miércoles, septiembre 23, 2026

In Memoriam: Naked Eyes' "Peter Byrne" Dies Aged 74

Peter Byrne, the remain part of the new wave British band Naked Eyes has died on 14 September in Los Angeles, he was 74. Jim Merlis, a spokesperson for the group, confirmed Byrne’s death, adding that he died “peacefully … after a brief illness.” A specific cause of death was not immediately available.

Byrne and Rob Fisher, college friends from Bath, England, were first members of the band Neon, which included future Tears for Fears members Roland Orzabal and Curt Smith. Byrne and Fisher went on to become a duo, launching Naked Eyes in 1982, the year they also signed to EMI Records.

Their debut studio album, which was self-titled in the U.S. and Canada and called Burning Bridges elsewhere, arrived in 1983. The album rose up the charts, reaching Number 32 on the Billboard 200 on the strength of two of the album's hits: a cover of Burt Bacharach and Hal David's "Always Something There to Remind Me," which peaked at Number Eight on the Billboard 100, and "Promises, Promises," which reached Number 11 and imbued their signature synth-pop sound. The album’s "When the Lights Go Out" also became a Top 40 hi t and had heavy rotation on the early days of MTV.

The New Wave band recorded a sophomore album, Fuel for the Fire, in 1984. That, too, spawned a Top 40 hit with "(What) In The Name Of Love," and the album peaked at Number 83 on the Billboard 200 albums chart. They disbanded after its release.

In 1985, Byrne lent his vocals to back Stevie Wonder’s hit "Part-Time Lover" and went into songwriting for television, film, and for the Olsen Twins.

After Rob Fisher died in 1999 at the age of 42, Byrne continued to make music and toured the U.S. and internationally. In 2001, he release solo album, The Real Illusion. Additional Naked Eyes releases followed, including 2007’s Fumbling With the Covers, 2021’s Disguise the Limit, and a remaster of their self-titled debut arrived last year

martes, septiembre 22, 2026

The Anniversary/Television Personalities: The Unlikely And Unusual TV Show "ALF" Turns 40

 
Premiered on NBC on 22 September 1986, "ALF (Alien Life Form)" the furry alien named Gordon Shumway who crash-landed his spaceship into a suburban garage, then moved in with the Tanner family for the next 4 years. At the time, critics weren't sure what NBC was doing with its upcoming sitcom. Some medias described the new series as "ridiculous" and predicted it would fail, also targeted the lead character "ALF" as not cute enough to sustain the comedy.

ALF was a cretainly an unusual choice: a live-action sitcom about an ordinary family suddenly visited by an alien. He wasn't kindly or even cute, indeed, he was a crabby, cranky, and furry monster who was sarcastic, selfish, always scheming, and stuck in a suburban house with people who could not get rid of himbut in 1986, there was little else on television quite like it.

Making its eventual success even more remarkable was the difficult production. To accommodate the puppet, the set had to be raised four feet above the ground with trap doors cut into the stage. ALF was voiced and operated by puppeteer Paul Fusco, while 33-inch-tall actor Michu Meszaros wore a costume for full-body shots. The elaborate setup made "ALF" unusually time-consuming and expensive to produce, meaning the strange new sitcom needed viewers to embrace it quickly. Max Wright, who played family Father, Willie, was able to appreciate the series more fully years after it ended. "It doesn't matter what I felt or what the days were like," he said. "'ALF' brought people a lot of joy. They adored it."

But not everything seemed to work perfectly at the time, it was an exhausting show to produce, a 30-minute episode regularly took 20 to 25 hours to shoot. The cast spent entire days waiting while the puppet was repositioned, and the atmosphere on set reflected it. In a 2000 People magazine interview, the cast confirmed the set ran on constant, high tension. Max Wright, who played Willie Tanner, said of the show's end: "I was hugely eager to have it over with." For the shots that needed ALF’s full body on screen, walking or standing, the production used Michu Meszaros, a 33-inch-tall former Ringling Bros. circus performer from Hungary, uncredited in the role. Meszaros died in 2016 at 76. "It was a technical nightmare," Anne Schedeen, who played Kate and passed away in June 2026, told People in a 2000 interview. "Extremely slow, hot, and tedious. If you had a scene with ALF, it took centuries." 

The production was a grind unlike anything else on network television in the 1980s. ALF was an elaborate puppet operated primarily by creator Paul Fusco from beneath the set. Fusco controlled the mouth and right arm, Lisa Buckley operated the left arm, and Bob Fappiano ran the facial movements by radio control. The set itself was built on a platform raised four feet off the ground, with trap doors cut at many points so ALF could pop up almost anywhere.

Curiously, "ALF" became a hit, with NBC adding two extra episodes to Season 1 and quickly renewing it for a second season. Although the character was popular with kids, puppeteer Paul Fusco told The Tampa Tribune that the show's appeal extended to all ages. "Sure, children like the character, but there are jokes that go right over their heads," he said. Fusco added of ALF, "He says things we're all thinking but never have the nerve to say. He can get away with it because he's an alien." 

