Leño is the third and last studio album by Spanish Hard rock band Leño. It was produced by Carlos Nerea and published by Chapa Discos in 1982, it was recorded at Ian Gillan's recording studio located in London, with the production of Carlos Narea. There are notable songs included such as Sorprendente or ¡Qué desilusión!. The intention was to achieve prestige both inside and outside Spain but when the critics of Kerrang! Evaluated the album, the result was awful; some of them claimed, impossible to rate the album because of the language. The album was ranked number 19 on Rolling Stone's "50 Greatest Spanish rock albums"; the Spanish magazine Efe Eme ranked Corre, corre as the 129th best Spanish rock album ever. LeñoRosendo Mercado: Guitar and vocals Ramiro Penas: Drums and backing vocals Tony Urbano: Bass guitar and backing vocals http://www.rosendo.es/
Miguel Ríos Campaña is a Spanish singer, actor. He is one of the pioneers of roll in Spain. Ríos was born in a neighborhood of Granada; the youngest of seven children, he went to work in a local bar at the age of fifteen after little formal education. His interest in rock and roll led him to participate in a song contest at Cenicienta 60 radio station, in which he and his friends won a prize for singing the Paul Anka song "You Are My Destiny". With his mother's permission, he moved to Madrid in 1961 at the age of sixteen, where he recorded his first four songs. In popular circles he became known as the King of Twist; as Mike Ríos he obtained some television popularity during the first half of the 1960s. In 1964 he resumed using his real name which cost him the support of Los Relámpagos, he made his first incursion into cinema with a movie titled Dos chicas locas, locas. An introspective search for his true identity resulted in some rocky times. In 1967 he recorded "Vuelvo a Granada", "El río", "Contra el cristal", "El cartel", "Mira hacia ti".
It was in 1970. His song "Himno de la alegría" was an extract of the last movement of the ninth symphony of Beethoven and appeared at the height of what was known as symphonic rock, it was released in both the United States and the United Kingdom as "A Song of Joy" in May 1970 on the A&M Records label, where combined sales in the U. S. and Canada reached the one million mark in July. It reached No. 16 in the UK singles charts in August 1970. It was awarded a gold record by the Recording Industry Association of America, he was number one on some foreign music charts. It reached Number 14 on the Billboard Hot 100 chart in 1970; the artistic career of Rios came to a sudden stop when he was arrested and jailed for possession of hashish shortly after his Rock y Amor concert. In the mid seventies he recorded three progressive rock albums, but they were not commercially successful. In 1982 Rios released Rock and Rios a live double album recorded during the 5 and 6 March in Madrid at the Pabellón del Real Madrid and published in June of the same year.
This album is considered by many music critics and fans as one of the most important works of modern Spanish rock and a turning point for the music industry in Spain. Rios sold over 450,000 copies in less than one a feat he never again came close to surpassing; this concert was a celebration of his 20 years in the music business, yet most of the audience members had not been born when he began his career. One of the unique aspects of this album was its release. While most live albums at the time were released after a tour was over, Rios released his at the same time as he started his tour; the success of both made him one of the wealthiest entertainers of the era. Rock and Rios is considered a cultural marker for the transformation of Spanish society as it begun to enjoy the freedoms of a democracy born only six years earlier, it is thought of as the precursor to Spain's "La Gran Movida", a term that loosely defines the street youth culture of the 1980s in Spain. Mira hacia ti 1969 Despierta 1970 Unidos 1971 Miguel Ríos en directo: Conciertos de Rock y amor.1972 Miguel Ríos: Éxitos 1973 Memorias de un ser humano 1974 La huerta atómica 1976 Al-Andalus 1977 Los viejos rokeros nunca mueren 1979 Rocanrol bumerang 1980 Extraños en el escaparate 1981 Rock and Rios 1982 El Rock de una noche de verano 1983 La encrucijada 1984 Lo más de rock en el ruedo 1985 El año del cometa 1986 Que noche la de aquel año 1987 Miguel Ríos 1989 Directo al corazón 1991 Así que pasen treinta años 1992 Por siempre 1995 Canciones de amor para tiempos difíciles 1995 Como si fuera la primera vez 1996 Miguel Ríos en concierto: Big Band Ríos 1998 Ana Belén, Miguel Ríos cantan a Kurt Weill 1999 Miguel Ríos y las estrellas del rock latino 2001 60mp3 2004 Solo o en compañía de otros 2008 Bye Bye Ríos 2010 Much of the content of this article comes from the equivalent Spanish-language Wikipedia article, accessed September 5, 2006
Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage and blues rock movements. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar and accompanied with keyboards. Hard rock developed into a major form of popular music in the 1970s, with notable bands such as AC/DC, the Who, Led Zeppelin, Deep Purple, Aerosmith and Van Halen. During the 1980s, some hard rock bands moved away from their hard rock roots and more towards pop rock, while others began to return to a hard rock sound. Established bands made a comeback in the mid-1980s and it reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the part of that decade. Hard rock began losing popularity with the commercial success of R&B, hip-hop, urban pop and Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, new hard rock bands that emerged from the garage rock and post-punk revival scenes.
