sábado, 14 de abril de 2007

Folk Sul Americano

Descobri uma ferramenta de disponibilizar MP3 que eh mais interessante, nao toca toda hora que a pagina carrega. :-) De vez em quando encarno em certas musicas. Passei a sexta ouvindo essa musica, espero que curtam... Ah, se eu tivesse uma voz dessas, dava uns 20 anos de vida so para cantar assim!

21 - Volver a Los ...

VOLVER A LOS DIECISIETE (Violeta Parra)

Volver a los diecisiete después de vivir un siglo
es como descifrar signos sin ser sabio competente.
Volver a ser de repente tan frágil como un segundo,
volver a sentir profundo como un niño frente a Dios.
Eso es lo que siento yo en este instante fecundo.

Se va enredando, enredando, como en el muro la hiedra
y va brotando, brotando, como el musguito en la piedra.
Como el musguito en la piedra ay sí, sí, sí.

Mi paso ha retrocedido cuando el de ustedes avanza,
el arco de las alianzas ha penetrado en mi nido
con todo su colorido se ha paseado por mis venas
y hasta la dura cadena con que nos ata el destino
es como un diamante fino que alumbra mi alma serena.

Lo que puede el sentimiento no lo ha podido el saber
ni el más claro proceder ni el más ancho pensamiento,
todo lo cambia al momento cual mago condescendiente,
nos aleja dulcemente de rencores y violencias
sólo el amor con su ciencia nos vuelve tan inocentes.

El amor es torbellino de pureza original
hasta el feroz animal susurra su dulce trino,
detiene a los peregrinos, libera a los prisioneros.
El amor con sus esmeros al viejo lo vuelve niño
y al malo sólo el cariño lo vuelve puro y sincero.

De par en par la ventana se abrió como por encanto
entró el amor con su manto como una tibia mañana;
al son de su bella diana hizo brotar el jazmín,
volando cual serafín al cielo le puso aretes
mis años en diecisiete los convirtió el querubín.

17 comentários:

Anônimo disse...

Olá Patrícia!!

Bom gosto, hein!! Ela era realmente demais!!! Que tal agora uma do Victor Jarra?

Já ouviste "Gracias a la Vida" interpretada por Joan Baez? Se ainda não ouviu recomendo esse disco maravilhoso da Joan que tem o mesmo nome "Gracias a la Vida", onde ela só interpreta canções latino-americanas.

Eleitor disse...

Querida Patricia:

Não conhecia essa versão. É a original da autora? Acabei de ouvir a versão com a Mercedes Sosa. A única versão que eu conhecia de longa data. Sempre conheci a tradução mas demorei para entender o significado. Mas entendi.

PATRICIA M. disse...

Eleitor: eh a original da autora. Todo mundo soh conhece a versao da Mercedes Sosa. Eu prefiro essa versao aqui aqui, a voz dela eh muito bonita. Logico que a voz da Mercedes Sosa tambem eh bonita, mas prefiro a Violeta Parra. Voz mais feminina.

Anonimo: pesquisarei sobre Joan Baez. Sempre gostei da versao dela de Blowing in the Wind.

Anônimo disse...

Patrícia,

Nem precisa postar essa mensagem. Só para vocce ter uma idéia da linda voz da Joan Baez procure o dvd do festival de woodstoock de 1969. Lá a Joan canta duas belíssimas canções de sua autoria (a mais bela é "Sweet Sir Galahad") e a voz dela é simplesmente divina!!, levando-se em conta, ainda, que a gravação é ao vivo e com os recursos ainda limitados daquele festival, há mais de 30 anos.

PATRICIA M. disse...

Anonimo, por que nao publicar? Vamos compartilhar o belo com os outros, nao? Vou procurar o DVD... Agora encarnei na Joan Baez e estou ouvindo suas musicas. Essa ferramentinha de MP3 eh muito show.. :-)

Costajr disse...

Tanto essa música quanto Gracias a la vida, prefiro na voz de Mercedes Sosa. Uma questão de gosto.

gilrang disse...

m.,

i don´t want to (and i cannot) go back to my seventeens, but that does not hinder me to appreciate parra when she says:

"El amor es torbellino de pureza original...
hasta el feroz animal susurra su dulce trino,
detiene a los peregrinos, libera a los prisioneros.
El amor con sus esmeros, al viejo lo vuelve niño,
y al malo sólo el cariño lo vuelve puro y sincero....
"

Fábio Max disse...

Adoro essa música com Mercedes Sosa ou Violeta Parra... tenho com outros conjuntos também, como Tarancón...

Blogildo disse...

mis años en diecisiete los convirtió el querubín...