Co-created by Fusco and Tom Patchett, debuted to strong numbers and climbed from there. By its second season it was the 10th most-watched show on US television. It won the 1987 People's Choice Award for Favorite New TV Comedy Program and Favorite Show at the 1988 Kids' Choice Awards. The franchise machine followed immediately: a Saturday morning cartoon, ALF: The Animated Series, then a second animated spin-off, ALF Tales, and ALF's face on seemingly everything a store could stock. For about three years he was everywhere. 

The fourth season's final episode, "Consider Me Gone," originally aired on March 24, 1990. In it, the Alien Task Force, the military unit that spent four seasons hunting him, finally closes in. The series ends with ALF captured and the story unresolved. Fade to black. It was supposed to be continuation, not an ending, NBC had given the continuation for a fifth season, but then, the network withdrew its support, and the show was canceled with ALF in the hands of the government and no explanation coming. Six years later, ABC produced a TV movie called Project: ALF that seemed to be the continuation we expected but none of the original Tanner family cast appeared in it. 

The franchise kept trying. In 2004, TV Land gave the character his own talk show, ALF’s Hit Talk Show, with Ed McMahon as his sidekick, which is exactly what it sounds like. In August 2018, Warner Bros. announced a reboot but it was canceled three months later. The original four seasons have quietly migrated across every streaming platform that will have them just like any other sitcom has done so far, and believe it or not, the show still as popular as it was 40 years ago, thanks to streaming on different platforms such as Prime Video and Peacock, and free on Tubi, Plex, and The Roku Channel.

In summary, ALF was a weirdo, expensive, exhausting production that ran on the talent of one puppeteer and the patience of a cast that did not always have much patience left. It turn a furry creature into a stardom pop culture icon, despite the convivence on the set was awful, someway somehow the rating were high and real, but 40 years later we still watch the re-runs and keep talking about it.

Especial mention to the original cast we lost, John LaMotta & Liz Sheridan who played the nosy neighbours the Ochmonek both already died, Max Wright, who played Willie Tanner for all four seasons, died on June 26, 2019, at 75, of lymphoma. Anne Schedeen who played Kate Tanner for all four seasons, died on June 14, 2026 at 77.  Benji Gregory, who played the youngest Tanner, Brian, died on June 13, 2024, at 46, in Peoria, Arizona. The Maricopa County Medical Examiner ruled the death accidental, caused by hepatic cirrhosis and heat exposure. He was found with his service dog. And finally Michu Meszaros, the man inside the suit, died on June 12, 2016, at 76.

Rocktrospectiva: Pet Shop Boys' Top Ten Single "Suburbia" Turns 40

Released on 22 September 1986 "Suburbia" was a song by English synth-pop duo Pet Shop Boys from their debut album, Please. It was re-recorded with producer Julian Mendelsohn for release as the fourth single from the album. Peaking at number eight on the UK Singles Chart, "Suburbia" was the band's second top 10 hit after "West End Girls", and in their view it saved them from becoming a one-hit wonder.

The song's primary inspiration was the 1983 Penelope Spheeris film Suburbia, and its depiction of violence and squalor in the suburbs of Los Angeles. The recent events of the Brixton riots of 1981 and of 1985 were another influence. The lyrics convey the boredom of suburbia ("I only wanted something else to do but hang around") and the underlying tension among disaffected youth. The music is punctuated by sounds of suburban violence, riots, and smashing glass, along with barking dogs—a motif derived from scenes in Spheeris's film.

"Suburbia" was written in 1985 at Terminal Studios in London. Chris Lowe composed the music; according to him, the bassline was inspired by Madonna's hit song of that time, "Into the Groove". Neil Tennant wrote the lyrics afterwards. They added car crash samples from an Emulator and riot noises from a film. The duo did not have time to rework the track during the 10-week recording session for Please, and the album version is essentially a polished version of their demo.

A completely new version was made for the single, using barking dogs recorded at Battersea Dogs & Cats Home, audio of riots obtained from the BBC, and real breaking glass. Julian Mendelsohn brought in Fairlight programmer Andy Richards, who created a horn section sound with the synth line. Gary Barnacle played saxophone on the track. The single version is an edit of a longer piece called "Suburbia (The Full Horror)", which includes a spoken word segment with the refrain, "Suburbia, where the suburbs met utopia…", and ends in a series of explosions.

Pet Shop Boys had thought that their career might be on a downward trajectory when "Love Comes Quickly", the follow-up single to their number one hit "West End Girls", only reached 19 on the UK Singles Chart, but "Suburbia" alleviated those concerns. 

"Suburbia" was released on 22 September 1986. It spent four weeks in the top 10 of the UK Singles Chart, with two weeks at its peak position of number eight. The duo promoted the single heavily in Europe, where it received widespread radio airplay. In West Germany, "Suburbia" was in the top 10 for nine weeks from 10 November 1986 to 12 January 1987; its peak position was number two, which it held for four weeks. The song was also a top 10 hit in Belgium, the Netherlands, Spain, Ireland, Switzerland, New Zealand, Sweden, and Austria.

