, che non ha una traduzione letterale soddisfacente) e fu scritta pensando a Long As You Know You're Living Yours di Keith Jarrett, dal suo disco del 1974, Belonging. Jarrett ottenne il riconoscimento come autore e il relativo pagamento di diritti d’autore (nelle moderne ristampe compare come autore del brano). Time Out Of Mind è probabilmente il racconto di un primo racconto con l’eroina, a inseguire “dragoni” fino a Lhasa. My Rival è la storia intrigante di un tradimento, ma visto attraverso gli occhi di un investigatore privato con l’apparecchio acustico (He’s got a scar across his face/ He wears a hearing aid) sulle tracce di qualcuno da smascherare (Sure, he’s a jolly roger/ Until he answers for his crimes/ Yes, I’ll match him whim for whim now). E l’ultima canzone è un altro colpo da KO: Third World Man è un'accusa niente affatto sottintesa al falso interesse per le questioni sociali dei paesi in via di sviluppo, che ha perfino un verso cantato in italiano da Fagen (è l’era del terzo mondo, scritto con Victor di Suvero, poeta italiano naturalizzato americano) e ha l’ultima pazzia: l’assolo, meraviglioso, di Larry Carlton fu ripescato dalle registrazione di The Royal Scam (del 1976) e ricostruito per quella canzone, tanto che Carlton nemmeno sapeva fosse presente nei crediti del disco. Sulla musica di questi brani, lascio a voi scoprire tutte le meraviglie sonore, di ricercatezza, gli effetti da sentire e risentire, ma molti se ne accorsero presto, perché vinse il Grammy Award del 1981 per la migliore registrazione non classica. Dopo tutto questo, gli Steely Dan si sciolgono. Fanno in tempo a scrivere, a nome solo di Fagen, quell’altro capolavoro che è The Nightfly (1982, con la copertina più bella di tutti i tempi – andatela a vedere) e a ritornare, dopo 21 anni, con Two Against Nature che, come potrebbe raccontare un testo delle loro canzoni perfette, li fa conoscere ad una nuova e giovane generazione, ammaliata da quel tocco incredibile che la leggendaria rivista jazz Downbeat una volta descrisse così: Non c’è nulla che suona così bene come un disco degli Steely Dan.

#steely dan #gaucho #1980 #recensione

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selektakoletiva · 10 months

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8 DISCOS DE ROCK AFRICANO

Em pleno mês do Rock, trazemos aqui pérolas do mesmo - aquele que já fora o gênero mais ouvido do mundo. Dito isso, trouxemos pérolas negras como Melodia. Mas não qualquer pérola ou Rock. Hoje é uma listinha pra descentralizar e ampliar discussões. E pra sempre lembrar: O Rock é original y genuinamente preto.

Geralmente lembra-se, quase quei instantaneamente, de bandas norte-americanas e/ou europeias, sobretudo em homenagens nessa merma data Então por isso mermo, trouxemos artistas diretamente da África Mãe, pra exemplificar e agregar a essa data. Alguns nomes emblemáticos, outros novos talentos, e assim segue a listinha selekta de Oito Discos Preciosos pra você curtir, conhecer ou relembrar.

OSIBISA [1971]

Osibisa é um grupo dos anos 70, composto por quatro ganenses e três caribenhos. O nascimento da Osibisa (que traduzindo, seria algo como "dança de rua") se inicia em 1962, quando Teddy Osei viaja para Inglaterra para estudar música. Ali conhece o batera Sol Amarfio. Sete anos depois, juntamente com outros amigos e músicos que foram trombando no caminhar, resolvem criar a banda, mesclando ritmos africanos e caribenhos, jazz, rock e r&b. "OSIBISA" é o primeiro disco da banda, homônimo lançado pela Decca Records. Tem 7 faixas com bastante influências do Soul Psicodélico e também do highlife, no qual boa parte da banda foi altamente atuante no movimento, do início para o meio da década de 60, ainda em Gana. Obra prima!