Sei! Rsrsrs! Eu sou leigo em Folk. Conheço só os hits e olhe lá. Meu negócio é soul. Hehehehe!

Anônimo disse...

E aí Patrícia!!

Tá gostando da Joan Baez?

Steve disse...

Olá, Patrícia!

Passei por aqui semana passada, vindo lá do REINALDÃO. O post "Free Spirit!" e a música dos Stones Ruby Tuesday.

O que penso:
Beatles e Stones fizeram seus respectivos papéis na cultura e história. Um é melhor que o outro no que fizeram. Um detalhinho: Alice Cooper começou sua carreira tocando música dos Beatles, mas fazendo um som mais pesado.

Música que adoro dos Stones:

Midnight Rambler - Live at MSG, only.
Stray Cat Blues - idem
Beast of Burden - Live at Sun Devil Stadium
You Can't Always get... - idem
Gosto de todas rsrsassss

Sem comments sobre o Fab Four.

Está hoje na Roling Stone, mas nunca fiz minhas escolhas baseadas na mídia:

Sgt. Pepper's Lonely Hearts Club Band is the most important rock & roll album ever made, an unsurpassed adventure in concept, sound, songwriting, cover art and studio technology by the greatest rock & roll group of all time. From the title song's regal blasts of brass and fuzz guitar to the orchestral seizure and long, dying piano chord at the end of "A Day in the Life," the thirteen tracks on Sgt. Pepper's Lonely Hearts Club Band are the pinnacle of the Beatles' eight years as recording artists. John Lennon, Paul McCartney, George Harrison and Ringo Starr were never more fearless and unified in their pursuit of magic and transcendence.

Issued in Britain on June 1st, 1967, and a day later in America,Sgt. Pepper's Lonely Hearts Club Band is also rock's ultimate declaration of change. For the Beatles, it was a decisive goodbye to matching suits, world tours and assembly-line record-making. "We were fed up with being Beatles," McCartney said decades later, in Many Years From Now, Barry Miles' McCartney biography. "We were not boys, we were men . . . artists rather than performers."

At the same time, Sgt. Pepper formally ushered in an unforgettable season of hope, upheaval and achievement: the late 1960s and, in particular, 1967's Summer of Love. In its iridescent instrumentation, lyric fantasias and eye-popping packaging, Sgt. Pepper defined the opulent revolutionary optimism of psychedelia and instantly spread the gospel of love, acid, Eastern spirituality and electric guitars around the globe. No other pop record of that era, or since, has had such an immediate, titanic impact. This music documents the world's biggest rock band at the very height of its influence and ambition. "It was a peak," Lennon confirmed in his 1970 Rolling Stone interview, describing both the album and his collaborative relationship with McCartney. "Paul and I definitely were working together," Lennon said, and Sgt. Pepper is rich with proof: McCartney's burst of hot piano and school-days memoir ("Woke up, fell out of bed . . . ") in Lennon's "A Day in the Life," a reverie on mortality and infinity; Lennon's impish rejoinder to McCartney's chorus in "Getting Better" ("It can't get no worse").

"Sgt. Pepper was our grandest endeavor," Starr said, looking back, in the 2000 autobiography The Beatles Anthology. "The greatest thing about the band was that whoever had the best idea - it didn't matter who -- that was the one we'd use. No one was standing on their ego, saying, 'Well, it's mine,' and getting possessive." It was Neil Aspinall, the Beatles' longtime assistant, who suggested they reprise the title track, just before the grand finale of "A Day in the Life," to complete Sgt. Pepper's theatrical conceit: an imaginary concert by a fictional band, played by the Beatles.

The first notes went to tape on December 6th, 1966: two takes of McCartney's music-hall confection "When I'm Sixty-Four." (Lennon's lysergic reflection on his Liverpool childhood, "Strawberry Fields Forever," was started two weeks earlier but issued in February 1967 as a stand-alone single.) But Sgt. Pepper's real birthday is August 29th, 1966, when the Beatles played their last live concert, in San Francisco. Until then, they had made history in the studio -- Please Please Me (1963), Rubber Soul (1965), Revolver (1966) -- between punishing tours. Off the road for good, the Beatles were free to be a band away from the hysteria of Beatlemania. McCartney went a step further. On a plane to London in November '66, as he returned from a vacation in Kenya, he came up with the idea of an album by the Beatles in disguise, an alter-ego group that he subsequently dubbed Sgt. Pepper's Lonely Hearts Club Band. "We'd pretend to be someone else," McCartney explained in Anthology. "It liberated you -- you could do anything when you got to the mike or on your guitar, because it wasn't you."