The B-side of the 7-inch single had Lowe's first lead vocal appearance, "Paninaro". A 7-inch EP in a double pack sleeve, limited to 25,000 copies, came with the standard single on one disc and a Shep Pettibone remix of "Love Comes Quickly" backed with "Jack the Lad" and the short edit "Suburbia Part 2" on the other. "Suburbia (The Full Horror)" was released as a 12-inch single and is also on Disco and the reissue Please: Further Listening 1984–1986.

The 7-inch version of "Suburbia" has been included on the compilation albums Discography: The Complete Singles Collection, Ultimate, and Smash: The Singles 1985–2020. PopArt: The Hits includes the "Video Mix" from the music video, which has an intro featuring the spoken word refrain.

Two remixes of "Suburbia" by Arthur Baker, the "Club Vocal Mix" and the "Dub Mix", were originally used on a promotional 12-inch EP. In 2023, both remixes were released by Pet Shop Boys as digital downloads, and the "Club Vocal Mix" was included on Arthur Baker: The Classic Dance Remixes from Baker's Dance Masters series.

The sleeves for the single were designed by Mark Farrow with photos by Eric Watson. The standard 7-inch single (pictured) has a motion-blurred image of Tennant holding Lowe in a headlock. The main 12-inch single has a selenium-toned portrait of Lowe wearing a striped Poshboy shirt and a pair of Issey Miyake shutter sunglasses. Farrow won a Design and Art Direction silver award for the 12-inch sleeve, and Watson's portrait of Lowe is in the Photographs Collection of the National Portrait Gallery, London.

The video was directed by Eric Watson and features footage of the duo in a Los Angeles suburb, while they were there for that year's MTV Video Music Awards, and a contrasting image of British suburbia, filmed in Kingston-upon-Thames, a suburb of south-west London. It opens with the barking dog motif in an extended "Video Mix" of the song, and dogs appear throughout. Tennant and Lowe are shown walking in the streets among the residents and sitting on a sofa in a house full of unpacked boxes, which represent sudden wealth and the acquisition of things that haven't been used, according to Watson.

Suburbia Track List: 

7-inch: Parlophone / R 6140 (UK)
 
1. Suburbia
2. Paninaro
  
2×7-inch: Parlophone / RD 6140 (UK)
 
1. "Suburbia" 
2.  "Paninaro" 
3.  "Love Comes Quickly" [Shep Pettibone Mastermix] (Early Fade) 
4.  "Jack the Lad" 
5.  "Suburbia Pt. Two" 
 
MC: Parlophone / TC R 6140 (UK)
 
1. "Suburbia" 
2.  "Paninaro" 
3.  "Jack the Lad" 
4.  "Love Comes Quickly" [Shep Pettibone Mastermix]
 
MC: Parlophone / TR 6140 (UK)
 
1. "Suburbia" (The Full Horror) 
2.  "Paninaro"
3.  "Jack the Lad" 
4.  "Love Comes Quickly" [Shep Pettibone Mastermix] (Even Earlier Fade) 
 
12-inch: Parlophone / 12 R 6140 (UK)
 
1. "Suburbia" (The Full Horror) 
2.  "Paninaro" 
3.  "Jack the Lad" 
 
12-inch: EMI America / V-19226 (US)
 
1.  "Suburbia" (The Full Horror)
2.  "Suburbia" (7-inch version) 
3.  "Jack the Lad"

domingo, septiembre 20, 2026

New Music: Ask For Water

           

Matt Berninger, the leader and voice of The National, has released his new EP, Type It Up, digitallya couple of days ago through Book/Concord Records. The collection features three original songs and two covers, with a vinyl edition available on December 4, including a bonus acoustic live recording. The lead track, "Ask For Water," has an accompanying music video directed by Berninger's collaborator, Chris Sgroi. This EP follows Berninger’s critically acclaimed album Get Sunk, released last year.

sábado, septiembre 19, 2026

Rocktrospectiva: Jamiroquai's Breakthrough Album "Travelling Without Moving" Turns 30

Released on 28 August in Japan and then on 9 September in the UK 1996, "Travelling Without Moving" was the third studio album by English funk and acid jazz band Jamiroquai. Front-man Jay Kay intended for the album to have a more universal style, revolving around "cars, life and love". Critics have generally praised the album for being more focused and refined than the band's previous work, while others panned its lyrics and found the album too derivative. Its visual concept of sports cars received backlash from press, as it contradicted Kay's professed environmental beliefs. The album spawned the singles "Virtual Insanity", "Cosmic Girl", Alright", & "High Times"

The album was Jamiroquai's American breakthrough. It marked the band's first entry in the US Billboard 200 chart at number 24. In the UK, it peaked at number two. Its singles "Virtual Insanity", "Cosmic Girl" and "Alright" entered the top-ten in the UK singles chart. In the US, "Alright" entered the Billboard Hot 100 at number 78, while "Cosmic Girl" and "High Times" were in the top-ten in the Dance Club Songs charts. The music video for "Virtual Insanity" contributed to the album's success. Travelling Without Moving sold over 8 million copies worldwide.