MOVING WORLD [1974]

Em 1974, um jovem e audacioso designer chamado Augustus Kerry Taylor teve uma ideia brilhante. Ele decidiu reunir os músicos mais brabo de Gana, do highlife ao afrobeat, jazz e funks. Mas desta vez, ele não se contentaria apenas em criar a arte da capa, como havia feito para Fela Kuti, por exemplo. Ele lançaria o álbum em sua própria gravadora, a Emporium. As lendas de Accra, capital ganense; Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier e Steve, responderam ao chamado. Eles foram batizados como a Kelenkye Band e se conectaram imediatamente. Infelizmente, a Kelenkye Band nunca gravou outro álbum. Augustus Kerry Taylor fechou a Emporium e voltou a focar em criar capas de álbuns. No entanto, com "Moving World", eles entregaram um momento perfeito de alquimia do funk, que se tornou, com razão, o Santo Graal do groove ganense dos anos 70.

LAZY BONES!! [1975]

Terceiro e mais famoso disco do lendário grupo WITCH, líderada por Emmanuel 'Jagari', um dos percussores do Zamrock - movimento criado na década de 70, em meio a crise socioeconômica na Zambia, antes mesmo da primeira década de independência do território. disco, assim como a própria premissa do Zamrock, traz batidas mescladas e pesadas com guitarras sujas, elementos do rock psicodélico e do heavy metal, de meados de 60, ao 'meiar' da década de 70, além da presença dos vocais. Há também batidas e timidas aparições de ritmos ou cadências da região costeira de Zambeze, fronteira do Zimbábue com Zambia. Entretanto, em especial esse disco do WITCH (que é sigla para We Intend To Cause Havoc), o "Lazy Bones!!", é considerado o mais ocidentalizado dentre os discos da banda, traz consigo um par de riffs, efeitos e letras sobre luta de classes, política e desigualdade racial.

DARK SUNRISE/WINGS OF AFRICA [1975]

Mais um exemplo de Zamrock, dessa vez o genuíno. Não que WITCH, não seja, já que em sua essência de resistência e pela subversão lírica e harmônica, faz por si só ser o que é, mas Rikki Ililonga & Musi-O-Tunya, eram os chamados transgressores do ritmo. E era em meio ao caos político e social citamos, que Zâmbia mais precisava da transgressão do Zamrock.

Alinhando sax, teclado com o power trio de qualquer grupo de rock (bateria, baixo e guitarra), Rikki Ililonga seu lendário grupo Musi-O-Tunya - nome dado a uma das maiores cachoeiras da África e do mundo, que traduzindo do idioma do povo Tonga, "Smokes That Thunders", ou que em português seria O Fumo que Trovoa, em livre tradução - faria o Zamrock ultrapassar barreiras, inclusive na união popular de Gana, por via de rádios e gravações e distribuição dos seus próprios sons da melhor e mais pura forma 'faça você mesmo'. Influenciado por bandas europeias, sul africanas e nigerianas, e adaptando a realidade caótica a qual Zambia vivia, Dark Sunrise (também popularmente conhecido como The Wings of Africa), foi um dos discos mais importantes do movimento e traz, além do rock, o funk e os elementos da música tradicional africana, com instrumentos como Kalimba e violões improvisados, com muitas distorções.

AURA [1984]

King Sunny Adé é um dos gênios da cultura da Nigéria, e talvez um dos mais influentes da música africana, juntamente de Fela Kuti, Manu Dibango, entre outros no qual teve parcerias entre outras particularidades. Músico de sonidos populares da Nigéria, King Sunny Adegeye juntou-se aos seus African Beats, posteriormente conhecidos como The Green Spots, e lançaram seguidos discos juntando o melhor do pop africano e da Juju Music, ritmo tradicional nigeriano, com o rock, soul, funk e elementos globais como grooves, soul, batidas eletrônicas, efeitos e reverbs. O que lhe rendeu algumas nomeações ao Emmy e outros prêmios internacionais, continentais e afins. Falando de "Aura" em específico, apesar de ainda estar na época mais comercial de King Sunny, sucedendo o cultuado Synchro System (73'), talvez seja um disco um tanto quanto experimental, e com combinações um pouco mais viajantes, digamos assim... Uma mistura pura do juju, highlife e o o pop africano, pegando rock e a música preta americana como uma base poética de inspiração e estética sonora. Pra finalizar, o disco ainda conta com participações de Stevie Wonder e Tonny Allen, no qual suingam em músicas do melhor da música africana e da world music, que pegando uma visãozinha agora e lançando a tese pra vocês que leem (tudo hipotética, óbvio) vem me parecendo muito algo que tenha influenciado Gilberto Gil e ter se inspirado ao compor muitas das músicas do (Re)favela.

