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Papagayo. The Spanish pop sunshine

Today we present a gem that comes from an unknown dimension. Papagayo! The English Sunshine Pop , is one of the most amazing collections and sweeping I've ever heard, leaving twenty-four songs with open eyes, each a universe in itself, with the addition that were lost in time : not only is difficult to know any, but also groups who interpret them. As the title suggests, is looking for a style rich pop melodies and choruses, but dedicated to magic and the sumptuous arrangements that are a direct legacy of California sunshine pop style that developed following of Pet Sounds Beach Boys. The funny thing is that this collection shows how the history of English music is steeped in shadows, beyond the usual names and records often quoted again and again (quiet, never talk about flamenco here).

And hence the reason for the compilation, the songs were recorded in the early to mid- seventies, but were immediately swept away by the force of prevailing trends, and so were relegated to oblivion. Put another way: in those years, the groups that made up these subjects did not obey the dictates or progressive rock or folk jipiesco were a pop enthusiasts who died with their ideas on their backs and bring out the little, very little, you know the music of our own country. Papagayo shows a English pop music scene of high-level, adapted to the most demanding and refined taste, apart from trends in the late stage of the Franco regime, and could proudly bear with names like Brian Wilson , Michael Brown , Curt Boettcher or Billy Nichols. "La Casa Azul ? Come on.

and attention because they burn the engine revolutions since the beginning. "Mr. Nobody" is a sweeping song of a group you have not found any information, Mahogany . An acoustic guitar gives way to a feast of harpsichords, trumpets, strings and, above all, a passionate melody that catches without compassion. A masterpiece, in short, playing both a sense of pop calculadísimo exciting as boundless imagination in the arrangements. Sensational. All these features are shared point about "good and evil" by Joe and Luis another ghost group, which presents a celestial-sublime melody when they sing a "pass" diluted among strings, psychedelic accents and unforgettable. And the next, "A smile, a glance" of reaction is just as good or more pop feel pure, unmitigated nostalgia and inspiration that goes to the pair of of Zombies Odessey and Oracle . With only three songs let us set the record straight: it seems as if the sophisticated pop of the excellent group who were Modules had triumphed, but free of its, at times excessive and elaborate baroque grimly. Another imaginary hit is "My song is love" of Souls and Lights . More information gap on the group, of course, as with almost all but the English guitar lines including classic know and bubbling its explosive chorus, not to mention the flirtations gratifyingly sentimental melody (is there who can resist that "come to me, listen to me?").

And then comes the "Youth" Chalk group, which seems a slight slip of the compilation, because they were not English, but in Chile, and his career collapsed with the advent of the dictatorship, but the truth is that given level of the song, does not matter. It is a majestic composition, with a circular choruses that are built like houses of cards and leaving a melody full of peace. "Papagayo" is the compilation's title, the "for not breaking the rule-desconocidísimos Guys and Dolls, lush, tropical, but above all damn pop and sentimental, not sentimental. Another milestone of insanity is "Four Seasons", New Horizons group . This group released a few singles in the early seventies, made them all for Double Vainica . And the truth is that this song seems much better than any of the famous duo, porque no huele ni a naftalina, ni a seudorock progresivo, ni tampoco a jipi, sino que presenta un poético y altamente adictivo pop, con deliciosos cambios de ritmo. Otro clásico venido de la nada es "Mundo de Amor", de Voces Amigas , que podría figurar tranquilamente en cualquiera de los grandes discos de pop de cámara de los sesenta, una canción que parece esculpida más que compuesta, una melodía angelical entre voces mezcladas con una insuperable arquitectura. Lo mejor de la música se concentra en cada una de las esquinas de esta canción.