After experiencing a stressful period while recording The Return of the Space Cowboy, Kay sought to make the next album more focused and universal. He also did not want to remain as a semi-underground act "that stuck to its little niche and sold one and a half million albums every time. I wanted to breakout and be something bigger, more international." Speaking of the album's general mood, Kay said: "With Emergency on Planet Earth, people weren't cheering in the streets or anything, and The Return of the Space Cowboy was quite sad. With [Travelling Without Moving], I decided it was important to show people we could enjoy ourselves. That's why it's cars, life and love". Kay booked the band into the residential studio Great Linford Manor so that they could work at their own pace.

The first song composed for the album was "Virtual Insanity". It was recorded as a rough demo and was not fully realised until the album's final recording stage. The song had a piano opening with "buoyant keyboards and soaring strings." Its lyrics are about the prevalence of technology and the replication and simulation of life. The second track "Cosmic Girl" was a disco song with "spacey" lyrics, based on rhythmic "looped beats" "to give it an off-center, otherworldly" sound. For the next track "Use The Force" the group channels "that real vintage football vibe", filled with horns, wah-wah guitar and a rippling barrage of Latin percussion". The fourth track "Everyday" was described "as seductive as any Maxwell ballad" and has "over aching strings and a come-hither bass line". The fifth song, "Alright", was described as an "easy-going disco-funk" track.

"High Times", was a song with "razor-edged funky guitars", references Kay's drug use during the recording of The Return of the Space Cowboy: "'High Times' was admitting the truth of the matter, of where I'd been and how lucky I was to be coming out of the other side." This is followed by the reggae track, "Drifting Along". The tracks "Didjerama" and "Didjital Vibrations" are instrumental tracks containing ambient didgeridoo. The title track is next on the album and samples Kay's purple Lamborghini in the intro. It features a "driving groove" and after two minutes, it "transitions into a bassline-paced, heavy workout". The album ended with the dance track, "You Are My Love", and the soul ballad, "Spend a Lifetime".

After the album was released, Kay received backlash from the press for his interest in sports cars, because it contradicted his environmental beliefs on Emergency on Planet Earth. The album's visual concept revolved around sports cars, with the Ferrari logo being recreated within the band's Buffalo Man logo. Paper magazine also pointed out this contradiction with the music video for "Alright", writing "when Kay rolls up in his purple Lamborghini to party on the dance floor with a bevy of bodacious babes, concerns about seals, whales, rain forests and the revolution are checked at the door." He said that he was hesitant to release the album as he expected the backlash, but added "Just because I love to drive a fast car, that doesn't mean I believe in chopping trees down. It doesn't mean I think they should build more roads for my car".

Critics have generally praised Travelling Without Moving for its focused and refined sound, as it deepened the acid-jazz and soul styles that were informed from their first two albums. "Travelling was essentially about the metaphysics of having a good time... Jamiroquai have a thousand musical tricks up their sleeves; edgy horns laced with jazz intricacies, energetic bass lines and disco rhythms, and a wider variety of tempos than usual in British funk."
 
Travelling Without Moving Track List:
 
1. Virtual Insanity
2. Cosmic Girl
3. Use The Force
4. Everyday 
5. Alright
6. High Times
7. Drifting Along
8. Didjerama (Instrumental)
9. Didjital Vibrations (Instrumental)
10. Travelling Without Moving
11. You Are My Love
12. Speed A Lifetime
13. Do You Know Where You're Coming From (bonus track)
14. Funktion (Hidden track)

Rocktrospectiva: The Relevant And Brilliant "The Ultra Vivid Lament" Turns 5

Released on 10 September 2021 "The Ultra Vivid Lament" was the 14th., studio album by Welsh alternative rock band Manic Street Preachers. Preceded by two supporting singles, "Orwellian" and "The Secret He Had Missed", the album features contributions from Julia Cumming and Mark Lanegan. It was received well by critics, and debuted at number one on the UK Albums Chart.

The album represented a departure from their 2018 effort Resistance Is Futile. The album announcement made clear that the new record would avoid tackling the COVID-19 pandemic, with Bradfield clearly stating that doing that would just "add insult to injury". Furthermore, about writing in lockdown, James said: "The escape was literally checking to see that the world around you wasn't crumbling when you wrote a song. Lockdown had the element of a waking dream for a lot of people, especially the first one last year. Writing music was a way of pinching myself to say, 'There's still a part of life that works in the same way that it did, albeit in a strange way'". Wire shared that he coped well with this issue: "I'm a very patient and lonely person," he admits. "I can deal with isolation and have always embraced utter boredom quite easily. You see the tragedy and agony unfolding around you and it feels a bit glib to say something like that".