AWO [2016]

uKanDanZ é um quinteto intercontinental (Etiópia e França), sitiada e radicada entre Lyon e Addis que incorpora a cultura local com outras texturas do mundo. AWO é o segundo disco dos Franco-Etíopes. O álbum liquidifica as escalas e improvisos do jazz, psicodelias com overdrivers, música tradicional da Etiópia com o mundo das guitarras distorcidas, efeitos, e coisas do tipo muito extraído do space e prog rock da década de 70, assim como o krautrock alemão da mesma década. Neste disco em especial, as guitarras e o sax são o ponto alto do trabalho, que juntamente com os efeitos e filtros nos vocais e instrumentos em meio as longas sessões de experimentações e descarrego.

DJINE BORA [2022]

BKO é um quinteto oriundo do Mali. A sigla inclusive é a abreviação internacional de Bakamo, capital onde os malienses cresceram e acompanharam as quedas, glórias e crises da metrópole africana. Com dez anos de banda e dois discos na bagagem, além de mais de 25 países no seu mapa de tours pelo mundão, o quinteto lançou ano passado (2022) seu terceiro e mais recente trabalho DJINE BORA.

O álbum soa como algo mais experimental, sendo a primeira vez que junta elementos africanos e a cultura mandingo com gêneros como rock e pop, além de incorporar instrumentos tradicionais como o violão Djeli N'goni (que nesse caso ainda foi amplificado), do griot Mamoutou Diabaté e o alaúde de seis cordas de um dos membros de caçadores secretos de Bambara, amigo pessoal do grupo e referência na comunidade maliana. Pra finalizar, com o combo tradição/raiz e tecnologia, o disco é selado em uma psicodelia cremosa, com pitadas de texturas e captação de áudio perfeita de cada um dos instrumentos. Preparado e embalado pra viagem.

AGADEZ [2022]

Outro disco do ano passado, terceiro dos Nigerenses do Etran de L'Aïr, que poderia ser traduzido livremente como "estrelas no ar".

Com pouco mais de 5 anos de grupo de forma jurídica, porém mais de 50 de forma física e familiar. Assim que foi a lida do grupo mais promissor dos ultimo anos duma cidade-comércio na região mais alta, com vista para o Rio Níger. Com a aclamada estreia pela crítica em 2018, Etran de L'aïr veio difundindo o canto de um povo aguerrido que respira música. O álbum sucessor é a prova viva disso. Marcado pelo já conhecido desert blues que a banda propaga por aí em festas, casamentos e rituais - tradição e negócio da família há anos - em áreas do Saara, inclusive em Agadez, município que leva o nome do disco e da cidade para o mundo, dando voz e disseminando a sonoridade das guitarras e dedilhados tuaregs e quebrando as barreiras do rock ocidental, trazendo a tona os sonidos especiais que saem das dunas do norte do Níger.

Espero que tenham curtido. dêem um salve, aquela fortalecida e espalhem! kelafé!

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muznew · 8 months

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Best New Nu Disco / Disco: October Beatport

- Artists: Beatport DATE CREATED: 2023-09-29 GENRES: Nu Disco / Disco Tracklist : 1. Calacas - Senegal(La Royale Ganja Remix) 2. Aline Rocha - WTF(Extended Mix) 3. Fran Deeper - Mabale(Original Mix) 4. KAYYAK, Xenia Lasareva - Mönchhof Amour (feat. Xenia Lasareva)(Original Mix) 5. Fat Freddy's Drop, Philippa - Bones(Philippa Dub) 6. Young Franco, Franc Moody - Daydreaming(Original Mix) 7. Generoco - Disco Jazzin'(Original Mix) 8. Yam Who?, Rikky Disco - Set Me Free(Original Mix) 9. DJ Fopp, Daniele Danieli - Time To Get Up(Original Mix) 10. Andre Torquato - Cena 6 Lost Tape(Original Mix) 11. Angeldeejay - Boogie Knights(Original Mix) 12. HP Vince - I Feel Love(Original Mix) 13. Darlay, PEGAZI - Precious little diamond(Original Mix) Download FileCat Read the full article

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djmusicbest · 8 months

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Best New Nu Disco / Disco: October Beatport

