Mägo de Oz
Mägo de Oz are a Spanish folk metal band from Begoña, Madrid formed in mid-1988 by drummer Txus di Fellatio. The band became well known for the strong Celtic feel to their music strengthened through their consistent usage of a violinist and flautist; the name for the band was chosen, according to founding member Txus, because "life is a yellow brick road, on which we walk in the company of others searching for our dreams." The band was founded in 1988 by the drummer Txus di Fellatio, who recruited the rest of the members for the band, finalising the line-up by 1992. The band was called "Transilvania", named after an instrumental piece by Iron Maiden, a heavy influence on the band. In 1992, the band members were Txus, Charlie, Chema and Juanma, they recorded several demos: Y qué más da, Canción de cuna para un bohemio, Con la cabeza bien alta, in 1992. Their music had a wide range of styles and influences, but was based around folk metal and Celtic music. In 1992 the band was a finalist in the "Concurso Villa de Madrid", in 1994 the band released their debut album, produced by Txus and Alberto Plaza under the name Mago de Oz.
This album found little success and people were aware of the band's existence. During this time, Mago de Oz went through a period of turbulence and substantial line-up changes, before the line-up that has persisted until the present time was formed in 1996. At this point, the lineup consisted of Txus, Carlitos, Frank and José Andrëa; the same year, the band began recording their rock opera album, Jesús de Chamberí, produced by Alberto Plaza and the band themselves, which told a story of Jesus returning to the Madrid neighbourhood of Chamberí. The album was released on the label Locomotive Music. Mago de Oz saw a huge surge in popularity across Spain following the release of the album, promoted with the "Via Crucis Tour". In 1997, the band decided to re-record five songs from their debut album with the new singer; the resulting EP was self-titled, but it referred to by many fans as La Bruja, as the album cover features a witch playing a violin with a moon backdrop. The name has now become as a de facto name for the EP and the official website now refers to the EP as "La Bruja".
La Bruja surpassed the success of Jesús de Chamberí, further raised Mägo de Oz's profile, led to more festival appearances. Fans of concept albums and rock operas, Mägo de Oz released their third album, La Leyenda de La Mancha, a modern retelling of Miguel de Cervantes' Don Quixote. Rock opera has been a feature of all of their albums from Jesús de Chamberí onwards. Mägo de Oz embarked on "The Riiiichal Tour", which consisted of 115 dates, their longest to that point. To mark the success of La leyenda de La Mancha, to mark their tenth anniversary, the band released a documentary about themselves entitled "Resacosix en Hispania", in 1999 released on DVD in 2004. Towards the end of 1999 Mägo de Oz started writing and recording a double album named Finisterra, released in 2000. For this album they added Fernando on flute; this album was the most folk of their albums. The live tour supporting this album featured more elaborate stage production, with more sophisticated sets and lights. Around this time bassist Salva left the band.
In 2002 the band released their first live album, Fölktergeist, a compilation of songs played at various shows on the tour. In 2003, Mägo de Oz released Gaia, the first album in a trilogy which would be completed in 2010; the album was a concept album with two main themes: the Spanish conquest of America and the ecological damage wrought by mankind on Earth. The CD liner notes detail the plot of the concept album; the album, with a Celtic rock sound, features flutes and violins, met with a mixed reception. Around this time, Mägo de Oz started performing concerts in Latin America. In 2004, Mägo de Oz returned to the studio to record Belfast named after the city in Northern Ireland and the numerous sectarian conflicts that have taken place there. Many of the songs on the album are re-recordings of songs on previous albums; the band recorded a metal version of "La Rosa de los Vientos" as well as adding some orchestral parts to certain earlier songs. They added a third guitarist, Jorge Salán, the bassist, left the band.
In 2005, Mägo de Oz released two albums. The first one, was a second live album called Madrid - Las Ventas, recorded in Madrid's bullfighting arena, Las Ventas. There were some contractual complications with this album, since Locomotive Music had released the album, Mägo de Oz had now signed with a new label, therefore, Locomotive Music did not have the consent of the band; the second disc, Gaia II: La Voz Dormida, on the new label, Warner Dro, was the second album in the Gaia trilogy and contained the single "La Posada de los Muertos". For this album, they recruited another bassist, Pedro "Peri". After "La Posada de los Muertos" came the "Hoy Toca Ser Feliz" and "Diabulus in Musica". "Hoy Toca Ser Feliz" was accompanied by a video with the members of the band dressed as the characters from The Wizard of Oz, Txus drumming in costume as Glinda the Good Witch, with giant wings. During the tour for Gaia II, Txus temporarily left the band due to ext
La Ciudad de los Árboles
La Ciudad de los Árboles is the eighth studio album by Spanish folk metal group Mägo de Oz, it was released on 6 November 2007. It comes in Digibook format and includes a DVD; the first single of the album is "a tribute to Mexico in ranchera style. The second single of the album is "Deja de Llorar" El Espíritu del Bosque - 1:46 La Ciudad de los Árboles - 6:02 Mi Nombre es Rock & Roll - 6:03 El Rincón de los Sentidos - 4:39 Deja de Llorar - 4:18 La Canción de los Deseos - 4:01 Y Ahora Voy a Salir - 3:53 Runa Llena* - 4:46 Resacosix en la Barra - 3:47 No Queda sino Batirnos - 4:19 Sin Ti, Sería Silencio - 4:42 Si Molesto, Me Quedo - 4:38 El Espíritu del Bosque II - 1:15* A play on the phrase "Full Moon", in Spanish "Luna Llena"
Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary to include everything from "trad" music to a wide range of hybrids. Celtic music means two things mainly. First, it is the music of the people. Secondly, it refers to. Many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic music genres have a lot in common; these following melodic practices may be used across the different variants of Celtic Music: It is common for the melodic line to move up and down the primary chords in many Celtic songs. There are a number of possible reasons for this: Melodic variation can be introduced. Melodic variation is used in Celtic music by the pipes and harp, it is easier to anticipate the direction that the melody will take, so that harmony either composed or improvised can be introduced: cliched cadences that are essential for impromptu harmony are more formed.