Another event that affected the process of making the album was the death of both of Wire's parents. Having been sick during the making of Resistance Is Futile, his father died in the summer after its release. Wire said: "Having the parents that I had is probably the greatest thing that ever happened in my life. I really liked them; I didn't just love them. I liked talking to them, I'd speak to them every day. They were highly engaged, important, funny people." He credited them with his best traits: "Rage from my dad, he was a mental and physical force. And from my mum, kindness and femininity, an appreciation of aesthetic and the bliss of just sitting down and watching TV together".

While Bradfield learned to play piano during the lockdown, Wire's approach to the lyrical side changed, becoming more introspective and personal: "The lockdown pushed me into facing my own horrors, rather than the horrors outside." The songs that emerged from those sessions, which make up the album "are internal galaxies, of exploration within myself. I think they're the most personal lyrics I've ever written." Also having to confront the loss of his parents, it "allowed me to go deep into myself", the loss "overhung the lyrics". Musically, Wire stated: "I think it's got traces of Lifeblood and Futurology, but I think it is a step into a new dimension. It's got the high modernism of Futurology and the underplayed, glacial power of Lifeblood. It's very much framed within ABBA's 'Waterloo' and Echo & the Bunnymen's 'Bring On the Dancing Horses'." He concluded: "I'm not going to pretend that we're reinventing the wheel in terms of modernity, but it's definitely framed within that era of time." 

The band revealed that there were not many songs to pick from for the new record. Wire reflected: "If it didn't feel like it could be on the album, we were either dumping it or stowing it away so there's three or four. There's one James wrote called 'Eternalised' that he didn't think was up to the mark. The two extra tracks on the Japanese version of the album are really good actually. 'My Drowning World' in particular. There's one I wrote called 'Time of Reckoning' which didn't make the cut either. But we weren't writing masses and masses".

The Ultra Vivid Lament received generally positive reviews from critics. Although some medias said the record has its flaws – the odd misguided lyric, the occasional slip into by-numbers pop melodies – but there's plenty of space for those mistakes to be made... In the end, they are minor bumps in a record of intense beauty, among the best of the Manics' records this century". Thanks to the brilliance of The Ultra Vivid Lament, Manic Street Preachers remain as relevant as ever. They still matter.
 
The Ultra Vivid Lament Track List:  
 
1. Still Snowing In Sapporo
2. Orwellian
3. The Secret He Had Missed (featuring Julia Cumming)
4. Quest For Ancient Colour
5. Don't Let The Night Divide Us
6. Diapause
7. Complicated Illusions
8. Into The Waves Of Love
9. Blank Diary Entry (featuring Mark Lanegan)
10. Happy Bored Alone
11. Afterending

Rocktrospectiva: The Renewed And Wonderful "Roll The Bones" Turns 35

Released on 3 September 1991, "Roll The Bones" was the 14th., studio album by the Canadian rock band Rush. Produced by the band and Rupert Hine, the album continued the shift away from the keyboard-heavy arrangements of the 1980s toward a more guitar-oriented sound, a transition that had begun with their previous release, Presto (1989). The sessions, primarily held at Le Studio in Morin-Heights, Quebec, saw the band embracing funk and jazz influences, most notably in the title track's inclusion of a rap segment performed by bassist Geddy Lee. The album spawned the singles "Roll The Bones", "Dreamliner", & "Ghost Of A Chance."

Lyrically, the album explores themes of chance, fate, and the weight of circumstances, inspired by drummer Neil Peart's interest in the role of fortune in human life. The title is a slang term for rolling dice, a motif reflected in the Juno Award-winning cover art designed by Hugh Syme. 

In June 1990, Rush finished touring their previous album, Presto (1989). They purposely kept the tour short, which Lee said was due to the group feeling overcautious about touring the album. However, it became an enjoyable and positive experience for them, and by the time it finished, "we were so charged up we wanted to keep on playing." This renewed energy in the band carried through to the writing and recording sessions for Roll the Bones. They then took a break, but decided to cut it short in order to start work on new material for a follow-up record.

As with Presto, Rush started work by retreating to Chalet Studios, a remote studio in Claremont, Ontario. They stayed for 2+1⁄2 months, with Lee and Lifeson working on the music while Peart wrote lyrics. The three would reconvene in the evenings, when Peart would hear what the other two had come up with during the day. Lee had developed an interest in bird watching, and ensured some broken bird feeders by the studio window were repaired and filled with feed, which he enjoyed observing while writing. The album's liner notes include a thanks to birds.

The demos were recorded using an eight-track TASCAM 388 recorder and an integrated mixer hooked up to a sequencer running C-Lab Notator software. Lee set up simple drum patterns on the computer for Lifeson and himself to work from. It took between nine and ten weeks to write and rehearse for the album, and eight weeks to record it.