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lydiahosek · 3 years

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[Image ID: A two-panel comic, traditionally drawn in pencil, of three teenagers sitting on a couch watching a television out of the frame. On the right a boy snacks on chips, in the middle a girl holds the remote and channel surfs, and on the left another boy rests his head against his hand. In panel one, a heading indicates they are watching “The Discovery Channel”. A speech bubble from the television reads “Hi, I’m Mike Rowe...”. They watch with neutral expressions. In panel two they’ve switched to “The Very Disco Channel”. The speech bubble contains lyrics from “Stayin’ Alive” by the Bee Gees. They look surprised and confused. In the lower right corner is the artist’s signature, “Lydia Hosek”. /.End ID]

Day 22: Discovery (prompts by @oc-growth-and-development)

The wonders of cable

#oc-tober #my ocs #food #friends #boys #girl #dirty jobs #discovery channel #stayin alive #the bee gees #i have no problem with disco but apparently the guys do #rikki will be returning to the vdc at least #oc-tober 2021 #comic

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anothersievefistedfind · 3 years

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Photos © by Rikki V.

Fugazi, Trocadero Transfer, San Francisco, CA USA 11/5/1995 (FLS #750) & 11/6/1995 (FLS #0751)

Some two and a half years after having played the Fort Mason Pier in San Francisco on May 1, 1993 (listen as Ian references this event, location and its abominable acoustics during the night one introductory remarks), Fugazi would return to the city for a two-night run in the fall of 1995, more than halfway into their US/Canada tour.

The venue of choice turned out to be the Trocadero Transfer, “an after hours dance club in San Francisco from its opening in December 1977 to the late 1990s” which not only hosted numerous bands, but also provided a space for many DJs, Disco parties, Clubs or Nostalgia parties. Dance space features included “a narrow metal spiral staircase [also known as The Crystal Staircase] with clear plastic arms that went up from the dance floor to the balcony above where people could watch the dancers below” and “[h]anging from the ceiling at the center of the dance floor, there was the hypnotic mirror ball cluster—about a dozen mirror balls of various sizes which continually spun around and were the focus of the dance floor.”

While both of these Fugazi recordings do not offer anything really out of the ordinary in my opinion, they do make up a nice little collection and document solid, joyous performances delivered in very good audio quality that are fun to listen to, particularly since you get a good sense of the enthusiasm of the audience as well.

The recording of the first night showcases some 18 live cuts and draws mainly from Red Medicine (8) and In on the Kill Taker (6) with little of their earlier work mixed in, e.g. Repeater (3) and the 7 Songs debut EP (1).

My highlights here include the whole midsection from Target up to Blueprint which features a bit of an alternate ending to Suggestion (“there’s your funky breakdown boy”) as well as the closing trio of songs which features another great version of Shut the Door (arguably tagged Phantom of the Opera).

The recording of the second night presents a mere 16 live songs, almost half of which off of Red Medicine (7) while the rest of the set list does bring some more variation as well as some early live staples. In on the Kill Taker (3), Repeater (2), the 3 Songs seven-inch (1) and Margin Walker EP (3) are the sources of choice here.

This (second) recording is the one that I probably favor slightly given the general loose feel to the instrumental play and little improvs here and there. It provides a bit of a peculiar set list as well (dubbed “pogoish and backwards” by Ian for the occasion) with Long Distance Runner unusually yet successfully opening the show and transitioning smoothly into Turnover and another high-energy stretch of songs (much like the opening pace of the previous night).

My highlights include an incinerating version of Public Witness Program, followed by a great rendition of Song #1. Although Birthday Pony is not one of my favorites, it works well here, especially in combination with a notable performance of Rend It. Promises, again, is monumental, and a fierce rendering of Do You Like Me unexpectedly closes out the set with a BANG!

Note that the San Francisco Weekly published an interesting article titled “Margin Walkers” a couple of days prior to these shows, read it here.

