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.

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.

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"

lunes, septiembre 21, 2026

Rocktrospectiva: The Neo-Psychedelic "Express" Turns 40

 
Released on 15 September 1986 "Express" was the 2nd., studio album by English rock band Love and Rockets. It was an even greater departure from the band members' previous work as Bauhaus, the album's fusion of underground rock with pop stylings can be seen as an early example of alternative rock music, a genre that reached mainstream popularity in the early 1990s, the album spawned the singles "All In My Mind", "Kundalini Express" & "Yin and Yang (The Flowerpot Man)."

Back in 1985, the debut album from Love And Rockets The Seventh Dream of Teenage Heaven, showed a more diverse side of guitarist Daniel Ash, bassist David J. and drummer Kevin Haskins than had been on display in Bauhaus or Tones on Tail. They kept mixing psychedelia, pop and vintage glam on their second album.

From the opening notes of "It Could Be Sunshine," the band seemed tighter and more focused than on Seventh Dream. The song floated in and continues to build, finally being unleashed as they kick into high gear on the chorus. Chaotic guitars and David Bowie-inspired vocals shimmered atop the urgent rhythm. "Kundalini Express," the album's first single, follows and is a full-on T. Rex-inspired glam stomper, with a sexy, slithering guitar riff. The b-side included a cover of Pink Floyd's early classic "Lucifer Sam," showing off another of the band's influences. The first time we were really exposed to music, when we were of an age we could really appreciate it, and were like little sponges, was Bowie, T. Rex, the glam thing, but like the cream of the glam, as it were," explained David J. in a 2015 interview.

"All in My Mind," the second single from the album, was a haunting beauty of a pop song. The strong melody and catchy chorus are miles away from any Goth connections to their previous life. It's very much a pure '60s-influenced pop song set in the mid-'80s, but unlike so many records of the era, the production by John Rivers was more organic and sympathetic to the music instead of overshadowing at the time. It is probably that the single "Yin & Yan (The Flowerpot Man)" was inspired by the U.K. children's show The Flower Pot Men, another highlight on the record thanks to the acoustic guitar-driven rocker was the third single released from the album and remains one of the band's finest moments, since then Express became a huge favorite on college radio in the US, and cemented their reputation as one of the era's finest U.K. offerings.

Critics praised the album and considered  it rich in sonic details and the neo-psychedelic Express offers a listening experience like no other album – guitars spiral to dizzying heights from beds of sound, arrangements swirl, songs change and mutate.
 
Express Track List: 
 
1. It Could Be Shunshine
2. Kundalini Express
3. All In My Mind
4. Life In Laralay
5. Yin And Yang (The Flowerpot Man)
6. Love Me
7. All In My Mind (Acoustic)
8. An American Dream

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.

Rocktrospectiva: The Favorable And Confident "True Colors" Turns 40

 
Released on 14 September 1986, "True Colors" was the second studio album by American pop singer Cyndi Lauper. The album spawned several commercially successful singles as "True Colors", "Change of Heart", and "What's Going On" reached the top 20 of the Billboard Hot 100, with the first two charting within the top five. The album was produced by Lauper and Lennie Petze.

Upon its release, the album received generally positive reviews from music critics. The album earned Lauper several awards and accolades, including two nominations at the 29th Annual Grammy Awards. True Colors peaked at number four on the Billboard 200 chart. The album is Lauper's second best-selling release with around seven million copies worldwide.

By the end of 1985, Lauper was established as one of the best-selling artists in the world. Her first studio album She's So Unusual, was certified four times platinum by the Recording Industry Association of America and received a diamond certification in Canada for sales in excess of one million copies, making her the first singer to achieve such a feat at that time. According to Billboard magazine, the music industry was eyeing Lauper's next steps anxious to know if she could maintain the success of her debut.

Lauper said that she had initially planned for Rick Chertoff, who had produced She's So Unusual, to produce what would become her second studio album; however, the experience with him was problematic and she changed her mind, and she likewise refused to produce the album with Rob Hyman since he was affiliated with Chertoff. True Colors was then produced by her and Lennie Petze, with Lauper also composing most of the songs on the album. 