The album displays the continued change in the group's sound which started on Presto, with a reduction in keyboards and a return to guitar-driven songs. Lee said the change was "a backlash against the more computer-style of writing" which had dominated their sound through the 1980s, and the band now chose to use synthesizers and sequencers as an "orchestration device", rather than a key component in the songwriting. The writing sessions for Presto had involved just bass, guitar, and vocals, which contributed to the style shift, and the group continued with this approach for Roll the Bones. 

The album contains a running lyrical theme concerning the element of chance in different aspects of life, which Peart had devised while experimenting with lyrics. The first lyric that he wrote for the album was used on "Face Up", specifically: "Turn it up – or turn that wild card down." He recalled sitting on his cottage floor "with a pile of papers around me" of notes from the previous two years, mostly consisting of phrases written on tour or during "that dreamlike moment before sleep." He started to experiment with the phrases "turn it up" and "turn it down", which led to the idea of turning a card down and a wild card, and applied them to events that a person may face.

Roll the Bones was recorded at Le Studio in Morin-Heights, Quebec, and McClear Place in Toronto, between February and May 1991. The band resumed working with co-producer Rupert Hine and engineer Stephen Tayler, both of whom had worked on Presto. The vocals were recorded in England. Rush wanted to continue to work with Hine due to his accomplished songwriting, the feedback he gave their songs and his ability to allow the group to achieve a looser sound than previous albums. The bass and drum parts were recorded in four days, and the guitars in eight. Lee was amazed at how Peart had learned his parts for an entire song prior to recording it, and that "Nine times out of 10 it took only one pass for him to nail it." 

The album opener "Dreamline" had references to astronomy, which Peart was inspired by after bicycling a hundred miles from Cincinnati to Columbus between two gigs on the Presto tour. Upon arrival, he watched the popular science series Nova on PBS, and a program on satellite imaging captured his imagination. "Bravado" dealed with how one should not give up after failing, as opposed to ending life by suicide, which Peart had addressed in "The Pass" on Presto. "Roll the Bones" was named after a science fiction story by Fritz Leiber that Peart had read some 15 years prior, titled "Gonna Roll the Bones". Though the story had no influence on the music or its message, Peart took a liking to the particular phrase and had kept it in his notebook. "Where's My Thing?" was the band's first instrumental since "YYZ" from Moving Pictures (1981). It has the humorous subtitle of "Part IV, 'Gangster of Boats' Trilogy", referring to an inside joke where Lee and Lifeson threatened to name a Rush album Gangster of Boats if Peart ever had difficulty coming up with a title, as well as the joke that it's the fourth part of a trilogy. 

Then was "Heresy" is a more straightforward rock song with a rhythm that Lee described as a "heart beat pulse" that reflected some of Peart's lyrical ideas for it. Peart was inspired by the events surrounding the fall of Communism in eastern Europe in the early 1990s and people regaining their freedoms. "Ghost of a Chance" features Lifeson playing a PRS guitar, and he rated his solo on the track as one of his best. Lyrically the song is based on the compromises that one makes in a relationship to make it work. Peart was particularly proud of his words for it, as he had written a love song that avoided the clichés of more typical, sentimental love song lyrics. "You Bet Your Life", was the most difficult to record, partly due to getting a balance in the chorus between the vocals and the vocal melody. It was also hard to mix, and Lee "never felt confident that we actually nailed [it]."

Critical reception was positive praising the band renewed musical energy and melodic focus althought some critics were polarised by the rap section, also called the album as one of the most darkest in Rush's career, highlighting "Dreamline" and the finest tracks such as "Bravado", The Big Wheel," & "Heresy" for their wonderful melodies and arrangements.
 
Roll The Bones Track List:
 
1. Dreamline
2. Bravado
3. Roll The Bones
4. Face Up
5. Where's My Thing? (Part IV, Gangster Of Boats Trilogy) instrumental
6. The Big Wheel
7. Heresy
8. Ghost Of A Chance
9. Neurotica
10. You Bet Your Life 

Film: David Lynch's Masterpiece "Blue Velvet" Turns 40

 
Released on 12 September in Toronto and then on 19 September in the USA in 1986, "Blue Velvet" the legendary neo-noir mystery thriller film written and directed by David Lynch is turning 40. The film stars Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, and Laura Dern, and is named after the 1951 song of the same name. The film follows a college student (MacLachlan) who returns to his hometown and discovers a severed human ear in a field, which leads him to uncover a criminal conspiracy involving a troubled nightclub singer (Rossellini).

Lynch's screenplay of Blue Velvet had been passed around multiple times in the late 1970s and early 1980s, with several major studios declining it due to its strong sexual and violent content. After the failure of his 1984 film Dune, Lynch made attempts at developing a more "personal story", somewhat characteristic of the surrealist style displayed in his first film Eraserhead (1977). The independent studio De Laurentiis Entertainment Group, owned at the time by Italian film producer Dino De Laurentiis, agreed to finance and produce the film.

The film cemented David Lynch's status as a visionary modern filmmaker and earned him his second Oscar nomination. The film achieved cult classic status, marked Dennis Hopper's return to the screen, and revitalized Isabella Rossellini's career as a dramatic actress, moving her beyond her work as a model and cosmetics spokesperson. 

Initially, however, expectations were low; Lynch was still reeling from the failure of the epic fantasy "Dune" (which, incidentally, is currently being remade). Producer De Laurentiis was reluctant to finance another Lynch film, but after reading the script, he decided to give the director another chance, setting in motion the complex, labyrinthine production of this cult classic. 

The film begins on a sweet, innocent note: elegant opening credits set against a blue velvet curtain, accompanied by the music of the great Angelo Badalamenti, followed by a shot of a blue sky and the first images—firefighters waving and a man suffering a seizure while watering his garden. The plot kicks off one morning when Jeffrey Beaumont—played by Kyle MacLachlan, one of Lynch's regular collaborators—makes a gruesome discovery after visiting his hospitalized father. He finds a human ear in the bushes and places it in a paper bag to take to the police station for analysis. 

This sets off a chain of events revealing a series of bizarre occurrences in Lumberton, a rural North Carolina town—a setting that perhaps served as inspiration for Lynch's later work on the series "Twin Peaks". The film is brilliant; it blends elements of 1950s film noir, exploits the femme fatale archetype, presents a powerful and sinister villain, offers Lynch's twisted vision, and provides a voyeuristic perspective. The scene where Vallens is raped by Frank Booth is deeply disturbing—not to mention the wild, macabre joyride where Jeffrey is forcibly taken along by Frank. Just before that sequence, they perform "In Dreams"—an iconic Orbison track that found a new lease on life through the film. 

Ultimately, the movie became so essential to the 1980s that it is a staple of any discussion regarding influential films of that era. Its strangeness is matched only by the curiosity of my first viewing experience: a Thursday night back in 1992 on broadcast television, completely uncensored—something that would be very hard to find today, especially given the lackluster state of broadcast TV now. 

Blue Velvet initially received a divided critical response,with many stating that its explicit content served little artistic purpose. Nevertheless, the film earned Lynch his second nomination for the Academy Award for Best Director, and received the year's Best Film and Best Director prizes from the National Society of Film Critics. It came to achieve cult status. As an example of a director casting against the norm, it was credited for revitalizing Hopper's career and for providing Rossellini with a dramatic outlet beyond her previous work as a fashion model and a cosmetics spokeswoman.

In the years since, the film has been re-evaluated, and is widely regarded as one of Lynch's masterpieces. and is frequently cited as one of the greatest films of the 1980s. Publications including Sight and Sound, Time, Entertainment Weekly and BBC Magazine have ranked it among the greatest American films of all time. In 2008, it was chosen by the American Film Institute as one of the ten greatest American mystery films.

viernes, septiembre 18, 2026

Rocktrospectiva: The Mourning And Poignant "Bouncing Off The Satellites" Turns 40

Released on 8 September 1986 "Bouncing Off The Satellites" was the 4th., studio album by the US new wave band the B-52s. It was recorded in July 1985 and was produced by Tony Mansfield. It is the band's first release since the death of guitarist Ricky Wilson, who died of AIDS after most of the work on the album was completed, but a year prior to its release. The band had gone on hiatus by the time Bouncing Off the Satellites was released, and it took three years for the band to recover from Wilson's death and release their next studio album. The album spawned the singles "The Girl From Ipanema Goes To Greenland", "Summer Of Love" & "Gig." 

Bouncing Off the Satellites was recorded in July 1985. According to Kate Pierson, "Wig" was written and recorded after the band's label, Warner Bros., asked them to write a hit song for the album. The band had the title in mind for years and devised the song via a jam session. A backwards message was deliberately inserted into the song "Detour Thru Your Mind": in the last 30 seconds of the track, Fred Schneider says, "I buried my parakeet in the backyard. Oh no, you're playing the record backwards. Watch out, you might ruin your needle."

Unfortunately during the recording, guitarist Ricky Wilson was suffering from AIDS. Keith Strickland was the only bandmate who was informed of Wilson's illness. Strickland later stated that Wilson "was very protective, particularly of Cindy and his family", due to the public's misconceptions about AIDS.

On October 12, 1985, Wilson succumbed to the illness, at the age of 32. Pierson has stated that Wilson worked on the album in its entirety prior to his death, and that it was completed. Strickland later recalled, "After Ricky Wilson died, we felt that the band was finished. We couldn't imagine continuing without him. So, we each went our separate ways." The band took a hiatus from their musical careers until they reformed in 1988 for the recording of their next studio album, Cosmic Thing.

The album was released on September 8, 1986. Devastated at Wilson's death, the band did not tour and were involved in minimal promotion for the album. However, the band did produce a music video for "Girl from Ipanema Goes to Greenland", which Schneider has stated was both "bittersweet" and the best video they ever made.

Pierson later stated, "Warner Bros. figured since we weren't touring after Ricky died that they would just not promote the record. We all went through so many changes—especially without touring, and the record just dropped like a stone—and we all dealt with our grief." Pierson also theorized that the label did not promote the album because the band stated they had no intention of hiring a new guitar player to replace Wilson, thus the label assumed the band would not continue on without him. However, on August 5, 1987, the band appeared on the British ITV show Hold Tight!, miming to the song "Wig", with Strickland now on guitar and Ralph Carney credited on-screen for drums. The first side is entirely delightful, filled with such classic B-52 silliness as 'Wig,' 'Detour Thru Your Mind' and 'Girl from Ipanema Goes to Greenland,' but the flip is overly smooth, limp and uninspired, while Summer of Love' and 'She Brakes for Rainbows' redeem anybody's '60s retro,

Despite the relative lack of promotion, "Summer of Love" was released as the lead single and initially received a considerable amount of airplay from some radio stations, managing to peak at No. 3 on the Billboard Dance Club Songs chart. Pierson later recalled that Warner Bros. employee Steve Baker had tried to get the label to promote the album in light of the single's success, to no avail. Subsequently, the album only reached No. 85 on the Billboard 200 chart.

Several critics stated: "Considering their loss, it's not surprising that the B-52's don't sound entirely focused throughout the record", adding that "There are so many musicians on the record that it winds up sounding too carefully considered the polar opposite of the loose, inspired fun of their early work." Others called the album "wistful" and "subdued", concluding that it is "the most subtle of the B-52s' albums, with the loss of Ricky Wilson adding to the album's poignancy."
 
Bouncing Off The Satellites Track List: 
 
1. Summer Of Love
2. Girl From Ipanema Goes To Greenland 
3. Housework
4. Detour Thru Your Mind
5. Wig
6. Them For A Nude Beach
7. Ain't It A Shame
8. Juicy Jungle
9. Communicate
10. She Breaks For Rainbows

Rocktrospectiva: Dire Straits' Final Studio Album "On Every Street" Turns 35

Released on 9 September 1991 "On Every Street" was the 6th., and final studio album by British rock band Dire Straits. It was the follow-up to the band's massively successful album Brothers in Arms, On Every Street reached the top of the UK Albums Chart and spawned the singles "Calling Elvis", "Heavy Fuel", "On Every Street", "The Bug", "You And Your Firend" & "Ticket To Heaven."

On Every Street was released more than six years after the band's previous album, Brothers in Arms. On Every Street reached number 12 in the United States and number one in the United Kingdom and numerous European countries. The album was produced by Mark Knopfler and Dire Straits. Curiously, the band was about to released a record for what turned out to be the last time. 

By this time, the band consisted of Knopfler, John Illsley, Alan Clark and Guy Fletcher, and the album features session musicians including Chris White, Paul Franklin, Phil Palmer, Danny Cummings and American drummer Jeff Porcaro from Toto, who was asked to play the band's subsequent world tour, although he declined because of other commitments, both with Toto and as a studio musician.

Dire Straits promoted the album with a 14-month world tour which comprised 216 shows in Europe, North America, and Australia, sold 7.1 million tickets, and lasted from August 1991 to October 1992. This was documented in the group's second live album, On the Night, which was recorded in May 1992 at Les Arenes in Nîmes, France, and at Feijenoord Stadion in Rotterdam, The Netherlands, and was released in May 1993. Dire Straits disbanded permanently in 1995, after which Mark Knopfler pursued a solo career.

The LP arrived all of six years and four months after their record-smashing, multi-million-seller of 1985, Brothers In Arms. It was that gruelling itinerary that made Mark Knopfler realise once and for all that the world of stadia shows, giant arenas and massive touring entourages and rigs was no longer one he wanted to live in.

As we know, Dire Straits never issued a formal statement to announce that they were splitting, but a strong clue had arrived with his 1990 splinter group the Notting Hillbillies, and their album Missing…Presumed Having A Good Time. By 1995, Knopfler was committed to his work outside of Dire Straits, and finally released his first non-soundtrack solo studio record, Golden Heart, a year later.

On Every Street produced a number of memorable songs, notably the lead single "Calling Elvis," one of many showcases for Mark's ever-nimble rock guitar lead lines. Three further releases from the album followed in the characteristically rocky "Heavy Fuel," the reflective title track, and the rock n' roll-flavored "The Bug." And perhaps some lesser-known gems such as "Fade To Black" and "You And Your Friend", the track "Iron Hand" relates to the Battle of Orgreave during the 1984–1985 UK miners' strike, with Knopfler remarking on how the police charge on horseback into the crowd of striking miners had reminded him of the savagery of medieval times.
 
On Every Street Track List:  
 
1. Calling Elvis
2. On Every Street
3. When It Comes To You
4. Fade To Black
5. The Bug
6. You And Your Friend
7. Heavy Fuel
8. Iron Hand
9. Ticket To Heaven
10. My Parties
11. Planet Of New Orleans
12. How Long