Cafe Tacuba’s sonic revolution
The News Review:
- Cafe Tacuba’s sonic revolution
- Peninsula Clarion
- News & Culture | Guitar Hero Controversy
- Why Leon Russell Still Matters
- Ky-Mani Marley brings the jams but it’s not the reggae kind
Cafe Tacuba’s sonic revolution
New York Daily News – Nov 21, 2007
“Sino” ranks as the most straight-on rock CD of the band’s career. In contrast to various past works the instrumentation concentrates on the four main horsemen of the genre: lead and rhythm guitar bass and drums. Meanwhile the songs go so far as to nearly quote from the classic-rock canon with passages that nod to Pete Townshend’s windmill guitar riffs Brian Wilson’s Californian harmonies and Motown’s driving bass. It’s a dare that the band brings off resoundingly. Even at its most classically rocking Tacuba still sounds entirely like itself. A track like “Tengo Todo” has an exquisitely simple pop melody while a cut called “53100″ filters the staccato keyboards assertive bass and sprawling drums of “Baba ‘Riley” through a pretty tune all its own. Most of the songs are short by Tacuba’s standards but in “Volver a Comenzar” the band lets the music snake on for more than seven minutes moving through several distinct movements… Most of the songs are short by Tacuba’s standards but in “Volver a Comenzar” the band lets the music snake on for more than seven minutes moving through several distinct movements. There’s the opening bass and drum pattern (reminiscent of the Pretenders’ “Mystery Achievement”) followed by some ’80s new wave synths leading to a Beach Boys vocal chorale before finally retreating to the original theme. Taking classic rock influences to their ultimate conclusion there’s even a bombastic drum solo toward the album’s close. (Don’t worry it’s not long and it’s good. ) Like all Tacuba’s work “Sino” rates as both wide-ranging and focused. But it provides something new: the perfect entry point for those naive to the group’s music.
Peninsula Clarion
Kenai Peninsula nline – Nov 21, 2007
“It’s new rock” said KSRM station manager Cherie Curry who has worked for KSRM’s owner and corporate president John Davis for nine years. “There possibly will be some classic rock thrown in and probably some alternative but not much hip-hop or rap. ” New rock is one format that is missing in the central peninsula and one that the community has been asking for Curry said. “We are able to offer that to them” she said. For now at least the 24-hour entertainment menu will be nothing but solid music. No news hour or other programming is planned at this time Curry said.
News & Culture | Guitar Hero Controversy
Silicon Valley's Metro – Nov 21, 2007
“A good majority of my friends have played it. It’s their favorite game now too. ” Whiskey has a particular fondness for the music: “My dad turned me on to bands like the Doors and Creedence when I was younger so I like the classic rock music in the game. ” Those sentiments and particularly the latter make video game music producer Will Littlejohn smile with satisfaction. “I feel really fortunate to be part of Guitar Hero because it allows people to enjoy some of the greatest songs around in a whole new way” Littlejohn says. While you might expect that from the guy who pays the rent doing music for Guitar Hero and other music-related games Littlejohn is a true evangelist for an entertainment he believes has an almost soulful value. f course Littlejohn—along with Wave Group Sound the production company he founded—has little choice but to rejoice primarily in the nonfinancial rewards from Guitar Hero.
Why Leon Russell Still Matters
CounterPunch – Nov 21, 2007
" It begins with the image of a newborn baby confused upon its arrival on the planet and ends with a plea to reorder our priorities and "stop racing towards oblivion. " Listen to the children sing. Russell’s classic rock piano honed in the hellfire of Jerry Lee Lewis and perfected while on tour with the British working class interpreter of rock and roll Joe Cocker in what was known as the Mad Dogs and Englishmen tour backs up this holy song. The lead guitarist Jesse Davis-perhaps the only Native American lead guitarist in the history of rock-matches the plaintive gospel sounds of Russell and moves this song into the astral choir loft. Russell’s interpretation of Bob Dylan’s songs is unique. He is one of the few artists that not only captures the always present subterranean subtext of Dylan’s work but makes that subtext even darker and edgier. The Shelter People disc has four such renditions.
Ky-Mani Marley brings the jams but it’s not the reggae kind
Press-Enterprise – Nov 21, 2007
"Reggae is in my blood and it’s the root of it all but I was raised in a hip-hop environment" he said. At the moment Marley is in the midst of opening shows on the triumphant return of Van Halen and original mouthpiece David Lee Roth. The aging classic rock crowd isn’t exactly what you’d imagine this Marley’s fan base to be but again the last name does resonate.
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