The title song, written by Billy Steinberg and Tom Kelly, has been covered by many other artists, and was used as the theme song for the 1988 Summer Olympics, the 2003 Rugby World Cup and for Kodak cameras and film. Over the years, the album tracks has been regarded as ambitious but in the other hand and in certain aspects date badly, like the highly reverberated and artificial sounding drums and keyboard which were really popular at the time, but there were a few remarkable tracks such as the intense and danceable "Change Of Heart."

True Colors received favorable reviews from music critics by praising it as a "winning effort" with "plenty of fun", others said, she breathes life into the songs, and slowly but surely the strengths of this LP begin to reveal themselves through the unorthodox structures and treatments, she felt and sounded more comfortable at any given moment on True Colors than she did on all of She's So Unusual".
 
True Colors Track List:  
 
1. Change Of Heart
2. Maybe He'll Know
3. Boy Blue
4. True Colors
5. Calm Inside The Storm 
6. What's Going On
7. Iko Iko
8. The Faraway Nearby
9. 911
10. One Track Mind

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)

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

Rocktrospectiva: The Rare And Intense "Test For Echo" Turns 30

Released on 10 September 1996 "Test For Echo" was the 16th., studio album by the Canadian rock band Rush. It was the final Rush album to be co-produced by Peter Collins. The band supported the album with a world tour in 1996 and 1997, after which they went on a five-year hiatus following the deaths of drummer Neil Peart's daughter and wife, and would not record again until 2001, the album spawned the singles "Test For Echo", "Driven" & "Half The World."

The title track reached No. 1 on the mainstream rock chart. The song "Driven" became a bass showcase for Geddy Lee during live performances, while "Resist" was rearranged as an acoustic song on the Vapor Trails and R30 tours. The band did not perform any tracks from the album on subsequent tours.

In May 1994, Rush finished their Counterparts Tour of the United States and Canada in support of the band's 15th album Counterparts (1993). The group then took a usual break in activity, but this went on to last 18 months as bass guitarist and vocalist Geddy Lee wanted to be at home for the first year of his daughter's life. With their free time, guitarist Alex Lifeson recorded his first solo album Victor and drummer/lyricist Neil Peart released a Buddy Rich tribute album Burning for Buddy and spent time on his technique, receiving formal instruction from the jazz drummer Freddie Gruber.

In October 1995, the band decided to start work on the next Rush album and, as with their previous three albums, retreated to Chalet Studios in Claremont, Ontario, to write and rehearse. Having been together for more than 20 years at this point, Lifeson questioned whether Test for Echo would be Rush's last album, and if they would tour behind it. He changed his mind when it was finished, as the group was already in talks about the next album and said, "We've got a lot of stuff in us yet." The first sessions were difficult for him, having had full control of Victor and the "same old" discussions with Lee as to what direction the new Rush album would be prior to writing. "Once I exorcised those ghosts, the following week we wrote five songs. We dove into it and it was very, very positive from then on".The band put up inspirational slogans on the studio wall, including "Individually we are a ass, together we are a genius" and "If you want something done right, just forget it". Lee and Lifeson completed almost six songs before they presented any of their work to Peart as they did not want to interrupt the flow of their productive writing. They had reserved the studio for around ten weeks, but the productive sessions resulted in the writing finishing three weeks early. Lifeson said the group were in particularly good spirits throughout the album's production and put it down to the break they had taken.

The band adopted its usual method of Lee and Lifeson working on the music with Peart working alone on the lyrics, but the music was written in a different way than before. In the past, the writing had Lee and Lifeson form songs by matching pieces of music to verses and choruses as they went and all three would listen to what was put down and exchange ideas to develop them further. This time, lyrics were matched with suitable sections of music, after which they were recorded and Lee and Lifeson would work on something else. As Peart wrote: "They didn't want to get bogged down in the 'jigsaw puzzle' of assembling whole songs, but rather keep the momentum going with a flow of fresh ideas." After a collection of songs were worked out, the group started to refine their individual parts. In November 1995, the group were faced with heavy snow at Chalet Studios which led into the North American blizzard of 1996 in early January. The snow continued through the recording of the album, which inspired the album's artwork.

