REVOLUTION BLUES

NEIL YOUNG
SONGWRITER: NEIL YOUNG
COUNTRY: CANADA
ALBUM: ON THE BEACH
LABEL: REPRISE RECORDS
GENRE: ROCK
YEAR: 1974
 
           Neil Percival Young OC OM (born November 12, 1945) is a Canadian-American singer-songwriter, musician, and activist. After embarking on a music career in the 1960s, he moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since his early solo albums and those with his backing band Crazy Horse, Young has been prolific, recording a steady stream of studio and live albums.
           Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield. In 2000, Rolling Stone named Young the 34th greatest rock 'n roll artist. His guitar work, deeply personal lyrics and signature tenor singing voice define his long career. He also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical styles. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname "Godfather of Grunge" and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real. His 21 albums and singles have been certified Gold and Platinum in U.S by RIAA certification.
             Young directed (or co-directed) films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).
           Young has lived in California since the 1960s but retains Canadian citizenship. He was awarded the Order of Manitoba on July 14, 2006, and was made an Officer of the Order of Canada on December 30, 2009. He became a United States citizen, taking dual citizenship, on January 22, 2020.
          On the Beach is the fifth studio album by Canadian folk rock musician Neil Young, released in July 1974.

Well, we live in a trailer at the edge of town
You never see us 'cause we don't come around
We got twenty five rifles just to keep the population down
But we need you now, and that's why I'm hangin' 'round
So you be good to me and I'll be good to you
And in this land of conditions I'm not above suspicion
I won't attack you, but I won't back you
 
Well, it's so good to be here, asleep on your lawn
Remember your guard dog?
Well, I'm afraid that he's gone
It was such a drag to hear him whining all night long
Yes, that was me with the doves
Setting them free near the factory
Where you built your computer, love
I hope you get the connection
'cause I can't take the rejection
I won't deceive you, I just don't believe you
 
Well, I'm a barrel of laughs, with my carbine on
I keep 'em hoppin', till my ammunition's gone
But I'm still not happy
I feel like there's something wrong
I got the revolution blues
I see bloody fountains
And ten million dune buggies comin' down the mountains
Well, I hear that Laurel Canyon is full of famous stars
But I hate them worse than lepers and I'll kill them in their cars.

ON AND ON

STEPHEN BISHOP
SONGWRITER: STEPHEN BISHOP
COUNTRY: U. S. A.
ALBUM: CARELESS
LABEL: ABC RECORDS
GENRE: SOFT ROCK
YEAR: 1977
 
              Earl Stephen Bishop (born November 14, 1951) is an American singer-songwriter, actor, and guitarist. His biggest hits include "On and On", "It Might Be You" and "Save It for a Rainy Day". He has appeared in and contributed musically to many motion pictures, including National Lampoon's Animal House.
        "On and On" is a song by American singer-songwriter Stephen Bishop. The song, from his debut album Careless, became a major hit, peaking at number 11 on the U.S. Billboard Hot 100 and spending 28 weeks on the chart. In Canada, the song peaked at number 6.
On the U.S. Easy Listening chart, "On and On" peaked at number two. It reached number three on the corresponding Canadian chart.
              Despite failing to crack the top ten, it was the 30th ranked single on the Billboard magazine year-end chart for 1977 as a result of its almost seven-month chart run.
          The song was featured in the films Anger Management, How to Deal, The Hitcher, Margot at the Wedding, My Friend Dahmer and Remarkable Power.

Down in Jamaica
they got lots of pretty women
Steal your money
then they break your heart
Lonesome Sue
She's in love with ol' Sam
She take him from the fire
into the frying pan
 
On and on
She just keeps on trying
and she smiles
when she feels like crying
On and on...
 
Poor ol' Jimmy
Sits alone in the moonlight
He saw his woman kiss another man
So he takes a ladder
Steals the stars from the sky
Puts on Sinatra
and starts to cry
 
On and on
he just keeps on trying
and he smiles
when she feels like crying
On and on...
 
When the first time
is the last time
It can make you feel so bad
But if you know it
Show it
Hold on tight
Don't let her say, "Goodnight"
 
I got the sun on my shoulders
and my toes in the sand
My woman's left me for some other man
Aw, but I don't care
I'll just dream and stay tan
Toss up my heart
to see where it lands
 
On and on...
I just keep on trying
and I smile
when I feel like dying
On and on... 