The set lists:

November 5, 1995:

1. Intro 2. Smallpox Champion 3. Styrofoam 4. Do You Like Me 5. Interlude 1 6. Great Cop 7. Rend It 8. Interlude 2 9. Birthday Pony 10. Target 11. Suggestion 12. Interlude 3 13. Forensic Scene 14. By You 15. Instrument 16. Blueprint 17. Bed For The Scraping 18. Encore 1 19. Back to Base 20. Cassavetes 21. Shut the Door 22. Fell, Destroyed 23. Sweet and Low 24. Outro

November 6, 1995:

1. Intro 2. Long Distance Runner 3. Turnover 4. And The Same 5. Target 6. Repeater 7. Margin Walker 8. Bed For The Scraping 9. By You 10. Interlude 1 11. Forensic Scene 12. Returning the Screw 13. Interlude 2 14. Public Witness Program 15. Song #1 16. Encore 1 17. Birthday Pony 18. Rend It 19. Promises 20. Do You Like Me 21. Outro

#FLS1995 #fugazi #trocadero transfer #san francisco #CA

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damnrightshow · 3 years

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youtube

19. Oct ’21 Damn Right Show ~Tuesday Soul n’ Funk 2 Hours~

Thank you for tune in the show and support to Damn Right Show by donation.

Today played not only vintage but recently released some soul tunes.

Check new releases if you didn't know.

Today's show mini topic, I got a record of TONY SILVESTER & THE NEW INGREDIENT'S LP in the weekend record hunting in Osaka.

And I found in my room some records produced by Tony.

So I played some tunes of Tony Silvester Production. Many lovely danceable tracks included today's playlist.

Tomorrow I'll do the show in same time same address,maybe with different flavor. Feel free to join the show. See you tomorrow !

"I Cried A Bridge" BRANDY BROS. (Caroline)

"Play It Cool" THE BONNEVILLES (Now)

"That's The Way" RAYNOLA SMITH (Faith)

"Say What's On Your Mind" RIKKI AARON (R.A.C.)

"What You Do To Me" THE WORDS OF WISDOM AND TRUTH REVUE (Cannonball)

"Love Is In The Melody" DILLARD & BOYCE (Mercury)

”Dance With Me" JOE McKEEVER (A.M.S.)

"You Really Got A Hold On Me" EMANUEL TAYLOR (Bernard)

"I Want You" EXPORTATIONS (Vir-Go)

"Gotta Be A Reason" BERNARD SMITH & JOKERS WILD (Groove)

"Love Notes" THE LEGENDARY BEYOND'S (Albina Music Trust)

"Why Can't There Be Love" DEE EDWARDS (Bump Shop)

"Do You Understand" WILLIE WILLIAMS (Soul Junction)

"Do It Again" DEEP HEAT (Cuwu)

"Love Is Not A Game" RICHARD STARR (Stage Productions)

"Loveland" S.P.G. (Magick)

"Magic Touch" TONY SYLVESTER AND THE NEW INGREDIENT (Mercury)

"It's Better Than Walkin' Out" MARLENA SHAW (Blue Note)

"Life Won't Be The Same" SONNY TIL (RCA)

"Help Me" ONYX (Super Disco Edits)

"Busy Signal" JOE TOWNS (Top Dog)

"Love Train" LOVEMASTERS (Jacklyn)

"Music" HONEY AND THE BEES (Arctic)

"P's And Q's" THE SUMMITS (Soul Direction)

"I'm Only A Man" THE GASLIGHT (Grand Junction)

"Down Down Down" BETTYE SCOTT AND THE DEL-VETTS (Teako)

"Have Some Everybody" FLAMING EMERALDS (Fee)

"Worldwide Traveller" MUSIC STAR (Jaz-zon)

"Nothing Left Is Real" PURE FUNK (Planet Earth)

"It's Everything About You" THE PRETENDERS (Carnival)

"Don't Look Back" TOBIAS (Toby)

"The Love I Lost" JOE McGLONE & THE HOT PEPPER BAND (Preservation Project)

"Someone Special" RIDEOUT (Hot Licks)

"Thinkin' About You" CARMY LOVE (Big AC)

"Don't Send Nobody Else"ACE SPECTRUM (Atlantic)

#damnrightshow #music #soul #funk #vinyl #show #bass #mixcloud live #mixcloud #youtube #playlist #local #japan #kansai #live #dj #45s

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tidalwavesmusic · 3 years

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ANDRE & JOSI ‘AMANDLA’ (1979)

Having shown talent for playing guitar at a young age, Josi Ndlovu (Zimbabwe) started his first rock band “The Movers” (who were very popular within the local scene) in 1968. By the early 70s, Josi was already an acclaimed guitarist and a member of the revolutionary rock bands “Wells Fargo” and “Eye of Liberty” who were critical opponents of the racist Rhodesian government.