The wider tonal intervals in some songs make it possible for stress accents within the poetic line to be more in keeping with the local Celtic accent. Across just one Celtic group. By more than one Celtic language population belonging to different Celtic groups; these two latter usage patterns may be remnants of widespread melodic practices. The term Celtic music is applied to the music of Ireland and Scotland because both lands have produced well-known distinctive styles which have genuine commonality and clear mutual influences; the definition is further complicated by the fact that Irish independence has allowed Ireland to promote'Celtic' music as a Irish product. However, these are modern geographical references to a people who share a common Celtic ancestry and a common musical heritage; these styles are known because of the importance of Irish and Scottish people in the English speaking world in the United States, where they had a profound impact on American music bluegrass and country music.
The music of Wales, the Isle of Man, Galicia and Asturias and Portugal are considered Celtic music, the tradition being strong in Brittany, where Celtic festivals large and small take place throughout the year, in Wales, where the ancient eisteddfod tradition has been revived and flourishes. Additionally, the musics of ethnically Celtic peoples abroad are vibrant in Canada and the United States. In Canada the provinces of Atlantic Canada are known for being a home of Celtic music, most notably on the islands of Newfoundland, Cape Breton and Prince Edward Island; the traditional music of Atlantic Canada is influenced by the Irish and Acadian ethnic makeup of much of the region's communities. In some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Further, some older forms of Celtic music that are rare in Scotland and Ireland today, such as the practice of accompanying a fiddle with a piano, or the Gaelic spinning songs of Cape Breton remain common in the Maritimes.
Much of the music of this region is Celtic in nature, but originates in the local area and celebrates the sea, seafaring and other primary industries. In Celtic Music: A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage; the Q-Celtic nationalities are the Irish and Manx peoples, while the P-Celtic groups are the Cornish and Welsh peoples. Musician Alan Stivell uses a similar dichotomy, between the Gaelic and the Brythonic branches, which differentiate "mostly by the extended range of Irish and Scottish melodies and the closed range of Breton and Welsh melodies, by the frequent use of the pure pentatonic scale in Gaelic music."There is tremendous variation between Celtic regions. Ireland, Scotland and Wales have living traditions of language and music, there has been a recent major revival of interest in Celtic heritage in Cornwall and the Isle of Man. Galicia has a Celtic language revival movement to revive the Q-Celtic Gallaic language used into Roman times.
Most of the Iberian Peninsula had a similar Celtic language in pre-Roman times. A Brythonic language was used in parts of Galicia and Asturias into early Medieval times brought by Britons fleeing the Anglo-Saxon invasions via Brittany; the Romance language spoken in Galicia, Galician is related to the Portuguese language used in Brazil and Portugal. Galician music is claimed to be Celtic; the same is true of the music of Asturias and that of Northern Portugal. Breton artist Alan Stivell was one of the earliest musicians to use the word Celtic and Keltia in his marketing materials, starting in the early 1960s as part of the worldwide folk music revival of that era with the term catching on with other artists worldwide. Today, the genre is well established and diverse. There are musical genres and styles specific to each Celtic country, due in part to the influence of individual song traditions and the characteristics of specific languages: Celtic traditional music Irish Music Music of Scotland Strathspeys are specific to Highland Scotland, for example, it has been hypothesized that they mimic the rhythms of the Scot
Hechizos, pócimas y brujería
"Hechizos, pócimas y brujería" is the twelfth album by the Spanish folk metal band Mägo de Oz. After the controversial retirement of their last vocalist José Andrëa, this is the first album of Zeta as the band's vocalist; these tracks were available only in iTunes Txus Di Fellatio – drums Zeta – lead vocal Patricia Tapia – vocals in "Brujas" and chorus Carlos Prieto "Mohammed" – violin Frank – rhythm guitar Carlitos – lead guitar Javi Diez – keyboards Fernando Mainer – bass Josema – flutes
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
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
Folk metal is a fusion genre of heavy metal music and traditional folk music that developed in Europe during the 1990s. It is characterised by the widespread use of folk instruments and, to a lesser extent, traditional singing styles, it sometimes features soft instrumentation influenced by folk rock. The earliest folk metal bands were Skyclad from Cruachan from Ireland. Skyclad's debut album The Wayward Sons of Mother Earth was released in 1991 and would be considered a thrash metal album with some folk influences, unlike Cruachan’s early work which embraced the folk element as a defining part of their sound, it was not until 1994 and 1995 that other early contributors in the genre began to emerge from different regions of Europe and beyond. Among these early groups, the German band Subway to Sally spearheaded a different regional variation that over time became known as medieval metal. Despite their contributions, folk metal remained little known with few representatives during the 1990s, it was not until the early 2000s when the genre exploded into prominence in Finland with the efforts of such groups as Finntroll, Korpiklaani and Moonsorrow.