"Sunshine Boy", de Licia , es una versión de un tema que no he podido identificar pero que estoy sure you have heard before in English, sunshine pop-blooded, optimistic and bright, by a singer who actually think it was Italian and edited this song just for the English market. And then come Los Angeles, the only group that could identify the first time I heard this compilation, with "Dreams", one of its most beloved songs of honest and clean sound, as usually happened with them, unbroken chorus (in this case wrapped in a magical "la-la-la"). Undoubtedly, their inclusion in this collection seems a tribute. We can not relax for a moment, "It was a tear," by Elia and Elisabeth , Is another jewel lost in time, summer and nostalgic tone with a wonderful female voices that spread the pain without losing a bit of beauty. And "Rain on your cheeks" of Friends , unfolds simply, to suddenly stuck with a stunning chorus full of dreamy strings and makes us wonder what happened to these groups that today we know nothing . The four coins were actually Venezuelans, but as with chalk, this fact does not really matter, "Things" is another milestone, spiral horns, intriguing and infectious melody, vocal harmonies, finally, has it all and is worthy of appearing on a compilation with a requirement level bordering on utopia.

briefly mention "A flower is my love" by Les Extremes , not because it is good, quite the opposite, as good as the others, believe me, a vessel plying waves in a storm, but I can no longer contain the urge to talk about it continues: "I'm looking for," Sweet Years of . At first glance it seems a version of a classic pop, but in reality it is, this is a song written by the members of this group when they were fourteen. And just being big words, one of the undisputed summit of English pop, a stunning adventure that should never be forgotten and that contains a hopeful melody, direct, positive, intoxicating, with passages that are the most sophisticated and accurate than ever done here, all concentrated in just three minutes. The "Good Vibrations" English, no doubt, a ray of light that shows the dark side of our music that nobody ever bothered to teach us. The sunshine pop in the vein is injected with "Order" of Parable that anyone would say that comes from the U.S. charts in the mid-sixties, much like the songs of the Monkees at its best, honest, unmitigated good. Then New Democracy, with its "Hey Hey, we want to fool with a start that seems to have noticed Crosby, Stills, Nash & Young and groups like that, but then laugh in our face, because they give us a slap in stunning vocal harmonies, much along the lines of Los Angeles, drawn like an eagle in a tune that pays homage to the gods of pop.

And later, the group Black Sheep , which no one knows, not even his dicográfica , with a monumental track that includes more energy guitar but ultimately surrenders to the magic of the chorus should be: "Thinking of You" is another lost classic of this compilation, some folk-not much, and with a personality that makes it very weird to know that just recorded nothing else. "Let's Hang On" by Queimada, is closer to the classic Four Seasons from a perspective that brings together sounds like strength Wilsonian poppy-seventies, everything here is pure excitement and energy. Then David and Sonia presents "Thinking of You", tinged with melancholy, and clear references to both the elegance of Burt Bacharach as the bossa-nova, a rare bird pop sensation in English. Chalk Chileans repeated the B side of "Youth", which is "Sometimes", a song which refers to music from the British invasion of the first period, combining in the same proportion hook and humility. Superb, as is "Our Place" in Tuset 31, chamber pop in the spirit of the Zombies emerge again, baroque style that does not hide a sensitivity to the surface of which there is no reason to be ashamed. For if you have not already been clear, the hallmark of this collection is certified "All over" of the Yetis , which is neither more nor less than a fantastic version of "My World Fell Down" by Sagittarius - was recorded in the early seventies, but the group was Colombian, not English, it must to say, "that it remains committed Baroque and accentuated and more forthcoming, perhaps, any latent sadness. And finally, "Do not ever leave," by Daniel Velázquez , the song of the lot that probably had more commercial potential because it was closer to the standards of the time, but he did by way of a refinement that was more to do with Solera or Cánovas, Rodrigo, Adolfo y Guzmán that Nino Bravo.

Papagayo, The English Sunshine Pop is one of those collections that change lives and to provide pleasure and happiness without cost. Furthermore, the interception is absolutely essential to give birth to an unknown dimension of English music that rises to the level cheerfully reference totems of style. Twenty-four songs of the seventies, but a timeless value, and that the discs snack usually cited in the magazines "professionals" when they talk about those years.

Papagayo. The English Sunshine Pop

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Syd Barrett: traveling to other worlds (III). "Barrett"

Barrett, published in 1970 and the second and last solo album Syd Barrett, was born as a natural continuation of the first, The Madcap Laughs , but with a premise different. If you previously had wanted to accentuate the raw talent, energy astray whom ultimately was an exceptional songwriter, with Barrett sought refinement, sounds more accessible and friendly, a goal which, as we shall see, not always could be fulfilled. Barrett end up being the swan song of the author, not as authentic as The Madcap Laughs , but yes, with a generous amount of jewelry in gold that shines like a unique way of understanding music.