The album was recorded from January to March 1996 at Bearsville Studios in Bearsville, New York. The studio was chosen because the band wanted to capture "more size" from Peart's drums and the facility was more suited to his kit. Additional recording took place at Reaction Studios in Toronto, where it snowed for 40 consecutive days. Test for Echo was the first time Rush worked with American engineers and mixers, having only worked with English or Australian personnel before. They chose the recording engineer Clif Norrell, a longtime fan of the band who once performed Rush cover songs in his own group.

The album opened with "Test for Echo" features lyrical contributions from Pye Dubois who had also written lyrics for three Rush songs prior. Lee said the words reflect the group's current situation at the time. Lifeson plays a Les Paul Custom guitar and described the song as "pure Rush". "Driven" was written entirely on Lee's bass guitar and features three separate bass tracks. Lifeson said that Peart played "a little bit back on the beat" which gave the song a "heavier character" and caused Lee and himself to adjust their parts to fit his drums. "Half the World" features Lifeson playing a 10-string mandola which he had played to get a feel for the instrument, but found it changed the song's personality completely. He presented it to Lee who expressed initial doubts as it displayed an unusual texture, but grew to like it.

"Time and Motion" originated from a set of lyrics that Peart had written, after which Lee and Lifeson worked on music for it which developed quickly. They wanted to dramatise the first lyrical phrase by incorporating major chords, but Lee said a first version of the track was put together some years prior, but never used. Lee described "Dog Years" as "a bit punky". "Limbo" is an instrumental track that was pieced together from different bits of ideas that the group had sketched out but remained unused. Lifeson picked "Resist" as one of his favourite tracks, and among the best Rush had ever recorded.

Critics praised the album by saying that Rush has rarely played better in the past ten years than they have on Test for Echo". In retrospective, and according to Lee; the album has been considered a strange record in a sense. It doesn’t really have a defined direction. I kind of felt like we were a bit burnt creatively. It was a creative low time for us.
 
Test For Echo Track List:
 
1. Test For Echo
2. Driven
3. Half The World
4. The Color Of Right
5. Time And Motion
6. Totem
7. Dog Years
8. Virtuality
9. Resist
10. Limbo (Instrumental)
11. Carve Away The Stone 

In Memoriam: The Broadway Composer And Barely Breathing Composer "Duncan Sheik" Dies Aged 56

The Grammy- and Tony-winning musician and composer Duncan Sheik has passed away at age 56, his mother has confirmed. Sheik, perhaps was best known for his 1996 hit "Barely Breathing," had been hospitalized in critical condition earlier this week, according to a message posted to his official Instagram page on Wednesday. The post did not elaborate on his medical condition, but said Sheik was stable and receiving treatment.

On Friday, The New York Times reported that Sheik's mother Suzanne Sheik had said her son died of organ failure, but the outlet later reported that she identified the cause of death as cardiac arrest. He died on Thursday while hospitalized in New York City, she said.

Another message posted to Sheik's Instagram page on Friday also confirmed his death:

"The world has a lost a singular talent, and deeply influential voice in music and theater,” reads the caption. “From his Grammy-nominated hit ‘Barely Breathing’ to his groundbreaking, Tony and Grammy Award-winning work on Spring Awakening, Duncan’s artistry touched many and leaves an indelible mark on the cultural landscape.

“Duncan was a father, husband, son, brother, and friend. He will be remembered for his sensitivity, wit, inteligence, and depth of spirit he brought to those who knew and loved him."

Growing up between South Carolina and New Jersey, Sheik learned guitar as a child and got his first synthesizer when he was 12. He was heavily influenced by Talk Talk, David Sylvian and Nick Drake. His self-titled debut album was released in 1996 and Rolling Stone gave it a four-star review, calling it "a defiant debut — beautiful and benevolent of spirit."

The single "Barely Breathing," from that album, spent 55 weeks on the Billboard Hot 100, peaking at No. 16. It was nominated for best pop vocal performance at the Grammy Awards in 1998.

Sometime during the production of his third album, Sheik teamed up with playwright Steven Sater to compose the music for "Spring Awakening," a musical that opened on Broadway in 2006. "Spring Awakening" went on to win eight Tony Awards, including for best musical, as well as the Grammy for best musical show album.