The music of folk metal is characterised by its diversity with bands known to perform different styles of both heavy metal music and folk music. A large variety of folk instruments are used in the genre with many bands featuring six or more members in their regular line-ups. A few bands are known to rely on keyboards to simulate the sound of folk instruments. Lyrics in the genre deal with fantasy, paganism and nature; the English band Skyclad was formed in 1990 after vocalist Martin Walkyier left his previous band, Sabbat. Skyclad began as a thrash metal band but added violins from session musician Mike Evans on several tracks from their debut album, The Wayward Sons of Mother Earth, an effort described by Eduardo Rivadavia of AllMusic as "ambitious" and "groundbreaking." The song "The Widdershins Jig" from the debut album has been acclaimed as "particularly significant" and "a certain first in the realms of Metal". With a full-time fiddler in their lineup, the band's second album feature a "now legendary folky jig style" and "more prominent inclusion of the fiddle playing lead lines and melodies associated with the lead guitar parts of most other rock bands."Even with the departure of Martin Walkyier in 2001, Skyclad remains an active folk metal group today after nearly two decades since their formation.
In contrast, the Portuguese band Moonspell had a brief tenure in the genre. Their first release was the 1994 Under the Moonspell EP with music that featured Lusitanian folk and Medieval influences. With the release of their debut album Wolfheart in the following year, the band made a transition into gothic metal and within a matter of years "quickly evolved into one of the major players of the European goth-metal scene."Cruachan were formed in 1992 in Dublin, Ireland. From the outset their intention was to mix the native Irish folk music of their home country with the more extreme side of metal music, their debut album Tuatha Na Gael was released in 1995 and was a full folk metal album from start to finish. In the Italian book “FOLK METAL, Dalle Origini Al Ragnarok”, a comprehensive history of the genre, Author Fabrizio Giosue credits Cruachan as being the first real Folk Metal band, he acknowledges that Skyclad did have some folk parts in some songs before Cruachan however he goes on to say Cruachan used folk music as much as they used heavy metal music.
Cruachan used arrangements of known folk songs and melodies, Skyclad wrote folk "sounding" parts. Spanish band Mägo de Oz was among early Folk Metal artists that were influenced by the Celtic folk music; the band introduced folk elements and instruments in their power metal-based music from their 1994 debut album. Another early contributor to folk metal is the Finnish group Amorphis, they formed in 1990 with The Karelian Isthmus, following two years later. Their sophomore effort Tales from the Thousand Lakes was released in 1994 with "plenty of fascinating melodies and song structures that drew from the traditional folk music of their native country." The album received a favorable reception from fans with "its content being exalted across the Metal underground as the pinnacle of atmospheric Death Metal achievement." In the years 1994 and 1995, several distinct variations on folk metal emerged from different regions. The German band Subway to Sally was formed in 1992 as a folk rock band, singing in English and incorporating Irish and Scottish influences in their music.
With their second album MCMXCV released in 1995, the band adopted a "more traditional approach" and started singing in German. Taking Skyclad as an influence, Subway to Sally performs a blend of hard rock and heavy metal "enriched with medieval melodies enmeshed in the songs via bagpipes, hurdy-gurdy, mandoline, shalm and flute" and combined with "romantic-symbolic German-speaking poetry" in their lyrics. With chart success in their native Germany, they have since been credited as the band "that set off the wave of what is known as medieval rock."This distinctly German phenomenon has been continued and expanded further by subsequent bands. Formed in 1996, the Berlin based In Extremo has found chart success with their "medieval style stage garb and unashamed usage of such bizarre, sometimes hand made, instruments as the Scottish bagpipes." Another band that has experienced commercial success in Germany is the Bavarian outfit Schandmaul. Describing themselves as the "minstrels of today," the band employs a musical arsenal that includes the bagpipes, barrel organ, shawm