Out of this movement came garage rock bands like the White Stripes, the Strokes, Interpol and on, the Black Keys. In the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain successful recording careers. Hard rock is a form of aggressive rock music; the electric guitar is emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis; the bass guitar works in conjunction with the drums playing riffs, but providing a backing for the rhythm and lead guitars. Vocals are growling, raspy, or involve screaming or wailing, sometimes in a high range, or falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has been predominantly performed and consumed by men: in the case of its audience white, working-class adolescents.
In the late 1960s, the term heavy metal was used interchangeably with hard rock, but began to be used to describe music played with more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough at the beginning of the 1970s. In the 1980s it developed a number of subgenres termed extreme metal, some of which were influenced by hardcore punk, which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands standing on the boundary of, or crossing between, the genres; the roots of hard rock can be traced back to the 1950s electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances.
Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, Pat Hare, who captured a "grittier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues". Other antecedents include Link Wray's instrumental "Rumble" in 1958, the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" and "Misirlou". In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, louder vocals, from electric blues. Early forms of hard rock can be heard in the work of Chicago blues musicians Elmore James, Muddy Waters, Howlin' Wolf, the Kingsmen's version of "Louie Louie" which made it a garage rock standard, the songs of rhythm and blues influenced British Invasion acts, including "You Really Got Me" by the Kinks, "My Generation" by the Who, "Shapes of Things" by the Yardbirds, "Inside Looking Out" by the Animals, " Satisfaction" by the Rolling Stones.
From the late 1960s, it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most derived from blues rock and was played louder and with more intensity. Blues rock acts that pioneered the sound included Cream, the Jimi Hendrix Experience, the Jeff Beck Group. Cream, in songs like "I Feel Free" combined blues rock with pop and psychedelia in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of the Who, Hendrix and Beck all pioneered the use of new guitar effects like phasing and distortion.
The Beatles began producing songs in the new
Más madera is the second studio album by the Spanish hard rock band Leño. It was recorded in March 1980, produced and arranged by Teddy Bautista and published by Chapa Discos that same year; the Spanish magazine Efe Eme ranked Más madera as the 142nd best Spanish rock album ever. All songs written by Rosendo Mercado, Chiqui Mariscal and Ramiro Penas LeñoRosendo Mercado: Guitar and vocals Ramiro Penas: Drums and backing vocals Tony Urbano: Bass guitar and backing vocalsAdditional personnelTeddy Bautista: Keyboards Manolo Morales: Saxophone Luz Casal: Backing vocals Jaime Asúa: Backing vocals http://www.rosendo.es/
Rock en español
Rock en español is a term used in the English-speaking world to refer any kind of rock music featuring Spanish vocals. Unlike English-speaking bands few acts reached worldwide success and not between different Spanish-speaking countries due to a lack of promotion. Despite rock en español's origins in the late 1950s, many rock acts achieved at best nationwide fame until the Internet consolidated the listeners. However, some rock en español artists did become internationally popular with the help of a promotional campaign from the mid 1980s to the mid 1990s called "Rock en tu idioma"; some specific rock-based styles influenced by folkloric rhythms have developed in these regions. Some of the more prominent styles are Latin rock, a fusion of rock music with Latin American and Caribbean folkloric sounds developed in Latino communities. Spanish-speaking rock music began in the late-1950s, through listening to performers like Elvis Presley, Buddy Holly and Bill Haley, who popularized rockabilly in the United States.