DOCE DE CÔCO

✸ GRUPO DE CHORINHO ÁGUA DE VINTÉM
COMPOSITOR: JACOB DO BANDOLIM
PAÍS: BRASIL
ÁLBUM: O CHORO NOSSO
GRAVADORA: TRATORE RECORDS
GÊNERO: CHORINHO
ANO: 2019
              "Em 1897, a compositora e maestrina Chiquinha Gonzaga (1847 – 1935) publicou a partitura do então inédito choro Água do Vintém.
             "O título se referia à água extraída de fonte na Chácara do Vintém, em Niterói (RJ), e vendida em carroças pelas ruas do Rio de Janeiro (RJ) do século XIX quando a cidade sofria com o (des)abastecimento de água encanada.
           "No século XXI, mais precisamente em 2011, o choro de Chiquinha serviu para batizar o então nascente grupo paulista Água de Vintém, criado em Piracicaba (SP) com repertório voltado para o gênero. 
          "Oito anos depois, Charles Barreto (cavaco), Guilherme Girardi (violão de sete cordas), Marcus Godoy (violão e guitarra), Vitor Casagrande (bandolim e violão tenor) e Xeina Barros (pandeiro) lançam o terceiro álbum, O choro nosso." (Mauro Ferreira)
         Premiado no edital PROAC, "O choro nosso" é O terceiro disco do Água de Vintém e vem para coroar os férteis 8 anos de carreira completados em 2019. Com 14 faixas autorais inéditas, o álbum se destaca pela qualidade das composições, por novidades como a presença da guitarra e da bateria e pela variedade de ritmos que explora, abrangendo valsa, frevo, choro, choro sambado, schottisch, varandão, tango brasileiro e até mesmo um foxtrote. Com participações especiais de Rafael Toledo (percussão e bateria) e João Camarero (violão).

MÚSICA INSTRUMENTAL ANDINA

             La música andina del Perú está compuesta de una gama amplia de estilos musicales originados en tiempos precolombinos, aunque en sus formas contemporáneas se han incorporado influencias occidentales. Por su solemnidad evocativa e instrumentación característica, la también llamada música “indígena” de Los Andes cuenta con un gran número de aficionados a nivel mundial, siendo también numerosos los grupos que cultivan este género en Colombia, Ecuador, Perú, Bolivia, Chile y Argentina.
         La música andina del Perú desciende de las culturas inca y pre-incas.
            En el año 2006, mediante decreto supremo, el Estado peruano oficializó el 15 de junio como el "Día de la canción andina"
          Los elementos más característicos de la música andina del Perú son los instrumentos, que provienen básicamente de los pueblos ancestrales habitantes del Antiguo Perú.
            Los instrumentos de viento (aerófonos) han existido desde antes del imperio inca. En la ciudad sagrada de Caral (la civilización más antigua de América) se ha descubierto quenas hechas con huesos de pelícanos. Las percusiones también formaron parte de la instrumentación andina, que fueron plasmadas en los huacos retratos (cerámica escultórica) de la cultura moche, en los que se observan, además de zampoñas y quenas, bombos y maracas. Al parecer estos instrumentos fueron evolucionando a lo largo de los andes hasta el auge del imperio Inca.
           Con la cultura europea llegaron diversos instrumentos de cuerda (cordófonos) como la guitarra, la bandurria, el arpa y el violín, que a lo largo de 300 años evolucionaron particularmente.
Hoy en día, por tratarse de una cultura viva, la música andina contemporánea ha continuado su evolución, incorporando nuevos instrumentos como el saxofón y las trompetas, inclusive instrumentos electrónicos en los arreglos de la música andina contemporánea. Esto no implica que se hayan perdido los instrumentos ancestrales, entre los que destacan los sikus o antaras (zampoñas en español), quenas, pinkullos, tarkas, silulos, mohoceños, wankaras o bombos, entre otros.


Antara representada en vasijas de la cultura Moche. La tradición musical en territorio peruano se extiende por varios siglos en el tiempo.

            En la época inca, se usaba la palabra taki para referirse simultáneamente tanto al canto como al baile (danza), pues ambas actividades no estaban separadas una de la otra. Las danzas y diversos estilos musicales que se practican en los andes peruanos tienen matices que varían de acuerdo a las zonas o regiones, influenciados por las etnias o culturas que la habitan.
            El género más difundido es el huayno, pero éste a su vez tiene matices que van desde la chuscada ancashina, pasando por la influencia huanca (música huanca), los matices ayacuchanos (de influencia criolla-chanca), hasta los matices del huayno cuqueño y puneño. La distinción entre estos estilos de huayno radican en la instrumentación y tonalidad. Acotando que existen dispersos en los andes peruanos diversos dialectos quechuas y aymaras que influyen en las composiciones musicales.
             Otro género que se halla en distintas zonas de Perú es el carnavalito
      La música andina es también un elemento fundamental de numerosas celebraciones y festivales, como es el caso de los carnavales, tan difundidos y tan distintos entre pueblo y pueblo a lo largo de los andes peruanos.