Prosecuted and harassed by the police for being a supporter of the independence movement, Josi Ndlovu had to move to Lusaka (Zambia) in 1975…it was here that he met his musical soulmate (Osibisa collaborator and bassist extraordinaire) André Abrahamse from South Africa. They started playing together in several local acts together with drummer Peter Lungu (from “Born Free” and later in the legendary Zamrock band “Witch”).

In 1977, Josi & André decided to go to Lagos (Nigeria) where they found many fellow Zimbabwean and South African students in exile. It was a total culture shock and really rough on the both of them…but they got lucky and were able to stay with some friends they had worked with in London (Themba Matebese and Uwandile Piliso of T-Fire fame). It was also here that they were approached by the Nigerian label “Boom Records” who booked them to record at the Decca Studios in Lagos (home to many other renowned recording artists such as Fela Kuti, Manu Dibango and Ofege). The result of these recording sessions was “Amandla” (the Ndebele word for ‘Power’).

The now legendary “Amandla” studio project is one of the most interesting collaborations between dissident, exiled musicians during the apartheid era…a very engaging album which talks about the liberation movement in Zimbabwe (which was under British colonial rule), ‘people-power’ as a concept and the walk towards freedom by any means necessary. Banned from radio and distribution (because of its political content) in their native countries, the record however did very well in Nigeria.

With the ‘Amandla’ album under their belts, André & Josi continued their traveling adventures to Botswana, Cape Town, and many other cities/countries…touring, recording and playing with influential artists from the likes of Rikki Ililonga, Tony Allen and Anna Mwale. André to this day keeps on composing and producing music for TV, film and various other audio projects. Josi Ndlovu passed away on September 7th, 2000…he will forever be in our hearts.

On “Amandla” the listener will find many genres blended together very successfully…a lot of smooth chordal Afro-soul, Blues soloing, Afro-disco-reggae with a dominant funk feeling surrounding it and a LOT of rock influences! Their groovy tunes went down smoothly on the dance floor and one can clearly hear the Fela Kuti-influenced beats pouring out of (Lagos scene regular) Buttley Moore’s fantastic drum work. Other influences are also very diverse…from acts and styles that include Zamrock, Earth Wind and Fire, Isaac Hayes, Miles Davis, Jimi Hendrix, Sly Stone, local folk music, etc. All of this makes the album a total must-have for any collector and fan of the afro-beat-funk genre.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic Afrobeat album (originally released in 1979 on Boom Records Nigeria). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork.

Available worldwide February 19, 2021. Pre-order now from www.lightintheattic.net

An exclusive variant (#100 copies TANGERINE COLORED Vinyl) is also available from www.hhv.de

An exclusive variant (#150 copies BLUE & WHITE SWIRL Vinyl) is also available from www.ziarecords.com

#amandla #afrobeat #afrodisco #reggae #afrofunk #1979 #hhv #ziarecords #tidalwavesmusic #lightintheattic #Nigeria #zamrock

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itstrevorphilips · 3 years

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thanks for tagging me @rikki-sixxx

Name: Alissa

Pronouns: she/her

Zodiac: aries

Height: 5'8

Time: 6:34 p.m.

Birthday: April 6

Nationality: American

Favourite Bands/groups: A Day To Remember, Fall Out Boy, Panic! At The Disco, and I will always love Big Time Rush lol

Favourite Solo Artists: Lady Gaga, Halsey

When was your blog made: December 2013

Why you chose your url: trevorphilips was taken so I just added its to it

Last show you binged: 90 day fiance hahaha

Following count: 519

Follower count: 4,559

Average sleep hours: 8-9

Other blogs: a bunch but the main ones I still use are this and my personal

Last thing you googled: senior citizen apartments in my area because a coworker is looking for one

Lucky Number: 9

Currently wearing: shirt and shorts

Instrument: drums

Dream trip: Seattle and Japan

Favourite food: pizza

Fave song: Sometimes You’re The Hammer, Sometimes You’re The Nail by A Day To Remember

Top three fictional universes: my brain is weird so I don’t really get into fiction stuff but gta obviously

tagging anyone who sees this and wants to do it!

#not gta

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iamhighlight · 5 years

Audio

Rikky Disco - Getting High [CLIP] by Bearfunk https://ift.tt/2JKobRi High-Light

#Rikky Disco #Getting High #Bear Funk #IFTTT #SoundCloud #Disco #Bearfunk #High-Light

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diceriadelluntore · 3 years

Photo

Storia Di Musica #162 - Steely Dan, Aja, 1977

Il tema delle Storie di Musica di marzo me l’hanno dato i Daft Punk (che si sono sciolti dopo quasi trent’anni). Quindi per queste domeniche marzoline storie di duo musicali. Il primo di cui scriverò oggi nasce a fine anni ’60, quando due ragazzi innamorati del Jazz, Walter Becker e Donald Fagen si incontrano al Bard College, a nord di New York. Tra i primi a unirsi agli esperimenti musicali dei due c’è Chevy Chase, poi futuro grande comico. Dopo qualche serata nei locali, vanno in tour con il gruppo di Jay & The Americans, che erano prodotti da Gary Katz, fondatore dell’etichetta ABC Records. Katz è affascinato dai due, dalle idee che hanno in mente, e li spinge a formare un gruppo per dar sviluppo alle loro composizioni. Fagen e Becker come nome scelgono quello del “rivoluzionario” dildo a vapore che William Burroughs descrive ne Il Pasto Nudo: Steely Dan. Inizia qui la storia di una delle più geniali e eccezionali coppie della musica degli anni ’70, immeritatamente oggi poco conosciuti, ma capaci di cose mirabolanti. Il debutto è già fenomenale: Can’t Buy A Thrill esce nel 1972, con in formazione Jim Holder (batteria), Jeff Baxter (chitarra) e David Palmer, con Becker e Fagen a suonare basso, chitarre, sintetizzatori, con Fagen anche cantante. Il disco ha subito due canzoni hit come Do It Again e Reeling in The Years. Inizia da qui una pubblicazione di un disco all’anno: con la stessa formazione nel 1973 esce Countdown To Ecstasy, nel 1974 Pretzel Logic, che contiene la straordinaria Rikki Don’t Lose That Number (dedicata a Horace Silver, l’immenso pianista jazz, che arriva in top five). Qui accade una cosa particolare: Fagen inizia ad avere fobia delle esibizioni dal vivo e il 1974 è in pratica l’ultimo anno in cui suoneranno in concerto, con il duo che apre la sigla Steely Dan ad un mondo variegato e favoloso di musicisti e sessionisti, il meglio che c’è sulla piazza. Katy Lied (1975) ne delinea lo stile, già unico e riconoscibile, che mixa con una magia speciale (e probabilmente inarrivabile) jazz, rock, blues, pop ad una perfezione esecutiva che diventerà proverbiale, il tutto accompagnato da testi criptici, ironici, colti che diventeranno iconici al pari della musica. Dopo The Royal Scam (1976) firmano con la Warner Bros. come compositori, ma continuavo a essere fedeli come Steely Dan alla ABC di Katz. Con cui nel 1976 progettano un disco che ha un unico obiettivo: la perfezione del suono. Ingaggiano quindi il meglio dei sessionisti, un dream team in cui si ricordano tra gli altri Victor Feldman (Fender Rhodes e vibrafono), Michael Omartian (al piano, poi produttore di Christopher Cross, vincitore di 3 Grammy) Larry Carlton e Steve Khan (alla chitarra), Rick Marotta e Steve Gadd (due giganti della batteria) Pete Christlieb e Tom Scott (sassofono del Tonight Show il primo, colui che curerà gli arrangiamenti de fiati nel disco il secondo) e proprio per non farsi mancare niente, Wayne Shorter in un assolo leggendario di un brano e una sezione cori da far invidia: Michael McDonald (futuro The Doobie Brothers), Timothy B. Schmit (che proprio quell’anno si unirà agli Eagles, con cui canterà la mitica I Can’t Tell You Why) e il meglio tra coristi femminili e maschili, in tutto una quarantina di musicisti campioni. Che verranno osservati e scelti in base alle loro caratteristiche per ogni brano in ben 4 studi di registrazione, sotto le cure maniacali non solo di Fagen&Becker, ma di Gary Katz e da una squadra di ingegneri del suono da sogno, tra i più grandi di sempre: Roger Nichols, Elliot Scheiner, Al Schmitt, Bill Schnee, con alla masterizzazione un altro colosso, Bernie Grundman (che messi insieme fanno una valigia di Grammy Awards vinti ad oggi per l’ingegneria sonora). Le leggende sulle sessioni di registrazioni su Aja, questo il titolo che verrà scelto dagli Steely Dan, pubblicato nel settembre 1977 (si pronuncia in inglese come Asia e si dice fosse un omaggio alla bellissima moglie coreana di un amico di Fagen) diventeranno proverbiali: ore di ricerca della rullata perfetta, serie di assoli ripetuti alla ricerca della take giusta, in un clima che però non divenne mai isterico, quanto piuttosto figlio della idea comune di scrivere la perfezione. E con la perfezione si parte dalla copertina, tra le più belle di sempre: uno scatto del fotografo giapponese Hideki Fujii che ritrae la modella e attrice giapponese Sayoko Yamaguchi. I 7 brani del disco sono 7 perle che spiegano al meglio il suono Steely Dan: Black Cow (dal nome di un cocktail) è magnetica e perfetta, con gli intrecci meravigliosi tra sassofoni, piano elettrico, i cori; Aja è ancora oltre, 8 minuti di sensazioni che delicatamente viaggiano per l’oriente, con la batteria di Gadd a troneggiare, prima dell’assolo leggendario di Wayne Shorter (che fu provato più volte per trovare le sonorità volute da quei due pazzi), con gli intrecci del doppio piano, voicing jazzisti, tre chitarre elettriche. La terza traccia è probabilmente la loro canzone simbolo: Deacon Blues è la storia di un “perdente”, che però non ha ancora perso la voglia di mettersi in gioco; il leggendario ritornello infatti dice “Learn to work the saxophone\I play just what I feel\Drink Scotch whiskey all night long\And die behind the wheel\They got a name for the winners in the world\I want a name when I lose\They call Alabama the Crimson Tide\Call me Deacon Blues”, dove il Crimson Tide (la marea cremisi) è un riferimento colto ad una squadra di Football dell’Università dell’Alabama che non perse una partita per anni di seguito (da quel momento sinonimo di vincente), mentre il verso di apertura (This is the day of the expanding man) è un riferimento ad un libro di fantascienza molto famoso, L'Uomo Disintegrato di Alfred Bester. E poi Peg, canzone su una sessione fotografica (geniale, nel testo dice “This is your big debut\It's like a dream come true\So won't you smile for the camera?\I know they're gonna love it) il cui assolo fu provato e suonato da 6-7 chitarristi prima di scegliere quello giusto (di Jay Gradon) dalle fenomenali armonie vocali di McDonald, che diventerà una hit (saccheggiata nei campionamenti negli anni futuri persino dai De-La Soul in Eye Know), le delizie di Home At Last e I Got The News. E che dire del funky rock di Josie, dal mitico riff suonato da Becker, che racconta di una bellissima ragazza, dal passato torbido, che torna nel quartiere, con successivo scombussolamento dei vari pretendenti. Definire la loro musica significa immaginare una linea che unisce soul, jazz, rock, pop in un modo magico, in questo disco ogni assolo, ogni intervento, ogni ascolto regala un particolare che prima era sfuggito e che sembra invece perfetto. Tutta questa perfezione non passò certo inosservata: il disco vinse a mani basse il Grammy come Miglior Ingegneria Sonora nel 1978, e a distanza di decenni ancora oggi è considerato dai maniaci della audiofilia il disco per provare la bontà di ogni impianto hi-fi. Venderà milioni di copie (uno dei primi dischi ad ottenere la certificazione di Platino per un milione di copie vendute negli USA) spargendo nel mondo la voce che “niente suona bene come un disco degli Steely Dan” (dal titolo di un articolo di Downbeat, la rivista bibbia del jazz americano). Due ultime curiosità: Deacon Blues fu una freccia che arriverà fino in Scozia, a Glasgow, dove colpì al cuore Rick Ross che chiamerà così il suo gruppo (i Deacon Blue, che debuttano con un grande disco nel 1987, Raintown) e in un film di poco tempo fa, Sing Street (pellicola deliziosa del 2016), che racconta la storia di un giovane dublinese che agli inizi degli anni ’80 crea un gruppo musicale per sfuggire al bullismo e per impressionare una ragazza, c’è questa clamorosa battuta: In un gruppo non conta saper suonare. Chi vi credete di essere, gli Steely Dan?

#steely dan #aja #1977 #recensione

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