There is more to hear "Baby Lemonade" to realize that sounds unlike anything in there is a magic touch, reminiscent of distant worlds and incomprehensible that Barrett knew only see and communicate. The guitar riffs give way suddenly to a hoarder body on which a melody is absolutely infectious poured from another planet, intriguing because they do not really know what ground we tread. Cosmic, esoteric, threatening, this is a song unique in its kind, an undeniable milestone in the seventies, thanks to Barrett's pop sensation, has a chorus between pleasant and gloomy, not to mention the drums and bass to the Beatles Magical Mystery Tour that slip from time to time. "Love Song" wants to be different, closer is one of the songs that Barrett is trying to inject a candor that is poisoned and becomes the good feelings in an obsessive dream. And finally to fix it, the following is "Dominoes", another song on top of the decade, which transmits an infinite sorrow with that feeling of walking without the ground below, psychedelic in the best sense, just amazing its languor, its inability to pass unnoticed (no wonder I had a very difficult birth). In "It Is Obvious", Barrett seems to be falling apart, something that can not even hide the pert arrangements.

"Rats" is an attempt to do something similar the blues, but without any direction, again with the instruments panting to find some sense of the matter. And by "Maisie" repeated the move, no more than a practically catatonic Barrett and autistic struggling to compose something, but the unusual voice hoarse with singing has its pull. Fortunately, "Gigolo Aunt" reconciles us with the songs perceived as such, is another of the stars in the disk, extroverted, catchy, with a steady rhythm on planning a melody that Barrett is the best possible. The same could be said of "Waving My Arms In The Air", perhaps most miserable and disappointed, but with a desert folk charm that makes irresistible. In "I Never Lied To You" is lost again the north: Once the appeal beginning, it seems that the support has a hard time to understand where to go Barrett, as if completely out of control, even though successive listen reveals a fragmented beauty background could ask if it has something to do with music. The final steps are recovered in "Wined And Dined" which exudes a beautiful romantic dream dial tone, a fantasy musical notes made autumn. Equally exciting is the "Wolfpack", although in a more epic, transcendent, like a lost epic poem, and some cosmic holes show how much they learned the symphonic Pink Floyd its first leader. The album ends with "Effervescing Elephant", recovered from the first songs he composed at sixteen Barrett: delicious, imaginative, playful and a very wise trombone background emphasizes the fairy tale atmosphere diethylamide.

The Madcap Laughs, in dispersion, was a disc with a very specific direction, consistent with his way round a few songs, the result of a psyche that still resisted the attacks of mental instability. However, in some moments of Barrett makes clear the profound impression of madness and noise foundation crumbling, despite a production that is worth the play on words, chooses to become the crazy when that happens. In any case what is undeniable is that the disc contains several songs that show why Barrett, beyond the romance and non-musical considerations, was a genius with all the letters. Someone who touched a light too early and unfortunately ended up breaking down, but left the way some pop tunes that filled the alien languages \u200b\u200band ancient dreams.

Syd Barrett. Barrett (1970)

It is quite advisable Crazy Diamond box very complete and usually at an attractive price, which collects on 3 CD's all the recordings of Syd Barrett, including Opel, a compilation of discards that appeared in the late eighties.

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Syd Barrett: traveling to other worlds (II). "The Madcap Laughs Syd Barrett

The real assault on Syd Barrett lost the vinyl begins with this album, recorded in 1970 in very special circumstances. After a year gone, Barrett proposed to publish an album with material that was made almost in secret. The songs seemed interesting and approved the project, which resulted in a series of chaotic recording sessions, subject to the unpredictable whims Barrett, a tight budget that counted, and the limit of hours of study. The result, however, fits like a glove so they needed lyrics Barrett: an atmosphere of extravagance and folly, a self-enclosed climate but incredibly evocative and nudity background that enhances the strength of exceptional compositions .