New Music: Take Me By The Hand

           

Taken from Echo And The Bunnymen's new album "Apples For Isaac" out today, "Take Me By The Hand" is the band's latest single that stick again with that legendary post punk vibe from the 80's, the band's new album had the collaboration of the legendary Clem Burke from Blondi who managed to work in 10 of the 11 tracks before his demise last year, the track was produced by Ian McCulloch, Alan Moulder & Andrea Wright.

New Music: Western/Martian Skyline

           

           

The Church have announced their 28th studio album — a stat that would close out most careers and is, for this lot, simply Thursday. Lacuna lands October 30 via Cooking Vinyl, and shares the lead single "Western"; Steve Kilbey has said the title came straight from the setting, a nod to a childhood spent absorbing TV. It also arrives paired with second track "Martian Skyline", the pair following on from last year's "Sacred Echoes (Part Two)." Kilbey calls the album “intense, forlorn, and exultant” — as tidy a summary as any for a band still finding new corners inside their own sound: jangling guitars, atmospheric post-punk, dream-pop haze. 

jueves, septiembre 17, 2026

New Music: Swallow The Bomb

           

Royal Blood have released a music video for their brand new single "Swallow the Bomb". This is the secondsingle to be revealed from their highly anticipated new album Dead Company out November 13. So the band made a welcome return last month with album news that marks a powerful new episode for the duo, the album was self-produced by Royal Blood, they set out to make an album as raw, human and visceral as possible. Dead Company strips everything back to its core. 

New Music: Run Away

           

Beck has released a video for the single "Run Away," filmed in Tokyo, Japan and featuring Japanese actor Tadanobu Asano. The video was released simultaneously with the artist's new album, "Ride Lonesome." Asano, known for the film Ichi the Killer and the series Shogun, played the leading role in the video, in which his character travels alone through Tokyo. Beck said that at the end of a hot summer, he went to Japan to make the video and turned to his friend Kunichi Nomura. According to the musician, Japanese artists worked on the short film for the song, and filming took place entirely in Japan.

New Music: Fade To Grey

           

Midge Ure has just announced the compilation “Chapters: The Best Of” on 13 November 2026 via Chrysalis Records. The collection gathers his 1980s hits and key album tracks in new 2026 stereo mixes, alongside first-time studio recordings of two songs long associated with his career. "Chapters: The Best Of" follows Ure's recent studio album "A Man Of Two Worlds" and brings together his solo catalogue with material connected to Visage and Thin Lizzy. For the first time, Ure has recorded new studio versions of Visage's "Fade To Grey" and Phil Lynott's "Yellow Pearl," a song he originally co-wrote. The first single is actually "Fade To Grey" in a new fresh version of this 80's hit classic.

Rocktrospectiva: The Ambivalent "Crash" Turns 40

 
Released on 8 September 1986 "Crash" was the 5th., studio album by English synth-pop band the Human League. The album would provide the band with their second US number-one single, "Human", the same year. It was produced by the American production team of Jimmy Jam and Terry Lewis, who also wrote the track, the album spawned the singles "I Need Your Loving" & "Love Is All That Matters. 

After spending two years recording their fourth album Hysteria, which met with only moderate commercial success, the band struggled to record further material. They recorded some new material with producer Colin Thurston at their 24-track studio in Sheffield and later Utopia Studios in London, who previously worked with them on the Reproduction album. However, the sessions did not work out after four months, partly because of the slow progress, Thurston's and the band's combined indecisiveness and the negative atmosphere surrounding the sessions. Once Thurston left for his honeymoon, he let his assistant Paul Rabiger take over the rest of the sessions, who would be credited for keyboards and arrangements on the final album; even so, the sessions continued to remain slow and unfocused without a producer at the helm.

By 1985, musician/songwriter Jo Callis had left the group. Virgin Records, worried by the lack of progress in one of their leading acts, called the band principals to a meeting. As the problem was perceived to be the lack of production progress, it was suggested that the band take up an offer to work with Minneapolis-based production duo Jimmy Jam and Terry Lewis. Jam and Lewis had written for and produced the S.O.S. Band, Cherrelle and Alexander O'Neal, and had just finished working on Janet Jackson's breakthrough album Control. They had developed an interest in the Human League after the success of their US releases; they were also seeking an opportunity to cross over into mainstream pop and saw the Human League as the perfect opportunity.

In February 1986, the Human League flew to Minneapolis to work at Flyte Time Studios with Jam and Lewis, who finally helped bring more focus and direction to the album. The basic arrangements for the band's material were worked out in England using sequencers, which Jam and Lewis had re-cut with the parts all played by hand for a more natural feel: the liner notes reinforce that "there are no sequencers on this album." According to Oakey in a 1986 interview, for the band's songs, only the drum machine parts were kept from the London recordings with Thurston and Rabiger.

Unlike on previous albums, the band allowed Jam and Lewis assume control as producers, with Philip Oakey adding that the band "had enough respect for them musically" and felt were talented enough to take on the responsibility. Jam and Lewis got along well with the band for the most part, and helped get the record down more quickly and efficiently under their direction. The band stayed in Minneapolis for four months in total: three weeks for basic tracks, followed by two months on vocals and the rest for mixing their own songs. However, it was towards the end that disagreements arose with Jam and Lewis, resulting in Oakey pulling the band out of the sessions. They returned to Sheffield, leaving Jam and Lewis to take over and mix the four songs they contributed.

Keyboard players Philip Adrian Wright and Ian Burden also had been sidelined by Jam and Lewis. "I really wished we were back in Berkshire (where Dare was recorded) with Martin Rushent, making a Human League album," Burden recalled. "It was gratifying to get a US number one with 'Human', but otherwise the album was a crashing bore in every sense." Wright would not recover from the humiliation and left the band upon their return to the UK. Burden eventually quit in 1987.

The album name was taken from a moment in the studio during the recording. Oakey described it thus: It's from a crash cymbal, because it's a disco album again with lots of cymbals. One day somebody said "what sorts of cymbals do you want, a ride or a crash?", and we thought, "what a great title!"

The album quickly became an unexpected success. One of Jam and Lewis's compositions, "Human", became the Human League's second number-one single on the US Billboard Hot 100 and their first UK top 10 single in over three years, peaking at number eight. Follow-ups "I Need Your Loving" and the 1988 release "Love Is All That Matters" were less successful, failing to reach the UK top 40. The album itself peaked at number seven in the UK (where it has been certified Gold for shipments in excess of 100,000 copies) and number 24 on the US Billboard 200. Oakey stated his discomfort with the record in 1995, saying: "The Jam and Lewis album [Crash] was just like being a puppet for four months. It was interesting to pick yourself out of the industrial north of England and dump yourself in Minneapolis. Great experience, but it just wasn't our album."

The out-of-focus cover photo was used to disguise the fact that it was taken at very short notice to meet a print deadline, after the disaster of the planned original photo shoot. Oakey originally wanted to return to the Vogue cover style of Dare artwork for Crash. He had persuaded Virgin Records to finance a studio photo shoot of the band with Vogue's Paris-based photographer Guy Bourdin. The band were flown out to Paris for the two-day photo sessions. However, on arriving at Bourdin's studio, it became apparent that he was only interested in photographing the two female vocalists Susan Ann Sulley and Joanne Catherall. Matters came to a head when Bourdin ordered Sulley to do a handstand wearing a mini-skirt, a pose she considered inappropriate. After she turned on Bourdin and the two clashed angrily, the photographer refused to work with the band and they walked out of the session with the loss of all fees. Oakey would later comment that "we spent two days there, it took nine hours to set up one photograph and I daren't tell you how much money we spent.

Critics were mixed by stating that the group's collaboration with Jimmy Jam and Terry Lewis "should have been exciting, but instead they are merely fitfully enjoyable since the melodies are wispy and the vocals weak." Others praised the album cause several tracks maintained their dance appeal while eschewing the overtly synthesized sound of previous albums, which made it "an improvement over the lackluster Hysteria, but still not on a par with Dare."
 
Crash Track List: 
 
1. Money
2. Swang
3. Human
4. Jam
5. Are You Ever Coming Back?
6. I Need Your Loving
7. Party
8. Love On The Run
9. The Real Thing
10. Love Is All That Matters