The song "El relojito" by Gloria Ríos released in 1956 is considered the blueprint of rock en español. In 1958, Ritchie Valens covered the Mexican folk song "La Bamba", popularizing Spanish-language rock music throughout Latin America; that year, Daniel Flores performed his hit song "Tequila". The new sound caught the attention of the middle and upper class; the first rock bands in Latin America were created in the late 1950s with Los Llopis and Los Teen Tops achieving some success covering American rock classics during the early 1960s. The Spanish scene received some influences of non-English-speaking countries with the Yé-yé style as could be seen with Raphael. In the early 1960s, those styles of commercial rock music were nicknamed Nueva ola in some South American countries to refer the bands that adopted the American and European styles. After the popularization of The Beatles and the world success of the British Invasion, the Hispanophone world adapted new styles like Beat music and blues, soul, folk-rock and pop music.
The influences of beat music and psychedelic pop were noticeable in some acts such as Los Brincos, El Kinto, Los Gatos or The Speakers, while other successful bands featured English and few Spanish vocals like Los Bravos or Los Shakers. Success outside of the native and Spanish-speaking scene proved difficult to attain though, the few hits these bands achieved worldwide were sung in English, as Miguel Ríos and Los Bravos did for example. Los Saicos were one of the oldest proto-punk bands in the world. By mid-decade the Mexican Carlos Santana moved north to California and soon joined the burgeoning San Francisco rock scene. Forming the band Santana towards the end of the sixties, he would gather a shifting group of musicians from mixed Anglo-Saxon and Hispanic backgrounds. S. Mexico, Europe and brought together elements of rock'n' roll and jazz with Latin percussion and harmonics; the band would alternate lyrics in Spanish and English. Although he is not a rock en español musician, Carlos Santana's background is that of a traditional Latin musician who has fused rock guitar with classic Latin American songs and a sizeable body of compositions by himself and his band.
Their hit song "Oye Como Va" is an example of Santana's fusion, being composed by famous Latin jazz and mambo musician Tito Puente. From the late 1960s on, concurrently with the success of Santana, there was a growing interest in Latin-American folk music and dancing as well as a worldwide cultural boom for Latin-American literature and its colourful, sometimes surrealist and magic realist storytelling, which sustained an interest in Latin music in general, though not always in Latin rock music as such. There was a noticeable Latin influence in 1970s jazz and some acts like Malo were performing Latin Rock during the same decade. However, styles like blues, acid rock, hard rock, prog rock would be influential around the next decade. Almendra, led by Luis Alberto Spinetta, was one of the most important prog bands of the late 1960s and Spinetta would become one of the most important artists of the 1970s rock en español scene, Influenced by the new trends of the 60's, psychedelic acts like Los Dug Dug's, Pescado Rabioso — or La Revolución de Emiliano Zapata.
Triana were pioneers of the Andalusian rock scene, a new style emeged in Spain that melt prog rock with flamenco. As the hard rock merged in the UK in the late 1960s, the first hard rock acts appeared in the early 1970s with bands like Pappo's Blues. A new hard rock movement influenced by prog and punk called Spanish Rock urbano lead the harder scene of the late 1970s with bands like Leño, but in these days appeared some repression of rock music in Mexico. The government forced artists, labels and r
Ian Gillan is an English singer and songwriter. He is the lead lyricist for the rock band Deep Purple. Influenced by Elvis Presley, Gillan started and fronted several local bands in the mid-1960s, joined Episode Six when their original singer left, he first found widespread commercial success after joining Deep Purple in 1969. He resigned from the band in June 1973. After a short time away from the music business, he resumed his music career with solo bands the Ian Gillan Band and Gillan, before a year-long stint as the vocalist for Black Sabbath in 1983; the following year, Deep Purple reformed and two more successful albums followed before he left in 1989. He returned to the group in 1993, has remained its lead singer since. In addition to his main work—performing with Deep Purple and other bands during the 1970s and 1980s—he sang the role of Jesus in the original recording of Andrew Lloyd Webber's rock opera Jesus Christ Superstar, performed in the charity supergroup Rock Aid Armenia, engaged in a number of business investments and ventures, including a hotel, a motorcycle manufacturer, music recording facilities at Kingsway Studios.