Some have criticized this overexposure to Barrett that he was subjected: the songs show no compassion to their delusions, their cocks, in short, the sick person's condition. But at the same time it seems as if the disc may sound otherwise. The Madcap Laughs serves both as a portrait of a schizophrenic artist shows the disease in a beautiful, positive, creative, and, above all, one of the most charming and suggestive discs that have been recorded ever. "Terrapin" is the first step in this uncertain ground, dragged, lazy, but also hypnotic and, finally, one of the hallmarks of the album after his condition stunned blues. In "No Good Trying" and overlooking the chaos, Barrett has trouble following the rhythm and the song seems about to boil over at any time. If we add a haunting melody, run over, but in the end always leads to the port the confusion of instruments, we have a song from another world, beautiful and indecipherable. No less compelling is "Love You", the dream goes into paths of cabaret and operetta pianos, a neurotic rhythm that breaks any kind of reference, the music expressed through a filter diethylamide in full lucidity. "No Man's Land" becomes exciting, there is a distorted guitar that comes from the time of the first Pink Floyd album , but buried under layers of smoke so as not remove a song powerful role to attack us without mercy.

Then appears the disarming "Dark Glove", only for Barrett and his guitar sound more real than ever, almost chilling by expressing helplessness between multiple cocks and frantic chord changes. One of the most hurtful of the disc, discounted effects of the brightest "Here I Go", joyful tune in which the clouds cleared for a moment under the soft glow of vaudeville. And then another great burst of anger: "Octopus" shows the extraordinary skill composition of Barrett and his great intuition, changes of pace engage in the first though not exactly a simple song. It's the perfect appetizer for another stop on the way: the Kabbalistic fixed, contemplative "Golden Hair", or again how to make audible the LSD-induced mystical experiences, thanks to a melody Barrett taken from the world of mythical creatures and a very subtle and appropriate arrangements to visionary tone. But there's more: "Long Gone" sounds wild, barren, hopeless, and reached impressive levels in a chorus that oozes pain.

On "She Took A Long Cold Look" Barrett read directly from notes and chords of a notebook, but the song, but is treated almost as an outline to keep warm, beautiful background that makes unbeatable. "Feel" is precious and it hurts in their turns, sounds from a well of infinite sadness in their forms of folk born in the soul. Another exceptional chapter, which is followed by "If It's In You." We can not avoid hearing a thousand times the first entry in false Barrett, his cry, as if the disk would definitely removed, but in the end he succeeds, the song maintains the level of the others, is strangely fascinating to be able to elicit the same time, an idea madness and neglect and, on the other hand, an infinite wisdom and visionary compositional. And the disc parking on "Late Night", the last lash of schizophrenia light passing through the stars, the last chance to catch the tail of the comet that will lead to another universe. Magic and kaleidoscopic.

The Madcap Laughs is a disk necessary, a separate section outside the historical development of music, the work pure and perfect in its imperfection of a visionary musician and overwhelmed by the circumstances. His next step, Syd Barrett, recorded in 1971, also present brilliant songs but this time treated with full dress. Instant hallucination, bohemian gestures and stale air would be as features unique to one of the most addictive albums of the seventies and strangers.

Syd Barrett. The Madcap Laughs (1970)
present
On Thursday last week's article Syd Barrett, on the disk that recorded in 1970, before vanishing forever, full of real gems that would eventually to polish his legend.

Texts recommended:
"The Madcap Laughs ." Five Nails For Critical Critical . The author is opposed to the type of disc production, calling them "ruthless."
" Syd Barrett. The Madcap Laughs." At El Buen Amigo Hobbies, distress and affect Good Friend. Dissection of the album track by track.

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: traveling to other worlds (I). "The Piper At The Gates Of Dawn"

Syd Barrett is the star of one of pop's most fascinating stories, the short, intense career of a musician who said what until then seemed inexpressible. A magician come from another galaxy and as one who embodied the meaning of psychedelics and mind expansion, a builder of songs that followed the tradition of a legendary and unknown Martian civilization to which he alone had access. His work, which comprises just three discs, contains moments of extreme agitation, disturbing spiral passages worlds lost in the depths of our spirit, Twilight slides that are shown in great detail. Syd Barrett went crazy after recording their only album with Pink Floyd in that magical year of 1967 in which the best bands competed to achieve the ultimate masterpiece of pop. His light came to infinity, so it burned quickly.

"Arnold Layne" and "See Emily Play" were the two steps needed to push to Pink Floyd to fame. The first contains all the ingredients that made their songs Barrett pills lysergic acid music: a guitar of expectation, tense, with the sound of rocket engines to take off, batteries and a martial tune that exotic beauty suddenly opens into a landscape indecipherable, mysterious, ancient. This can be seen especially in "See Emily Play", which won immediate impact: a sense of danger about to lose the coordinates, to remain floating in space. However, this imminent danger is what leads us to contemplate what otherwise could not: the deep abyss of forgotten dreams, where for centuries the rivers flow, oblivious to time. Menace and beauty are two elements that go hand in hand in the best songs from Barrett.

Pink Floyd, accustomed to offering the very long improvisations in concerts, at a time that pretentious, art and virtuosity began to take command of what would be the music of the coming years, are forced in 1967 materialize and cut his excesses to a record market-oriented pop. Haberles could not have been better. The Piper At The Gates Of Dawn is an exceptionally evocative album, an instant trip to the bottom of the mind, a masterpiece of its maker, Syd Barrett, was unable to complete while on the road forever your concept of reality. Four minutes short of "Astronomy Domine" is for the listener authentic astral projection effects, the guitars are twisted each other to create an environment that suggests infinity, nothingness, the heartbeat of the universe, as Barrett sings like a illuminated, as if they read along to a pagan god, ending with a chorus of apostles make this song a psalm of an alien religion. The secret of the style of Pink Floyd was the unpredictability of Syd Barrett, in a manner highly reminiscent of the visions of Roky Erickson and the 13th Floor Elevators , but from a more refined pop sensibility. "Lucifer Sam", the second song is totally threatening, reveals the evil that lurks in the blind spots of our perception, which are revealed when the acid opens our senses.

the same feeling we have in "Matilda Mother", a children's story which shows a certain perverse sense, like Little Red Riding Hood was to slaughter in As we despistáramos. But the revelation comes atop arguably with "Flaming", full of magic, almost esoteric, with accurate sound effects that increase the feeling onore almost to the audiovisual experience, and an acoustic guitar who stars in the most exciting moment in which Barrett sings again as the prophet of the imagination and conveys tenderness and menace, death and peace. Unforgettable. The instrumental "Pow R. Toc H.", on the other hand, plays to create a jungle environment, tribal, between rows of jazz piano and volcanic explosions. "Take Up Thy Stethoscope And Walk", the only song on the disc Waters is considered by many as a nuisance. I disagree, though much more standard than the astral crazy not forget that Barrett was a genius, ends up being a punch resultón garage with an addictive chorus.

"Interstellar Overdrive" is a recording of one of its climactic moments in the concerts. Pink Floyd spent much of 1967 trying to compress this issue, which could last scene about an hour, about ten minutes that will not derail the concept of The Piper At The Gates Of Dawn essentially as a disc of songs. The effort resulted in their instrumental tremebundo nightmare, something extended in the set, but quite enjoyable with a patient attitude and determined to lost in the cosmic sense of the spacecraft that Barrett used as guitar. Much nicer is "The Gnome", which anticipates the lysergic folk singer that Barrett would be in his next two albums after the storm. "Chapter 24" serves again to close your eyes and get to levitate another psalm is intertwined with a keyboard sticky and Tibetan gong sounds. And there again to folk to "Scarecrow", humble, almost level, but imbued with a fascinating beauty makes an appearance as the acoustic guitar arpeggio. Finally, the playful "Bike", which is grace in the infantilism that oozes between toy keyboards, sound effects and how to sing like a spoiled child Barrett.

The Piper At The Gates of Dawn was one of the most important albums of 1967 and culminating episode of psychedelic pop, just outside of what would later lead to progressive rock. Barrett's brain had been severely damaged, both for drug abuse and for their continued immersion in worlds apart. His inability to keep playing at concerts and to find another single that could arrive at 1-noticeable attempts are songs like "Vegetable Man" and especially "Jugband Blues", in which an orchestra out of a dream to break into the song- earned her expulsion from the group. Without the talent and pop sensibility Barrett Pink Floyd emphasized his most bombastic and empty and ended up becoming one of the architects of the rise of progressive rock.

And Syd Barrett? Hampered by their psychotic episode, he was able, however, gradually composed more visions of his world of madness. On Tuesday you can read the article on his first solo album in 1970, The Madcap Laughs .

Pink Floyd. The Piper At The Gates Of Dawn (1967)

Texts recommended
" Syd Barrett." By Louis in Computer Age . Article about his musical career.
" Syd Barrett. Returns. You, delusional visions observer. "Summary of interviews and appointments. It ends with a rare interview with Barrett in 1983, which is clearly expressed their state of deterioration.