Only two songs on the final LP, both McCartney's, had anything to do with the Pepper character: the title track and Starr's jaunty vocal showcase "With a Little Help From My Friends," introduced as a number by Sgt. Pepper's star crooner, Billy Shears. "Every other song could have been on any other album," Lennon insisted later. Yet it is hard to imagine a more perfect setting for the Victorian jollity of Lennon's "Being for the Benefit of Mr. Kite!" (inspired by an 1843 circus poster) or the sumptuous melancholy of McCartney's "Fixing a Hole," with its blend of antique shadows (a harpsichord played by the Beatles' producer George Martin) and modern sunshine (double-tracked lead guitar executed with ringing precision by Harrison). The Pepper premise was a license to thrill.

It also underscored the real-life cohesion of the music and the group that made it. Of the 700 hours the Beatles spent making Sgt. Pepper (engineer Geoff Emerick actually tallied them) from the end of 1966 until April 1967, the group needed only three days' worth to complete Lennon's lavish daydream "Lucy in the Sky With Diamonds." "A Day in the Life," the most complex song on the album, was done in just five days. (The oceanic piano chord was three pianos hit simultaneously by ten hands belonging to Lennon, McCartney, Starr, Martin and Beatles roadie Mal Evans.) No other Beatles appear with Harrison on his sitar-perfumed sermon on materialism and fidelity, "Within You Without You," but the band wisely placed the track at the halfway point of the original vinyl LP, at the beginning of Side Two: a vital meditation break in the middle of the jubilant indulgence.

The Beatles' exploitation of multitracking on Sgt. Pepper transformed the very act of studio recording (the orchestral overdubs on "A Day in the Life" marked the debut of eight-track recording in Britain: two four-track machines used in sync). And Sgt. Pepper's visual extravagance officially elevated the rock album cover to a Work of Art. Michael Cooper's photo of the Beatles in satin marching-band outfits, in front of a cardboard-cutout audience of historical figures, created by artist Peter Blake, is the most enduring image of the psychedelic era. Sgt. Pepper was also the first rock album to incorporate complete lyrics to the songs in its design.

Yet Sgt. Pepper's Lonely Hearts Club Band is the Number One album of the RS 500 not just because of its firsts -- it is simply the best of everything the Beatles ever did as musicians, pioneers and pop stars, all in one place. A 1967 British print ad for the album declared, "Remember Sgt. Pepper's Lonely Hearts Club Band Is the Beatles." As McCartney put it, the album was "just us doing a good show."

The show goes on forever.

Total album sales: 11.7 million

Peak chart position: 1

(Somente enchendo o saco)

Abs.

Welington Heringer

Esquadrinhando

Blogildo disse...

Vc anda sumido, Steve!

Eu gosto do Sgt Peppers, mas prefiro o Abbey Road.

PATRICIA M. disse...

Oi Steve! Reconheco que o Sg Pepper's eh um disco classico e dos mais afamados do mundo; mas ainda prefiro o Exile on Main St. Hehehehehehehehehe.

Steve disse...

Oi, Patrícia,

O disco que mais gosto do Stones é Get Yer Ya-Ya's Out!. Tenho uma caída em especial por LIVE performances. É onde o Rock 'n' Roll é mostrado em seu todo.

Vou citar alguns:

Rock 'n' Roll Animal - Lou Reed.
David Live - David Bowie at the Tower, Philadelfia.
Absosutely Live - Rod Stewart.
Frampton Comes Alive - I e II - Peter Frampton.
In The Flash - Mr Waters.
São muitos.

Algumas músicas têm que ser de estúdio: Budapest do Jethro Tull.

Chega!
------------------------
Pro Blogildo:

Passei em seu Blog ontem. Sobre pensadores independentes... gosto de Nietzsche.

Ademais, após a reeleição do Apedeuta, estou esperando sempre o pior neste paizinho de mierda.

Abçs.

Anônimo disse...

Steve,

Você se esqueceu de um disco ao vivo que pra mim é o melhor; Live At Leeds. Ouça por exemplo, "Young Man Blues", com o baixo fantástico de Entwistle. Ao vivo eles eram imbatíveis.

Steve disse...

The Who - Live at Leeds.

Já tive um exemplar em vinil. My Generation ocupa uns 20 minutos.

Fantástico!

folkfanbrasil disse...

Patrícia

Achei por acaso os comentários a respeito da versão de Gracias a la vida da Mercedes e de Joan Baez. Então vai uma dica: Procure pelo disco da Joan Diamonds and rust in the bullring e encontrarás um dueto de joan e mercedes em Gracias a la vida.

Existe tb um show em dvd (USA) chamado Three Worlds, three voices, one vision com a participação de Joan Baez, Mercedes Sosa e um cantor alemão chamado Konstantin Wecker.