More he has performed solo concerts concurrently with his latter career in Deep Purple, his work and affinity with Armenia, combined with his continued friendship with Tony Iommi since his brief time in Black Sabbath, has led him to form the supergroup WhoCares with Iommi. His solo career outside of Deep Purple was given a comprehensive overview with the Gillan's Inn box set in 2006. Gillan was born on 19 August 1945 at Chiswick Maternity Hospital, his father, was a storekeeper at a factory in London, who came from Govan and left school at 13, while his mother, came from a family where she was the eldest of four children, who all enjoyed music and singing, whose father had been an opera singer and amateur pianist. His sister, was born in 1948. One of Gillan's earliest musical memories was of his mother playing "Blue Rondo à la Turk" on the piano, he grew up moving between council flats before settling in a three-bedroom semi-detached on a council estate in Cranford, Hounslow, he was fond of animals in his early life, enjoyed reading the comic strips of Dan Dare.
His parents separated after Audrey discovered Bill had had an affair that started while he was stationed in the army during World War II. He stayed there through his early teenage years, he was influenced by Elvis Presley by hearing his records at the local youth club. Gillan attended Acton County Grammar School to take his O Levels but became distracted from studies after leaving the local cinema having watched a Presley film, deciding that he wanted to be a movie actor, he subsequently took a job manufacturing ice machines in Hounslow. Gillan's first attempt at a band was called Garth Rockett and the Moonshiners, consisted of himself on vocals and drums, alongside guitarist Chris Aylmer, who went on to work with Bruce Dickinson; the band covered songs such as The Shadows' Apache. He discovered he couldn't sing and play drums at the same time, so settled on the role of lead vocalist, performing at St Dunstan's Hall, the local youth club, he soon switched to another local band who played at Dunstan's Hall and the Hightones, who renamed themselves as the Javelins after he joined.
The band played covers of Sonny Boy Williamson, Chuck Berry, Jerry Lee Lewis and Little Richard, were early customers of then-local music shop owner Jim Marshall. The Javelins disbanded in March 1964, with guitarist Gordon Fairminer leaving to join what became the group Sweet. After the Javelins, Gillan joined a soul band, Wainwright's Gentlemen, which included another future Sweet member, drummer Mick Tucker; the band recorded a number of tracks including a cover of The Hollies hit "Ain't That Just Like Me". Although the band played several local popular music venues, they did not find success, so in April 1965, he decided to join Hatch End based Episode Six. Gillan had been contacted by Episode Six's manager Gloria Bristow, who worked for Helmut Gordon, original manager of The Detours to become the Who, he replaced original lead singer Andy Ross, who left to get married, joined keyboardist and singer Sheila Carter, guitarists Graham Carter and Tony Lander, bassist Roger Glover and drummer Harvey Shields.
Gillan considers Episode Six to be his first professional band, in their early days they were sponsored and championed by Tony Blackburn, who accompanied Gillan on stage. As well as performing concerts in the UK, Episode Six toured Germany and Beirut, had regular appearances on the BBC Light Programme. During his time with Episode Six, Gillan began writing songs together with Glover, forming an long-lasting partnership. After a strained tour of Beirut, Shields left the band and was replaced first by John Kerrison by Mick Underwood. Underwood had played in The Outlaws with Ritchie Blackmore, it was via him that Ian knew about Deep Purple. By 1969, after having released nine singles, none of which charted in the UK, finding their style of music too restrictive for him, he decided to leave Episode Six. By spring 1969, Deep Purple had had a top 5 US hit with "Hush", but the band Ritchie Blackmore, Jon Lord and Ian Paice, decided their future lay in hard rock, rather than the psychedelic pop sound of the early band.
In June 1969, Blackmore and Paice went to see Episode Six perform at a pub gig and subsequently offered Gillan the job as new lead singer, asking him if he knew any good bassi
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC